30 Day Mini Art Challenge With Watercolors - Exploring Beauty of Nature

1. Hello & Welcome Back: There is a reason why we don't see the world in black and white because colors are the smiles of nature. Every sunrise to sunset has a different area of colors that depicts the beauty of nature. The gentle ocean waves bring peace to my soul and come to my house. Everyone. Jacqueline. And I'm going to define it based in India. You can find me on Instagram and other social medias under the handle, creating from the heart, where I share most of my other creative works and the art process reals as well. You can find all the details regarding the handmade products that I create and also see my journey as an artist for the two years. Looking at the beautiful colors in the sky, I decided to create another beautiful 30-day watercolor challenge of many paintings inspired from the beauty of nature. Don't worry, if you are an absolute beginner with watercolors. I'm here to guide you through each step to begin your journey with watercolors, we will be beginning with discussing the basic materials that you need to begin your journey with watercolors. And then we will be diving into the color palette and the color DPs. And through each class project, I will share a list of colors that I have used for that specific day. I will also be diving you into some basic techniques with watercolors so that it's easier for you to begin your journey and understand the terms that we use while creating the paintings. Each day. We are going to be creating in many paintings, which are smaller than an A6 size and would take around 20 minutes of your day or less. And you would be able to create such beautiful nature landscapes. So without further ado, come join me into this 30-day many art challenge. And let's paint some beautiful, gorgeous nature landscapes together. I hope to see you join me in to the next lesson and beginning this Saturday, many art challenge with me. 2. Materials you will Need: So before we move ahead, Let's have a look at the materials that you would be needing for this mini art challenge I'm going to be using in these mini size paper. So these are a little smaller than the effect sizes. I've kept them into small pieces. And this time I've given them a little rough edge loop. Instead of going with the sharp edge loop. If you close the have a look at the paper. This has a little texture to it because of the cold press property and the wrapping paper. So this is 300 GSM, 100% cotton paper that I'm using. You can go ahead with any paper that is at least 200 GSM, but a 100% cotton only then you will be able to work wet on wet and get the deviance j in case if you want, you can even maintain a sketchbook to fit all your artworks for the 30 days. So this is A6 size sketchbooks. So you already, you can see the comparison with the paper size. To understand how small it is compared to an E6 people, it's approximately one centimeter smaller on both sides horizontally and vertically from the E6 size. So now you can understand the size of paper that I'm using here. So you can go and use a sketchbook like this of whichever size you prefer, and add all your paintings and have a collection of your own into your sketch book. So this is about the people that we are going to be using in for the 30 days for painting all the 30-minute thing. Now for taping down the paper for each class project I'm going to be using this board. This was one of the glute fact that I was using for the board of it. So it becomes easier to rotate your paper or your paper by painting and ease of access to adjust the hand angles accordingly to mass on the paper. I'm going to be using this half-inch masking tape. You can go ahead and unmute any kind of masking tape perfect available that you're in. It can be a half inch, one inch, or two color masking tapes that are available. So that's completely your choice. How you want to go ahead and onto what surface? What do you want to tape your paper? But I would recommend to tape it down on a movable. So now next coming to the brushes, I'm going to be using this 3 fourth inch wash brush by the brand Princeton Neptune series wash brush. I will also be using in the half-inch size of this majorly falling down the layer of water I'm going to be using in these two brushes to give him the background wash depending on the size of the area that I have to work with. Coming to the set of round brushes I'm going to be using in these two silver black velvet round brushes. This is the size eight and size four from the CDC. And they are perfect for adding the details. Also the size or works perfectly for adding in many details because of the point that the brush has, it becomes easier to work with just one brush through the entire painting. Now apart from these two round brushes, I'm going to use in three other brushes majorly. Two of which are the detail brushes. One is low or round brush size 0, and the other one is a liner brush for adding in very fine lines into our paintings. So the liner brushes from the brand Princeton and this is a size one liner brush, bigeminy handle. And the round brush is from Griffin, which is the size 0 round brush. So these are the two de, dealer brushes which I will be using majorly throughout the 30 days. Many are challenged or bad. Some days I'm going to use this one very local brush for adding in some details. So actually this is a spoiled brush, the bristles of which we are going to be using it to create the foliage effect quickly. In the future class projects I'll share with you easy fix and trips to use this point brush to create the details. Now next, coming onto the colors for the colors and medially going to be using this 12 color pan set and some watercolor tubes from the brand to be ads. So this is their palate, so it has a shade of 12 colors, of which I will be discussing in detail in the next lesson about this color palette and the color is included. So it has shades of all different colors from the color family. Now, this, I'm even going to go ahead and using some of the colors because this has some basic colors only. So even in the tube, there are some basic colors which I will go ahead and keep using it as in when, in the class project required. Now apart from these, I'm going to use in some of the tubes from the different brands such as White Nights and Magellan mission. So I'm going to use some of the sheets, such as the John Brennan, number one, Naples, yellow, indigo, royal blue color. Now do not worry, you don't have to have all of these sheets. I will be sharing alternative unfollow mixes too. From your basic color palette. Save your forehead and see the color pigment number. You will be able to understand your own. If you see this is a mix of pigment, orange, yellow, and white. So if you're mixing your yellow, orange and by color or by course, you wouldn't get any color. In this way, we will keep discussing the color mixes, looking at the pigment number and understanding how to lead the pigment number and mix your own colors if you do not have the exact same sheets available. Next, I am going to be using in this ceramic palette for mixing in the fellows class project. You can go ahead and use either a plastic palette, ceramic palette, or whichever you're comfortable with. Apart from this, you need some basic stage TV skin pencil, eraser and a white gel pen for adding in some details in some of the class projects. Next most important thing that you would be needing is either a white gouache or white ink. Clearly, I would recommend using Unified course since you're working with the median, which is water-based media, it's better to go ahead and use a whiteboard so that it becomes easier for blending. So I'm going to use this white balls from the brand White Nights. Now apart from this, you need a jar of clean water for each of the classroom. I would recommend having two glass of clean water so that it's easier to use clean water if the jar turns out too dirty. Lastly, you need a spray bottle as well. Because in some of the class projects we are going to create a little of the background soft loop with the help of a spray bottle to make the colors move and blend into each other. Apart from this, you would need tissue papers already have plot for each of the class project. So these are all the materials that you will be needing for the coming days. So grab all of these materials and keep them ready. And I will see you guys into the next lesson where we discussed the color palette in detail. 3. Color Palette: So now let's discuss this color palette in a little detail. So I'm first going to go ahead and swatch out the entire color palette, then share the color names as given to this palette. And discuss how I'm going to go ahead with the colors for the coming years. This palette has two shades of yellow, shades of red and pink, who sheets from the violet family, from the blue to green and round and one veins. So this palette is the beast Padlet from the brand. Can we begin to notice then what follows are almost equal to each other with just a little hint of orange and even the scarlet and draws middle color are seen as in the adjusted finite wonder with the darker. So that is the reason I can just go ahead with advancing the palette of colors and paint all the things. Because if it was a basic color palette, then I would have the variety of colors. But you can see the colors are quite similar to each other. Leaving boyhood and using some of the colors from the tubes as well, from different bands and from the bank. So by painting each of them, I didn't list them the color options that you can use for the class project. Or you can even understand the technique for painting the class project. And then go ahead with your own color combination. For that, you need to have anything understanding about the primary colors, the secondary colors, complimentary colors, the panelists that don't fit well with teacher. This is a nice palette, as I told you. So let's have a look at the column names given to this planet. So the first one is the Indian yellow color that we have. The second one is the yellow, orange at the top. This is valid. Then is the rosemary that color, then is the magenta, then is the violet. So these are the colors from the yellow and the white and the red family. Then it's the peacock blue, indigo, yellow, green color and green color. And for the brown, brown, and then the Payne's gray cargo. So these are the colors in this palette. Now there are a lot of colors missing. A lot of basic calories that we will be needing, such as a yellow light color of burnt sienna and ultramarine color, or even a yellow ocher color. So since all of these or not isn't enough single palette, because that's a palette me to be focusing onto the bees element of Anita. I'm going to go ahead and using these two separately for each of the class project, I will be sharing the color sheets. As I told you. I'm even going to be going ahead and using in some very different colors which are not available in a basic palette. So for example, you can see the colors are true. The first one being the Royal do is we'll go ahead and see the pigment. It's a blue pigment mixed in with white. So when you mix your ultramarine blue with the white color, you will get it. Coming to this very nice purple from White Nights. This is a mix of red pigment and a little bit of a brownish pigments, which is valid and the Payne's gray, yellow, you will get a new initiate. The next is the blue color. You can see the cobalt blue color mixing green, blue and white and get an almost similar shape. I really shedding in the specific colors that you can mix it by each of the class projects so that it's easier for you to gather if that scene for the knee busy, I know it's just a piece in yellow color. Now coming to the shell pink color. If you see it's a figment of falling beyond nice brown. And PWC. Why? They wrote mixing a little of your brown, orange and white, you will get a face to the thing. So the important element of these tools you need for mixing the colors and the understanding of pigments that are so funny. Every class project, I will be guiding you through the color that we use for that specific class project and alternatives that you can use. So just grab your basic color palette and have a white gouache or white watercolor. And just begin with us. And you can create and form your own sheets for each class project. 4. Basics of Watercolor: The first technique is going to be the wet on wet technique. So in the wet-on-wet technique, we have a clean layer of water which is wet. And onto this wet layer we are going to be adding in paint, which is again going to be wet. So this is called the wet-on-wet technique wherein the layer underneath us peace is already wet. On wet Leo, you are adding in the wet layer with the colors again. Now wet on wet technique can even be colored on color. We are adding in the details wet on wet layer of water. So I've just used in one simple color of blue, added it throughout the show in the wet on wet technique out here. So this is the first technique which is very important. That's the wet on wet technique. Now the next technique is going to be wet on dry technique, wherein the base layer is dry, there is no water or wet layer of color. Onto this direct drive. We are going to be beginning in with wet paint. Hence, it is wet on dry. Suggest using Embed Page, going to add it completely. Now this technique is used when a very small space to be painted in and not much detail to be added in. And you want your space to dry in quickly. If one larger surfaces, you will try to use this wet-on-dry technique, you may get sharp edges in between because the paper will dry math sooner as compared with the wet-on-dry technique. So this is only wine adding in details or walking on small spaces. So you can already see the color differences coming in out here because of the wet-on-dry technique, because the paper was not wet evenly places it began to die in. So I'm just running a **** brush over it to make it evenly throughout like this. So that is why we will mainly be using wet on wet for because offices. And only for the delay we will be using in the wet-on-dry technique. Now next one we are going to learn in different kind of wash. So let's begin with a clean coat of water. As I told you, we are going to be going ahead majorly with the wet-on-wet technique. So let's begin with the wet-on-wet technique and beginning with the fourth type of wash out here. The first wash is a gradient wash bearing. We're just going to be using in one color and we are going to be having in our gradient to this color. So at the top you can see we have the Dakotas and at the bottom that intestine, lighter. I have picked up the same color again. I'm just running from top to bottom again. Now I just add the color at the top and using a damp brush, I just, you know, get radiation till the bottom space, creating a gradient wash. Now this gradient wash can either be top to bottom or bottom to top depending on how you need it. To see if you need it bottom to top, you can begin adding in the teens from the bottom and move backwards. Now let's move into the next wash. Again, I'm going on with the wet on wet technique. So first adding in a layer of water out your first time, beginning with the blue color at the top space until the half. That is still the center line of this box. I'm going to add in this blue color. And from the bottom, I'm going to shift into the next color now. And I'm going to use in a darker tint of the blue color, almost all of an indigo color of this set, which is more or towards the black side. Alright, so this is called a variegated wash wedding you using two colors, blending them to each other. Now these variegated wash can be of different colors as well. Need not be just of the same color family, but just to according to the colors that you pick up, the variegated wash will vary depending on the color, harmony of the colors that you're using it. So you can see there are two colors, both of them blending well into each other. So this is the variegated wash. The first one was the graded wash, and the second one is the variegated wash. Now let's shift into the next one out your. So again, I'm going to beginning with a clean Dear of water first and then begin adding in the colors. So now I'm using the indigo color from this set. So this tall wash is nothing but a flat wash. It's just one value in a simple theme color, tone throughout. So in the graduated wash, you will see that at the top or the bottom you will have darker tones moving from the darker to the lighter color, but you are in flat wash. You will have one single color tones seen throughout every way. So you can see I'm trying to add in an equal color tone onto the entire space throughout, having the perfect theme color spread throughout. So this is known as a flat wash. These were the three different kinds of washes. First, we learned about the wet on dry and wet on wet technique. Now these were the three different washes. That is the treaty did wash, variegated wash, and the flat wash. Now let's move on to the next technique for that. I'm going to go ahead with the clean layer of water again. I will show you a variegated wash with two different colored tones of blending of which may form a third color. So how we can do that as well? So I'm going to do a variegated wash with the blue and the yellow color. Now we know when the blue and the yellow mixed together, they will form a green tone. So to avoid that in-between, even leaving a little white cap and let the colors blend easily into each other. So you can see I have added in both the colors in-between. I left a little white gap. Now using a damp brush, either just blend from the bottom of the blue and the yellow color. And you will see there is no green color form and there is a perfect flow happening in-between the colors. So this is how you can achieve variegated wash with two colors which may form in a third color. By living in a white gap, you can get perfect transition between the colors and go ahead with the variegated wash. So these are the different kinds of wash. Now, moving on to the next technique. Again, I'm going to begin in with a clean layer of photo. Now I would recommend you to try out. These were all basic technique. First, if you are a complete beginner, these basic techniques will help you a lot in getting the class projects much easily. And this will also help you understand where you go wrong. So I recommend you to try out these techniques and get a hang of these before moving on to the final class projects. So now we're going to learn about adding in the clouds. So again, this is wet on wet technique. I have a wet layer of water. Now under this, I'm going to be adding in wet paint, but I'm going to add in phase leaving in some white gap for natural clouds to actin. Just adding very simply, small patches of the blue collar going to form in little cloud shapes in between. And then onto this I will show you how we are going to be adding in the wet-on-wet technique or using in another color on top of this. So for now, you will see how easily I've left in little spaces in between to act as the Cloud. Now on to this, I'm going to pick up the indigo color. I'm going to shift into a smaller size brush. Now this space is still wet, wet on wet again, I'm going to add in the next layer. Now this darker tone, I'm going to add in very little as compared to the blue color that I added in. Because I want the blue color as well to be visible. You can see how easy you can form in the clouds as well onto these using the wet-on-wet technique, creating in perfect debt. So now you can see three colors coming into our sky. The white gaps that you lifted. Now when you add these clouds wet-on-wet, you need to make sure that into this indigo color, you do not add much water. You need to control the water. Otherwise, you will just get one flat layer of the color. And all the colors will blend and bleed into each other and you will not have any color distinctions in between. So now wherever I feel the colorist spreading little extra, I'm just lifting it up with a damp brush. And then we have got the perfect kind of clouds. Now let's begin with the next Technical TO. So again, going ahead with a thin layer of water first. So again, you are as well. We're going to learn adding in the clouds. So this time I'm not going to leave in any white gaps. I'm going to use in the blue and the pink color this time I'm using in the city and in blue color. Next, I'm going to be picking up the, sorry, the windows color. So using in the wind rose color, I'm going to add it completely. Now, when the blue and the pink mixed together, they will form a little purple line. As you can see. If you do not want that purple color, you can live in little whitespace and blend just as we blended the yellow and the blue. So these are different ways that you need to understand about blending in watercolors. Whether you want the color to be formed or you do not want the third color to be formed. Now I have picked up a little of the violet color and I've shifted to a smaller size brush. Now you will see just using the tip of my brush, I'm adding in this color wet on wet, forming little cloud shapes into the sky. Now in case if I will add in a lot of water to this violet color, the violet color will spread a lot and give me a flat look of the violet color. Instead retaining these cloud shapes that I'm trying to add in. So it's very important when you're working wet on wet with the color neuron color, you need to make sure that you control the water content. Or because to maintain and reading the shape. Now automatically these cloud shapes will have a soft blending because working wet on wet, but also they will maintain the shape because I've tried to control the water content and the liquidity of these watercolors out here. I have added in the clouds using two colors. That's the red violet and the violet color. And you can see these cloud shapes are eating because I have not added much water. Also, the clouds are in the form and all your colors are visible. So here is the dry dock of the complete thing. So let's remove the masking. These were the basic techniques. So far. Now, these were the basic ones. Again, I would recommend if you are a complete beginner practice, all of these, they will help you a lot in overcoming your fuels with watercolors and help you get better with your basic techniques. In the last one out here, you can see how beautiful the clouds are looking wet on wet, maintaining wounds as well, but maintaining the shape as well. So in this first technique session, we have learned wet on wet, wet on dry, radiated wash, variegated wash, flat wash, variegated wash with two colors which may form. Third color, avoiding in the third color. Or adding in clouds, leaving the whitespace. Adding clouds wet-on-wet with two colors forming the coat color. So I will see you guys into the next lesson. 5. Day 1 - Hot Red Sky: So let's begin with our first class project. I'm first going to go ahead with a liter of water onto the entire sheet. So make sure you have an even layer of water and you are using in clean water for adding in this first layer of water. Also make sure the brush that you use is clean and does not have any pigment and meaning from your previous painting onto it. So you can see I run my brush multiple times. This helps in avoiding the paper to dry out quickly, plus, it helps him adding an even layer of water to work. You also have to be careful that you do not have excess water out. You're on the edges. If that is the case, make sure you use a tissue and lift up the excess water. Otherwise, it will sit back into your painting and may create rough edges on the edges of the painting. Plastic may even do an out your edges. I've run my brush multiple times. I haven't even layer of water throughout. Now, I'm going to begin adding the colors on top of this. I'm going to go here because of POC sky this time. So it's going to be shades of yellow, orange, and shades of brown as well. So let's begin with the shades of yellow first. So I'm going to be using in or light yellow shade first. This is a medium blue color. Using this color, I'm first going to begin up in the center of the sky. So very carefully just added a bright layer of the yellow color. Now next I'm going to beginning with the red color. So you can go ahead with a tone of permanent read widely, Scarlett, or you can go ahead with Ruby by whatever name it's available in your palate. Going to go with a bold red layer on top, space here at about a yellow color. Now as soon as you reach the yellow point, I'm again going to lift up a little of the yellow color. I'm just going to go ahead and blend it with a red color so that you have the perfect transition happening between both the colors in the sky. Now, even you're at the bottom space. I'm going to go ahead with a little bit of the red color touch. Now again, as soon as you reach closer to the yellow color, pick up a little of the yellow and get the blend and the transition going in smoothly. Now I'm going to shift out to a smaller size brush because I'm going to begin adding in details wet on wet into the sky to create the cloud effect, so forth. Beginning with the red color, I'm just going to begin adding in simple Cloud effects are on top of the yellow color. You can see there was excess water. That is the reason the color begins to spread. So whenever you are adding details, wet on wet, it's important to not have excess water on your brush. Neither the pigment, otherwise it will begin to spread out completely. So very carefully just adding in little details. So majorly you can see I've just used the tip of my brush and add in these details. Now I'm going to go with a little darker tone of the yellow color. So this is a yellowish orange tone that I'm using. Stone, I'm going to begin adding some highlights. So again, you're, the key is you can see I have very little pigment and water on my brush because of which the colors are not spreading much. And they're retaining the space in which I'm adding them. So just carefully keep adding in the layer out here. Now on the top and the bottom spaces as well, we are going to go ahead and add in little details for that. I'm going to mix in a little bit of the brown color along with the red tone. So I'm going to be using in the shade of brown. So I'm going to use the burnt sienna color a bit. Just a small thing. You can see mixing it with the red color. Now, all of these Still working wet on wet. Now just going to begin adding in the dark or depth at the top space, creating in some cloud effect. So you have to get in the perfect transition, moving from the darker tones to the lighter tones. So now you're again, I'm just going to pick up a little of the yellowish orange color and blend everything together. Now, even at the bottom space, I'm going to use this mix of the brown and the red tone and begin adding in little details. Major, neither bottom space will get covered up with us. Hello, hate that we go ahead with. But still adding in little detail out to you. I'm just lifting little color and getting the transitional phase out. Now we'll just go ahead with a little bit. The red again. Now using in the brown color, I'm just going to go ahead and add in little highlight at the top speed and a little at the bottom right. Lastly, I'm just going to lift up little yellow and adding a highlight. So that is it for this guy. Now we are going to wait for this to dry out completely. Then we'll add a little silicate out to you and will be ready with this. So let's wait for this guy to dry out completely, then move ahead further. So now my sky is completely dry it and I'm going to go ahead with the Payne's gray or the black box. Hello, whichever it is available in your palette. You can use that. And using that, I'm just going to begin adding in little foil age detail at the bottom space. I'm just lifting up some black color. I'll cheer on my palette. Make sure you do not add another photo to your black color because we needed to know good dark consistency stands out opaque onto the sky that we have added. Now shifting to a smaller size brush, I'm just going to begin adding the foliage details. I'm just going to go ahead with little detail. Look at the top space. So you can see I'm just dabbing the tip of my brush creating in the foil is look at the top area. So very carefully first I'm creating the entire top foil each loop, and then I'm going to fill in the space out your ad, the bottom area. Now here you can see the color is turning a little lighter because of lots of water, which we do not want. So make sure you use the black color in a good dark consistency so that you get the opaque look out to you. Now on the left side as well. Just going to go ahead with little detail. So you can go the other way round as well. That is filling the bottom space first and then add in little detail, look at the top area. Now, just going to go ahead and add in little detail between the foliage. Now using this liner brush, I'm just going to add it some lines into the sky. So make sure you're using in very pointed tip brush. You can see how pointed this brush is. This is a size one liner brush from the Grand Prince. Now very carefully just going to add in some thin lines into the sky. Suggest adding some more details out. You're at the bottom space. Filling out some detail looking leaves. You can, I'll just add in some simple looking palm leaves out. You're in the detailed manner. So that is it. We are ready with our class project for day one of this study, the mini art challenge. Let's remove the masking t. Makes sure that the foil is completely dry before you begin removing the masking tape? Or is the color from the foiling me seep onto the clean edges and make it true in also always remove the masking tape against the people so that it does not peel off the color spaces that you've added. Of course, pretty painting for the 30-day many art challenge. I hope you guys enjoyed painting this pretty simple sunset in just under 15 minutes. Thank you so much for joining me in to this mini art challenge. I will see you soon into the next class project. 6. Day 2 - Sunset: Hello everyone. Welcome back to D, two of the 30-day money. Our challenge. Today we are going to paint in yet another beautiful evening sky. So there is no pencil sketch as such, we are going to be creating in a pathway at the bottom space. But first, we're going to go ahead and paint the entire sky. So for that, I'm going to go ahead with a clean layer of water onto the entire paper. You don't have to leave any spaces blank for now. I'm running my brush to when thoughts so that I get an even layer of photo. So make sure there are no gaps left in between and also make sure on the edges you do not have excess water. In case if you have excess water collected on the edges, make sure to lift it up with the help of a tissue or a damp brush. So that is what it is not sit back into your painting or is it may begin ruining up your edges. Adding in a layer of photo. Now this time we are going to go ahead with an orange bluish sky. So the first color that I'm picking up is the yellowish orange color. If you do not have a yellow, orange color, you can just mix in a little bit of your home region to any of your yellow sheet and you will get an yellowish orange tone like this. Now beginning with this yellow orange color from the bottom, I will move almost in the center of the sky. Now you have to be careful about one thing, the next color that we're going to use in a blue color, blue and yellow pigment mixes together, we begin forming in the green tones. So in order to avoid that, we are going to leave a little gap in between the yellow, orange and the blue color that I'm using in the Prussian blue color. So now when I begin adding in this color, I will leave a small gap, white line between the blue and the yellow color and let the colors flow naturally. So beginning with the Prussian blue color from the top, I'm just going to take it out till the center line. Now you can see as soon as I reach closer to the mixing point of God, the colors, I've left the small white gap now using a damp brush. I have just still did my border. I'm just going to run a **** brush there so that the colors match to need bleed into each other and do not form a greenish tone. So you can see using a damp brush, I've made the blue flow into the yellow without forming in any green tone possible. Now again, I'm going to go ahead with a little of a yellowish orange color and run them carefully so that there is perfect transition happening between the colors. Now again, you can see in-between you have that little yellow line. Again. I'm going to run a damp brush there so as to get the blend so easy. And right. Now for the blue color, you can see at the top most is we have a dark is consistency of the blue and moving towards the yellow light in the little consistency of the blue color. Now again, I'm running with a damp brush from bottom to top of the blue lightning, the shader bit closer to the yellow color. Now you can see with the help of a damp brush, however, got the color blends so smooth between the yellow, orange and the blue color without forming in any green sheet. And you can see the white gap is also covered up because of oh **** brush that we used for blending both the fellows and getting in the perfect transition. Now Wyman style is still wet. I'm going to go ahead with a little bit of the bonds sienna color. So I'm just squeezing out a little tinge of the burnt sienna color. And I'm going to go ahead and begin adding in the cloud effect. So I've shifted to a smaller sized round brush and I have not added any water to the burnt sienna color. You can see I'm just using a damp brush and I've lifted the color and I'm going to begin adding in little cloud effect medially on the yellow orange spot. Now whenever you are working wet on wet, the important key here is the water control. We discussed about this while discussing the Cloud details in the technique section of this class. If you will not be having in the water control, the pins will slow and we'll give you patches of the color instead of the detail cloud shapes that you tried to achieve it. So you can see gently using in the bone sienna color without adding any water. I'm just going ahead giving in the Cloud details on the yellow, orange tone very lightly. And you can see the color is not spreading much. It's retaining the shape, but it has a soft edge because we are working wet on wet. Now. That's going to give it a little more detail. And then I will just given a pathway with the brown color on the yellow part at the bottom space, under the blue color, I'm not going to take much of the cloud effect. I'm just going to take it up very little thinned out here at top or near to the blue color so as to just make it look blended and going into the yellow color. Now wherever you feel that the colors have not spread much because of thick consistency, you can just use a damp brush and soften the edges like this and just, you know, blend them well with the bottom layer yellow color. Now I'm just giving it a little darker highlights wherever I find it important. Now at the bottom space, we are going to have in a pathway look for the pathway. I just want to create a road view for that. I'm going to lay down the brown color now itself. So that later on in the wind, everything dries after that will directly use the paints color and given the silhouette detail. So at the bottom left side here, I'm just giving in this little ground patch. And then when we will begin adding in the details for the celebrate with the Payne's gray color. You will be able to understand how everything looks out here. Now the reason of using the brown color for adding the pathway is to show the effect of the clouds falling onto the road. That is the reason I'm not keeping the entire bottom space with the Payne's gray color only. And even out you are, I'm going to give us small pathway detail as well. So going to show into road, going out there, do not worry, just add in this brown color for now and keep it. When we begin adding in the detail. After this dries out, you will be able to why we have added in these brown patches at the bottoms piece and how this will affect the look of the pathway in the painting and the salivate that we add. So now let's make all of this to dry out and then move ahead further. So now everything is completely dried. You can see how beautiful the brown clouds are giving the effect onto the yellow space. And the blending between the yellow and the blue is so perfect. Now I'm just picking up a little bit of the Payne's gray color from my palate. You can go ahead and using a black colors, you do not have a Payne's gray color. And very carefully I'm going to begin adding in the details. First, let's define this piece out here so that we do not mess up the pathway details that we want to add in. Now at the top space brown patch that we have added, I'm first going to create a border to it. And in between the two Payne's gray line, there is going to be a little of the brown that is going to be visible. And that area will depict one of the pathways out here. Now, that center line has to stay brown only. So I just define the horizon line so that it becomes easier. Now if you want, you can first wait and see the entire DDS that I'm adding in. Now, the second pathway as well, the brown patch that we have added, I'm first going to go ahead and add in a line where we have to keep the brown color visible and then fill the rest of the spaces with the Payne's gray color. I've marked down, that's fine. Nine again, to act as the path. Now the entire space in between both the pathways and the entire space on the right is going to be filled in with the Payne's gray color. So just go ahead and fill it with a dark consistency of the pain scale, the black color, make sure you do not dilute a lot of the pains via the black color. Otherwise you will not get an opaque look. Now I'm going to go ahead and fill in the entire right side as well. Now as we are filling in the entire space. But the Payne's gray color, you can see how those two brown lines are giving the effect of the load across the entire pathway we are trying to create out here. Do not worry on top of the horizon line, we're still going to add in little detail view so as to give a little detail to this painting. So now I've shifted to my smaller sized round brush and I'm going to begin adding in little bush detail on top of the horizon line. So very carefully just dabbing in the tip of the brush to create the bushy tail out here. And you can see how beautiful everything is beginning to turn. So undo the entire right side. I'm going to go ahead and add this bush detail. You can see I'm trying to vary the height of the brush across the horizon line. I'm not keeping it off one single height throughout. I've tried to 3D even by a little small millimeter you can see, but still that makes it a little different. Now on the rightmost side, I'm taking it a little towards the top side, as you can see. So in the center as Ben, I just took it a little taller, one. Now on the left side, I'm going to keep it very small and quickly going to add in a little on the left side as well. And then move ahead for little more details into this painting before we remove the masking tape. So that is it for a bush detail. Now I'm going to shift into my liner brush. In case if you do not have a liner brush, you can go ahead with any size 0 pointed tip brush. You can go ahead and use a black pen if you are not confident about using this directly. So now you can see the brown line that we have left. We are going to depicted as a fence detail. So in-between, I'm just adding in very fine black lines to act as the fence so you can see how beautiful the details are turning out there. The bottom brown line is going to be the pathway. So you do not have to add these lines out there. But I will just define the line Edges well so that it has a proposed law. Now using the fine liner brush, I'm just adding in a street light below. You can see how fine the line has come with the help of this liner brush. And I'm just going to add in little detail of a silhouette out you're with the Payne's gray color itself. So just a small street light detail. But in a little, you know, the designer kind of a street like that, we tried to add it. So towards the backside here as well, I'm just giving you a little bit design dd. Alright, so it's just a simple or university flight celebrate that we're adding in. We're not adding in the light effect for now into this. And now we're just going to add in a moon at the top, closer to the blue color of the sky. So what I'm going to add in the wound with the help of a white gel pen. You can go ahead and use your white gouache or white acrylic to add in the moon as bad. Now one important thing, if you are going to use white watercolor, you will have to use in the white watercolor without adding any water in a very dark consistency, only then it will still be. Otherwise by the time it begins to dry out, it will turn into a dull one. So it's very important to do either have a white brush because that stays opaque and dries opaque as well. So I would recommend you to oh, whitewash if you did not have one, it's quite helpful for adding in DDS plus mixing in some colors to get in some opaque details. I just added three to four or very small stars using in the white gel pen itself. Now let's remove the masking tape and see your final painting. So be very careful while removing the masking tape that your edges has to be dried up completely. Also, always remember to remove your masking tape against the paper. Otherwise it may care of your edges as well. So you can see leaving those two brown lines in the bottom black space gives him so much more detail look to the entire silhouette and the painting. So go ahead adding in these little details which will help you understand more about adding in the highlighted parts into the entire silhouette. So you also final painting for D2 orthopedic mini art challenge. I hope you guys enjoyed painting this beautiful sunset with me adding in that pathway so low here. I will see you guys soon into the D3 class project. Thank you so much for joining me for this challenge. I hope to see your class projects into the project section of the class. 7. Day 3 - By the Beach: Hello everyone. Welcome back to day three of the 30-day mini watercolor challenge. Today we are going to be painting yet another beautiful sunset sky along with her little sea view. Let's beginning with the pencil sketch for the CPU. So a little below the center line, I'm going to begin marketing the horizon line. Alright, now below this is going to be as CAD or on the left-out, just going ahead with pencil sketch so as to mark out the c. And this is going to be on the beach area that we're going to show out here. And on top of this, we're just going to add in a small city scape you. So first we'll begin painting the sky. So let's begin in with the clean layer of photo onto the entire sky. So only then the horizon, I'm going ahead with a thin layer of water. This time we're going to leave in little gaps into the sky. So I'm going to first go ahead with the blue color this time for the sky. So I'm just going to quickly squeeze out a little pinch off the cobalt blue color. Next I'm going to use it, the yellow color and orange color later on. So first beginning with the blue pallor, just going to begin adding in some strokes into the sky. So you can see him beginning to leave in the white gaps to create the cloud effect. Now when you pick up the blue color, make sure you do not have excess off the water, otherwise it will spread and cover up the whitespace is that we are trying to live in. Now for the remaining part of the sky, I'm going to shift into the yellow and the orange color. First, I'm picking up Indian yellow color from my palate. You can go ahead and use any medium or light tone of the yellow. So I'm just diluting it with a lot of water because I needed very light touch of the yellow color. So just with a very light touch going ahead out to the horizon line, giving in a layer of a yellow color. Now, I'll pick up the yellow orange color from my palate. You can go ahead and mix in a little bit of your orange to the yellow on your palette and get a medium yellowish orange tone. And just begin adding in highlights from the left and the right edge of the yellow space. Now next I'm just going to lift up a little tinge of the Payne's gray color. And I'm going to add a little highlight with the Payne's gray color, mixing it with a little of the cobalt blue color. And just going to add some highlights out. You're on the blue space of this guy. Now again, then you begin adding these highlights. Make sure you do not have excess water. And also makes sure about one thing that when you begin adding these are, you know, you do not cover up those whitespaces. Now that you've left at the top area of the sky, I'm going in very carefully, not covering up those white gaps. I'm making sure I do not have excess water on my brush, otherwise, this color will spread a lot. Now with the Payne's gray color, I'm going to give him little highlights on the yellow, orange part as well, but with a very light consistency. So I'm just going to dilute it with a little bit of the water. So you can see the Payne's gray color diluted with a little tinge of water. And I'm just going to go ahead adding in highlights out to you. Now again, you're the important part is the water control. Otherwise, it will spread a lot and cover up your entire speech. So you just have to basically add in little highlights and not cover the entire space. Going very carefully and slowly. Now next I'm just going to pick up a little pinch off the red color, mix it with this color of yellow and orange out you're on my palette and get a medium tone. And then diluting it with water. I'm just going to go ahead and add it out. You're on the horizon line giving him little of the sunset. So very carefully again here you can see I'm trying to control the water so that it does not spread out completely. So just add it in little thingies. Now lastly, using the Payne's gray color, I'm just going to add a little out on the horizon line to showing that cloudy effect. Just met it on the left side. So that does it for a pretty simple, beautiful sky. Now, this CER is going to be a reflection of the sky cameras itself. So I'm just going to go ahead and clean this area so that later on we can directly go ahead with the final details of the Payne's gray color for the rest of the silhouettes, spaces. So roughly into the CSP is I've just added in a liter of water. And now I'm just going to go ahead and go ahead with the same colors. That's the layer of yellow, orange, and a little touch of red. And fill indices. Do not worry if the sea colors goes outside into these pieces because those spaces or as it is going to be covered up with a black color. So nothing much will be visible out there. Now lastly, just going to add in little red touch to this as well. So just a light touch at the bottom space you can see. Now we let all of this dry out completely then begin adding in the further silicate into the painting. So let's wait for this to dry out and then move ahead further. So now my painting is completely dry and I'm going to go ahead with the Payne's gray color and begin adding in the further details. So beginning in between the horizon line and the C's, B's, make sure your painting is completely dry. Now we are going ahead with a wet on dry technique because we just have to add in the Payne's gray color out your force. There are not much detail wet on wet to be added to. It's much better to go ahead with the wet-on-dry details. Now when you begin adding in the details with the Payne's gray color, begin defining your CEO as well. A very rough shape that you can see I've given. Now I'm going to use the Payne's gray color in a little diluted consistency, not too dark for the beach space out here. Let's have gone ahead with a medium tone consistency. You can see it's not the opaque consistency that I've gone ahead with. Now the rest of the details that I'll begin adding, It's going to be in an opaque consistency. So you can either use the Payne's gray color or the black color. And I'm just going to begin adding in the details. So fast. On the top right side of the horizon line, I'm just going to create a very rough looking cityscape. Just going ahead with random shapes to act as the buildings. Now you need not follow the exact same shapes that I'm going ahead with. You can go ahead with your own cityscape out to you. Now, at the end our tour, I'm just going to go ahead with a little foliage details. It's a mix-and-match of the foliage and the cityscape view that we are trying to add in here. Now closer to the horizon line, I'm just blending it well with the black color. That's a Payne's gray color in a dark consistency so that it all looks very blended together. Now, moving to the left side, I'm going to add in again the cityscape you, but it's going to be quite smaller in height as compared to what you have here because we want these clouds, stuff, pains big droughts that you added on top of the horizon line. I want those clouds to be visible. I'm going ahead with a very small view of the cityscape. In-between your, again, I'm just going to go ahead with little foliage details. Well till the CLI now TO because you need the darker consistency. But at the bottom space your leg, the lighter consistency be they're just going to extend some lines out. You're in the C scale to give it a little more detail. So very roughly you can see I'm just going ahead with some lines. I'm shifting to my pointed tip brush. And with this brush, I'm going to go ahead and add in some details in between the cityscape. So you can see with this liner brush, It's so much easier to add in these fine details. Of course, if you do not have this brush, you can go ahead and use a black pointed tip pen, maybe a 0.10.1 or 0 to whichever is available with you. Now with this thin brush, I've just added a small looking fine. I'm GO TO address ben in-between the foliage. Just giving these all are little details. Now, last thing on the beach area, I'm just going to add in some human figures and a little reflection to them. So make sure your beef spaces, the bottom space is completely dry before you begin adding in this. So just very simple shapes, not going to go ahead with the detail feature. So two of them, starting out, you're on the beach. So now for this you have to use in the dark is consistency of the Payne's gray color. So just a small token to actin as the face. And then all small body structure out here. Same. We're just going to go ahead and add in some standing figures here as well. Randomly, It's the same thing. You go ahead with us, okay. Now for the standing foot goes, you just have to add in a little bit of body structure features. These to add in little reflection. I'm just going to go ahead with a very diluted consistency of the Payne's gray color and just add in small line to act as deflection to this. So I'm adding the reflection time to show that the sunlight is falling from the left side. Hence, the reflection is calling from the behind, that is towards the right. And for this as well, the reflection falling this way. Now for these two Setting ones, as you can see, the Payne's gray color. So the reflection is in a very diluted consistency and the whole figure is in a very dark consistency. That is the reason why I had added the base layer of the beach in a very light consistency so that these because our visible over the data consistency that we are adding. So you can see the figures were very easy. One not at all detailed looked at, we've added, just added in little reflection to give more detail view. But you just have to be sure that the base layer of the Payne's Gray was completely dried before you begin to add this. Or else you may do an afterload. Now lastly, I'm going to use the tone of yellow, orange color, right? Consistency, that's an active, vibrant consistency. I'm going to add a small setting sun lookout. Carefully. I've added that little sun peeking out there. So that is it. We are ready with the class project for D3. You can see how pretty the small human figures are looking along with the reflection falling on the beach area. So let's remove the masking tape and see your final painting. So your final painting for the three of these 30-day mini painting challenge. I hope you guys enjoyed painting this beautiful and simple, pretty seascape sunset with me today. I will see you guys soon into the day for class project. Thank you so much once again to each one of you for joining me in this class. 8. Day 4 - Glowing Moon: Hello everyone. Welcome back to day for orthopedic mini painting challenge. Today we're going to go here. We can either beautiful night sky or some kind of a view by the lake side. So let's begin in with the pencil sketch. So I'm just going to go ahead marking the horizon line in the center of the paper. So this area is going to be the skies. And we're going to have in the space. Now at the bottom from here, we're going to have into g. So one is going to be from the left and the others be out you're from right. So I'm not adding the pencil sketch for that because I did actually want to go ahead adding those with the paints directly. Now on the horizon line, we are just going to having some grass details with the green color loop. And we're just going to create a small community space. So we're just going to break this into two parts. Now this area is also going to be the leg space and this area is also going to be the leaky. You all we're going to add in the greenery, your as well, and water as well. We are going to have in the entire memory space. Then you're going to have in a mood to create a glowing effect. And then we'll add the reflection to that in the lakes. So that is how we're going to go ahead with this class project. Let's begin painting. So first we're going to begin in with the sky. So I'm going to go ahead with an arrow photo onto the entire sky. We are going to be creating a beautiful sky with blue and violet weeks. To follow the blue I'm going to be using in the cobalt blue color. And for the wind it I'm just going to use in the simple permanent violet color, the horizon line and write it in a clean the arrow. And now I'm going to go ahead adding in the cobalt blue color. I'm just going to squeeze out the cobalt blue color. And using a flat brush, I'm just going to go ahead with the layer of the cobalt blue. Now I'm going to pick up a little of the violet color. This going to use the violet in a very light consistency. I'm going to add it over on the cobalt blue color, giving me a highlight. So you can see I've added it in such a way that the cobalt blue color is still visible. So just giving in a very light glazing technique nineties if you wish, you can again be done with a little bit cobalt blue colored spaces so as to get a blend between both the colors into the sky. Now, we are going to be indices, is going to be a reflection of the strike or lose. So it's going to be a mix of these two fellows in the sea as well. Alright, so let's begin adding in a mural for water forced into the Z space. Now with the same color and the same technique I'm just going before here. We've done the yard off the cobalt blue and violet color on top of this, just going to run with the violet color. So if you see the sky and the sea was a pretty simple job. Now, while the CVS still wet, I'm going to pick up a little of the sap green color. I'm going to add little deflection for the class key details that we're going to be adding out. So you all know if you remember, we've marked all these pieces. So for that, I'm just going to go ahead and add in a small green reflection into the sea. While this is still. Now, make sure you do not have excess water or pigment. Just a small little reflection line that you have to add an input. Now I'm just going ahead with the cobalt blue color and giving him or spaces again with the blue fallow so as to hide the excess green that is tone down. Just a little reflection that we might feel. Why do you think quickly, lighten up the space and it didn't by lifting up the color as well. So I'm just going to share with my flat brush lifting up little of the panda, eating in. And just using the tip of the brush, I'm adding even lifted off the reflection of the sap green again. Now lastly, before we led to all of this to Jay, I'm just going to go ahead in this center space. And then I'm just going to go ahead with the blue and violet color. It, we are done with the base layer color is just going to run a little more of the cobalt blue color because this green seems to be a little extra. Now let's wait for all of this to dry up completely. Then we will begin adding up all the details. Now everything is dried completely and I'm just going to go ahead with the same sap green combo and begin adding the details out. You're on the horizon line using my smallest size brush. I'm just going to go ahead and added a little grass detail how you're on the horizon line. So in case if you want, you can give him little things off the olive green color as well. In case if you do not have in or lifting color, you can eat them mixing brown to your VIP. Or you can go ahead and mix in a little bit of the Payne's gray color. I'm getting a little darker, green and go ahead with this green thing. You can see upright, we need the height of this repeated throughout and some bit of taking a dollar somewhere, faking it a little bit shorter. Now using this olive green color, I'm going to fill in the rest whitespace is that we have here. I'm not going to read for those grass DBAs to dry in IBM let them bleed and blend into the bottom green space. Now, this fine line out your which has gotten mixed, I'm just going to go ahead data as well. The deflection to this green spaces, what you've added in the area, you're giving them some draft VPNs and some better. I just lifted up little of the color to give them all of l blended. Now, this dries up. I'm going to go with the white wash and blowing space out. Using the white gouache in the center space, create a small circle. For now, I'm just using a damp brush without any pigment. I'm just going to dilute this and blended into the background to create the glowing space for the moon that we will be ready. If you feel that this piece has stolen food, that you can just go ahead with a little bit of the white color again. Same process blended well into the background using a damp brush, using the white wash and with the help of the liner brush, I'm just going to go ahead and add in the reflection details in the scene using the white wash. Now, as I've moved down your indices piece, I'm going to go ahead and break the reflection in-between. In-between you can see I'm not adding in those white the deals and giving them some space. I did it. Again, leaving some space. And now I'll turn the reflection a little smaller so you can see how reduce the length of the reflection now. So that is about the reflection part. Now we need to wait for the entire gain details to try out. Then being just adding little cheese on both the sides, That's the left and the right side. And three, if we find anything. So now everything is completely dried and I'm going to go ahead with the Payne's gray color and begin adding in the further details using the Payne's gray color. I'm first going to go ahead and add in the stem and the brand just so first is bottom space. I'm going to create it as a small space using in this Payne's gray color. So you can see I'm just dabbing the tip of the brush creating in the foliage in-between we have some gaps. Now using the Payne's gray color, I'm just adding the branches course the main branch out from these, I'm just going to pop out some smaller branches. So very randomly, I'm going to go ahead and add in these details. You will see there is mostly structured to add these branches. You can go ahead in your own style. Just try to make them look as much as possible by giving them all to get sheets possible. After this, we're going to go ahead and add in the T4 lesion top of all of the fun. Now I'm just pulling out these branches and I'll go ahead with another brush for the foliage and share a simple take with you as to how easily you can add in the foliage and keep the deck. Just some last few more branches. With this house. Now let's take two, adding the foliage quickly. I'm going to use this round brush. So the presence of this brush out a little spoiled. So I'm not going to dip it in water rather than one to directly pick up the Payne's gray. Now, I'm just going to hold this brush perpendicular. You can see as soon as I added the color onto the brush, the presence of God. Because I did not dip it in water. And now I'm just going to go ahead and very gently dabbing it, creating in the foliage effect. Even in the Payne's gray color on my palette, you can see there is not much of water because of which I'm able to achieve this dry brush detail for the foreign it. Now whenever you wish to pick up more of the color, make sure you use another brush and not this dry brush which you are using to add in the fall and do all of the branches that I've added in. I'm just going to add in the different HdB. In the some of the branches blank without the foliage like you are at the bottom. I'm not going to add in much more niche brands. Seem beyond the left side. I'm going to go ahead and add in. Your grass shouldn't have any water and your pigments and it also has too much of water. Otherwise you will not get this dry brush db. Now in case if you do not have this coin from Josh, you've been born with a normal round brush and just keep dabbing. If all of your brush, you can go ahead with a flat brush without dipping it into water, holding it perpendicular and trying to add in the spoilage the day that they walked in space. Notice well, I'm just going to give it a little, you know, the deal so as to look, everything, blend and build certain together. I'm going to go ahead with my normal brush and just add in some more detail for each loop. So I'm going to hit with a normal round brush and some randomly, I'm just going to add in some detail from this boiling. So that would just give another nearest BBN to your painting. So very randomly you can see I'm just pulling out some simple leaves, the deans to give him the details out your niche. Again, you don't give inner layer of the branches so that they're visible in between the foreign agent. Simply you can see, however, I didn't get enough detail for this loop giving you so much depth to your painting automatically. Now I'm just going to pull out some bigger leaves us very randomly. Now the last thing left to add in is the moon. So my mood space is also completely dry. And I'm going to go ahead with a great deal of the right flush colors. I'm going to use this color in a thick consistency without adding much of water or diluting the color. I'm just going to happen. A bright in the center of this growing space that you create it. Now you can see the space around this bright dot that you have added acts as the growing space for the moon. And the moon stands out, right, because of the growing space. And the reflection of it also looks perfect because of the growing space and the structure in which you've added it. So that is it for today's class project. So let's remove the masking tape now and see the final painting with those clean edges. So our mini painting for the four of this Saturday mini painting challenge. I hope you guys enjoyed painting this beautiful moonscape with me today. A bright moon that she's speeding up into this guy. Thank you so much once again, to each one of you for joining me into this cathedral watercolor challenge. And I hope by the end of the 30 days, you would be in love with your 30-minute paintings that you're painting along with me in this challenge. So I'll see you guys tomorrow into the next class project. Wish you all a Happy painting. 9. Day 5 - Bird's Nest: Hello everyone. Welcome back to the Saturday mini watercolor challenge class. We are on the 5D and today we are going to paint in a beautiful glowing sunset grid, some boards silicate. So let's begin with a pencil sketch. So first I'm going to go ahead and a little below the horizon line, I'm going to mark out a rough space for the nest. So this is going to be the buds next, which is going to be standing on two single drugs out to you. I'm just going ahead with very basic pencil sketch, not adding the details out your independent sketch. Now next we are going to add into boards on top of this nest out to you. So let's go ahead with the simple silhouette for the board. Now. I've gone ahead with a very simple silicate for the board. To the board is facing downward, trying to eat out from the nest out to you, to just a simple silhouette. Now in the same way, I'm going to add a small board out. That's the body. And now I'm just going to add it too often leg details. So we've added the simple silicate for the board. Now when we paint this, we will give him the feather details on the edges with the paints directly. Now in-between, just behind the nest we're going to add in a glowing sun. So this is going to be the glowing sun space. Now the pencil sketch that is inside the sun's based on that very light up. Because in the sun, we're not going to have in the color just to these details of the board, we will add in little color detail with a very lighter. Now. We're just going to have a little bit of simple branches TO that will directly add in with the color and rest of the details. We are directly going to go ahead with the paints now. So let's quickly begin adding in the colors and creating in the beautiful sky. So first let's go ahead with the clean layer of water onto the entire painting. Except for this little sun space that we have created. You can add in the layer of water onto the boats as well. But you just need to leave some space because of that to Steve Wright. And I'm going to run my brush multiple times in order to make sure that my paper stays wet for enough time so that I can add in all the details, wet on wet. Let's begin adding in the colors. So first I'm going to go ahead with a medium tone of yellow. I'm going to use the Indian yellow tone from my palette. You can go ahead and use any medium tone of yellow, yellow, permanent yellow, deep, whichever name it is available in your palette. And I'm going to go ahead with this layer of the yellow color onto the entire painting. Again, make sure closer to the sun space, you do not run into the sun space, leaving it blank. Now on top of this, I'm just going to pick up the yellow, orange color which hasn't entered into orange. Or you can mix in a little bit of your orange color to the yellow color and get a yellowish orange door and go ahead and add in some darker depths at the top and the bottom space. Now again, I'm picking up little yellow color and just blending all of this. Well, now I'm going to pick it up a little bit of the burnt sienna color. So just going to squeeze out and lifting off the burnt sienna color out on my palette and begin adding in little depths with the brown color. So using the bunt sienna color, just beginning to create little details in the sky as well as closer to the nest space out here. I'm just going to add in little darker tints of the bone sienna color. Now, even on the other space, keep adding in little tint off the brown color. Now, be careful to not run into the sun at any cost. It has to stay bright and white. Now at the bottom you are just adding in some darker tint with the same brown color without adding in much of water and picking up the color in a pipe. Consistency. Right? Just creating some trout details into the sky. So that is it will fit for all of these to dry out now. And then go ahead adding in the further details, make sure you let this layer dry out evenly. So let's wait for this to dry. Then we'll begin adding in the further details. I'm just going to give this all a little soft blended look wherever I feel that the blending is not that soft. So just running the **** brush creating in the softer blend before all of this dries out. So that is it. Now I let this dry out and then we'll begin adding in the further details. So now everything is trade off completely and we'll begin adding the details. And now in the silicate, you're closer to the sun space, we are going to show the effect of the sunlight falling on to the silhouettes, That's the nest and the boats as well. So closer you're you're handed the nest out, you're closer to the sun space. You are going to add in little of the orange colored touch. So I'm going to mix in my yellow, orange along with a little tint of red to create a sunset effect. I'm using this. I'm first going to add in little detail. Now the rest of the silhouette, I'm going to go ahead with the Payne's gray or the black color. So whichever color you are using, which is available in your palette, go ahead with that and fill in the rest of the solute. Now as I'm filling the rest of the details, you can see it giving in some feather edges as well. So just simple feathers. And I'm going to fill in the rest of the space directly with this color. Now, even for the legs of these board, I'm going to go ahead with the Payne's gray at the top. And as I move towards the bottom spaced closer to the sun, I'm going to go ahead with this mix off the yellow and the orange color. Now I'm just going to pick up little of the bunt sienna color. And I'm going to add it on top of this yellow mix so that it blends well with the Payne's gray color. So you have to have a perfect transition. Same V. I'm going to quickly go ahead with the next board. So you can either use in the mix of red and yellow color or you can go ahead with Avante and our color. Now in the remaining space, going ahead with the Payne's gray color on the edge, I will keep creating. Loop gets me just give it an outline with the Payne's gray color so that it has a perfect transition as well. Now in the same way, even in the nest at the top species closer to the sun. I'm going to go ahead with the bunt sienna color. I've just squeezed out a little more of the buoyancy and our color. I'm first going to go ahead with too little of burnt sienna color that I'm going to mix in a little tent color. Now, I'm going to pick up the Payne's gray color. I'm going to add it into the rest of the space, blending it with the red and the browns that we have added here. Now I'm going to shift into my liner brush and violinist is still wet. I'm going to go ahead with the Payne's gray color. I'm just going to give it the nest kind of a loop, these details to show it as the nest made out of those tweets. So simply just pull out these tweaks detail to showing us the perfect looking nest out here. So very randomly you can see I'm just pulling out some random strokes to actin as the tweets. They are not all of the same height. I'm just going to hit randomly with some smaller and some shortlist strokes to give him the details, look out to you. So you can see because of this glowing spaces that you've added in the neck of the board and in the nest out here. It's giving so much more prettier view to the sunset. So make sure to have a pretty blend out your between the Reds and Payne's gray color so that you have the perfect transition giving in the sunset effect using the paints. I'm just going to add in the stands out to you. Now using the liner brush, it says I'm just going to go ahead and some branches at the bottom space on the left edge out, you're giving in more details. So you can see I'm adding in very fine branches. And from the bigger branches I'm going to pop out some smaller branches as they mature closer together. So many randomly you can see all of them are just overlapping each other. So some of them at the bottom space out your overlapping Onto the next space has been. So from the nest as well, you can see I'm just giving in some more finishing the deal. So I'm just going ahead with some more foliage out. You're at the bottom space. You can see I'm just filling up the space completely. Alright? So just simply filling in the space. Now at the board then the details that I'm just going to go ahead and add in a little detail. So I'm going to shift into another smaller sized round brush. And just using the same Payne's gray color. I'm just going to go ahead and add a little details of small leaves out to you. I like to just do a few of the branches here that we have so that you have a little detail look as well. So you can see just simple leaf details that I'm pulling out. So basically just dabbing the tip of the brush to given these details. Just adding little niche. That is it, we're ready with our class project for the five of this study, the watercolor challenge. Alright, so let's remove the masking tape now and see the final painting. So here's the final painting for the phase of this type dd watercolor challenge. A pretty simple baldness painting. I hope you guys enjoyed painting this easy yet beautiful painting with me today. I will see you guys tomorrow into the D6 class project. Thank you so much for joining me into this class and painting along with me. 10. Day 6 - Galaxy: Hello everyone. Welcome back to T6, off the mini painting challenge. Today we are going to be painting a beautiful night sky view. So first, I'm going to go hit with the Prussian blue color. I'm going to squeeze out a little of the color out you are on my palette. And the next color that I'm going to be using is going to be the indigo color for the sky. Apart from that, we're going to add in little details, the bottom using in the green color. So I'm going to go ahead and use the permanent green color. So I will squeeze out a little of this as well and keep it out on my family. There is no pencil sketch for this. We are directly going to go ahead with a thin layer of water. So I'm going to begin in with this 0 photo onto the entire paper. So that the distance that we are going to be adding in the bottom space to act as the field. We will directly be adding data with the help of the green color legend on after everything choice, even in the back. Now, we're going to add in a little piece at the bottom while it is still. Going ahead with the clean water. Make sure you add an even neutral form so that that is my excess water collection out there on the edges. So many Give me just lifting up the excess for now I'm first going to beginning with the Prussian blue color and go ahead. Medium tone consistency of the blue color. At the bottom. You can see I've left middle of the space, right there. I'm going to add in green colored as well in the background. I'm just going to pick up little of the green color. I'm going to add a layer out here and when did well with the blue color. Now, next I'm going to shift into the indigo color. And using the indigo color, I'm going to begin adding it from the top, giving in the darker depth at the top of the sky. And as I'm moving downward, you can see I'm just blending it well. Now picking up the Prussian blue and some darker consistency, just adding in little darker at the top space. I'm just holding the paper tilted so that the green color does not move at the top. March, I'm just covering up a little of the green well, again, with a blue ocean blue color. From the edges here. I'm just going to lift up the excess paint and water for that. This does not feed back into the painting. Now I'm just going to squeeze out a little more often and shifting towards smallest size brush. I'm just going to begin adding in the Cloud DVs. You're now, I'm just going to begin adding in some darker dibs to act as the Cloud. So you can see this is quite dark and consistency has compared to what we have added audio. Just feeding in the cloud effect out here. Now if you want, you can mix up a little of the Prussian blue palette as well for adding the clouds. At the bottom. You can see via Twitter had been quite big patches of the clouds out. You're getting into depth for this guy. I'm just going to take the position and bore head lifted more than the bottom spaced meeting in some lower cloud effect out your over to the green color. Now just adding some more cloud effect. So you can see whenever you're working wet on wet, it's important to have perfect control over the amount of water that you added. Otherwise, it will be very difficult to achieve the details wet on wet as the colors be spread a lot. Now I've just mixed in a little tent of the blue to my green and created a little darker blue tint, darker green tint. I'm just using this darker green color. I'm adding it out using in the darker green space as well. So that on top of this, we can add in the light drastic effect. Just going ahead with another layer of cloud out, you're at the bottom space. So that is for the beast. Now will be for this to dry out completely and then go ahead with the further the DBAs onto this painting. So let's wait for this to dry out, then move ahead photo. So now my posterior is completely dried and I'm going to go ahead adding in this task supposed to the sky. I have some white wash out your on my palette. And I'm going to begin splashing, but now begin to splatter. I have to make sure I not had the star come on to these darker clouds. So I'm going to cover the major darker clouds using in some small bits of paper like this. And I'm going to go ahead and factor the Cloud. Now make sure you do not have access or pigment on your brush as well. Otherwise, you will get some biggest plateaus. You need very fine splatters of this task. Just going ahead with some splatters out your two actin as the stars. I'm just going to cover up this piece. I'm going to add little study deals out your at the top sky. I'm just going to go ahead with a brush and add some bigger stars. Shifted to a smaller size brush. And I'm just going to go ahead. Then some smallest sum, biggest star. You can see as soon as you begin adding in these bigger stars, your sky begins to get so much more of that. Now I'm going to go ahead and add in the details obscured in the foreground. So for that, I'm going to mix in a little bit of this light pink color to the white flush and get this lighter green color. I'm using this, I'm going to add in the deviance of graphs. You are at the bottom space. And for that I'm going to be using in my liner brush. And using the liner brush, I'm going to add in some broad strokes. Now, make sure you add in your green to the white board so that you get a big nose. And you can add this opaque consistency out to your and you can see it's visible clearly even on the darker green fellow that you've added at the bottom space. Just going to go ahead with some grass tropes randomly out. You're onto these little relapse. The yellow flowers, as you can see, I'm going ahead with very random shape for the strokes. Nothing set method or a set pattern to follow. Just go ahead randomly with some strokes. The bottom, I'm just going to go ahead and fill this space of it. So this color has to be quite bright enough. That is the reason I've mixed in the light green along with the light gloss so that you get a photo brighter green color because I want the skylight fall onto this grass and have the shiny effect. That is the reason I'm going ahead with such a light consistently color out to you. Right now, I'm going to pick up a little of the permanent yellow color. And I'm just going to mix it alone with the white wash out. You just need a video. From the view is what I'm going to pick up this color separately so as to not mix it with that. After a gum from the duke came out separately because it was a new big that the pallor and lifted it out separately and mixing it with whitewash to get an, an opaque loop. And I'm going to use this bright color. I'm going to add some flowers onto these graphs. So very little flower shapes like this on some random grass strokes that I'm going to add in. Now make sure that your flower consistency is also bright. So you can see it's looking so beautiful with the dark sky as if the flowers are shining because of the night sky look. So we've just added in some flowers. Now if you want, you can just pick up on little tend often yellow color and just add in little plateaus out. You're at the bottom space. Now one last thing, I'm just going to go ahead with a little off the white wash right now in-between. I'm going to create a small moon space. For that. I'm going to create in that little growing space. Now this is going to be very small. You can see shining space or the growing space that you can call itself is so small. So the moon is also going to be quite a smaller one. I'm going to add it with mixed yellow and the white wash. I like to let you have a bright yellow moon out there. So now in the center of this, just going to add in the moon, I guess the white Leo was not completely types. I'm just going to dab it off quickly. Forehead with another white layer because the yellow color was spreading a lot right now. But that flowing space again, I'm just going to pick up and lifting up to mix it with the yellow to use this bright yellow and add in the center of this to act as the moon. Now, we have the bright shining moon effect us when we're ready with our class project for D6, Let's remove the masking P. Be very careful while removing the masking tape, and always remove the masking tape against the paper like this. The paper is decided. You pull it towards the other side so that you do not pay it off the edge. Otherwise, the paper and the color from your rib begin to live. If you pull the masking tape towards the people. You also painting for D6 off the 30-day mini watercolor painting challenge. I hope you guys enjoyed painting this pretty simple night sky. Look today with me. I will see you guys soon into the next class project. Thank you so much for joining me into this study. They mini painting class. I would love to see your class projects into the project section of this class. And in case if you liked this class for whatever reason, do not forget to drop me a review so that it can help me reach maximum students. Thank you so much once again for joining me. 11. Day 7 - Mountains: Hello everyone. Welcome back to D7 of the TTD mini art challenge. Today we are going to be painting a beautiful mountain change. Let's beginning with the pencil sketch first, leaving approximately 40 per cent of the top area as the sky. I'm just beginning to map out the flow of the mountain ranges. Now below this piece, I'm going to have in multiple mountain ranges and just a small one behind from this bigger mountain range. Now I'm just going to go ahead and given the shifts for the mountain, because each of the mountain range we're going to walk in with a different color combination. We are ready with the pencil sketch. So you can see in total, we have one smaller one out here, which is going to be a little of a snow ski mountain. And these mountain out you are at the bottom space are going to pay off the brownish color. So we're going to go ahead and add in the details one by one through each of the mountain. But the most mountain will be off the brown color. And this topic is going to be the sky. So that is how we are going to go ahead with the project first painting the sky, then each mountain range one-by-one. So let's begin with a thin layer of water onto the entire sky area. So very carefully you can see I'm adding in an even nano for not only to the sky, because the mountain range is going to be different from the sky. So you have to go into a little carefully such that the colors do not move into the mountain. Change was going ahead with a little touch of the indigo color. I'm going to go in with a very nice consistency, not too dark. And as I move closer towards the mountain range, we'll get rid of any lighter wash off the indigo color. So it's just a flat wash, Bettina Bleeding Kansas in z. So you will see at the top speeds we have the darker consistency of the indigo color. And as you move towards the bottom closer to the mountain range, I'd like to mount the consistency of the indigo color. So I'm running with one more layer of the indigo color, beginning from the top and moving downwards, you can see I'm just diluting the color and getting in a gradient wash till the mountain range. So quickly using in a tissue I'm just lifting up all the excess paint collected on the edges so that it does not see back into the sky and grew and up the edges. Now, why is this guy is wet? I'm going to go ahead and paint this third mountain range out here because the top two mountain range are completely connected to this guy. So the colors we begin to bleed into each other. So I didn't begin painting the third mountain range. So for that, I'm going to go ahead with the olive green color first. I'm going to squeeze out a little. Let's green color from the brand Magellan mission, our tour on my palette, I'm going to go ahead with the medium consistency of this color onto the third mountain range. So now I'm going ahead with the wet on dry technique and I'm going to keep defining the top of the mountain range while I keep on adding in the olive green color, the top two mountain ranges are going to be kind of a snow steep mountain. So we will add in those details later on. For now, I'm just going ahead with the olive green color for this cloud layer mountain and defining the top and the bottom edge. Now into the olive green color. I'm just adding in a little tinge of the Payne's gray color getting darker, olive green tint. I'm just going to begin adding it at the edges. After adding in all the color. While this Leo will still be wet, I will go ahead with the lifting technique and create some lighter spots into the mountain range. Now closer to the left side you can see I've left a very small gap so that the color does not flow into the sky because it is still connected to the sky. So be very careful. You can just go ahead and take the second mountain range a little about the third mountain range. So that will help you preventing the sky colors from running into each other. Now using in this smaller sized round brush, this is a size four round brush. I'm going to go ahead and lift up the color from the center space, creating in the lighter effect and then given some strokes at the bottom space as well. So you can see quickly I lift up the color and dab my brush onto a tissue. So that all of the pigment gets laid onto the tissue. Now in-between you can see I'm just going ahead giving him random maps onto the mountain range, trying to show different ways moving on to the mountain space. Using in the darker color again, I'm just giving you a little more details again, creating in the depth, again at the bottom space so as to make it look distinctive from the other mountain ranges. Now you can see how the lighter tones and the darker tones are playing the effects out to you. I'm almost done with this mountain range and I'm just giving in the soft edges to the darker depths that we have added it. In case if you want, you can just go ahead with a little tinge of the green color at certain places onto the lighter tones and given little more darker debt onto the lightest pieces. So you can see I'm just marking out very small details out here to give it more depth onto the mountain range. Now let's read through all of them, dry up completely, then move ahead and paint the rest of the details. So now my painting is completely dry it and I'm going to go ahead with this small mountain range out here at the top space. Now at the top, as I told you that both mountains are going to be like a snow-capped mountain. I've just picked up a little of the Payne's gray color and I'm just going to go ahead with the dry brush technique. I picked up the Payne's gray color. I adapted brush on my tissue so that takes us water and pigment gets absorbed by the tissue. And now just moving my brush very carefully, giving in the dry brush detail. For the dry brush detail, every time that you pick up color on your brush, make sure to dab it onto a tissue. All of the excess pigment and water gets absorbed by the tissue. And you get in such dry brush detail. In-between you can see I'm living in the white gaps that is acting as the small area onto this mountain range, the background mountain range. I've given it a little less lower effect. Now in the second mountain range, once this dries out, I will give him the mountain range or snow effect much more. So they will be much more of the whitespace as compared to the background mountain range. Now for the last mountain range, I'm going to go ahead with the light red color. You can go ahead with any tone of brown. It can be burnt sienna, burnt umber, red brown color, or whichever brown that is available in your palette. And I'm going to go ahead and begin adding in the details onto the last month in the second mountain range, we will paint once the top mountain range is completely dry. This mountain range as well. We are going ahead with the wet-on-dry technique because there's not much details to add it. I'm going to go ahead with a layer of the light red color first. I'm going to squeeze out a little of the yellow ocher color as well. And along with the red brown color, I'm going to go ahead with a little mix of yellow ocher to give him the lighter effects on this mountain range as well. So simply, are you using any lighter shade of brown around Buffalo, Oregon are papilla, if that is available in your palate and value adding the brown spaces in-between just given the lighter tones by diluting it with a layer of yellow ocher color. And again, just adding in little of the red brown, lighter color on the edge again. So you can see on both the edges we have the darker tints. And then in-between centers spaces you have little of the lighter tints with a mix of the yellow ocher color. So diluting it till the bottom space I've given in the yellow. Hello. Now this is just the base layer on this as well. We're going to add in the darker depth using in the darker brown tones, so forth, just defining in the top edges. And now I'll begin adding in the darker depth. So I'm going to go ahead with a little medium tone consistency of the light red color and begin adding in the dark or depth on this. So you can see the first layer, light red color was of a medium lighter consistency. That is the reason this darker consistency is visible onto this lighter layer. So very simply just adding in very simple details. Now I've picked up a little of the Payne's gray color and just beginning to add in little more depth using in the Payne's gray color. So majorly euro as well at the bottom space, I'm just painting the darker depth for the mountain. Now I feel that this Payne's gray color is a little extra, so I'm just going to spread it across and lift up a little of the Payne's gray color and further given little lighter depth by spreading in the yellow fur color, blending it well with the Payne's gray color. Now. In some darker that using the Payne's gray color creating in the debt onto the brown space. Now using a damp brush, I'm going to blend this well into the brown color. Now, all of these I'm working wet on wet. So the brown layer that we had begin adding in the bottom space is still wet. And on that, I'm going ahead and adding in all of the bed details. So again, just using a little brown color to make the blending goes smooth and easy. You can go ahead and just keep on walking on layers to get in the tip, right? So I'm just going to go ahead and add in little of the dark paint at the top space to define anticipate this mountain dreams from the previous mountain range. Now at the bottom space, your, I'm just going ahead and giving it a little off the 3D days onto this brown mountain range. Very simple details that I'm adding in your now after this, I'm going to go ahead and add in the dry brush detail on the second mountain range. On that, I'm going to add in the dry brush detail using in the brown and the Payne's gray color. And as I told you on that one, I'm going to keep more of the space white and less of this piece, or covered up with the darker tones. So now let's begin adding in the detail on the top mountain range. So first I've picked up the Payne's gray color and adapt it onto a tissue so that all of the excess paint is absorbed by the tissue and there's no excess water. Now first beginning to give in an outline so that it stands distinctively from the mountain range. Now using in the light red color, I'm beginning to add in the dry brush on the right side so that this also stands out separately from the top mountain range. So on the right side you can see I've given a lot of the detail with the dry brush now on the left side, I'm going to keep it very minimal dry brush. I'm going to go ahead and add in very light strokes out here. So you can see some dry brush strokes are quite minimal as compared to the right side and the top mountain range. Now using the Payne's gray color, just adding in the highlights and defining the edges much better. Now I'm a little bit unsatisfied with the bottom-most mountain range. So I'm going to go ahead and add in another layer on top of it and redo the bottom mountain range with a better tonal value. I'm first going to go ahead and pick up the brown color and run it completely onto the entire mountain range and blended well with all of the Payne's gray color and create or tonal variation. Now you can see on the right side I have a lot of the Payne's gray colors. I'm just going to dab in a little bit the tissue so that the excess Payne's gray color gets lifted while it is still wet. Now, I'm just going to run in with a layer of water and the yellow ocher color out you're giving in the lighter tones. So you can see again how quickly I could just run onto the entire space and get a simple blended look with different tonal variations. Since I was unsatisfied with the first layer, how it had turned out. Now under this again, I'm just going ahead with little details of the brown color force. Now when we fill this mountain range to dry out completely and then add the final details into this painting. Now important mountain range is completely dried and using the Payne's gray color and my smaller sized round brush, I'm just going to add in some of the pine trees out. You're at the bottom space on the brown mountain range. So you can see I'm not going ahead with much of the detail. Look very simple. Brown Payne's gray details that I've added in, you're now lastly, shifting into the white quash. I'm going to go ahead and add a small moon detail into the sky. So using in the whitewash, I'm going to add a moon in the center of the sky. This time I'm not going to be adding in a dry SP, of growing space for the moon rather I'm going to create a very light moon kind of a dB. So I've just given in a small edge for the moon. Now using in the tissue, I'm going to dab it so that this turns out lighter. So very carefully doubled so that it does not get laid outside the so-called space. And I'm just going to go ahead with another layer of the white gouache and given little dry brush detail on the edges and a little on the inside as well. So this is how we've created a little less brighter moon detail out here. So the top of the moon you can see is a little on the brighter side, and the bottom is a little on the right-hand side. Onto this I've just added in little touch of Payne's gray color. And again, I'm going to go ahead with a little touch of the white gouache as well. And he is in the details. So that is it. We are ready with our class project for this seven as well. Let's remove the masking tape and see your final painting. You can see how easily you could correct the bottom mountain range as well by just laying down a layer of color. Again, I'm giving you the details smoothly. Now be very careful while removing the masking tape. Make sure to remove it against the paper so that you do not pair up the edges. You also have mini painting for these seven. I love how the deck edge kind of the loop creates more depth into the painting. Now I'm just going to go ahead with a little of the Payne's gray. I'm just giving a little touch out your as well. I hope you guys are enjoying this mini painting series and painting along with me. We are already seven days through this challenge and I will soon be uploading in the day a class project tomorrow. Thank you so much to each one of you for joining me into this class and painting along with me. I hope you guys will upload your class projects into the project section. And in case if you liked this class for whatever reason, make sure to drop a review so that it can reach maximum students. Thank you so much once again to each one of you for joining me into this class. See you guys soon into the class project. 12. Day 8 - Cityscape: Hello everyone. Welcome back to day eight of the 30 day mini art challenge. Today we are going to be painting a beautiful bright evening sky with a cityscape view. I'm going to go ahead with a little pencil sketch so as to give you a little guidance of how the class project is going to be. Of course, at the bottommost space, I've marked out approximately a 1.5 centimeters space, which I'm going to show it as the foreground. And on top of that, I'm adding in the cityscape detail. I'm going to head with a very basic cityscapes. I'm just going in with a very light pencil sketch so that it does not be visible once I add in the colors. Because the color tones, we are going to use them in a little medium tone consistency for the sky this time. Now in the center closer to these cities, we are going to have in some of these street lamps as well. So I'm just going to add the street lamps out here in the center space. I'm not adding all the details for the street lamp. We will directly add it with the color ahead. Now the first color that I'm going to use is the shade of Naples, orange from the brand White Nights. You can go ahead and use and yellow orange sheet if you do not have a Naples orange color. The rest of the colors I'm going to be using in from the palette. I'm not taking them out right now. First I'm going to go ahead with the clean layer of water into my entire sky as far as possible. Avoid adding in the water and the layer of color onto the houses that we have added at the bottom space to depict in the cityscape. I'm going to go across very carefully closer to the city scape landscape that we have added in. You can add in the color into this piece of the light lamp that we will be adding in the street lamp views. And even at the bottom foreground space, I'm not going ahead with the layer of water because there I'm going to show the effect of the street light falling onto their pathway. So go ahead with a clean and even layer of water only into the sky for now. I'm never adding in the layer of water. Now I'm using my smallest sized round brush. This is a size four round brush that I'm working with and using into Naples orange color. I'm going to begin adding in this color living in white gaps in between. Because in those white gaps, I'm going to go ahead and add in the blue color details for the sky. Now when I'm adding in the leaf with the nipples orange color, you can see I have hardly added in any water, but still I'm using the color in a very light consistency. Now for the blue color, I'm going to pick up the peacock blue color from this palette. You can go ahead and use your cereal in blue or cobalt blue color, whichever is available in your palate. And even for the blue color, I'm going to go ahead with a lighter tone consistency. Now to this blue color, I just added in a little tinge of the Payne's gray to give it a little of the sky blue color that I need. A little steel sky blue color. Now, very carefully in between the gaps of the orange clouds, I'm just dropping in this blue color carefully. The orange and the blue color is mixed together, begins to form in some muddy tones. That is the reason you can observe some white gaps in-between watercolors. I've been blend all of these but carefully ahead. So very carefully you can see I'm just using the tip of the brush and adding the color tones. Now I'm just going to carefully begin rotating this in all directions so as to make the orange and the blue color bleed naturally into each other. One of the reasons to use the Naples orange color your east because the nipples orange is a little off a piece to tone. It prevents adding in the muddy color because of the blending with the blue color tones. Now next I'm going to pick up all of the Payne's gray color and begin adding in some darker, deeper to the clouds into the sky. So again, for the pins clear span, I'm going to go ahead with a very light consistency to that. Again, I'm adding in a little pinch off the blue so you'll get like an indigo color. You want. You can directly pick a lighter consistency of the indigo color and go ahead and begin adding in the further Cloud details. Now too. You can see I've added enough water. Now, again, I'm just going to begin dropping in some darker depth. But be very careful that you do not drop it and cover up the lighter and the orange pieces completely. Now as I begin picking up this darker tone, I'm going to make sure that I do not have excess water or pigment on my brush. So I'm dabbing it onto a tissue so that all of the excess pigment and water is needed onto the tissue that is unlimited. That leads, gets lead on to the sky space. Now at the bottom, closer to the cityscape, I've added in a good that consistency of the Payne's gray color for the cloud effect, but I've made sure that little of the orange cloud is still visible. So you can see on my palette, I have bought the colors, a little of the Payne's gray color separately, and that makes us the Payne's gray and the blue color. So I'm going to keep alternating between both the colors and use them or, you know, pleading in depth into the sky. Now I feel that this piece is a little on the darker side. I'm just going to lift up a little of the Payne's gray color, dabbing in very gently so that not all of the color gets lifted or the paper dries out too fast. So you can see very gently lifted in very light tone consistency. Now using in the mix of the blue and the indigo, blue and the Payne's gray color. I'm beginning to add in overline clouds. So now very carefully I'm going over to the orange colored clouds as well, giving in some streaks of the Payne's gray color clouds over the orange color. And you can see because of the water control, the color is not spreading much in covering up the entire space. It's the place that I'm adding it onto because we have to posit water control. So the important technique that keep repeating again by invoking layer on layer is about the water control. Only then you will be able to get into depth into your painting and adding the details. Now on top of the Payne's gray, I'm just dropping in little of this indigo color mix that we have created. We are almost ready with a beautiful style. You're out here. Now, when this dries out, it will turn out more prettier because of the soft edges. Now at the bottom space out here, we're going to show in the deflection of this tie color, the street light effect that we will be adding in. Now, I'm going to pick up the mix of indigo, blue and the Payne's gray color, which has more of the Payne's gray color. I'm just going to go ahead and add in a layer out here. For the cityscape, I'm going to leave a fine white line so that it does not mix up with this guy who that we're going to add in the darker of borders later on, once everything dries out, you can force me for this fight is dry out completely and then add in the detail for the cityscape. Or as I did, you can leave a fight and find white line in-between the sky, the cityscape you for adding in the dark or that later on once everything dries up. So now let's wait for all of these to dry out completely. Then we will add in the further details for the cityscape into this painting. So now everything is dried completely and I'm going to begin adding in the layer for the bottom space force. So as I told you, the bottom space is going to be a reflection of the light falling onto the foreground space. First, I'm adding in little of the glowing light effect using in the Naples orange color. You can use the yellow orange color and adding the effect out here for the growing space. So the lights that we will be adding are going to be of a yellowish color. So showing in the reflection of that falling onto the ground. Now on the edges, I'm adding in the mix of the blue and the Payne's gray color. So you can basically the user pins gray color in a medium consistency direct me or an indigo color as well. Now on the edges, I'm adding in this color very carefully. Again, I'm going to run in with a little bit of the nipples, orange color and blend it well with the edges Payne's gray color that we have added in. Now running and carefully. So you can see the blends are happening smooth ER now and much better. Now at the bottom space of the center video, I'm going to add in little of the Payne's gray, also in-between the orange color. I'm going to go ahead and add in a few of the lines of the Payne's gray color to show the distorted effect of the light falling onto the ground. So I have darken the edges a little more to show the round effect. But when you are adding in the Payne's gray color over to the yellow, orange color, make sure you do not have excess of water or pigment. Otherwise it will cover. A yellow, orange color completely and you will be left with no light effect. Now using the Payne's gray color, I'm beginning to give in the margins to the cityscape view that we have added in. So as I told you the white lines that I had left out there, I'm going to cover it up with the help of this darker consistency defining the cityscape the same day, even on the right side, I'm going to go ahead and give it a little detail this site. So very randomly, I'm just giving you a little detail to some of the cityscape we are that we have added in. Going very carefully. Now, you can see little off the Payne's gray color is seeping into the orange color because the foreground is still wet. So I'm going to quickly lift up the color out from there so that it does not completely cover up the orange color by spreading out there. Now let's begin adding in the city light effect. So I'm going to add in a street light effect with a perspective view. So this first city light stand that we're adding is the closest to our view. The stance that we are going to add behind it are going to be far from our view. So automatically they're going to be smaller in height as compared to this one that we have added closest to our view. Now again, you can see the color was seeping into the bottom or in space. So I just lifted up the color from there. I'll wait for the orange piece to dry out completely, then add in the city light detail. So until then, using those coiled round brush, I'm just going to go ahead and add in little foil age detail closer to the household, you're on the right side. So I'm just adding in little of the foliage details trying to show from behind of this house the voltage that is coming out. Even on the left side. I'm going to go ahead and add in the tail of the foliage details. Now when we're adding in this spoilage detail, you have to be careful about two things. One, you can either use a flat brush, but they're not dip your brush into water. Otherwise, it will not give you this dry brush. The foliage details. Secondly, the pigment should not consist much of water. Because if it will have a lot of water, then again, you will not be able to get in this dry brush detail quickly in case if you are unable to add in this violate using in this technique, you can go ahead simply using your normal round brush and adding the foliage. Now on the left side in front of the house as well. You can see I've added in the foil h d, t. Now if you stick to my liner brush and using the liner brush, I'm just going to add in little branches in between the spoilage to show it in a more detailed manner. So you can see very randomly I've been adding in these branches. And you can see just by adding in the branches, it gives him so much of the detail view to the entire painting. So for the brands is I'm using the Payne's gray in a little darker consistency because of fit, you can see it's visible between the spoilage as well. Now using the liner brush itself, I'm going to begin adding in the street light effect for the further details. So you can see as I'm moving towards the distance, the street lights or toning smaller in height. So that is what I wanted to depict in the perspective. So the ones that is closer to your view is going to be tallest out your eyes will move far away from your view. The street lights are going to turn smaller in height. Now, I'm just going to go ahead and adding furthermore details. I'm going to first begin creating in some details out here. So to each of the street light, I'm going to go ahead and give it a little PowerPoint detail and then show a street light coming out from this face. As I'm moving towards the smaller ones, you can see the details have tones smaller because they are not visible much in a detail view. Onto this, I'm going to add in the light effect as well. But first let's add in some lines to these quickly using in the liner brush. Now. Use a very pointed tip brush or a liner brush for adding in these details. So you can see how find my lines are and use the Payne's gray also in a medium consistency, not too much of a dark consistency because we do not want mass of the ball looking lines in between, you can see I'm going ahead with very light consistency lines to show that they are far off from the view. So make sure to use a mix and match consistency of the Payne's gray color for adding these lines so that it gives him more depth to your painting. Now lastly, I'm just going to add in a few lines out cure at the top space as well. Now let's begin adding in the street light effect using in the whitewash to have shifted to my size 0 round brush. I'm using the white quash. I'm going to mix in and lifted off the Naples orange color. So you can make sin either a yellow orange color or just yellow color along with whitewash for adding in this light effect. Now onto each of these cheap light, I'm just going to go ahead and add in this little of the yellow orange light effect, which we have mixed in with the white bar. And the effect of which you can see is falling onto the foreground where we have already added in that orange piece. Now, I'm just going to go ahead and blend this course near a little into the background and then adding another layer on top of this so as to give it a little more detailed view. So for the next layer of lights, I'm going ahead with a little more lighter consistency. I'm going to use immediately the white wash with a little mix of the yellow color so as to get it more of a brighter view. So you can see I've formed in a pistol yellow color out you are using this pasty yellow color. I'm going to begin adding in the second year of the night effect onto the street lights. So now onto these are yellow, orange near that we had added distance ended up. I'm adding in these mini lights. So now you can see you have a little glowing light effect as well. Despite this guise of a lighter color, you can see the street light effect is visible clearly because of the yellow orange layer that nipples orange near that you added on top of that, adding in the bright light effect. So let's remove the masking tape and see the final painting. So here's a final painting for d e of the trapezius mini art challenge. You can see closely the light effect, how beautiful it's looking under the street light looks so bright and clear, and especially the effect onto the foreground. This makes it look so much more prettier. Also, the finest detail is adding another level of detail. Thank you so much for joining me for this class. I will see you guys soon into the D9 class project. 13. Day 9 - The Pink Sky: Hello everyone. Welcome back to day nine of the 30 day mini challenge. Today we are going to be painting a beautiful road. We see, we are going to be painting a beautiful pink sky, which is going to be of a bold pink color. And around the road we're going to have and the plenary speaker, Martha horizon line, on top of which is of course going to be the sky space. And at the bottom, I'm just marking down the pathway space. And on both sides of the pathway, we are going to have in the green spaces. So this small area that I've marked out is going to be the side part of the roadway which we are going to add in with a darker color, like a sort of a footpath detail that will give it. And then at the top space is going to be the Trinity detail. So I've gone ahead with a very light pencil sketch. I'll write down these two areas are going to be the footpath, which should be off the darker color on top of this year, we are going to give in rough greenery details closer to the sky space directly with the green color. And this is going to be a sky space with later on we'll add in one or two power line. So I'm not adding in much of the pencil sketch for all of these. I'll directly go ahead with the detailed look with the color onto this being even add a small blowing car kind of a local to your lead to not. So that also pencil sketch I've added very basic because as it is, it will get he didn't when we go ahead with the first year. So now let's pick out the color on my palette. So I'm going to first go ahead with a brighter color. If you do not have a brighter color, you can just go ahead with the literal paste or pink or a bright bold pink color, whichever it is available in your palate. Next time you're moving in the nipples orange color. So in case again, if you do not have the Naples orange color, you can simply go ahead with a yellow orange tone. So I'm going to go ahead with a layer of water only into my skies piece. So till the horizon line, I'm going to run in with a clean layer of photo. Make sure you have an even layer of water throughout so that your paper is not dry, uneven. And as you keep on adding on the paint, everything dries evenly. Then adding in the later for now I'm going to go ahead with the nipples orange color first, closer to the horizon line and begin adding in the details first with the Naples orange color. So just closer to the horizon line, I've created in a cloud effect with the Naples orange color. So you can see here closer to the horizon, I neglect the latent space right? Now using the parietal pleura. I'm going to run it closer to the horizon line, as well as about a yellow orange color. Oh sorry, the Naples orange color. So you can see I've used the brighter, brighter color in a good light pole consistency so that it stands out right enough onto the painting. Now next time listing up a little of the violet color and at the top space I'm going to add in little highlights with the violet color. Now when I'm beginning to add in the details, you can see I am not having any excess water. That is the reason the pins are not spreading much they read in the space that I add them in. So you can see even the orange color when, and even the violet color that we are adding stays in the space that we added. It just makes it have a soft blend with the colors itself. Now closer to the horizon line again, I'm giving you the little cloud effect with the violet color. So closer to the Naples orange color going very carefully and gentlemen handedly with the violet color so that you do not form in any muddy tones. Now using the violet color and just beginning to give him little more details into the sky. Again, you can see every time I lift the violet color, I made sure to force that my brush onto a tissue so that all states as pigment and water gets absorbed by the tissue. And I'm left with very little pigment so that the colors do not spread. Now lifting up a little of the bright opera color, I'm going to add in little more darker details into the top area of the sky. You can see very gently, I'm just creating a little more of the depth into the Skype. I just giving you a little more of the cloud effect. So that is it for us guys pace. We're ready. Beautiful, bold sky. Now let's wait for it to dry and then move ahead further. So now this guy is completely dried and I'm going to go ahead painting in the plenary spaces first before moving on to the path B. So for that, the first green color that I'm picking up is the permanent green from this palette. So this is the breeze palette, as I discussed with you in the color technique section. Now, even onto the side of the road way I'm forced giving him a drink. Later on. I will give it the perfect definition using the Payne's gray ones, everything dries out. So far. I'm going ahead with a base layer of this permanent green color onto this, I will give him the darker details using an attack of v. Now on top of this as well, we have too little of the plenary moving into the sky space. So I'm just dabbing little of the green color, but you can see there the background a violet color and the pink color is still visible. So I'm going to pick up the vendor green colors on the Magellan mission set. This is a very darker green color. And using this dark green color, I will begin adding in the depth at the top species so that it will hide out the pink and the violet color from the sky. Now in this, if you do not have such a dark green color, you can either mixing brown all painfully along with Joel sap, green color gets darker, green tone which will stand up right up there and cover up the pink and the violet spaces. In case if you do not have in that lighter green, all the permanent green color, you can go ahead and use a yellow-green color. Or you can simply add in a little yellow to yellow sap green to get that yellow green color. Now at the top space of this greenery, I'm just dabbing the tip of my brush and giving it a little detail look. You can see simply you can create such a detailed look by just going ahead with very simple techniques for getting into details. Now in the same way, I'm going to go ahead here on the left side and create the same greenery details. So far it's going ahead with the permanent green color and giving it a base layer. Now on both the sides, you can see when I have added in the darker green details with a random green color, I've added in such a way that lighter green stalks are still visible. In cases you'll see that everything has turned into dark. You can simply pick up a little of the lighter green color again. And given little of the blooming effect just as I gave right now, on the right side. Now using the data green color, I'm just going to go ahead and add in little detail onto the left side as well. So on the top space closer to the sky area, we are going to give him the details. And at the bottom space we are going to give it a blend of the darker and the lighter color patches. 14. Day 10 - City Lights: Hello everyone. Welcome back to deep den of the 30-day money. Our challenge. Today we are going to be painting a beautiful galaxy and acetylide mountain scape. So let's go ahead with the pencil sketch to market the mountain range at the bottom space. So a little below the center line, I'm going ahead with the mountain range. So the top area is going to be the galaxy sky. And the bottom space we are going to add in a mountain range with some city light effect as well. Let's go ahead with painting the galaxy first. So I'm going to begin in with the clean layer of water onto the entire sky for us. I'm not going to be running into the mountain ranges for now. I'm just going to go ahead into the sky so you can see I have mapped out the mountain range quite well using in the brush carefully. Now I'm going to speed up colors. So I'm going to be using in the Prussian blue, indigo, and violet tint of white gouache and the scarlet color to create the effect into the galaxy. So the major galaxy is going to be with the Prussian blue and indigo color. We're just going to give in a very little effect with the pink tones. So you can go ahead and use any pink tone which is available at your end. I'm going to remove little white quash to give him little glowing effects as well into the galaxy. Using white gouache will give you an opaque layer and a good Brightspace. So far, the pink tone, I will use it and the crimson color instead of the scarlet color. So I'm just going to pick up a little of the crimson color falls onto my palette. You can either use a rose madder color, crimson color, pink, quinacridone rose color, whichever is available in your palate. It just has to be a shade Miata to a pink color. So very carefully closer to the mountain gene, just about the mountain space. I'm adding in the layer of the pink color for our length. It's a very small space that we've added in with the pink color. Now I'm going to shift into the blue color. But between the blue and the pink, I'm going to leave a little space, right? So beginning with the Persian blue color, I'm just beginning to drop in the color you can see using the tip of the brush, creating in the blooming effect. So automatically you will have some white gaps in-between into the galaxy creating in the gloss piece. So just pick up the pollution blue color in a little medium consistency and begin dropping it using the tip of the brush. Now next, using the indigo color, I'm just beginning to drop in the darker highlights from the top space between the blue and the pink. You can see I have this whitespace out there. I'm going to pick up the white quash and blend the blue and the pink. Well, so automatically in-between, you've been having little of the lighter tones of the pink and blue because of the white quash. Now while adding in the white tones, as you can see, I'm rotating my Gordon directions so that the blend things happen smoothly and easily. Now on to the right side, I'm going to add in little darker tint onto the pink color using the indigo color. So you can see going across very carefully closer to the mountain range. Now when you keep rotating your board in directions, you have to be careful that if at any place the color which you do not want is overpowering. Now using and divide course, I'm randomly creating in some highlights into the sky, giving in some glowing spaces. So on the leftmost side you can see I added in a patch of the white course using the tip of the brush. Now, just blending in all of the colors easily to get us to smooth, soft glowing space. Depending on your color sheets, you can keep adding in the colors. So I just added in the layer of the indigo color and I'm just rotating my board so that everything blends in easily. Always keep a tissue handy whenever you are playing along with the rotating of the board so that you can lift up all the excess pigment and water that comes onto the edges so that it does not see back into the painting or is it may begin to ending up your edges. Now very carefully, wherever you feel that the blends are looking a little rough, you can just run a damp brush or lift up the colors wherever you feel the knee. Now using the indigo color, just giving it. Highlights before we let this dry out completely. Now, even using in the crimson color, I'm just adding in little more highlights onto the pink color as well. But on the left side you can see we've got such a beautiful flowing space because of the whitewash that we added. Got the lighter tones of the blue and the pink showing in the blend and the transition between the blue and the pink as well smoothly. I'm just going to add in little more going spaces using it whitewash. So you can see I'm lifting the Guassian and little watery consistency and just using the tip of the brush I'm dropping in these talks and parallel lines so that you can see it automatically creates a blooming effect and spreads and given that glowing space. So accordingly, wherever you feel the need to have a little more of the following details, you can just go ahead and add in the details and from the edges make sure to keep lifting up the excess water. So that is it. Now I'll wait for the entire galaxy to try out then move ahead for my galaxy is completely dry. Now I'm going to go ahead and begin adding in the detail at the bottom mountain that I'm just going to force beginning with white gouache and post that in the stars into the galaxy before beginning to add in the layer of the mountains. So I'm going ahead with splattering technique using the brush. So you can see I'm getting in the stars in different sizes, which is maintaining the look of the galaxy. Later on we'll add one to three of the glowing stars as bad. So now let's begin adding in the mountain range and the city light effect. So I'm going to go ahead with the Prussian blue color, of course, closer to the galaxy space of the mountain. I'm going to begin defining the mountain range. In the mountain range when we are going to have little of the glowing spaces. And you're just going to add in simplicity light details trying to show all living between the mountains out to you. Now, after the Prussian blue color, I'm mixing in the white and the crimson color and in-between I'm creating in that glowing space, using in this space till baby being sort of a color and blending it well with the blue color. Now make sure effect says blue gets lifted onto your brush, you clean your brush. Otherwise, the violet mix, the blue and the pink mixed together will give you a violet tone. At the bottom again, I've run with the Prussian blue color and now using in the whitewash, I'm going to blend it well again with the pink tone. So now in the mountain range, you can see at the top and bottom you have the Prussian blue color. And in the center you have the glowing effect with the help of the baby pink color. So you just need that little glowing space. Now on the edges, I'm going to give him the effect with the Prussian blue color. Again. Using the indigo color, I will begin adding in the darker details from the edges, so forth, defining the top space of the mountain, giving in some detail look you can see. Now as soon as you go ahead with a darker color, you can see all of the details getting up, please, because of the darker tones. Now, we are still working wet on wet. So go ahead very carefully so that you're in indigo color or layout also has the soft blend between with all the colors. Now you can see how I have added in the indigo color, making sure that in the center space you have that pink blowing space maintain. So now let's wait for this layer to dry as well and then begin adding in the city light effect onto this. So now even the mountain range has tried out completely. So I'm going to go ahead and begin adding in some city light details that I'm picking up a little of the Naples orange color. Now you can go ahead and pick up a yellow orange color. But you can see I'm going to pick up the color in a very thick consistency. I'm not going to add in much of water to this. I'm just going to pick it up in a good vibrant consistency and begin adding in the city light effect out here. Now I'm using my size 0 brush and very randomly, I'm just going to begin adding in simple dots false with this Naples orange color. Now, all of the city light effect will not be visible. Golden Gray. Some of them will have done look so that the brighter ones stand out in-between the dull ones. So do not worry for now, just go ahead and begin adding and layer on layer. We are going to be adding in different colors if the light effect ahead. Now ready randomly mentioned in the center space you can see I'm beginning to add in the city light effect. Make sure to use a smaller size brush. These dots have very fine, as you can see. Do not go ahead with the splashing technique here because it will. Give you the look that you will get by adding the dots manually one-by-one. Now the same palette, I'm mixing it with whitewash so you will get a more right consistency of a yellow orange door. Now using this bright consistency color, I'm going to begin adding in a growing space. So I've laid down once little space with this color. And using a damp brush you can see how well I've blended it into the background. So this acts as a little more light glowing space for the lights that we will be adding once that dries up. Same way, I'm just going to create little more of the glowing spaces very randomly. So just using the damp brush, I blended the edges well and it looks well settled into the background. Now till those dry out completely, I'll begin adding in the light details into the rest of the spaces. So now I have mixed in the yellow, orange color along with the white gouache. And using this bright consistency, I'm going to begin adding in some more glowing stars in-between. These are nipples are in stars that we had added. So now you can see very randomly in-between these, I'm beginning to add in some stars with this bright color. Sorry, not this task, the city light effect, I mean, so very randomly, I'm beginning to add in these dots in-between the orange color. Some of them are overlapping, the orange ones, and some of them are just closer to the orange ones. You can see very randomly just beginning of given the city light effect. Now that this color itself, I'm just adding in a little of the crimson color. And you can see we have a darker consistency of the pink tone. And using this bright pinkish tone, I'm going to begin adding in some more of the light effect. Be quite less as compared to the orange and yellow lights. Just some little dull highlights with this color. Now next I'm going to shift into the white gouache and begin adding in some bold white light effect. So I'm picking up the white portion of good thick consistency. I'm not going to mix in any photo color to this. And I'm going to use this color in a bowl consistency. And first I'm going to add in little of the effect onto the growing space that we have created out to you. Now, I'm just turning some of the orange and the yellow lights into the growing species. So I'm just blending them into the background using the damp brush technique. And now in the center of these, I'm just adding in small white dots. So you can see these lights are standing out and giving it that growing space because of the background. So simply sum of the dots are the lights that you added using the yellow, orange and the orange color. You can just give them a soft brush by using a damp brush, blending it into the background. And then in the center of that circle, you can just add in these white dots. So automatically you get little of the glowing light effect. Now random, I'm just going to go ahead and add in some more of the light effect of whichever color I feel. There is a little neat. Now to give him little of the glowing yellow light effects I'm going to use in a Naples yellow color. Now, Naples yellow color already has a white pigment in it, because of which it gives it opaque consistency. So in case if you do not have a Naples yellow color, you can just mixing your yellow color to your white quash and get a pasty yellow tone and begin adding in some light with this color. So you can see this light is standing out so bright in-between the lights that you have added so far. So it's giving the entire glow to the city light that we're adding in. If you can notice we're adding in these satellite effect very randomly. There is no pattern or no detail. We'd go ahead with this, just creating in a very random city light in-between the mountains. Now using the indigo palette, I'm just going to go ahead and add in very simple little foliage detail at the bottommost space. I'm going to use in this pointed round brush and go ahead and quickly create some foliage. Now in case if you don't have this brush, you can use a flat brush. The technique is that you do not have to dip your brush into water. It's a kind of a dry brush detail that you try to add in. So I'm using in this point round brush, so just holding it perpendicular, I'm beginning to add in and create the simple finite effects at the bottom space. Now just think that the liner brush, I'm just going to give him little more detail view in-between the points. Suppose I'm just going to go ahead and add in some branches. And then I will shift into my round brush and begin adding in some of the foreign HDP just using the tip of the brush. So I'm just adding in very simple formulation detail as you can see. Now I'm going to shift into my round brush and just add in little more detail for Alice onto these branches as well. So that all of it looks well synchronized with the painting. So I'm almost done adding in a little detail for each loop. Just dabbing the tip of the brush painting in some leaves and foliage effect. In the center you can see I've maintained a very little detail and let the space be there blank. Now lastly, I'm going to use the white gouache and add in some glowing stars into the galaxy as well. So forced into the galaxy, going to go ahead and create some glowing spaces. So I've just added in a few of our white dots now using the damp brush, you can see I'm just blending it well into the background. So it is having a little dull white loop and it has a soft edge looking very blended into the sky. So I'm just dabbing them on LinkedIn and you can see how dull they have turned out. Now using the right question or thick consistency, I'm just going to add in small dots in the center of this glowing spaces. So you can see automatically you have the glowing side effect with the help of background. So that is it. Let's remove the masking tape and see your final painting for the ten. I absolutely love how the growing space in the galaxy looks and the satellite effect in-between the mountain range. You also final painting for D ten of the 30 day mini art challenge. I hope you guys enjoyed painting this beautiful galaxy and create again that growing space today. I will see you guys soon into the next class project. 15. Day 11 - Sunny Day: Hello everyone. Welcome back to day 11 of the 30-day watercolor challenge. Today they are going to be painting a beautiful daylight beach painting. First I'm going to go ahead and use a masking tape this time to mark the horizon line. I'm not going to go ahead with any pencil sketch. So now the top area that is almost a 60% of the top space is going to be the sky area underneath that we're going to have in the sea. And at the bottom most pays. We'll add in some good enough bedside detail. So first let's begin with a clean near a photo onto the entire sky. I'm going to be painting a bright sunny day, kind of a beach look. Today. We are going to go in with a bright and bold blue sky with some little cloud effect you're in there. And then we're going to go ahead and add in a very simple C or a beach area. And then avoiding a detail that we'll be adding in. For the blue. I'm going ahead with the peacock blue color. You can go ahead and use either the serine and low, peacock blue, cobalt blue, whichever light sky blue color is available in your palate. I'm going ahead with the gradient, wash off this blue color. So at the top you will see that I have a little darker tint of this blue color. And as it moves towards the bottom side, closer to the horizon line, I'm lightening up the color. Now from the edges, keep lifting up the excess water and pigment that gets added so that it does not sit back into your painting. Now, let's think a little more of this color. I'm going to begin adding it from the top space again. So in this way you can see I'm getting an a gradient wash at the top of the sky, we have a little darker blue color. And as we move closer to the horizon line, add lighten the color and water dried effect. Now from the edges using in the tissue paper, I'm just lifting up the excess water. Now using this **** brush, I'm going to begin lifting up little of this lighter tone as well and create little bright cloud effect. So simply using in the **** brush, I'm lifting the color while it is still wet. After every listing you can see I'm dabbing my brush onto a tissue so that the pigment that gets picked up is absorbed by the tissue and your brush does not have pigment while going ahead with the second layer of lifting technique. So you can see simply with the lifting technique, how you can create in such beautiful bright cloud effect in-between the bright sky. Look. If you want, you can even use the tissue to give him some sharp details to the Cloud. But I don't want to give in much of the sharp edges to the clouds. That is the reason I first went ahead with a soft lifting technique using the brush and just add the bottom closer to the horizon line. I went ahead dabbing in the tissue of it. So now I'm just going to lift up a little bit of the Payne's gray color and adding little effect inbetween this cloud that we have lifted. So very lightly then you have to give him with the Payne's gray color, not too much of the dark detail. So you can see it's measured in water and very less damage of the pigment that I'm using it. And adding in details onto the lightest pieces that we have created using in the lifting technique. So now I'm going to let this dry out completely and then move ahead and begin painting in the pitch space. So let this dry quickly. So now my sky is completely dry and I'm going to very carefully lift up this masking tape. So you can see with the help of the masking tape, you've got such a crisp line. Now I'm going to go ahead and add the masking tape and create this space as well. So this is without the use of pencil as well, you can go ahead and be creating in the details. Now from the horizon line till this line off the masking tape, it is going to be see area and then the bottommost space we'll be adding in the wooden details. Now again, I've top of the horizon line, I'm going ahead with a layer of the masking tape so that the colors do not go into the sky area. Whenever you lay down the masking tape on top of the horizon line, run your fingers very carefully so that there is no loophole left because it's the fellows will seep into the sky. There is no going back or correcting that space easily without adding any further details. Now, going ahead with a layer of clean water onto the entire area as bed, make sure again that your masking tape is properly taped down. If you are going ahead with this technique or you can even go ahead with the pencils. As it's very simple, straight lines that we're having in to distinguish the spaces. Now the same color that we used for the sky. I'm going ahead with that same color in the base layer. In the sea. I'm going ahead with a very dark consistency of this color you can see because I've won the beach area to have a good poll onto this wet, on wet. I'm going to go ahead and delete it off the wifi deals as well. So for that I'm going to shift into my smallest size brush. And before that, I will just list up all of the excess pigment and water that is out on the masking tape so that it is not seep into the either parts of the painting. Now to this blue color itself, I'm just mixing in a little bit of the Payne's gray color and getting indigo color and using this color and the liner brush, I'm just going to begin adding in the detail. Now when you're working wet on wet, adding in the details, the most important thing is the water control. If you will have excess water onto the color that you're using to add in the V. Then the waves to begin to spread out completely and they will not retain the shape that will give you one flat color look onto your entire beach space. So you can see every time when I lift up this water or the pigment for adding the wave detail, I either dab it on the tissue if I see that is excess pigment or water and then go ahead adding in the way of the day. So just using the liner brush, you can see I'm just adding very random lines to give him some soft wave detail. This is just the base layer of the wave that I'm beginning to build in using in this indigo color that we have mixed it. Now I have picked up more of the Payne's gray color and less of the blue color. And using this color now, I'm beginning to add in some more detail all of this. I'm still adding wet on wet. That is my beach area is still wet and wet detail only. I'm still going ahead and adding in all of the details because it's made you can see they have a soft. But since I'm having the water control, they're not spreading much. Now, let's meet for all of this to dry, then move ahead further. So my BJ guys dry completely and I'm going to go ahead and remove the masking tape. You can see on the edges how the water gets collected. So be very careful while removing the masking tape as well. Now even at the top side, let's remove the masking tape. So you can see on the edge and it was the color has seeped into the skies piece. We will correct it by adding in a very tiny mountain range on top of this area there so that this all colors that has bleeding into the sky gets he did. Though there is not much. I quickly dab it with the help of a tissue on the edge, only on the edges you can see because of the excess water it had seeped into the sky. So I'm going to be using the Payne's gray color and quickly add in a very fine mountain range on top of the horizon line so that all of the color bleeding gets hidden, which was because of the masking tape. So using the liner brush itself, I've added in a very fine mountain range, as you can see on top of the obese space. Now let's begin painting this bottom space. So for that, I'm going to go ahead and use this red brown color. So you can go ahead and using either burnt sienna color or you can use in a reddish brown tone of brown tone which is available in your palette. I'm going to go ahead with this burnt sienna color and beginning with the base layer with a little mix of the yellow ocher as well. So I'm going to remove a little of the yellow ocher as well onto my palette so that we have both the colors ready by beginning to add in the details. So I'm going ahead with a thin layer of water first. Now be very careful closer to the beach space so that you do not run into the beach area. Otherwise, the colors will begin to bleed into each other. So for the first layer, I'm going ahead with a bright pole consistency of the yellow ocher color. You can see I have not added much water into the yellow ocher color and using it in a little opaque consistency to get that ball look to the garden space that we are going to paint. You're just closer to the beach space. Now closer to the beach line, going very carefully so that the colors do not see from one space to the other. Now on top of this yellow ocher color, I'm going to go ahead with a little of the bond sienna color and just given some darker spots using in the bond sienna color. So you can see just using the tip of the brush, I'm dropping in little of the burnt sienna color randomly so as to create the depth and texture to this wooden space, we're still going to go ahead and add in a lot of texture wet on dry. But these are just little details to give him the color variation. Now using the damp brush, blending it well into the background of the yellow ocher color so that all of it has a good soft edge and a blended look. Now let's wait for this layer to dry, then add the further details. So now my base is completely dried and I've shifted to my liner brush. And using the liner brush, I'm going to begin adding in the wet-on-dry details to add the details into this wooden space that we are painting closer to the beach area. So firstly, using in the bone sienna color in a medium consistency and the liner brush, I'm just creating some wooden texture onto this entire space. Some random crooked lines and creating some spirals to give them the vote and log details onto this entire space. So you can go ahead with a mix of the lines and the spirals, or just the lines or create a bunch of spirals out there. So very randomly, I'm just going ahead with a mix of both. You can see my lines are so Crockett, this is just the first year of the wet-on-dry deviance that we are working on. On top of this, I'm still going to go ahead and add in some darker lines. Mark the distinction between the wooden parts as well and give it a more detailed view. So I've reached more than halfway through and I'm going to go ahead and quickly add in these details. Left end of this wooden log space. You can see I've added very little spiral. Now the one on the left side I'm adding right now, you can see the first item that we added was in the entire space. Then in the center I added a smallest pirate. Now on the left-hand side, I've added a small spike in itself, but at the bottom side of the law. If you have ever observed a wooden surface or wouldn't log or any other wooden object. You can see how the texture on that are uneven. And the textures are created with random crooked lines and spiders. And how it gives it to the beauty of the entire sphere. Now, I'm just going ahead and adding in some highlights using in a little darker tin and some bold strokes in-between this entire texture that we have created. Also you can see the burnt sienna D. D is what we had added on the yellow coat color is giving so much more of the colored block look into this wood in space. I'm just going to go ahead with some mobile lines before I begin adding in some more details onto this wooden law. We are almost through this painting for day 11 as well. Just a few more details to make this painting ready to go ahead with the satisfying tape. So now I'm done adding in the details of with the burnt sienna color for now. We need to wait for the burnt sienna DDS to dry out completely. Then using the Payne's gray color, we will add in some distinction onto this wooden law. So that one's the NFL or DTLs, you can see are very little and they will dry out quickly because we have worked with the wet on dry technique. Then I'm just going to lift up the Payne's gray color and keep it Jedi because by buoyancy and the details are almost dry. So I'm going to be using the Payne's gray color in a bowl consistency without adequate much of water, you need a boy looks so as to give him the details so that they stand out well onto all of this. So big means on the center I'm going to create little partitions onto this wooden spears. Now these partitions, I'm going to take them diagonally. So according to the perspective or you can say, you know, the view that we are trying to create it. I'm not going to show the partitions going in simple straight line. Rather I'm going to create a perspective view. So closer to the beach space, they are diminishing and as you move towards the bottom space, they are broadening in length. In width. Actually. I'm just going to go ahead and add it in the same way on both the sides and creating this detail. Now in the same way, I'm just going to go ahead and add in the details onto the left side. As you can see, I'm going ahead very slowly because I do not want to mess up these details because these little things add in the depth to your painting and give it that look despite being a simple one. Now using the Payne's gray color, I'm just going to give it very fine line in-between the beach and this wooden log space. So as to show that ball distinction between both the spaces. Now I'm just going ahead with one more layer of this Payne's gray color. I'm just going to make these lines a little more bold because these are quite fine so quickly just running him, giving him the ball details so that the distinction between these parts stand out. This is how you can create such simple details. And given such a detail. Just one last thing before removing the masking tape, I will just give him little off the crashing wave details using in the white color. I'm picking up the white quash in a bowl consistency without much of water. And I'm just going to go ahead and added some details vary randomly so you can see I'm not using much water. I'm just dabbing it well into the background so that it has a little dull and set a look. So just giving you a little of the dry brush detail using in the white quash for dry brush technique, you always need to remember that you shouldn't have excess water or pigment. You need to have very less pigment on your brush should not have excess water because otherwise it will give you patches of color instead of giving him the dry brush tool. So I'll just add it in little white highlights into the beats fees. Now let's remove the masking tape and see your final painting with those clean edges. Make sure you remove the masking tape once your edges are completely dry. Otherwise, the pains may get lifted up and it may tear of your paper as well and leave you with unfinished painting. Our final painting for d 11 of this Saturday mini art challenge. I hope you guys keep loved creating this beautiful glowing sky and creating in the wooden DPS. Thank you so much for joining me for this class. I will see you soon. Last project. 16. Day 12 - Seascape: Hello everyone, Welcome back. To date wealth of the 30-day mini. Our challenge. Today we are going to be painting a beautiful evening seascape look with very simple details. So the colors that I'm going to be using is the quinacridone red color or sorry, the permanent red color. So you can go ahead with any tone of red UK in the user's scarlet color or red tone Fido, and read by whatever name it is available in your palette. The next color that I'm going to use is the Naples yellow color. Now in case if you do not have to Naples yellow, you can simply use in your permanent yellow light. Mixing a little tend to off the white color without adding much of water. And you get this pasty yellow thing. Because this Naples yellow color is nothing but a mix of yellow tint and a white pigment. And the last color that I'm going to use it is the indigo color. For the indigo color. This time I'm going to go ahead with indigo color from the white knight set. Now in case if you do not have the indigo color, you can just go ahead and mixing a little bit of air pollution blue with the Payne's gray color, you would get a tone similar to an indigo color, or you can mix in any tenders blue along with a little bit of the Payne's gray color and get the darker blue tone. I'm just squeezing out a little of the indigo color here as well. Now let's begin adding in the layer of photos. I'm going to go ahead and add in a layer of water onto the entire space. I'm going to paint the sea and the sky space to get off because the sea and the sky area, I just going to be a reflection of each other. So I'm going to paint all of it together. And then by adding the details with the Payne's gray color, I will mark the distinction between them. So I'm just turning my brush multiple times so that my paper stays wet for enough time until I add in all the details for the background. Also make sure that you do not have excess water on the edges. So your edges shouldn't have access to water. Otherwise, the water will begin to sit back into your painting and may begin to winning up the edges of your painting. Now I'm first going to beginning with the permanent red color. I'm going to use it medium consistency. And beginning this color into the center space, I'm just going to begin adding in a layer. And then I will shift to the yellow and the indigo color for adding in the detail. Now since these both spaces are going to be a reflection of each other. In the center, we are going to have in the red space in which we will use the Payne's gray color and add the center horizon line later on using the Payne's gray color while everything dries out. So now everything is going to be a reflection of each other. That being the center color. Now next time shifting into the Naples yellow color, just about red color at this Naples yellow color above and below the red book. So below the head I'm adding it for the CSPs and above the red it was for the skies fees. So now you can see the center line is going to be on the red color where we will be mapping out the horizon line. So I have very carefully blend it, the red and the yellow color together and you can see how beautiful the outcome looks. Now, I'm going to go ahead and use a little of the peacock blue color force. So you can either use the peacock blue color, blue color or any medium tone sky blue color. Go ahead and add in a layer of this onto the top and bottom of this guy. Now when you're adding in this layer, make sure you do not blend it till the yellow color. Between the yellow and the blue, you can see I have a small white line less than, because if you really try to blend the yellow and the blue together, it will give you a green color, which we do not want to let both of these bleed naturally and blend into each other. Now, I'm going to shift into the indigo color and begin adding in the darker debts of the indigo color at the top space of the blue color and blend it well till the lighter tone CMV from the bottom space, I'm going to go ahead with the light darker tone and move upwards, blending in with the lighter tones. You can see how beautifully the yellow color is bleeding into the blue color creating in the soft plane. So I'm just going to go ahead and rotate the board in all directions so that the colors bleed and smoothly. In case if you want, you can just go ahead with a little layer of yellow again. So that again becomes a little bit and flows and moves easily and creates that blend much more better. Now as you keep rotating, make sure to lift up the excess water and pigment that comes out on the masking tape. So that this is not sit back into the painting and doing the space. So we have just got a simple variegated wash off different colors and blending them all softly into each other. Between the yellow and the blue, we've tried to maintain a small white line so that the colors bleed naturally into each other and maintain that soft blend and do not have green color form. So this is just a simple background that we have created. This time we went ahead and created the background for the sea and the sky together. Now, lastly, we will just begin adding the details with the Payne's gray color to give the distinctive details into the z-space. Now very randomly, I'm just going ahead with the strokes of the colors wherever I feel necessary. Like just darkening middle of the indigo tones at the top and the bottom space. And I'll save the color blend. You can see I'm just moving my board in direction so that the colors blend and flow into easily. So you can see the colors floating very carefully. Now from the edges, if you feel, you can even quickly lift up little of the color if you feel that it's seeping into each other a lot. So this is how you can create soft and easy plan. Last taping down your paper onto a movable surface. Mix. These blending much more easier because you can rotate your paper and get the soft blends happening in smoothly. Now you're in the Z space, you can see the yellow and the blue had a sharp line in between using a damp brush. I've just tried to get rid of that sharp line. I'm just going to go ahead with little more darker depth of the indigo indices before we let all of this to dry out completely. Now one last time since I added in some layer of colors again, I'm just going to rotate it and direction so that it has moved, planned and flow into each other easily. So very carefully you have to move it in all directions and try to stop at a point when you feel that in a particular direction the colors are flowing too much from the edges. Again, I'm just mixing up the excess color. Now, let this dry out completely so that it has a perfect smooth blend laid flat, do not need inclined, otherwise the fellows will keep floating into each other. Now let this dry, then we will move ahead further. So now my background is completely dry it and you can see how and smooth the planes have turned out, especially the low in the sky between the yellow and the blue color looks so beautiful. Now I'm going to go ahead and begin adding in the detail. So first for marking the horizon line, I'm going to go ahead and use the indigo color itself and not using the Payne's gray color. So beginning with the indigo color, I'm just going to begin mapping out a small mountain range at the horizon line. The horizon line is going to be in centre of this red color space. So just to make my hand movement coin easily have just tilted the board. On top of the horizon line. I'm going ahead with a medium tone mountain range of the indigo color. You can see it's not quite bold consistency that I have used in a little of the red background is still visible, which is giving it the beautiful look. That is the reason I'm not going ahead with a ball consistency here. Now I'm going to begin adding in the further details into the sea. I have to give it a detailed look now so that you can either use the indigo color in a thick consistency or you can add in the Payne's gray color to this or directly use the Payne's gray color for adding in the detail. So I'm going to go ahead with a very bold consistency of the indigo colored cells and begin creating in the detail in-between. I will even use a little of the Payne's gray color tint to give him that debt. So now I'm just going to begin adding in some rough rock spaces into the z-space. Now first I'm going to create an outline for the rock or the beach space, or the space into the sea, and then fill it completely with the Payne's gray color or the indigo color. Now while adding in these details, going very carefully and slowly, it's because these little things, by adding in these details that will make the entire look of the painting. So the first thing that you may notice is in-between the mountain line and this rock spaces that I'm marking out, I have left a very fine lines still visible of the red color that we add in the base Neil. So basically that will give a little distinction and let the CB visible in-between the deviance that we're adding in. So that will create another depth to your painting. As I told you, it's these little details that will give him the depth to your painting. Now as I'm beginning to fill in the color, you can see I'm making the edges as well, a little crooked, an uneven so that it all has a natural look. Now in the same way, I'm going to go ahead and fill in the entire species on the right side as well. And by filling in on the right side as well, I'm just going to go ahead and make sure to give it all of the different shapes and unevenness so that it looks more natural. Now at the bottom of the sea, I'm going to go ahead and add in small pieces of rock floating into the water. For that, does that, I'm going to go ahead and using the Payne's gray color. And in a bowl consistency, I'm just going to begin adding in very small pieces of the rock. You can again, if you have the indigo color still, you can go ahead with the indigo color or you can go ahead with a mix of watercolors. So very carefully you can see I'm just adding in very simple silhouette details into the sea. And all of it is beginning to get such a beautiful and peaceful look together. Now. I'm just going to add in some very tiny floating stone. Look. Now next I'm just going to go ahead and using this Payne's gray color and splattered in a little out here. So as to give him very tiny details, make sure this does not go into the skies piece. So if you want, you can go ahead and cover the sky and the mountain ranges first and then splatter this a little. So I've just added this platter at the bottom center space, not much of it anywhere else. Now next I'm going to go ahead and add in the reflection using in the liner brush. So using the same color in a very light consistency to these small rocks, I'm just adding in the reflection into this PC space using fine lines and the liner brush so you can see how beautiful these reflections are looking and these small details adding the beauty to the painting. Now one last thing is to add in one glowing moon into the sky, onto the blue color space. So for that, I'm going to shift into my white gouache. Now I've shifted to my round brush and using the white gouache, I'm first going to add in a small white circle out. You're in the top center of the sky. Now using it, the **** brush, I'm just going to blend this piece into the background and create a glowing space for the moon to be added. Let's see how smoothly I have blended the whitespace. Now on the edges I'm just running the damp brush so that it has a soft blended look into the sky. Now to this layer dries out. I'm going to go ahead and pick up the white gouache in a good ball consistency without dyadic image or photo. And once this is almost dried, I'm just going to go ahead with a thick layer of the white gouache and add a moon only into the center space now. So now using the white gouache in a bowl consistency, I've just added a store moon only into the center of this glowing space. You can see how beautiful the moon is looking with that glow light coming in from behind. Make sure vans you're growing space is completely dried only then you add in the moon. Otherwise it will again blend and bleed and will not have that growing space. Now one last thing before moving into masking tape, I'm just going to go ahead and add in a few boards into the sky. And then we'll be ready with the class project for the web. So just three to four of the boards that I've added in. Now let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once your edges in the sea with those black tea days are completely dry. Otherwise the color may begin to lift up and make it applied onto the clean edges. Also, all these remove the masking tape against your paper so that it does not tear up the edges. So you also find them painting for the 12 of the 30 day mini art challenge. I hope you guys enjoyed painting this beautiful evening seascape looks today. Thank you so much to each one of you for joining me into this class and painting along with me. I would see you guys soon into the big core team class project. Thank you once again for joining me into the class. 17. Day 13 - Palm Trees: Hello everyone. Welcome back to d 13 of the TED Mini Art Challenge. Today we are going to be creating in a pretty beautiful rainbow colored sky. And then just add in some simple palm trees. So let's go ahead and pick up the colors first. I already have the Naples yellow, the red color, and indigo color from the previous class project on my palate. Now the next color that I've squeezed out is the brighter color. Now in case if you do not have a brighter color, you can go ahead with any of a pastel pink tone. The Naples yellow we already discussed them mix that you can go ahead with. So let's begin adding in a layer of water. There is no pencil sketch. We are directly going to add in the details using in the paint. So this time I'm going to create a rainbow colored sky. So I'm going to go ahead and play with the floating consistency of the paint. So I'm going to hit with a layer of water which is a lifting extra wet so that the colors flow easily and create and move into each other. Even the paints that I will be dropping onto this wet background is going to be a little wet consistency so that it spreads and flows into each other and create that multicolor background for the sky. So I'm almost done adding in the layer of Porto. You can see I've run my brush multiple times so that my paper stays wet for enough time until I add in all of the details. Now I'm going to begin adding in the colors one-by-one. First, beginning in with the Naples yellow color. I'm going to pick it up in a little medium, louis consistency. And just using the tip, I'm going to begin dropping in this color drop randomly at places. Now, for this class project, for this specific class project, you can go ahead with any placement of the color tones. Like if you, wherever you wish to place the yellows, the reds, the ping, the blues, it's completely your choice. You just have to create a rainbow colored sky look very randomly. You can see I'm just dropping in the colors for the first step. Also, if you want, you can go ahead with quite different color combinations and create your own multicolored sky. The technique here is important rather than the color tones. But at certain point even the color tones become important. Because say if you are using in an orange color and a violet color as well, then the orange and violet at places where they may be blending together may begin forming in muddy tones. So you have to go and carefully at such places. You need to understand which complementary colors will work together and how you need to avoid getting in those muddy tones. Alright, I'm done adding in the layer of yellow color, the red color, and the brighter, paler color. Now I'm picking up a little tough to pick up blue color from this palette. If you want, you can go ahead and, uh, you know, adding the civilian blue color or any sky blue tone, whichever you are comfortable with. Now very carefully, I'm dropping in this color now again with the blue color as well. You know that blue and the yellow mixing together may give you a green tones. So very carefully you have to go at places around so as to not getting those prominent green color into the sky. So basically I'm done adding in the colors now. Now I'm going to begin rotating my board for the first step. You will see that the colors are not flowing as much as they should and covering up all of the whitespaces. So going ahead further, we'll be using in this spray bottle. Now. I'm going to use the spray bottle and from a little distance, I'm just going to give him little spray of water. So automatically the paper and the paint will get in more in a floating consistency. So I've just added three to four spray of the water. Now, wherever I feel that there is excess water all collected together, I'm just going to dab it up quickly with the tissues. So in the center space, I felt a lot of water collected together. So I just lifted up a little with the help of tissue. Now, I'm just beginning to rotate my board in directions. Now you can see whenever the blue, red and things are blending together, they are forming in the violet color automatically. Now keep a tissue or a cotton cloth handy so that you can keep lifting up all of the excess water that flows onto the edges because if they exist, spray water that we have used in. You already, you can see I'm just lifting up the colors carefully from the edges creating in the beautiful blend into the sky. So basically you just have to create this pretty looking gorgeous sky with the colors of your choice. But just keep in mind about the complementary colors that will not work well together. Now I'm going to pick up a little of the bright clear violet and I'm going to go ahead and begin adding in little cloud effect into the sky. Now I'm adding this while all of this is still wet. So that whichever place you feel that you need to add in a little ring of the popup and you can go ahead and just dropping some purple color and then we'll blend these as well again. Just be careful closer to the yellow color again because the yellow and violet mixing it together again forming muddy tones. But in this case, since we had used the Naples yellow color, it has the competence of the white trait may not give you that prominent lookup, the muddy tone. Now again, going into the spray bottle, I'm spraying it on to the violet color tones so that they spread and bleed into the background and create the soft blend. You can see as soon as you spray on to the violet color, how beautifully they begin to slow and blend into the rest of the background. Now again, as I kept rotating, I just lifted up all of the excess water from the edges. Now lastly, I'm just going to add in little more of the violet highlight and then let all of this to dry out together. So this time I'm adding in the highlight with a medium tone of the violet just using the tip of the brush and the violet color in a little medium flowing consistency. Now again, since I've added in little colors, I'm just going to rotate the boat in directions. And then lastly, I'm just going to add a little more touch off the blue color because the blue color seems extra light. And while this will dry out, the blue color will dry out much lighter because watercolors dry, tend to dry or tone lighter. Make sure accordingly, you're given the details because they will dry a tone lighter once they dry out completely. So that is it. Now I will let this dry out completely and then move ahead further and add in the details with the palm trees. So now my background is completely dry it and I'm going to go ahead and begin adding in the palm trees. Palm trees, I'm going to go ahead with the Payne's gray color and using the liner brush, I'm going to begin adding in very fine pine tree details. So I'm first going to use in my round brush and lift up a little of Payne's gray color out on my palette. Now, using the liner brush, I'm going to begin adding in the detail. So go ahead with a very fine tip brush so that you can add in the fine details. Since we're painting on a very small space, it's important to accordingly adjust the proportional size of the details that you go ahead with. So I'm going ahead with one of the trees on a little towards the right side first. Now onto this I'm going to begin adding in the palm tree branches very randomly. Not going to go ahead with much of the detail. Look. Now if you notice the stem at the top space, It's thinner and as we move towards the bottom of the page, I have made it abroad one. Now I'm going to quickly go ahead and add in the point H for the leaves as well. So very randomly, I'm just adding in the foil age. You can see after this I'm going to add in one more tree. So if you see, I have added in very random foil. It says Not much detail loops. I've just been adding in some palm leaves and then in-between just adding in some strokes of given the filler loop. Now going to go ahead with the next GO TO, which is going to be smaller as compared to the first tree that we added. Now, in the same way I'm beginning to add in the foil is your as well. But this time the foil is, you can see I'm adding it in a little different manner. I'm pulling out these are branches and then from that just towards the edge of it, I'm adding in this pilot detail. This is also kind of Pompeii itself, but just a different way of adding in the final lesson, there is not much spoilage in the center space of the tree. Rather it's more towards the edges for now. So very carefully just keep adding in the phylogenetic slowly. Do not rush with adding the foliage. Otherwise you will not get into detail. Look. And that we'd wind up your entire painting because the focus of the painting is these little details. We just have a plain simple multicolor background. And to that we are creating in the depth using in these elements. Now using some thicker strokes, I'm going to go ahead and add in some more details onto the first tree as well. So you can see just pulling out some bold strokes to add in little more detail. Now using the Payne's gray color itself, I'm going to add in a few of the boards on top of these trees out there. So I'm going to use the same liner brush now in case if you are not comfortable adding these with the liner brush, you can just do a smaller sized round brush which has a pointed tip so that you can add in these fine details and do not go out of proportion. So when you randomly just adding in a few boats this time you can see the boards are a little detail as compared to what we have been adding so far in the rest of our paintings. Now from the left side edge, I'm just going to go ahead and pull out some of the palm leaves. So basically this is from a tree which is not exactly o closer to our view or in our view at the moment. But just a few of these leaves that is hanging out into offering that I'm adding it out here. You can go ahead and add in another smaller tree if you want or if you are working on a bigger size paper. Or you can simply just go ahead and add in these smaller details like this. Given a little more detail look to this. Now lastly, using in the white gouache, I'm going to mix in it along with the Payne's gray and a little touch of red color. And using this opaque color, I'm going to begin adding in little highlighted or Leaves stroke. So you can either mix in brown and white goulash and add in some highlighted stroke. Or since I already had the red color on my palette. So I just mixed in the red Payne's gray and the white gouache to get a reddish brown tone. And with this now I'm just going to go ahead and add some highlights onto these palm trees that we have added. Now these highlights may not be visible to you on the screen completely from far. But when you will have a closer look, you will get to see how these highlights create an effect into the painting and given one more level of detail to your painting. So very simple details, elements, but still the highlighting part or the detailing part gives it all the 3D view even with simple elements. Now I'm just going to go ahead and add in a few more words and then we'll be ready with our last project for D, Dean of this 30-day mini art challenge. So let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once everything is completely dry and always remove the masking tape against the paper. So here's our final painting for the 13 of the 30-day mini art challenge. Let me give you a closer view and you can see how the beautiful details of the highlights that we added for the palm leaves gives it an effect. Thank you so much to each one of you for joining me into this class painting along with me. If you liked this class for whatsoever reason, make sure to drop a review so that it can help me reach more students. Thank you once again for joining me to this class on painting along with me. 18. Day 14 - Pastel Sky: Hello everyone. Welcome back to the 30-day money. Our challenge. We are on day 14 today. And today we're going to create a beautiful pasted sky. The colors that I'm going to use is this royal blue color and the John Brilliant one. So the royal blue is from the set White Nights, and the John Brilliant is from this set of Magellan mission. Now, do not worry if you do not have these shades. I will discuss with you how you can form these colors. The pigment of this royal blue color, It's a pigment of blue mixed in with white. If you're mixing your ultramarine blue with white with a little tinge of cereal. And blue, you will get in this royal blue color itself. And for this, John relent. If you go ahead and see the pigment numbers, it is a mix of pigment orange, pigment yellow, and pigment white. So P0 is orange, pigment is pigment yellow and PW is pigment white. If you're mixing a little thing to off your yellow, orange and white, you will get a pistol, yellowish orange tone or unmute skin color, which is the exact color which we are going to be using in squeeze out both of the colors from the tubes out you're on my palette. In case if you do not have it, then you can mix both of these colors with the color pigment numbers that I discussed with you. So I have to oh, pigment to move out. You're on my palette. I'm going to go ahead and add in a layer of clean water onto the entire paper. There is no pencil sketch. What we are going to be doing is first we're going to create a pasted sky using in this royal blue and the John Brennan color. After which we are going to add in lifted off the bloody grass kind of a detail at the bottom space while this guy is still going to be wet. And then once it dries out, we're just going to add in one bunch of leaves in the center space and the moon and create the details into this painting. It's a quite simple and easy quick class project for today. And we are going to go ahead and yet create a beautiful based on Skype. Make sure you have an even layer of water throughout and there is no excess water out there on the edges so that your paper will not dry out from any space quickly, the triangle be even and it will give you enough time to add in the wet-on-wet details for the blurry details that we are going to create at the bottom space. So fast time beginning in with the John, brilliant colors. So you can see it's a pistol yellowish orange tone that you have out here, beginning with this color at the bottom space. I'm using a flat brush because we are just going to go ahead with very simple blending of both of these colors. Now picking up the royal blue color and beginning to add it from the top space and almost nil center space. I'm going to go ahead and blend mode does these colors well into each other. If you want, you can use in a little tent of white for blending it or a damp brush so that you do not have any pod color being formed while blending both of these. Now from the edges, I will keep lifting up all of Texas paint and water so that it does not see back into the painting while we're walking on the other details. Otherwise, this may begin running up your edges. And on the edges you may get in patches or for all different shades because of water and the paint from the edges of the masking tape seeping back into the painting very carefully. You can see I have blended both of the colors when major parties, the royal blue color on the bottom space, we have little of this John Berlin color look. So that is it for a pretty simple balls in sky. Now I'm going to shift into the Payne's gray color. I'm using in this liner brush. I'm going to go ahead and add in the background details onto this wet so that all of those details have a little blurry. So I'm just going to go ahead using in this color and into the wet background. I'm just going to begin adding in this very simple branch details. You can see I'm using the Payne's gray color in a medium tone consistency. It isn't to vibrate, but it isn't even to die. And using this itself, I'm just adding in very simple formulas detail as you're diving in the tip of the brush. So you can see with the basal background, this color is again having a softband or medium vibrant look. And it is having a soft edges because if working wet on wet. Now in the scene, I'm quickly going to go ahead and add in a little more of this spoilage detail. And then move ahead. Wait for all of it to dry out completely and then add in the center bolded then once everything dries out. Now at certain places you can see I'm dabbing in the Payne's gray color in a little bit of inconsistency. There again, some vibrant details. Now, this time I'm going to go ahead and add in the moon while this is still wet so that the moon also stays into the blurry background. So I want everything to have a blurry look. Only the one leaf or the branch detail that we will be adding. One says Sky dries up. I want to be that as the focus of the painting and just everything in the background as a blurry image. Now before adding the moon at the top space here you can see somehow a little of the water has seeped in. So I'm just going to quickly run with a little lever of this royal blue color so that the edges do not have that effect off that water blooming effect because of the excess water on the edge seeping into the painting. Now, I'm going to pick up a little bit of the white quash vitamin background is still wet and adding a bloody looking moon into the sky at in-between the blue space. So using the right question of medium don't consistency. You can see in the center space I'm just adding in a small moon out there, creating in the background moon effect. Now using the damp brush, I'm going to make sure that the edges, I have a soft the edge and are blended into the sky giving you that blurry effect and the blended effect. So that is it for my bloody moon as well. Now I will wait for all of these to dry out completely. I'm going to go ahead and add in the main focus in the front of the sky once everything dries up. So let's wait for this to dry out now. So now everything has dried completely and I'm going to go ahead with a little tinge of the bunt sienna color and a little bit of the Payne's gray color and add in the details in the foreground, which is going to be the main focus of the painting. Onto that, we will add a little highlight using in the right class later on. So I'm shifting into the liner brush and using the liner brush itself. I'm going to begin adding in the details. Now using the burnt sienna color and the liner brush, I'm just beginning to add in the detail in the sector space. So that is the reason why I'm adding the details in the background. You can see we hadn't had in batch details in the center space because I wanted to add in this main focus of the painting in the center space. Now to lighten up a little thing to off the burnt sienna color I've just added in the John Dillon color a little bit to it. So we have a little piece of a brown shade out to us. Now in case if you do not have the John Brennan color, you can simply just add in orange and white gouache to your point, sienna color to get a little piece still orange auto based in chocolate color. Kind of a look from this bigger branch. I'm just pulling out small we'd kind of structure. So basically the wheat grass note that I'm adding in here. So you can go ahead and randomly keep adding in the lead glass. It can be completely different than mine. If you want, you can go ahead. And add in any particular flower silhouette as well. But I prefer going ahead with one grass knock off a wheat field kind of a lookout to you. So as to give him the details out to very carefully just keep adding in, but make sure that these details are very, you know, in a detail manner. And you can see I'm adding these details in a little detail, look as well as they are very tiny and, uh, you know, the details need to stand up because this is going to be the main focus of your painting. Let's do all of the details that you've added in the background will automatically given a background blurry image kind of a loop. So this being the focus of the painting has to be in a D didn't look so that it brings out the beauty of the painting. Now from the bottom space out to you, I'm just pulling out a little more off this wheatgrass effect, okay? And this is just going to be very little. Then onto this will just be adding in little highlights as well. My field notice D, D is coming out from this main branch. I have taken up all of these wheatgrass look moving into different directions as well as in different forms. Try to make them look different as much as possible because that will make it look more natural. Andrea, if you will make them keeping, move in one direction or all of them of a single same time. It will not give you the natural look off a field that we are trying to capture out. You're now on to that bottom space. I'm just adding in little darker effect with the burnt sienna color it out to you with a little bit of the Payne's gray. Now I will quickly wait for all of these to dry out completely and then move ahead further and adding little highlight once this dries out completely. So let's wait for a minute or two for this to dry out completely. So now everything is dried completely and I'm going to go ahead and use my white gel pen to quickly add in little highlights onto this. So I'm going to go ahead using the white gel pen and just create some highlighted effect onto this main branch of the wheat grass that we have added in. So you can see I'm just adding very little strokes of the white color to create the highlighted look. So that is it. I'm done adding in the highlights as well using in the white gel pen. Now let's remove the masking tape and see your final painting for d 14. So it was a quick and easy painting in just under 15 minutes, heating in that beautiful pistol sky with the blurry background, the blurry moon, and then just adding in one wheatgrass loop and the main focus. So you also find that look with the clean edges. I hope you guys enjoyed painting this beautiful sky with me today. We are almost halfway through this 30-day mini art challenge. And I will see you guys soon into the day 15 class project tomorrow. Make sure to keep uploading in your class project into the project section. If you like the class, do not forget to drop a review. Thank you so much once again for joining me. I will see you guys soon into the next class project. 19. Day 15 - The Pink Beauty: Hello everyone. Welcome back to the 30-day mini art challenge. We are on day 15 today. And today we are going to be halfway through this Saturday. What colored challenge? I have my paper taped down onto the board and I'm going to directly go ahead with a layer of water. For today's class project, we are going to be painting a beautiful bold pink evening sky. And then the edge is going to add in literally the city kind of a detail with a lot of boilerplate for the tree and the details into the sky. This is one of my most favorite paintings, what it has turned out, plus the effect of the foil age in this one, and the easy technique for adding the foliage quickly. So just going ahead with the clean layer of water forced onto the entire space, I'd not like going ahead match with the pencil sketch or the detailing as much as possible or as much as it can be avoided. So I directly like adding in the details using the paints and brushes. Now I'm first going to begin adding in the red violet color. You can either use a red violet color, any bold pink tone, or carmine color. If you do not have a red violet tone or you can just mix in a little. Does your violet to the Carmine color to get this reddish violet kind of a tone. Now we have a little of this bright color out here on my palette. And I'm going to go ahead and added religion of this bright opera about the red violet color that we have added in the top most part of the sky. I'm going to go ahead with a little medium tone of the violet color. And then all of these three colors well, and have a pretty transition happening between them. This is just the base layer for the sky, wet on wet, we're still going to be adding in the details for the clouds, while our background layer for the sky is still wet. So make sure that you have added a good evening Nero photos so that your paper stays wet for enough time for you to add in all of the details. Now I'm just going to run a little more of the red violet color, even onto the brighter color to give it a little gold look. So as to, you know, I want this tie to stand out bold and vibrant. Now before moving ahead to add in the details for the clouds, I'm just going to go ahead and lift up all of the excess water from the edges so that it does not see back into the painting. And we went up my edges with loops of water. Now to add in the Cloud details, I'm just mixing in a little tinge of the Payne's gray and the violet color. And using in this grayish violet tone, I'm going to go ahead and add in the Cloud details. Now when you are adding in the Cloud details, wet on wet, you have to be careful about a few things. One, being walking vegan, you have to have the perfect Water Control. So you haven't noticed whenever I pick up the pigment or to add in the Cloud details, wet on wet, I always start my brush onto a tissue travel so that all of the excess pigment and water is absorbed by the tissue. And then I begin adding in the Cloud details. I have very minimum pigment left. This helps ingredient in the cloud shape and you are adding the details wet on wet. Also, it helps in not spreading the color completely and it retains the shape giving in the soft edge. Now at the bottom space as well, I'm just going to use in a little tinge of this color. 20. Day 16 - Bird's Eye View: Hello everyone. Welcome back to D 16, off the 30-day watercolor challenge. Today we are going to be going ahead and painting in a beautiful overview view of a beach space with a boat in it. So I'm just going to begin adding in the details. So on the top side here we're going to have in the B2B space, which we'll be having in the rocks and the greenery. Now at the bottom side here we are going to have in a boat in, on top of the sea. We're painting the bird's-eye view, that is the top view. So let's begin adding in the boards I've marked in a straight line so that I can add in the symmetrical detail for the board. Now on top and bottom, I'm going to go ahead and create a symmetrical look. So you can see adding that one thing in line helps and symmetrical look easily. Then we will just ease off that center line once you're satisfied with the shape of the board. Now in case if you want, you can go ahead with any kind of a board from the overview view, you can search for your own reference images and add the silhouette accordingly. Now I'm just going to go ahead and begin adding in the further details on inside of this. I'm just going to go ahead with very simple details. I'm going to go into much of the detail. But with an overview itself, we're just going to create such little video that will make the entire board looked pretty onto that beach. This speed if some random smallest pieces into the beach, oh sorry, into the boat. And now I'm going to go ahead and bind, adding in the detail with the p.band. We will create the difference between them by giving him the darker and the lighter colored wounds. Now that's the beginning with a thin layer of water onto the entire surface leaving the board space. So the boats piece has to be left white completely. Before going ahead with a layer of water. I'm just going to go ahead and lighten up my pencil sketch because these charcoal marks will become permanent as soon as you add in the layer of water. So do make sure that this layer of water does not make the pencil sketch visible. I've just lighten up the pencil sketch such that it is at least visible to me. Now I'm going ahead with a thin layer of water onto the entire species to leave the boats piece. And by mistake earlier than a little lost the water onto the board space. So quickly using in the clean edge of the tissue, I'm just dabbing off the water from there so that there is no water and paint seeping in there. We are directly going to add in the details there while giving in the details into the board. So very carefully randomly euro photo and do the entire surface, make sure that you haven't even near afforded throughout, we are going to be working wet on wet. The entire details, including the greenery space, which is going to have a soft and blended it with the CEO. So first beginning with the burnt sienna color on the edge that we might have been for the rock and the greenery space. So very randomly, I'm giving him the darker tone of the burnt sienna color. You can see I'm going ahead with a very rough shape out there as well. So into the sea as well. I've just given a legend of the burnt sienna attached so as to show some underground stone effect on under the water. Now, using this cobalt green New, I'm going to go ahead and add in the layer for the C first. So you can go ahead and using any tone of blue color if you do not have the cobalt dream you. And in these as you want to form a cobalt green color, you can mix in with us or you can make. Vd didn't gain a little hint of blue and white color to create the cobalt green color. And do the entire see, I'm going to go ahead and give him this layer off the cobalt green color. But first closer to the board, I'm mapping out the edge of the board very carefully as you can see, why this is going to be where we are even going to add in the shadow towards the other board on the bottom side so as to create a shadow effect as well. Since this is an overview view that we are painting out here. Now New York, the brown color, you can see, the green color and the brown color having to blend it well enough. So I'm going to go ahead very carefully closer to films and make trying to show that these browns are the underneath stone under the green color. So under the ground you can see I've run a mirror of the green very lightly. Now do this cobalt green, I'm going to go ahead and mix in a little tinge of the Prussian blue color to create a little darker tint for beginning to adding the darker depths into the sea. So now using this darker color mix, I'm just going to begin dropping in the color majorly on the edges and the bottom side. So bottom side of the board, I'm going to add in a little space so as to show the shadow of the board falling on the water as well. This is just the first layer of the shadow. I'm still going to go ahead and add in photo more details once it dries out. Now using the darker color I'm going to add in furthermore darker there. You can see from an overview, you, if you think about the loop, you can only see the depth building in because of the different color tones and details that we're adding in. Now using father, little darker. I'm just going to add in some last step before we move ahead further. So underneath the board your as well, I'm just going to go ahead and give it a little more darker shadow effect, much more better. So that's just the perfect shadow of the board falling into the water space. So you can see this teardrop shape of the shadow is also liked the shape of the board. I choose if you want, you can give it a soft edge and blend it into the rest of the background using a damp brush like this. Now using the permanent green color, I'm going to drop and begin adding in the affinity spaces out. You're at the top closer to the brown color. So my paper is still wet. We are on the first year, it says as of now. And I'm going to blend the green and the brown as well together. Now on to this lighter green, I'm going to begin adding in some darker v. So for that, in my permanent team with the blue that is already on my palette. And now I'm just using the tip of the brush. I'm going to begin dropping in the darker that you have to make sure when you begin dropping in the darker green, you have to have the perfect amount of water control. Otherwise, if you will have excess water, the paint spread a lot and it will cover the entire lighter green spaces and we will not have enough water then the paint will not blend and have a smooth edge along with the lighter green door. Now using the brown color in a darker consistency just beginning to adding the darker debt on the brown species as well to give it more depth to the stone and the mud, we are closer to the big space. Now using the green color, I will begin adding in the depth of the clean in-between the brands as well. So the same technique just using the tip drop in some medium consistency green color. So all of these will have a positive blended look and give it the perfect view. The greens in-between the muddy space and the darker debts using in the shadow deflection. So I just hiding some more of the darker green depth now out. Some of the darker blue species seem to have not tended when suggest using a damp brush and blending into the background space so that they have a very blended loop. So that is it for the first layer. Now let's be honest this to dry completely and then move ahead further, adding in. So now everything is dried completely and I'm going to begin in with the vomiting color to begin adding the details into the board. Now. So I'm going to use this bright orange color. If you do not have a woman in color, you can go ahead and using an orange color, yellow orange color, or any bright orange color. In case if you do not have and use the orange sheet, you can just mixing your red and yellow to get a bright orange color. Now the blocks that we have added, I'm going to leave those blank for now and just begin adding the details one by one. So phosphor, the biggest block, I'm adding the orange color. And I'm going to go ahead and fill in the details with the orange color first. So vd gives me, you can see I've just outlined all of those boxes so that we do not go out of proportion. And it's easier to add in the details in the rest of the space. What do you get new for the board species you can read. You now have a new cough to be. These are the blocks that we're creating and then go ahead and fill them with the colors of your choice. But make sure to use bright colors so that it stands out onto the cobalt blue water beads that we have. Now let's wait for this to dry completely then begin adding in the folder. So now know are in space is completely dried and I'm going to go ahead with this permanent red color tone and begin adding the darker details in the blocks out. So this bigger block at the backside, I'm going to go ahead and added Hello of the permanent red color. Make sure it is darker and stands up different from the orange color that you have used in the rest of the board. Now next, using in the Persian blue color, I'm going to add in this small block out this wall block on the margin. Now to begin adding into further detail, I'm going to shift into the white quash so as to give him the perfect outline to the board and adding the details on the outside. So it's not that I'm going to go ahead and news and the white course so that I can give him the perfect detail, outlines and bold effect for the board. So using the brush closer to the base and you can see it gives me more precision plus more control over the brush. And just beginning in, I'm just defining the ages when using the tip of the brush. You can see because of the bowl consistency of the color, it is a completely hiding the orange color as well underneath wherever I'm giving it the perfect shape. Even at the bottom side, if you see the orange color and the white color line is quite thin. So I'm going to run this layer of white wash onto the orange color as black and white outline. So you can see with just one stroke off the white quash layer. It gives us so much more depth and detail to the entire board. Plus, it makes it look so much more beautiful because it's the perfect symmetrical white outline on both the top and the bottom side. That just using white gouache so that we get in the opec details, even on the orange handle, cobalt green color that we have used, but make sure they're not apply a lot of pressure. Otherwise, it may begin to activate both of the audience and the cobalt green color and may make it difficult. Now using the same white quash, I'm going to go ahead and add in some dry brush closer to the shore space out here, trying to give him some Crashing Waves view. So very carefully you can see on the edges, I've just given him little dry brush TTL. So whenever you are going ahead with the dry brush technique, you have to be sure about one thing. That is you have to add in the dry brush in such a way that you do not get patches of the white color. So it's important to brush all these onto a visual for that next is pigment and water is lifted onto the tissue. Now in-between them. Greens and browns as well. I'm just giving you a little of this white DD to showing some bytes. And now after this we will just be left tend to give him the DDL for the board shadow. Once again, I'm a little more detail into the board and then we'll be ready with this class project for this steep. So now I'm going to first just in black pen and begin adding in some details into the boat out here. So now you can either go ahead and use it color like this. You can go ahead and using a black pen so that you can add these details with more precision. So I'm just giving you the outline to the blocks that we have created so that it becomes easier and gives it a more detailed view. Now I finds it means so happened that your pen stopped working because of the thick layer of colors. So you can run it on a rough paper and it will again be easy to run it onto the pinks because the tip, again that's deactivated when you round it onto a rough paper. So very carefully I'm just giving in very fine lines. So I'm using a 0.3 brush pen. You can go ahead and use the best possible pointed tip pen that you use a pointed tip brush and the black color to add in the detail. Now, on the outside closer to the white figure, you can see I've not given the black line completely at the top. I gave it till the half space and at the bottom also I gave it to the half space in-between. I've left in some parts in giving the outline. Now using this mix of the green and the blue color, I'm just going to add in little more detail. Also, this is the wet-on-dry details that I'm adding to create some more depth. And then we'll be using the same palette, adding the shadow for the board. So very simple patches that have created onto the green area given more darker. Now using the Payne's gray color in-between the brown species as well, just giving you a little of the rock. You can see as soon as you begin adding in this color depth, all of the videos begin to get so realistic. And plus the audit begin to get in more of the depth. So that is it for all of the details. Now let's remove the masking tape and see your final painting. I had forgotten to add in that shadow effect before removing the masking tape. So after removing in the masking tape, I will add the last layer of shadow for the board. So make sure to watch till the end so that you'd not miss adding in the shadow for the board. So now using in the darker mix of the new and the lean more towards the blue side, just adding in a smaller darker shadow. So the veteran, that shadow that we had added, it's going to be smaller than that as well. So as to give him the more darker depth of the shadow closer to the board on v. So you can see a very simple line. Now I'm just going to give it a pointed under defined shape just as the board so as to make everything look better, you have to adopt the shadows much closer to the board and then the shadow toning lighter with the lighter tones that we added wet on wet. So your final painting for D 16. I hope you guys enjoyed painting this. I will see you guys soon into the day 17 class project. Thank you so much to each one of you for joining me and painting along with me. 21. Day 17 - Rocks: Hello everyone. Welcome back to day 17 of the 30-day mini art challenge. Today we are going to be painting a beautiful beach scene. I'm just going to go ahead with the pencil sketch first. So beginning in with the pencil sketch, I have marked the horizon line a little about the center line this time. Now in the beach area or the area actually we are going to have in a lot of rocks this time. So it's a seascape with a lot of rocks. I'm just going ahead with the rough pencil sketch for the rocks as well. We will be adding the details in this while adding in the veins directly. Now at the bottom space you are, you can see I'm adding more of these bigger rocks as bad. Some of the smaller rocks we will directly add in the details with the paints later on, just putting in some examples here. Now, you don't have to be in this box a little separately from the sea. So adding in these smaller details may be a little tricky one, but we will make the process simple and easy to paint along. So first let's begin with the sky, and I'm going to go ahead with a light layer of water onto the sky. Now, in case if you know the water goes into the mountain range out here in the sky space, it's perfectly okay because this guy is going to be of a very light color. And the mountain later on is going to be off the darker shades of green, brown, and yellow sky. Make sure when you are adding in the color you can try to avoid add the colors are closer to the mountain range or on the mountain range space. But for applying the water, it's perfectly okay. And then even if the color seeps in a bit, it is okay. So first I'm using in the shade of Indian yellow. If you do not have the Indian yellow color, you don't have to worry, you can simply go ahead with any lighter tone of a yellow color closer to the horizon line. Now for the blue color, I'm using the peacock blue color from this set, which is equal to acetylene blue color. So you can go ahead with the serine in blue, sky blue, whichever color is available in your palette. Now, make sure when you reach closer to the yellow color, you can see I've tried avoiding moving the yellow and the blues together because in the green color, It's very important to leave that very thin white line in between so that the colors can naturally bleed and flow into each other without forming in the greens. Now using the same blue and a little darker consistency, I'm just beginning to add in the darker debt creating in the details for the clouds of the blue color. So this time you can see I've created in the depth in such a way that the clouds are moving diagonally as well as we have some of the street moving clouds, again closer to the yellow color, be very careful that while adding in the darker that you do not form in the green colors. Now this is also just the phosphate of the clouds that I'm adding in after this as well. I'm going to go ahead with much more layer or depth of the clouds as well. So you just need to keep adding layer upon layer so that you can build into Laos and get the blends right. Now I'm just running a **** brush out here because the blue color seems to have a harsh edge. And running it a bit over the yellow to give him that glaze off the blue sky turning into the perfect evening sky and the setting sun. But you can see I've added that in such a way that the green color is not fun. So use a damp brush, get the techniques right so that it becomes easier to avoid in the column exists not in the sky dries. I'm going we'll go ahead and paint the smaller rocks in the area. So not the complete smaller one, but the little bigger ones that we have in the area. So before moving to the rocks, I'm just adding in little of the darker depth of the clouds. I've just added in the Payne's gray color to the blue color. And you can see very gently I've just added in some darker depth. Now makes sure every time that you are working wet on wet, you have the water control because if you will have excess water and paint, then the colors will begin to spread and give you one flat color loop. Now let's begin adding in the rocks one-by-one. So these bigger rocks are not completely bigger one which is on the horizon line. But the other smaller ones out here, I've gone in with a layer of water now into this, I'm going to be playing with the greens and browns. So I'm going to go ahead with the light green color first. I'm just going to squeeze out a little bit of the burnt sienna on my palette and keep it ready along with the greens, I'm going to go in with the touch of brown and a little tint of Payne's gray to give in Dhaka deck. So first beginning in with a little tinge of yellow at the top of the mountain range. Next, shifting into the green color. And now lastly, I'm going to pick up the burnt sienna color and add it at the bottom space and blend all of these three colors better. Now at the top edge, I'm just giving you a little touch of the burnt sienna color as well. Now in the same way, I'm just going to go ahead and paint these medium-sized rocks at the bottom space. So until the sky dries up, even these rocks will dry out. And then we will go ahead painting in the layer of C first. And then painting that bigger rock at the horizon line after the C dries out completely. So you can see in few of the rocks I'm adding in a little touch of Payne's gray color as well at the bottom to give him the darker depth. Now, as I told you, the difficult part will be while painting the ski area will have to go a little carefully so that we're not true in the small rocks that we have already painted. But so as to give it a little detail view this time we had to paint the rock separately first and then paint the C separately. If you want. What you could do is use a masking fluid and cover these mountains forest and go ahead and paint the base year for the C first. And then once the C would have tried, you couldn't the masking fluid and then go ahead and paint these rocks. So but I wanted to go ahead with the easier one without masking fluid. So now I'll wait for all of this to dry and then move ahead further and painting the area, then the remaining details for the rocks. So now let's begin painting in the sea area. Everything is dried completely, even this guy and the rocks. Now very carefully I'm going to go ahead and adding the layer of water, a widening in the rocks that I've already painted. So closer to them as well. I'm just going to go in with the layer of water carefully, but I'll leave a very fine white space where I can directly add the color with precision using a smaller size brush. Now for the C, I am picking up this scene because blue color with a little bit of the Payne's gray color. So it's sort of a light indigo color that I'm using. And going ahead very carefully, I'm using my size four brush and now closer to or stroke area, I'm picking up the little dent off the green color who show the effect of the greens of the mountains falling into the sea. Again, I will pick up the blue color and blend it well carefully with the green so as to have the Greens only as the highlight. All closer to the mountain ranges. So closely to the rock, you can see I'm just using the tip of my brush and adding in these color very carefully. Now why does the area is still going to be wet? I'm just going to go ahead and add in the depth into the sea as well. You can see the tiny rocks have been covered up with the blue color for now because they are going to be as it is, the painted in with a very dark tint of the brown and the Payne's gray color, so that will be visible on top of the blue color as well. Now the green color you can see it's looking bright and bold separately, so I'm just going to cover it up as well a bit. Now, before that, I'm going to shift into the Payne's gray, mix it along with the blue on my palette to get a little indigo. And do that are added in a little thing of the green color as well. Now. Darker tint. I'm just going to add in some wet on wet leaves using the tip of my brush. Now again, the important thing is the water control. You can see that is not excess water. That is the reason the pins are not spreading much. Does piece that I'm adding them in. They just have a soft edge but have a blended with the base area of the sea. Now for the next set of leaves, I'm just going to go ahead with the Prussian blue color. You can either mixing again your Payne's gray and the blue color this time without adding in the green. And go ahead with some darker leaves out, you're giving in the depth into the sea area for that. Also, you can just add in some spirals as well too. So some bubbles of water or popping in. So majorly on the edges you can see I'm giving him the darker death now I will just define the rest of the horizon line. Well, with this darker, if you want, you can even use the Payne's gray color and add a little shadow effect under the rock and closer to the rocks piece to create the shadow of the rock falling onto the water species, giving him more depth to your painting. So that is it. Now I'll wait for all of this to dry and then paint the final details. So now my CAD has completely dried and I'm going to go ahead and paint that huge rock onto the center space for that as well. I'm going to go in with the same colors. That's the yellow, green, brown, and Payne's gray, beginning with the yellow at the top area. Next closer to the yellow, I have picked up the green color, so I already had a little mix of the green and Payne's gray on my palette. I'm using this darker tint out here very randomly at the bottom space, I've just added little green spots so that in-between the browns as well, we have legion of the green details. Now the rest of the bottom space, I'm just going to go ahead and fill it in with the brown color. And then we will give it more depth and texture to this mountain. So you can see slowly the entire painting is taking shape. Now I used in little tender yellow again because we are going to be giving in little dry brush DPS so as to give him the texture there. Now using the ground, I'm just giving him the top sheet so as to given the depth and make the edges bold and clear, you want, you can give him some random shapes at top of the mountain range out your order ofs dv, so that it looks more natural. Now shifting to the white gouache, I'm going to go ahead and give him some of the crashing waves, look closer to the rock species. So basically I'm just going to add in some dry brush detail closer to the rocks to show the crashing wave effect happening closer to these bigger rocks that we have added in. So very lightly, I've just picked up a damp brush. You can see I did not dip my brush into water. I directly lifted up paint and not much of paint as well. Automatically I'm getting in this dry brush teeth even apart from the rocks piece, I'm going to go ahead and add in a few of the dry brush details for the VV factors. Well, before that I'm just shifting into the Payne's gray color and adding in those smaller rocks which we were supposed to add in with the Payne's gray color. So very carefully you can see just adding in some tiny rocks urine there with the Payne's gray color itself. I'm just giving you the darker debt onto that bigger mountain as well, very randomly. So if you want, you can go ahead and just create some depth on to the bigger mountain as well. Using in the darker teens, that will just create the effect of that bigger mountain. Now shifting into the white brush again, I'm just going to go ahead and add in the dry brush TTS. So you can see how carefully closer to these rocks I've added in the detail using the white was creating in the crashing VV spec and then randomly in the rest of it space as well. I'm just giving some of the foam effect of the waves happening. Now using the Payne's gray color, I'm just going to define the horizon line giving in a very tiny mountain range in the background. Same day even on the left side yard, I've just given a very tiny mountain range to define my horizon line. Well, so that is it. We are ready with our class project for D7. Just a little more detail before we remove the masking tape, I'm just going to go ahead with some dry brush detail onto these drugs. Now this dry brush detail may not be visible nucleoli yard because of the tiny detail and the mini paintings that we are doing it. But if you had a closer view, I'm sorry, you would be able to understand the effect of the dry brush technique that is adding onto this. So even on the bigger mountain range, I've added me to love the dry brush teeth. Now using the damp brush, I'm just blending a little of these whitespaces well into the background so as to give it that soft blended looked into the area. So just using the damp brush to blend the white into the background of it. So that is it. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once everything is completely dry. And also make sure to remove the masking tape against the paper so that you do not pay off the edges. So you also find in painting for these 17 of this Saturday many art challenge. Thank you so much for joining me and painting along with me. I will see you guys soon into the next class project. 22. Day 18 - Powerlines: Hello everyone. Welcome back to the eating of the 30-day mini art challenge. Today we are going to be painting yet another beautiful landscape. And I'm going ahead with a pencil sketch first. So we are going to be having in a bold power line painting to deal with the powerline celebrate. I've marked in this bowl or pull out your to add in the powerline details. Now this pole you can see is a little slant and not an exactly straight one. Now on to this and beginning to add in some small details. And then we're going to create a beautiful greenish, yellow evening sky look out here. I'm just adding in small details out your first with the pencil sketch. Later on, all of this we will be giving in the silhouette detail using the Payne's gray color. So these have very little details. Then we're going to add in more of the wire lines into the sky as well. So I'm not going to add in the pencil sketch for all of the lines, just a few of them I'm adding here. So that can get a rough idea of how the entire painting is going to go about. Now also make sure to not go ahead with much of the data. Otherwise it will be very difficult to cover them is by adding the paints are based on the pencil sketch, so it's important to keep the pencil sketch as well, a little on the lighter side. Now, I'm going ahead with a little photo onto the entire surface. Since I told you this powerline bowl and the details are going to be with the Payne's gray color. We do not have to worry about leaving them blank for now because it will get covered up even if there is color added on top of those right now. But make sure you haven't even layer of water throughout so that it does not spread and you can add in all of the details evenly. So first beginning in with the Indian yellow color and beginning to add in this color at the bottom space, creating in the yellow effect for the sky. Now to this Indian yellow, I've just added a little bit of a yellow, orange color as well at the bottom space. Now the next color that I'm going to lift is going to be this one median color. Now you can either use a vomiting color, orange color, and bold orange color that's available in your palette. You can go ahead and mix in a little hint of red and yellow to get an orange tone. And using this orange color, I'm just going to begin adding in some highlights. Now at the top space major me later on we're going to have in the Payne's gray colored sky detail that is giving him the Greek cloudy effect. But for now, just adding a little paint off this yellow, orange color onto the right side as well. Now I have two beans, we've got little children, my palette and using the Payne's gray in a medium likely to consistency. I'm just going to go ahead and begin adding in the detail. Oh, sure. If you can see there is a little hint of blue as well that I've just added it. But this Payne's gray is also a little towards the bluish side, making it more easier. Now, in between the gaps of the yellow, orange color as well, you can see I'm just roughly dropping in little up the grid in trying to get into the cloud effect and blending go perfect. Whenever you add in the details, wet on wet, you have to go in very carefully so you can see that I'm adding in these ways details on top of the yellow, orange color, I have the perfect motor control that is the Payne's gray color is not spreading and covering up that space. Rather, it's returning the cloud shape in which I'm trying to add it, just having a soft edge because of the red background. Now using the same Payne's gray color, I'm just going to go ahead and begin adding in little details are giving in some darker depth on top of this. Now, make sure when you begin adding in the dark or that you're not cover the entire light of space is completely, you've added that lighter layer for a reason so as to get in that lighter tones visible. So you just have to add in the dark color as a little highlight, but you can see it's not completely dark. I've added a little paint off. Peacock blue color in this as well. So as to get indigo color like. Now again, the important thing while working wet on wet is the water control while adding in these directions. Otherwise, all of the colors will begin to spread completely. And you will not be able to control the flow of the fellows If you will have a lot of water. And then we will just begin some flat color loop. Now, very carefully in between the Payne's gray, I'm just adding a little more of the orange highlights. Now using the vomiting palate itself in-between the Payne's gray color. I'm just creating little effect. Now again, if you'll see is that it is too much, you can again drop in little Payne's gray in between as well. So you will get the perfect blend it under a cloud effect going smoothly between different colors. Now let's wait for this to dry out completely, then move ahead further. Everything is completely dry it and we'll begin adding in the silhouette detail. You can see how beautiful the evening sky is looking. Now for adding in the silhouette, I'm going to go ahead with a bowl consistency of the Payne's gray color at the bottom space to show the effect of the skies and light, I'm going to go ahead with a little brown color or orange color tints. So first beginning mapping out the outline for this using the Payne's gray color. Now in case if your pencil sketches not visible to you, you can just run ahead with another layer of pencil sketch and then go ahead with the pain details. Or if you're confident about adding the details directly with the paints, you can directly run with the colors. But at the bottom space, remember, we have to show a little highlight on the ball as when using the lighter tones. So at the bottom you can see, I'm going to go, go ahead and add this Payne's gray color in a very lighter tone. You can see I've added more of Bordeaux your now and less of the color. And then on this as well again, further, I'm going to create little highlights. Now make sure that your transition from the darker to the lighter tone is smooth and does not have a sharp edge in between. Otherwise it will not give that finished look what we need having the perfect transition between the sheets. You remember the pencil details that we had added? I'm just going to go ahead and use the tip of my brush and begin highlighting these details. If you want, you can wait. See completely the details that I'm adding it and then go ahead and add in these details. Or if you want, you can go ahead with a different silhouette of your choice for these powerful details, the placements can be different from mine completely, okay? Because the important thing is to understand the technique and the method rather than going ahead with the same color tones or the same shapes amnio. Now at the bottom space here, I'm just going to blend it once more again because I don't find the transition going in much smoother. And at the bottom side also onto one edge, I've just given a little darker that that is the left side. Because I want to show them that light off the sky falling only on the right side of the bowl. Now I'm shifting to my liner brush. And using the liner brush, I'm going to go ahead and begin adding in the details for the violence. Now make sure that you use a very fine pointed brush. All shifts to a 0.20.1 size pen so that you can get these fine lines. I'll find these lines are, and using this liner brush, It's so easy to add in these details finely and quickly. Now in-between these biases, well, I'm just kidding. Go ahead, add in some connections and some more details before we move ahead to the further details. So very randomly you can see I'm just adding some connections to these violence from the pole somewhere, just some screw details and some are connections between the wires as well. Now, lastly, I'm going to go ahead shift into my magical one. That's the spoiled round brush and creating some varnished even using the Payne's gray color and this brush. So very carefully at the bottom species on both sides of the bowl, I'm going to go ahead and create some 5-HT D. On top of this will give a little detail if needed. But for now, just go ahead and fill in the space quickly. Now in the same way, I'm going to go ahead and add in a little of the finest detail at the bottom left side here as well. I feel see close either on the pole. The lighter effect that we created at the bottom space is showing the perfect sunlight glowing effect falling onto this poll giving in that yellow effect underneath. Because of the light. One of the pins piccolo that we use on that whole area. Now in-between this file, as you can see, the poll is not having a finished line. So I'm just going to go ahead with a little thing of the Payne's gray color and give the pool of finished line. On the left page you can see I've given him this Payne's gray line. I've made sure to maintain the right species having hello glowing effect so as to show the sunlight effect. It is this little details that creates the shadows and the deflection effect and gives him depth to your painting. Now, using this liner brush itself, I'm just adding in some D1 or foliage on the top space, giving you the details of some branches peeking out from this spoilage area. So when he handed me on both the sides, you can see just adding in little detail for leisure also create so much more of the debt. Plus the most important thing is that effect that we have on the poll. Now my poll is completely dried, so I'm just going ahead with my white gel pen giving in some more highlight effect. Make sure that your space is completely dry before you begin adding these details with the white gel pen. And in case if you do not have a white gel pen, you can simply go ahead. Who's in your white and the liner brush and adding these little highlighted the games. Now on the right side, I find the highlight a little more bold, so I'm just going to go ahead and run it **** brush quickly on top of it so that it gets a little subtle and, uh, you know, well blended look. So that is it for a painting for the 18. Let's remove the masking tape and see your final painting. It was a pretty easy painting and just almost under 15 to 17 minutes. And you can see how beautiful this guy looks with that of indigo and the yellow orange clouds and those white little glowing spaces. So here's the final look of the class project for the 80. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the next class project. 23. Day 19 - Green Field: Hello everyone. Welcome back to day 19 of the 30-day mini challenge. Today we are going to be painting a beautiful Greenfield details painting. So let's begin with a pencil sketch and then move ahead further, adding in the colors to a painting. This time I'm marking the horizon line a little below the center line, as you can see. So that's the only pencil sketch that we will be adding. Now, we are directly going to go ahead with the colors. So for this guy, I'm going to go ahead with the ultramarine blue color. So I'm just going to quickly squeeze out a little of this color out here on my palette. Beginning in with a clean layer of water onto the entire sky so that we can go ahead and add in the colors into the sky. Make sure you have an even layer of water onto the entire sky so that the paints do not dry unevenly and you can add all the details wet on wet. So you can see I'm running my brush multiple times so that my paper is evenly wet throughout. Also make sure that you do not have excess water on the edges. Otherwise, if Missy back into your painting, we do an up your edges by making the paints flow back into the painting from the edges. Now, so let's turn to the sky. I'm going to begin in with the Carmine color. So I'm going to pick up this row shape from the palette. And I'm going to begin in closer to the horizon line with this beautiful pink tone. You can go ahead and use any pink shade available in your palette. It can be a Carmine rose, my dad. When I can end rows by whatever name it is, you can just go ahead with a pink pigment. Now at the top of the sky, I'm going to go ahead with this ultramarine blue color. And very gently I'm going to leave and little spaces in between bite creating those bright cloud effect as we begin adding in these colors. So gradually till the pink color you can see I've added in the layer of the ultramarine blue color in a very light consistency. Now, I'm going to go ahead with the same ultramarine blue color, but with a little darker consistency and begin creating in some darker depth for the cloud effect into the sky. Now in the same way, I'm even going to go ahead with the Carmine color shade and add in some darker depth near to the Ping space. Now whenever you are adding the details but on wet to create the depth, you have to be sure about two things. One is the water control into your painting. I'm taking while adding in the details, if you will have excess water, the colors will begin to spread. Give you one flat color look, instead of giving in that detailed look of the details. Now next I'm going to pick up the Carmine shade and begin adding in between the blues, creating in some cloud effects. So you will see that when the blue and the Carmine mixed together, they give you a violet shade, a beautiful violet color, which looks very blended with both the colors because of the same two colors that you're using to create this shape. Now, you can see when I'm working with this violet color, sure that I do not adding a lot of water. That is the reason why the pink color is not spreading much and it's retaining the place where I'm adding it and given the perfect blended look. Because if the wet on wet technique now just defining a little more of the horizon line when using the darker consistency of the Carmine toes. Now I'm going to go ahead with a little more of the ultramarine blue color and creating some more darker depths. Now this time you can see I'm using the tip of the brush to create a random cloud shapes. So you can see we worked in so many layers to get this entire effect come to life. If you try to add all of these in just one simple flat layer loop with the dark is consistency. It will not give you this vibrant and different color tonal value loop. So it's important to walk layers on layers only then you will be able to achieve in these details for this guy to dry out completely, then we will begin adding in the details in the field. So now my sky is completely dry it and you can see how beautiful that white effect looks blended well with the blue and the pink tones. Now, let's beginning with the pace for the field area. So for that, I'm going to go ahead with this permanent green color. So you can go ahead with any lighter green tone. It can be a yellowish green color, any light it invalidates available in your palette. It can be in the name of me, green, yellow, green, greenish yellow, or even light green. So by what they want, emit this COVID a bright light green color first. Now for this v is base. I'm going ahead with the wet-on-dry technique. That is, I did not add in a layer of water. I directly went ahead with wet paint and created a beautiful layer for the field. Now on top of this, I'm going to go ahead and begin adding in the details with the darker tones. So for that, I'm going to use in this green color from the palette, which is equal to a sap green color. So you can use any darker green that's available in your palate and violet light, the dean is still wet, just begin dropping in this darker green at the bottom species to create in the depth. Now in this scene, I'm going to begin dropping in the darker green from the top space is closer to the horizon line as well. Now for adding in further Docker depth, I'm going to go ahead with this vendor green color from the Magellan mission set. It's a very bold, dark green color, which I absolutely love because of the vibrancy. Now in case if you do not have this, do not worry. You can simply just go ahead and mix in a little bit of your Payne's gray, blue and the green color, and you would get an almost similar dark green tone. So that's the key that even with minimum colors, you can mix and create multiple color options by just alternating the proportion of the colors that you are mixing in. Very carefully, closer to the horizon line. I'm just blending in the darker green tone creating in the deck same, they just running a **** brush at the bottom. You can see the darker lean is not spreading much on its own. So to create that blend, I'm just running the **** brush so that I can smoothen up the details. Now, even in the center, just using the tip of the brush, I'm just adding in the dark or depth on to the lighter green creating in the details for the field area. Now by the time this layer settles in, we're going to go ahead and pick up my white brush and adding a small bright moon into the sky. So now I'm going to pick up the white gouache in a big bowl consistency so that we get an opaque layer for our moon. Now this time I'm going to try to show it as a rising moon. So I'm going to add it onto the Ping space out your closer to the horizon line. So that is it for our moon. Now widely, field areas still dries out. I'm going to go ahead pick up a little bit of the Payne's gray color and begin adding in some boards into the sky. So I'm going to shift into my liner brush because it's a pointed tip brush, you can go ahead and use a detailer brush, whichever has a pointed tip. Or you can even go ahead and using a black pen if you are not confident using a smaller brush for adding in these board detail. So now using this liner brush, I will just begin adding in smartboards into the sky. So now you can see I'm adding in very random and small detail of the birds. I'm not going ahead with much of the detail. Look, it's very simple but Zillow hate. You can see I'm trying to add them in different flight angles creating in the depth into the painting. Also, if you see in-between, I've added very small boats to add in those details to show some birds flying off from far away. Now let's wait for this field area to dry out completely. Only then we can move ahead further and add in the details into the field. So let's wait for this to dry then move ahead further. Now my entire painting is completely dry. Now I'm just going to go ahead and add in a fence detail at the bottom in the field area. So I'm just going to go ahead with a very light pencil sketch. Now this pencil sketch will not be clearly visible to you because of the paint layer underneath that we already have. I'm just going ahead with a very basic fence in the center. I've created the main fence and on the left and right, I will be adding in the fence moving towards both of the directions. Now in case if this is not visible to you and you are unable to understand the placement of the fence. Oh, recommend you to first watch in the deviance that I added with the Payne's gray color or the brown color, and then go ahead and add in your fence accordingly. If you want, you can go ahead with some other friends, celebrate as well other than mine, and use your own reference to create the TDL's into the field. So I'm just lifting up the Payne's gray color and I'm going to begin adding in the details. I have added in very basic pencil sketch for now, because I will be adding in the main details directly using the Payne's gray color. Now along with the Payne's gray color, as I told you, I'm going to use in a little bit of the brown color as well. So I've just squeezed out a little bit of the burnt sienna color. You can use in the brown, red or the red brown color. And using this color, I'm going to begin in along with that using in a little bit of the Payne's gray to give him the darker there. After this, we will even create a little shadow for this into the field space. So first let's add in the fence area quickly, then move ahead for the further details. On the right side, you can see fence lines are moving diagonally towards the right side. And on the left side, I'm going to move these fence line moving towards the bottom side trying to show the cause that these fence lines are creating into the field area. So you can see we can use our simple silicates to create the depth into your painting and also to enhance the look of your symbol field as well. Now, using the same brown color, I'm just adding some more details to the fence that we have added. After that using the Payne's gray color, I will add in the shadow to the fence as well. First, let's go ahead and add in the details towards the left and right side as well. So on the left side, I've just added two wooden logs. Now let's begin adding in the shadow. So the moon is in the center, and I'm going to show that the moonlight is falling in such a way that the reflection is falling towards the right side. So I'm going to use a very light consistency and show the shadow falling in towards the right side. So very simply you can see I'm using the brown color in a very light consistency to just make it act as the shadow. Same way if you feel that the shadow is quite dark, you can quickly dab it with the help of a tissue to lighten up the shadow and give it that blurry effect. Now make sure that your shadow is quite light as compared to the main element that you have added. Now using the Payne's gray color, I'm just going to go ahead and add in those lines as well to actin as the shadow you are. Now very lightly, I'm going to go ahead and add in the shadows towards the left and right side as well. Wherever you feel that the shadow is too dark, you can quickly just add in a bit to create the lighter effect. Now, I'm going to use in the same brown color and add a very fine mountain range on the horizon line to define a field space as well. So you can see closer to the moon space, I've left the mountain range plan that is at less of, you know, horizon line be visible meeting well, with the field space only on the left and right side of the horizon line. I've just added in very tiny mountain ranges to give him the detail. Now shifting into the white quash again, I'm just going to mix it with a little bit of the green and adding some grass effect at the bottom space. Now I've shifted to my liner brush and using this green and a white gouache mix, I'm going to go ahead and add in the grass detail. Now the reason of mixing and white washes so that we can get the opaque layer of grass even onto this darker depth of the brown and the field space. So you can see as soon as you've added in byte cost to your green color, it is visible even on the darker green space. I'm still going to go ahead further adding a little bit more of the white so that we get a further opaque and a lighter green tone. So very simply just a little towards the bottom side of the fence area. I'm adding in Digital of these jars strokes to create that perfect blended look into the fence and the field space. So you can see majorly on the bottom space, I've added a little of this glass effect with the mix of the whitewash. Make sure to mix in the whitewash to get this opaque glue. If you will try mixing it with white watercolor, it will not give you this opaque loop because what the color will not stand out this opaque onto the darker tone of the watercolors that you've already used in the fence and the base of the field. So that is it for a painting for D9. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once everything is completely dried and always remove the masking tape against the paper. So here's a final painting for D9 of this Saturday mini art challenge. I hope you guys enjoyed painting this beautiful simple field for today. Thank you so much to each one of you for joining me into this class. And I will see you guys soon into the day 20 class project. 24. Day 20 - Waterfall: Hello everyone, Welcome back to the 30-day mini art challenge. We are on day 20 today. And today we are going to be painting a beautiful Northern Light waterfall. So first let's begin marking out the pencil sketch. So the northern lights sky is going to be a very small space, only at the top. Now I'm marking out the mountain range on the waterfall space. And at the bottom voucher, we are going to have a sea or a lake space where the waterfall is coming down. At this top area out here. In the center, we're going to have in the waterfall here. And at the bottom we are going to show the water splashing effect. And then at the bottom space you all, we are going to show the flowing water effect and the top is going to be the northern lights sky. Let's begin painting the details one-by-one and getting the entire or thumbnail to life. So first for the Northern Lights, I'm going to go ahead with this cobalt green hue color. So you can go ahead and using any kind of a cobalt green that's available with you. Or if you do not have a cobalt green, you can simply using a bright light green kind of a tone and you can mix it with a little tint of the viridian green to get almost a similar kind of green. The next color that I'm going to use for the northern sky is going to be the indigo color. This is from the brand White Nights and the cobalt green you was from the brand Magellan mission. So before beginning in with the paints, I'm going to go ahead with a layer of photo at the entire sky space. Only. First create the northern sky. Now I'm going to go ahead with the cobalt green color first you can see I've added the layer of order only till the sky space. I'm giving him the perfect mountain line as well so that the colors do not seep in. But in case of little off the colors seats inside the mountain waterfall space, it's okay because we are going to work with darker and opaque color layer there, but try avoiding as much as possible. Now for the northern lights, you can see I'm adding the cobalt green color in a spiral manner or as exact tone to create the effect and flow of the sky. Now closer to the waterfall and the mountain ranges giving a line of this color. Now in-between these lines, I'm going to go ahead with the indigo color. So I'm shifting into a smaller sized round brush. And using the indigo color, I will begin dropping this color in-between the green tones that we have already added. Now make sure when you begin adding in this color, you do not have excess of water. Otherwise, this color will begin to spread completely uncovered the entire cobalt green spaces. For now, we're just adding the color giving in the placement, the blend between both of these colors may not happen easily like this. So what we're going to do is we're going to pick up the same cobalt green color again and random layer of that color again. And then you will see that as soon as you add in the second layer of the cobalt green color, it begins to spread and blend with the indigo color. Now towards the edge of the indigo colors you can see I'm beginning to drop in the cobalt green color. And you can see automatically the blends happening and the indigo color beginning to flow into the cobalt green color creating in the blends. We're still going to get these blends much more smoother, add in more depth. So I'm picking up the indigo color again, beginning to add in the darker depth. Now, all of this we are working wet on wet. That is the entire sky right now. It's still wet. And on that, I'm going ahead with all of these wet details. Now you can either keep using a damp brush or keep using the colors again to create the blends between them right? Now one thing that I want you to remember is that closer to the mountain green space, try having the cobalt green color loop because it's going to give him the darker depth in the mountain range. And since the mountain range is going to be off the darker tone, I do not want the indigo color to be closer to that. Otherwise, it will be very difficult to mark the distinction between the sky and the mountain range. Now, in-between, just tilt your paper in all directions so that the colors bleed and flowing naturally. Now on the left side you can see those are much towards the darker side. Plus I wanted to add in some lighter green thinks I've just picked up the light pink color from this breeze palette and just added in-between and now creating in the blends out. Now again, just rotating it in all directions so that the colors flow and blend into each other smoothly without having those sharp edges. Now just giving in some lab last touch of this darker tone of the indigo color, define the lines well. Now after this, we need to wait for this to dry completely before beginning to paint in the mountain range and the waterfall space. So until then I'm going to go ahead and paint the bottom see space because that's quite far from both of the regions. And you can go ahead and add in the paints out there and finish off that part as well. So just adding in some final darker tints from the top side of the northern lights moving into the green color. Now Father sees space. I'm going to hit directly with the wet-on-dry technique because it's quite as simple. See that we are going to paint it began with the cobalt green color in-between, I've added a little bit off the light green color. And now as well, I'm going to go ahead with a little tint of indigo color onto the right side. Now picking up the indigo color, I'm just going to begin adding in some details, wet on wet, but I'm not going to go ahead with much dark consistency. I'm going to blend it and get it into a medium consistency. On the right side, I'm going to show in a beach kind of a space or a lot of detail or the sand kind of ADR once everything dries out. So on the right side you will see I'm not going to go ahead with much of the details. I'm just adding in these little details so as to show in the darker depth. So just blending it well. And later on when this dries out, you will see the details that we add out there. Now I feel like lifting up a little of the color out. You're from the Northern Lights closer to the mountain change. I forgot to lift it up because I told you I do not want those dark lines. My paper's still wet. I've quickly lifted up little of the darker tones from your now let's wait for all of this to dry then move ahead photo. So now my sky and the sea area both are completely dried. I'm going to go ahead and lift up some white quash out here on my palette and begin creating the waterfall effect first. So it's going to take a little while to create the entire effect because we'd have to work on layers to get in that misty effect of the waterfall, as well as to show the mountain range behind. So fast, Let's begin in with the brown tone. I'm going to pick up this burnt sienna color out chill on my palette and first begin creating in the mountain range. Now before that I'm going to lift up the white goulash and just add in displeasure of stars into the Northern Light because afterwards it may begin acting onto all of the other details as well. So just a little splatter so as to get into different sizes of stars. Now I'm going ahead with a layer of water onto the entire mountain range. And then I'm going to go ahead and begin adding in the details onto this. You'll need to add in the layer of photo even for the waterfall space. Now, let's begin in with a little tint of the indigo color at the bottom space to create the misty look here of the water splashing. So you can see I've lifted up the indigo color in a very liquidy consistency, just adding in that little mist effect. And even the centers based adding in creating that shadow for the waterfall that we will be adding using in the white quash later on. This is just a little of the misty effect of the water that I'm trying to create with the light consistency of the indigo color. Now I have the top space here. I'm moving ahead with the burnt sienna color. Now I'm not going to cover up the indigo spaces that we have added to their until I'm just going to go ahead and blend in this bond sienna color well, because those other spaces, but I want to show in the waterfall effect. So on both the sides I've added in the brown color. Now I'm just going to go ahead with a little tinge of the indigo blended well with the brown still the bottom horizon line off the Z space. Now lifting up a little tinge of brown, I'm just going to add in some lines in between the waterfall as well to show in the background mountain range visible in-between the waterfall. So very simple lines you can see most of this again, will get covered up a bit as we add in the details with the white gouache. So this is just a basically are that we are beginning to create it. Now at the bottom on the left side you can see we've tried to create in that water splashing look in the center, we have the waterfall effect. Now I'm just going to lift up the colors so that we have most of the whitespace is still visible and it becomes easier when we begin working with the further details. Now let's wait for this first layer to dry out then move ahead photo. So now my first layer is completely dried for the mountain range and the waterfall. And now I'm going to go ahead pick up the Payne's gray color and begin adding in the depth to the mountain range first. So for adding in the depth, I'm going to go ahead with a dry brush techniques. I've lifted up the tissue, I have picked up the Payne's gray color and you dropped off all of the excess paint and water onto the tissue so that I have very limited pigment left on my brush and it's easier to get in the dry brush detail. So just beginning to add in this dry brush detail easily. I first added some horizontal lines and now I'm just adding in some vertical lines to create in the depth into the mountain range and in-between you can see it just led to love the dry brush. Now, as soon as I reach the bottom space where I'm trying to show in the splashing water effect. I'm going ahead with a little lighter tint out there and not covering up that space. Cmv, even on the left side. Just going ahead with the dry brush technique, you can see every time I lift up the color, I made sure I dab it off onto the tissue so that the excess pigment and water gets tapped to that. I get in the dry brush in-between, I just lift up the pigment and given some very rough, random crooked lines to give him the effect and some darker debt. Now using the same Payne's gray color, I'm going to go ahead and add in the beach or the sand space out your closer to the z-space. So moving ahead using the Payne's gray color in a good thick bold consistency. Just going to go ahead and first create the outside towards the left side out and then fill in the entire right side with the Payne's gray color in a bowl consistency. I've just filled in the entire space with the Payne's gray color in a bold consistency. So you can see now the reason why I hadn't added much of the details towards the right side and just let it be blank because it was these details that was going to cover up the space. Now using the Payne's gray color, I'm just going to splatter little tiny drops out. You're into the Z space. Just going to simply pick up the paints, gray color, and abilities so as to get that little effect on if you want, you can cover up this pace so that the splatters do not go into the mountain and the sky range. But if you're confident, you can just control your splatters and move it at the bottom space. Now onto the waterfall space, I'm just adding in little patch of the Payne's gray color because then I will be going ahead with the white gouache and then creating in the depth out there. Now let's move on to the white quash and begin adding in the details. I'm going to pick up the white quotient of good bowl consistency. First going to go ahead with some dry brush to create the waterfall effect here. So the spaces that we left in white out there and in onto the browser as well. Just go ahead with a simple dry brush technique to show the waterfall effect. Now for this, you have to use the white gouache thick consistency only then you will be able to achieve in this opaque look for the waterfall. And it's very important to make sure that you do not have much of water. Otherwise it will not give you that opaque look. Also while adding in this mixture to that your entire mountain space, it's completely dry, otherwise, the bottom layer colors will begin to get activated and they will merge with this color and not give you the white opaque look. Now at the bottom space here as well, I'm moving in this dry brush and I'm adding these dry brush at the top of the mountain change data as well. So now you can see as soon as you add that dry brush out there, it looks as if the water splashing details coming to life. So that is the reason I added a little tint of the Payne's gray color first. And now you can see the misty effect as well out there. So CMV, even on the right side, I'm going ahead creating in that little misty effect on the water splashing effect. Now again, I'm going to lift up little lift the brown colors and begin adding in the depth that in-between the waterfall and given those fine lines again to create the depth. So I've just added in some lines out. You're now again running in with the white gloss to ask to get everything blended well to each other. Now if you feel the need, you can just go ahead, run with the colors back and forth and decide if you need to give him any touch over details onto the waterfall space with the brown Payne's gray and the white color details. We're almost through the painting, just a few more details before we are removing the masking tape. Now I'm going to go ahead with a little bit of the dry brush technique and create little of the splashing water effect closer to this sand area also that we have created towards the inside of this black range. I'm just going ahead with a little dry brush technique to show the form effect. Now if you want, you can go ahead and use in your white gel pen if you divide cost does not work well, or if you are not confident enough. So you can use a white gel pen as well like your and creating that depth. So I'm mentioning trying to give him more lines closer to the space that we have created and then on the inside just giving you a little of the dry brush that I've already given in with the help of fight coercion. Now using the white gel pen itself, I'm just going to add in a small Luna mature into the another light. So you also find them painting for the 20. Let's remove the masking tape and see your final painting with those clean edges. Make sure that your edges are completely dried before you begin to remove the masking tape or is it PP law of your paper and the paint along with it because of the wetness on the edges. You also final painting. I just forgot to give him little splatters of the white gouache. So I'm just going to quickly go ahead and add in some splatters of the white gouache closer to this waterfall splatter that we wanted to create. A little of this splash to show the water splashing out your crashing towards the mountain range and giving him the details out to make sure these platters do not cover the mountain range completely. You can blend them. So you'll also find a class project for the 20. Thank you so much for joining me. I will see you guys soon into the next class project. 25. Day 21 - Lighthouse: Hello everyone. Welcome back to day 21 of the 30-day mini art challenge. Today we are going to be painting a beautiful sunset seascape with a very small light out silhouette. So I've just marked the horizon line much below the center of the line, center of the paper. And now I'm going to begin in with the colors directly. So we are going to be creating a beautiful, colorful sunset. Why? So let's begin with a clean layer of water first and then begin adding in the colors we are going to be using in the shades of yellow, orange, pink. And then we'll be adding in the salivate directly with the black color or the Payne's gray color that has a thin layer of water throughout. You can see that I have made sure that the water is spread evenly even on the edges. Now the first color that I'm picking up is this permanent yellow deep color. You can go with any medium tone of orange on oh sorry, medium tone of yellow. Or you can even pick up a yellow, orange color. The next color that I'm lifting is the light yellow color as well. So basically you need two bones of the yellow color, one light tone and one medium tone. Then the next color that I'm going to be using is going to be this shade of pink tones. So this is the Rosemarie dark color. You can go with the Carmine color as well, or any other thing, tone that is available in your palette. Now, all of these sheets are from the brand Magellan mission. And along with that, I'm just going to remove a little of the white wash and keep OUT said you on my palette. Now, before beginning to add in the colors, I just ran with a layer of water again so that, you know, if my paper has dried by the time I was removing the colors, then my paper is wet and evenly wet throughout. Now baking in with the light yellow color closer to the horizon line. And on top of that, I'm adding this Rosemead dark color. So in case if you do not have the Carmine color, you can even use the scarlet color and light consistency or any red tone that is available with you. Now the next color is this shell pink color. So basically this is just a pistol pink color. So or you can call it like a skin tone. That is, you're, now if you want, you can go ahead and use in and create this color by mixing in your base color. So you can just mixing a little bit of your pink tone with a whitewash and get a paste helping kind of a tone. Just added this piece to pink color on top of the row's Beta colors a bit to give it a little tasteful touch. Now, I'm lifting up the peacock blue color from this palette of the brushes palette from the two we add. Now in case if you do not have the peacock blue palette, you can just go ahead with the setting in blue color or any stripe new kind of a door. Now let's begin adding the darker death. So for that I'm going to pick up the medium yellow, that's the permanent yellow deep color and begin adding in the dark or that onto the yellow spaces, creating two tones for the yellow color. Now, when I'm working wet on wet, you can see I have not had much of the water into this yellow deep color so that it does not spread much and cover up the space seen before, the pink color as well. I've just added a little of the rows middle color to the shell, pink color to get a little darker tone. And with this darker tone, pink color, I'm just beginning to add in the Cloud debt closer to the horizon line. Again here also you can see I did not add any water to this because if you will add a lot of water, then the paints will begin to spread. And David, not reading the shape in which you are trying to add them. At this moment, if you see my pains or not spreading, they are retaining the shape in which I'm adding them. Hence, not spreading but still having the soft edge to give him those clouds. Now using the rose petal color, just, I'm going to add in some darker highlights in-between these lighter clouds that we have added. Now with this same pink color, I'm going to go ahead and add in the highlights onto the shell pink color layer as we move ahead, further thickening in the darker highlights at the top of the sky as well. Now remember all of this I'm still adding while my paper is still wet. My paper is still wet completely unable to walk layers on layers. But in case if your paper has dried up completely, you can wait for this to dry out completely. So after that you can be wet the layer completely and then go ahead with these Cloud details. But for that, you need to make sure that the first layer dries out completely. Then run a wet brush again carefully, wet the surface. To know more about the reweighting technique, you can visit a specific class that I did for the debiting technique and understand in-depth about the re-weighting technique. Now using the same pace that pink and the shell pink color mix. I'm just going to begin adding in the Cloud highlights onto the pickled new layer as well. So now you're in-between the peacock blue layer has dried out by just picked up the same blue palette again and running it over the space again so that it also repeats again. And it dries evenly with the rest of the layers, running a little of the blue color over to the pink as well so as to get the perfect transition. But when you reach closer to the yellow color, make sure that you clean your brush and not run the blue color there because it will begin giving you a muddy tones or the green color. So now I'm just adding in the dark or death of the blue colors as well. So very carefully, you have to run this layer of color in such a way that you do not have excess water. Only then it will retain the shape and the place that you add them in. Now at whichever place you feel that for the bleeding and transition purpose, you need little of the color layers again, you can just run those same color again, like I just ran the yellow deep color. I've places wherever I felt for the blend and the transition. Now in the same way, just adding in little highlights with this darker color as well. So basically just having the perfect sunset sky out here with the different colors of the sky and the clouds creating in the deck step-by-step. So that is it for our sky now we'll wait for this to dry out completely and then move ahead for the pain the sea area and then moved to us allocate for the lighthouse. So let's wait for this to dry completely. Now receipt sky has dried up completely and I'll begin with this area first. Go ahead with a thin layer of water onto the entire space first. And then moving further, begin adding in the same colors that we use for this guy into the area as well. Now make sure when you're adding the layer of water closer to the horizon line, you do not run into the sky space. Otherwise, the colors from this fibrin gets reactivated and move into the area. So you need to be very careful by running the layer of water closer to the horizon line. Now in the CAD as well, I'm going to be running with the same colors of the sky, so forth. For the base layer, I began in with the yellow color on the site. And on top of that, I'm just adding a little of the Indian yellow duck. Or you can use the medium yellow tone that you used for the sky. Both of them are the same tones here, so I've just use it from the palate directly. And now on the right side, I'm just going to begin adding in little depth of Rosemead dark color and the shell pink color. Then on this we'll add in some wet on wet paper, the gills. But be very careful closer to the horizon line that you do not run into the sky space. Otherwise, the colors will begin to bleed into each other. Now as shifted to my liner brush and I'll begin adding in the wet on wet wave details. For that, I'm using the medium mix off the shell pink and the Rosemead at Palo, first giving you a definite line to the horizon line. And now, while we see areas still wet, I'm just going to give him some fine lines to actin as the veteran Betsy. So closer to the horizon line, I'm giving in very fine details. And as I move towards the bottom side, I'm just going to increase the length of these lines join. These lines are closer to us. Also on the left side you can see I've maintained more of the yellow highlight and on the right side, I've maintained more of the pink tone so as to show the effect of the nitrile making this ego darker. So when we add in the syllabus for the lighthouse, you will understand why the right species is a little darker as compared to the left side. Now ready carefully, you can see I'm just continuously adding in these lines to create the wet-on-wet. Wave details out. You're now I will just lift up a little of the violet color and begin adding in some details with the violet color. So make sure that you use a fine tip brush when you begin adding in these details so that you have those fine details and the delicate look to your painting. Now very carefully, I'm just going to give him some VP deals using in this color, but it's going to be quite less as compared to the pink tones. And majorly on the right side I'm going to give so as to show again the darker, the shadow effect of the silhouette that we will be adding on the right side. Again, since these details are to be added wet on wet, that is the reason now you may not understand the shadow effect, but as soon as we add in the solution, you will get a little understanding at the bottom, even creating some darker details to show the crashing wave kind of lookout. Blended all of these well, now let's wait for all of this to dry, then begin adding in the silhouette and further details. So now everything has dried completely and I'm going to go ahead and begin adding in the further details out here. I've shifted to my smaller sized round brush, that is the size four round brush, which has a pointed tip. And I've lifted up the Payne's gray color and I'm going to begin adding in the salivate on the right side, creating a small mountain on Iraq space on top of which we are going to be adding in a silo hit off the lighthouse using the Payne's gray color itself. Now very carefully, I'm just going to go ahead and fill this entire space with the Payne's gray color, and then move ahead further, adding in the folder, make sure you do not add a lot of water to your paint, the black color because you need this fella in a bowl by pin consistency here. So make sure that you use it in a good opaque consistency so that you get this ball look for the silicate. Now on top of this, I'm just adding a very small silicate out. You're on top of this rock space. So since this is a low heat is quite small, we're not going to go ahead with much detail on the lighthouse. Distributed the top space and, you know, I mean, look off the lighthouse out there. Even not going with the details because we are adding in the solo heat in the Payne's gray color. Now using the same Payne's gray color on the left side, I'm just going to add in a very fine mountain range on the horizon line. So you can see on the left, the mountain range is quite small and plus I have not connected it completely till the right side mountain range or the range that we have added. In-between, you can see that fine gap that is left out there. Now using it, the fine liner brush, I'm just going to go ahead and add in little of the shadow effect to the lighthouse dog detail that we have added in the CAD. And now I'm just going to go ahead and add in some lines to act as though, you know that flexion of this rock space falling in the CE. So just using the Payne's gray color in a medium consistency, I'm going to add in some fine lines only below the roof space and try to show a reflection of the rock space into the sea area. Now on top of that in-between, I'm just going to give in some darker lines as well to create the depth out there for the reflection. So you can see as we're moving below the rock, that reflection and stone smaller. As it was closer to the rock, that reflection was taco. Now using the white gel pen, I'm just going to add in little details into this lighthouse to create some light effect. Very little, not much of it. Now using the white wash, I'm just going to give this lighthouse lights and opaque look so that it stands out opaque onto that black color. And now lastly, using the same bike wash, I'm going to add in a small moon up into the sky. So for that, I'm mixing in the right brush with the yellow on my palette. And first I'm going to go ahead with this mix of the yellow and the white brush and create a background out here. Now using a damp brush, I'm just going to blend the edges of this into the background so as to create a body effect for the moon and try to show a beautiful rising moon effect of that is if we add a div with the class project for day 21 as well, Let's remove the masking tape and see your final painting with those beautiful clean edges. This class project is one of my favorites from this 30-day mini art challenge. You can see how beautiful that glory moon effect is looking in-between the settings sunset, you and that lighthouse silhouette with just simple details of the Payne's gray color. So you also closer view for you to understand the deflection details that we have added, our TR and one effect here as well. I hope you guys enjoyed painting with me today. I will see you soon into the next class. Thank you so much to eat raw material for joining me into this class and painting along with me. 26. Day 22 - Street View: Hello everyone. Welcome back to day 22 of the 30-day mini art challenge. Today we are going to be painting a beautiful gold evening dark sky. The colors that I'm going to use is this burnt umber, Van **** brown pen is purple and then a little shades of yellow, orange and the Carmine. Now this has been nice purple color is a red pigment number 179. So it's basically more towards a modern niche, kind of reddish tone that is there. But it's named has been East purpose. You can go ahead and pick up a maroon kind of a tone. Now let's beginning with the pencil sketch before I move ahead further. So we are going to paint a road scene. I'm going to begin marking the horizon line first. So the horizon line is quite below the center space. And at the bottom I've marked out the pathway. Now on top of this line, it's going to be as sky. And at the bottom we are going to paint in the roadway and then add some glowing light details. So first let's begin with a clean layer of water onto the entire sky. Make sure you add in an even layer of water so that your paper is wet evenly and the details get equal amount of time to dry out and to be added. Then adding in the layer of water. And now I'm going to space out the color one-by-one on my palette. The first color that I'm squeezing out is the Viennese purple color. Now, next I'm going to squeeze out the burnt umber. And when did brown color as well, so that we have all the colors ready on a pallet and we can paint without any stoppage. Now I'm just going to run a liter of water again because my papers seems to be trying out at certain spaces. And once I begin adding the colors, I don't want any part to dry out quickly. So that is the reason you can run in a layer of water again. Now, I'm beginning with this yellow color for so this is a yellow orange sheet, which I'm beginning to add in closer to the horizon line first. Now using the Viennese purple color and beginning to add this color at the horizon line and blending it well with the yellow, orange color. And then I will add this color at the top space. So I will fill the entire top space with this color. You can see it's nothing but just a purplish kind of niche, kind of a tone that I'm using here. Now on top of this, I'm still going to go ahead and given a lot more detail. So first, blending the yellow, orange and this bunnies pop into each other, having the perfect transition. Now next I'm going to go ahead and pick up the browns and then adding the brown depth as well into the sky. It seems my brush Haydn little tint of the Payne's gray color from the previous class project because of age, you can see at the bottom closer to the horizon line, I'll let you off. The darker tone has been laid down, so I'm just blending it all again so that I can get rid of that darker tint. Now I'm going to go ahead and begin adding in the further details. Now using the burnt umber color, I will begin adding in the dark or depth of the brown onto the entire sky space, getting in that darker depth to the sky. Now at the topmost piece, I'm going to go ahead with a little tint of the bond of n, dig down color. And then for blending, if you want, you can again lift up a little of the maroon or the dark red color, whichever you are using so that you can get in the blending and the perfect transition happening between the colors. So you can see I've laid a layer of the same colors again so as to get the blending right. If you want, you can just simply use a damp brush and run the colors. Like this. You can lift up the colors and add the layer again. The benefit of adding in the calendar again is that you will get a very vibrant sky, which is exactly what we want. Because remember, watercolors tend to dry or tone lighter. So if you add the colors in a less vibrant consistency, once they begin to dry out, they will be more on the lighter side. Now I'm just going to run with a little more of the colors to get in more vibrancy into the painting so that when it dries out, I have a board looking sky JD. So again, you can see for blending, I reuse the same color or the damp brush so as to get the blending and the transition happening between the colors smoothly. Now I'm just going to lift up a little tinge of the Payne's gray mixing it when the Van **** brown and just going to go ahead and make the top of the sky a little more darker. But make sure you do not leave the sky just out there without blending. You need to make sure that the blending also happens in, right. Now I'm just mixing in a little bit of the Payne's gray with a nice purple color. I'm just going to begin adding in some cloud depth using in this darker tint of the Payne's gray and have a nice purple. My sky is still wet and onto the wet sky. And beginning to add in these details. Make sure that when you add in these wet-on-wet details, you do not add in a lot of water. Otherwise, these pins will begin to spread out and they will not reading the shape in which you try to add them. Now that they will spread out completely and just give you one flat color look. So you can see very carefully, I'm just using the tip of my brush for adding in these Cloud details. And if you see I haven't mixed in any water to the Payne's gray and the when E is purple mix. I'm just using the color in a medium tone consistency, not lifting much color on the brush and just beginning to add in these strokes while the sky is still wet, just blending them creating in those cloud effect and the depth. We're almost ready with the sky, just a little more of the details and then we'll wait for this to dry out completely. So that is it. I have got all the planes right now. Let's meet for this guy to dry completely then move ahead further. So now my sky has dried out completely and I'm going to go ahead and begin painting in the bottom details. Now, we are going to be using in the same vein, nice purple color and the Payne's gray brown color to create in the tap onto the path p as well. So first time beginning in with this nice purple color. Now, I'm going ahead directly with the wet-on-dry technique because It's not much detail to add in wet on wet. We just have to create a background for the pathway force. Now on the edges of this, I'm going to go ahead with the Payne's gray color. In the center. I added in the Viennese purple color. And now on the edges I'm going to go ahead carefully and fill it in with the Payne's gray color. Then once this dries up, we will add in some highlights as well onto the pathway and create some glowing lights car effect as well. Now on the path way, I just want a little effect of this Venice purple color to show the skylight falling onto the pathway. Now, I'm covering up major part of the pathway with the Payne's gray color and giving you little light glazing effect of the Payne's gray color onto the Venice purple color as well. Just in the center, I have left little of this space glowing with that nice purple color. And at the bottom I have a little underneath touch of the same. Now using the same Payne's gray color, I'm just going to go ahead and add in little details on the horizon line to show a little cityscape of you. Now I'm going to shift into my liner brush. And using the liner brush, I'm going to begin adding in for the findings. He is on the horizon line, which we are going to add closer to this pathway. So you can go ahead and use a detailer brush or any fine pointed brush. Or if you want, you can go ahead and use a waterproof black pen so that you can add these fine details. I'm going to be creating a lot of the street light effect for which I'm adding in these polls for the straight line. You can see using this liner brush how find the lines are for adding in the light tedious, the light details I will add in once everything is dried completely. For now I'm just adding in the hands of the light as well and keeping them. Now, the first one that we added, which is the taller one, is closer to our view. The next one which we have added is actually far from our view. That is, it is behind this taller one, CMV. Keeping the perspective view in mind, we are going to decrease the height of the background ones because they keep on going far from our view. Hence, they are visible in a smaller size to us. Now in the same way, I'm going to go ahead and add in a little detail on the left side of the pathway as well. So on the left side as well, you can see I'm adding in these street lamp DTAs. And as I'm moving far from our view of the street, lamps are donning smaller than height. See me, I'm just going to go ahead till the center point and adding these smaller ones. Now one I'm going to add in from the left edge here, the standard which is not visible, it's only the street light that's coming in our view for now. Now we need to wait for this to dry out completely. That is the pathway. Then we can add in the light details and further details. Till then I'm just going to go ahead quickly and just using the Payne's gray color and create little more details for these street lamps out here. So maybe I'm thinking on the right side, I will keep it in the silicate me, that is the black detail. And on the right or left side, I will add in all of the light details using in the white gouache once everything dries out completely. So my street lamps are completely dried and I'm going to go ahead and using this white gouache and adding the light t-test, suggest using the right question. A thick consistency. I'm just adding in these small light details out here. So very simply just add it in the light details and you can see the entire painting is beginning to look in so beautiful, but just limited details. Now what v is also completely dry. And now I'll begin adding in the details on the pathway and we'll be ready with our class project for day 22. I first picked up the Payne's gray color and I'm going to give him a second layer on both of the edges. That is the left hand, the right edge, so that we have a stand-alone pathway view. So just using the Payne's gray color, I'm running in another layer on the edges. Now in this view, you can see in the center we have the distinct, separate looking view for the pathway. Now from the bottom your, I'm just going to go ahead and add in a little depth of the Payne's gray color. And then just from the edges you can see I'm pulling out little dry brush tool to give him the darker depth on the pathway as well. So I'm not painting the entire path we again, rather than just giving a little dry brush to create the depth on the pathway. Now the last detail I'm going to go ahead and mixing the white gouache with a little tint of this Benes purple and create a base till reddish tone. And using this, I'm going to add in the glowing car light effect on the pathway. I first added in two dots and I'm just going to add in little more depth you're in there. And then I'm going to blend this into the background, create the glowing space, and then add in the depth on this. If you want to learn more about creating these glowing light effects of the pathway, you can go ahead and visit my previous class, misty landscape with glowing lights. And you can create these beautiful glowing light details. Now very randomly in the cityscape part as well. I'm adding in some light details using this color mix. Now last week on the centre car light, I'm just going to go ahead and pick up the white quash and add small white dots in the center. So in the edges I have that glowing effect with the lighter tint. And then I added the white question of thick consistency once the base layer was dry. And now using the Payne's gray color, I'm just giving you a little card details out their clothes so that we're ready with our class project for the 22. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once your edges are completely dry, or is it may ruin up your edges. So you also final painting for the 22 years, a closer view for you to understand how these glowing lights create the depth into the painting. Thank you so much. Do each one of you for joining me. I will see you guys soon into the next class project. 27. Day 23 - Street Lamp: Hello everyone. Welcome back to date 23 of the 30-day mini art challenge. Today we are going to be painting a beautiful street lamp view. So I'm going to go ahead and beginning with the pencil sketch for the street lamp. So on the right side I'm going to have a big, pretty street lamp. You can go ahead with any different shape off the street lamp that you wish to. It may not be exactly the same as mine. So you can you are fit enough to go ahead with your own shape and placement for the street light. So this time I'm going ahead with a little detail and main focus treat light and rest of the details are going to be just affiliate space. The main focus is going to be onto the street lamp. Now at the bottom of the, I'll just move a little of the placement for this poll because of the main street lamp that I've added accordingly. Now as I told you is you're going ahead with any other salivate. You can go ahead and add in the shape and the placement of your choice. Now, if you are following along the same one, you can just wait until I finish the entire pencil sketch and then go ahead and copy the same pencil sketch. But makes sure you do not add this pencil sketch in much darker detail. Because this time we are going to be adding in the light glowing detail to this cheap land and not just a black silhouette. So you need to make sure that the pencil sketch our lights so that you do not have them visible underneath the color. Now that is it for our pencil sketch, I'm first going to go ahead with a layer of water onto the entire sky, leaving the street lamps space empty. So make sure you add in an even layer of photo onto the entire space, leaving the light space of the lamp. So you can see I'm adding in the layer of water in the pool space as well because that is going to be later on with the Payne's gray color, just the main street lamp, that space, we have to leave an empty because there will be adding in the colors are showing the light effect. So very carefully I've added in the layer of water around the whitespace as well, making sure that there is no water that sits inside out there. Now, make sure that you have an even layer of water throughout so that your paper dries evenly and you'll get enough time to add in all of the details. Using in a 100% cotton paper. You can see I'm running my brush multiple times so that my paper stays wet for enough time for me to work wet on wet. Now this guy is going to be a pretty simple one. So for that, I'm first going to go ahead with this Indian yellow color. Now first, using the Indian yellow color around the street lamps space, I'm just going to create that little light effect that falls in the sky because of the glowing light that we will be adding in. So I'm just going to go with Allison diluted tone and create that little light space across the lamp area. Now at the bottom half of the page as well, I'm giving in a light layer of this yellow color. Now at the top space we are going to be adding in the city even blue or the peacock blue color across the rest of this guy. But make sure that when you go ahead and add in this blue color at the top space, when you add a new row to that land space, you can see we already have the yellow color. So when you go closer to the Labspace, be a little careful. You can live in a very fine white gaps so that the yellow and blue mixed together do not form in the green color tones. So you can see I've left a very Small white gap for letting the colors bleed and blend into each other. And actually, I have used in the Prussian blue color from this set, you can go ahead and use any light tone of the blue that's available in your palette. You can see I've used the color in a very light consistency. And now using just water and blending both of these colors carefully and you can see we haven't achieved any green color. And hence, now you can see the yellow effect shown behind the street lamp, trying to show it as the glowing effect of the light. Now at the top just giving it a little darker depth and blending it well with the rest of the space of the blue color. Now at the bottom, I'm going to create in a lot of foliage details. And for that, first, I'm going to go ahead with the burnt sienna color. So I'm going to show the effect of the light falling onto the bottom for lesions vary because of which I'm going to add in little off the boil is detail. The bunt sienna color than we are even going to be using in the Payne's gray color. False beginning in with the details for the burnt sienna color. But before that, let's wait for all of these to dry out completely, then move ahead for the sky is completely dry it and I'll go ahead with this burnt sienna color and begin creating in the foil. And then after the foreign Ishmael move ahead to painting in the main street plan. First two with the OH, bond sienna color. I'm just creating in the base layer for the foliage. Now along with the burnt sienna color, I'm adding in a little tint of the Van **** brown color as well from this set to create in the darker depth. And along with that, picking up a little bit of the Payne's gray color as well to create the darker debt. So now to show the light effect I've used in the brown colors and you can see it shows the effect of the light falling on the foil IT space. Now we're not going to be keeping in this much of the space brown. We'll go ahead and given details. First at the top space using the tip of the brush, I'm disputing it. Let's love the detail, detailed foliage look. Same day even on the left side, I'm just going to go ahead, use the tip of my brush and create the detail for each loop, you can see how simply you can just dab the tip of your brush to get in this detail looking for. If you want, you can use this pointed round brush your Asbell to create in the depth for the foliage. Now I'm going to go ahead and cover up little more of these brown spaces because we do not want a lot of the spaces Brown. We are majorly going to keeping only the four I need underneath that straight line with the brand color so as to show the light falling directly underneath. Now this closer to the lamp, I'm going ahead with the smallest size brush using in the bunt sienna color, creating in some more detail looking leaves to show that these leaves are blowing because of the light effect that's falling out here. So very simple leaves you can see just pressing the belly of the brush, lifting it up once you're satisfied with the size creating in the leaf effect. So very carefully just adding in little more of the detail, looking nice so as to create the little effect for the foliage. Now amazingly, at the top space you can see I've used more of the brown color tones so as to show the effect of the light falling onto the spoilage even later on. Go ahead and add in little more detail onto top of this. Now using in the Payne's gray color, I'm just going to add a little depth with the Payne's gray. So I'm not going to let all of these b with the brown colors, some of them, I'm going to cover it up with the Payne's gray color because I just wanted to show a little of the light effect creating in the glowing effect on the finite space. Now let's begin painting in the lab space. So for that, I have listed up the yellow, orange color. I've just added a very little of the color on the space. And now using a damp brush, I'm just spreading this color onto the entire inside of the street lamp. Onto this. We're going to go ahead and add in further details. Now for on the edges, I'm going to begin adding in the yellow, orange color. So the base layer I had added with the Indian yellow color, which was a light tone of the yellow. And then on the edges giving in that orange glowing effect of the light. So add it in the yellow, orange color and blending it well with the insights so as to create the perfect transition happening between the light space. Now, this is for the first player. Now I'm just going to go ahead with a little of the Payne's gray color, adding a little more Payne's gray depth at the bottom, pilots paste. And then I'll wait for all of these to dry out, then begin adding the further details in the next step when we are ready with everything details straight. So let's read through all of this to dry now, then move ahead for the adding in the final details. So now everything is dried completely and we're going to go ahead and add in further details into this page. So first let's begin adding in the details onto the street plan. For that, I'm just removing a little more off the bunt sienna color. Now to define the shape of the state lamp, I'm going to go ahead with the burnt sienna color and creating the lines and the shape of the street lamp out here. So using in the bond TNF-alpha, I have to go ahead and given the edges defining the shape perfectly. So very carefully using in the burnt sienna color, I'm going to begin mapping out the edges. Make sure to not use the burnt sienna in a very bold, thick consistency. Use it in a medium consistency. We're further going to blend these a little into the center of the lights space so as to show that the light effect falling onto these edges as well, creating in the blurry effect and the growing space. Now the top space, I'm going to fill it with the mix of the burnt sienna and the Payne's gray color. This is the top area of the street lamps. So on this we're not going to show in much of the light effect. So just to show that little light effect I've added in the burnt sienna color layer. And now I will blend it with the Payne's gray color to show that the light is falling at the top space, giving it that glowing effect of the burnt sienna color. Just giving in some darker strokes out your as well. But you can see in-between app GIF kept in some cuts and the lighter burnt sienna color be there. Now using the Payne's gray colored self-justifying the top detail. And then we'll go ahead and add in the bottom pole as well for the street light. Now filling the entire bottom space as well with the Payne's gray color. Now using a damp brush, I'm going to go ahead and pick up a little tint of the burnt sienna color and begin adding in little deck two on the edges trying to show the perfect transition happening in. So using just a small tent of the bond sienna color, you can see I'm spreading it on the inside as well to show on the edges the darker effect of the light happening in. Now I'm going to mix in the burnt sienna and the white quash color to get an opaque color. And using this opaque color, I'm going to add in little more detail to create the depth for the foliage. So you can see I've mixed in the burnt sienna color with the white gouache, little medium consistency. And now using this I'm going to create little foliage effect. We're just going to be much on the lighter side as you can see on this will act as the growing population because of the light effect falling on the foil niche. So you can see I'm just adding very random for this for now and then, and go ahead with the Payne's gray color. Can you foil this blended look into each other? Because right now if you see this violates with we have added with the white quash mix, looks incomplete and looks onset. So to blend them all together, I will use in different colors as well to create in the effect. So first I've just mixed in a little tent off the yellow, orange color to this white classmates. And I'm going to go ahead with further little yellow tint foliage detail. So you can see the yellow foliage details look so beautiful and creates the effect of the light perfectly. So this is a mix of white gouache, yellow, orange, a little tinge of the bond sienna. So I'm first going to go ahead and add in the lighter point h. And then we'll create the balanced by adding in the dark of Eilish detail wherever needed. So you can see I have blended in the darker burnt sienna foil as well with the mics off the white gouache with burnt sienna. And then the white course mixed in with yellow and a little tint of burnt sienna. Now using in the ball of burnt sienna color alone without the white board, you can see I'm blending it with the bottom space after foiling. Now using the Payne's gray color, I'm going to create the plan and in-between given the darker depths as well for the college Major near the bottom right side, I've given in a lot of the bond or Payne's Gray filed H T T. So that is it. We're ready with our class project per day 23 as well. Let's remove the masking tape and see your final painting. So you can see how beautifully we could create the light effect falling on the file is by mixing it with whitewash, creating different tonal values to show the glowing effect of the foil H. Plus how we created the background foliage effect to show the background details coming in as well. Your final painting for D2 and D3 of this 30-day mini challenge. I hope you guys enjoyed painting and creating this glowing effect on the foil H with the street lamp view. I will see you guys soon into the next class project. Thank you so much for joining me into this class. 28. Day 24 - Sunflower Field: Hello everyone. Welcome back to day 24 of the 30-day mini art challenge. Today we are going to be painting a beautiful field painting with a beautiful sunset view. So we're going to go ahead with a sunflower field. So let's begin mocking out with the pencil sketch first. So I'm forced marking out the pencil sketch off the horizon line. Above and below the horizon line. I'm just marking out smallest pieces. As we begin adding the details, you will understand the top area is going to be the sky, the bottom area is going to be the field. First, let's begin with a thin layer of water onto the entire sky space. So I'm just going to run a clean layer of water so that everything gets an even layer of photo. And you get even time to walk through out, make sure that you have exactly Perfect water onto the edges as well. Otherwise, if you will have excess water on the edges, it will see pack into your painting and may begin running up your edges as well. So it's important to have an even layer of water throughout. Now, as we're going to go ahead with a beautiful sunset sky, we are going to go ahead with the shades of yellow and a little tint of the Payne's gray color this time. For the yellow, I'm using the permanent yellow color from the brand to be asked. I'm just going to squeeze out a little of this color from the tube. You can go ahead with any medium tone of yellow or lighter tone of yellow which is available with you. So beginning in with the yellow color, I'm going to begin adding it into the entire sky first. Now you can see I've taken up a medium tone of the yellow color, not too dark and not too light as well. Now on top of this, I'm going to go ahead with the Payne's gray color and given a little highlight at the top of this guy first, I'm just going to pick up a little bit of the Payne's gray color and begin adding it from the top. Now make sure when you pick up the paints gray color, you do not have either excess of the paint or water on your brush. Otherwise, the Payne's gray color, we'll begin to spread completely and me overpower the yellow color. Now to blend both the Payne's gray and the yellow, I just lifted up a little yellow again and run or closer to the Payne's gray color. Now using the Payne's gray color, I'm just going to begin adding in some cloud effect at the bottom side of this guy. So I'm just using the tip of my flat brush itself to add in the Cloud. So you can see how you can even use a flat brush for creating in the different cloud shape if you do not have a round brush handy. Now I've shifted to a smaller size detailer brush and using in the color mix that was already out on my palette. I'm just beginning to add in a little depth at the bottom space. I'm just using in the yellow, orange color and closer to the Payne's gray cloud that we added in. I'm just creating in some darker there. Now I'm using a smaller size brush plus or making sure that I do not have excess water and pigment so that there is no excess of this color. I just want little highlights of these details around this area. Wherever I want to blend in a little, I'm just lifting up the basically a yellow color and blending it. Now using the white gouache, I'm just going to go ahead. I didn't little highlighted space here as well. Now, all of this I'm still doing why my sky is still wet. So make sure that you add in the Evenly are in such a way that it helps you to add in all of the details wet on wet. Now closer to the whitespace as well, I just added in a little tent off the orange cloud. Now I'm mixing in a little bit of the yellow, orange color and I'm going to run it closer to the Payne's gray color and create some darker that at the top space and add in little darker highlights into the sky. Remember, watercolor, dry or tone lighter. So make sure that you add in the tonal value of the sky accordingly such that after it dries, you have the perfect variation. Now I'm going to beginning with the bottom layer out here. And for that, I'm going to go ahead with the permanent green color for so it's a medium tone green. It can be by the name of light green, May green, or whatever other lighter skin tone available in your palette. So I'm making him directly with the wet on dry technique here. You can see I haven't added in a layer of water underneath. I'm directly going ahead with the pigment. Now at the bottom, I'm going to go ahead with the darker tone. And first I'll go ahead with the Payne's gray color at the bottom space and blend. Well till the light green color. Then we'll begin creating in the variations as well into the field. Now I'm just lifting up the sap green color and beginning to drop the sap green color randomly onto the Payne's gray color space. And I'm going to make sure to blend in the lighter green and the sap green color carefully. I've just used a damp brush and you can see in the center it's meeting space of both the colors. I just blended them naturally. Now just adding in some more darker tint at the bottom space. So this is the base layer for the field that we are creating. Now at the top of this field, I'm going to go ahead with the brown or detail to show some signs space in the field. So I'm going to add this while the field is still wet. So it will have a perfect blending in with the green and show a perfect transition as well into the field from the signed area to the greenery space. Then on top of all this, we're going to add in beautiful sunflowers as well. So now let's wait for all of these to dry completely, then we'll move ahead further. So now everything has dried completely and we're going to go ahead and begin adding in the further details. Suppose let's begin adding in this detail in the whitespace that we have left. There again, we are going to have in the greenery space only going to show in a lot of green bushes. So directly going ahead with the wet-on-dry technique, I'm forced adding in the permanent green color and then on top of that and adding the darker debt using the Payne's gray and a dark green color. So now using the Payne's gray color, I'm just beginning to drop it at the top of the lighter skin tone, heating in the same way, even at the bottom space that I've left it on the lighter green side, I will be using in the Payne's gray and the darker green color to create the depth for the bush space. Now even at the bottom space, you can see I'm just turning the head with this darker tone and in the center you can see the lighter green color. Now at this point you can see all of this does not look well blended together. So you can just use a damp brush Duan over in the center space and blended. Or you can just lift up a little of the lighter green color and run again in the center space to show the blends happening. I picked up a little of the light is green color and I ran again in the center space to blend all of this. Also, since it was a small space, I went ahead with the wet on dry technique because there's not much detail to add in here. Just as in the field space, we ran ahead with the wet-on-dry technique. Now next I'm going to shift into the darker green tone. And I'm going to begin creating in the depth into the field space before we begin adding in the flower details. So randomly just creating in some darker greenery spaces onto the subspace as well. Now let's begin adding in the sunflowers. So far, adding in the sunflowers, I'm going to begin using in the whitewash, mixing it with the leftover yellow from the sky. So it's a little of the permanent yellow and the yellow orange color that I'm using here. And the reason of mixing invite washes so that you get an opaque look of the flowers onto the dark green tones that we have added in. If you will go ahead directly with the yellow watercolor or the yellow orange watercolor. You will not get this opaque look. So I'm going to go ahead with the very basic shape of the sunflower using in this mix of the white wash. And you can see how beautifully it's standing out, bold and vibrant, even onto the green layer that we have underneath. So now in the same way, I'm just going to go ahead and keep creating the flowers in different angles and different sizes. So you can see the first one was quite a bigger one. Now this is just the first layer. After this, we're still going to add in a lot of details. At this point. It looks like a very basic flower. But just go ahead with the first layer for now and fill in the entire field space. Make sure in-between you live in little spaces to let the background green details, adding the depth to your field. So here you can see I've added one flower in such a way that it's visible half from behind of the foreground flower that we added in. Now at the top, closer to the green and the brown point, that is their meeting point. Then I'm going to go ahead with very small details of the flower. Basically there I'm going to show that these flowers are at a distant from us, hence just visible in a cluster. So you can see I'm just adding in the mix of this white gouache and the yellow, orange and the yellow color. Just lifting off this color, I'm going to dab it there to create a lot of flowers out there closer to each other. So just you can see I'm dabbing the tip of my brush, creating and very random shapes to show in the cluster of flowers out there. Only in the foreground that is closer to us. I added in the detailed flower loop and rest of the background, I'm just going to show that the flowers are far from our view. The reason I have not added much of the flower at the bottom is P is closer to the Payne's gray color is because there we are going to have in a lot of the leaves to the sunflowers as well. So I'm just going ahead with the basic flowers closer to the field now. Now till the first layer of sunflowers dry. I am just going to mix in the white quash along with my permanent green color. And using this mix, I'm going to go ahead and begin adding in the leaves. Now I'm just adding in a little bit of the sap green color as well too, so that I get to a perfect medium tone or opaque pink, orange, green color. So basically the reason again of adding in the white brochure is so that it is visible onto this Payne's gray color background that we have in. And the reason of having the Payne's gray color background for these leaves is up so that the Payne's gray color from behind these, these will act as the shadow to the leaves. So now I'm just beginning to add in very random leaves using in the same size, 0 round brush and the mix of the whitewash and the green color. So you can see first I'm randomly adding in some stems and over lapping them. I'm just adding in. These are leaves. Now, very basic one stroke leaves that are Madigan BY pressing in the belly of the brush, moving it in different shapes and lifting it up wherever I'm satisfied. So you just need to go ahead and add in some random leaves using in this mix of the white gouache. Now to this mix itself, I've just added in a little more of the dark green and Payne's gray color. And using this darker green mix off the white gouache and the greens and Payne's gray. I'm going to begin adding in some darker depths as well onto the leaves randomly at places in-between the top flowers as well. I'm just going to add in some darker green depths to show it as the leaves of those far-away flowers as well. Now, make sure to remember to add in the white quash. Otherwise you will not get this opaque. Look for the leaves. And now you can see because of the opaque look how the Payne's gray color is Arctic as the shadow to the flowers and the leaves. Now let's wait for this to dry. Now everything is dried completely and I'm going to go ahead adding in the further details. For that, I'm going to lift up the yellow orange color and add it to the yellow mix that we used in the first player for the sunflower. And now using this darker color, I'm just going to go ahead with the second layer of petals on the Sunflower to create in the deck. After that, we'll create the bud of the flowers as well. Giving in the loop makes sure into this mix as well. I have a little tint of the white gouache that is the reason it is standing out. Obey. So just keep adding in this darker tint onto the background flowers as well so that you have a balanced look of colors everywhere. Now using the bond sienna and the white wash mix that I have on my palette. I'm just adding in the butt to these flowers. So just in the center I'm adding in this detail. And now you can see the sunflowers as slowly taking shape. We went ahead with a very simple looking P. We did not go much into the details. But you can see with such simple details as well, you can get such pretty looking aesthetic detail. So just going to add in some birds in the background flowers as well, which are up to smaller sizes. Now I'm just going to add in a little tent after white gouache again to this mix and get a little lighter tone and add in some highlighted flowers out you are at the meeting point of the brown and green to show the perfect transition happening in your. Now lastly, using the Payne's gray color, I'm just going to give him little more depth to the buds. So closer to the brown color onto the edges. I'm just going to add in some Payne's gray color dot. Now, each sure, these dots are quite small and only closer to the Payne's gray or brown color. And go ahead with a very small-sized brush so that you can manage the size of these details as well. So that is it. We are ready with our class project per day 24. Let's remove the masking tape and see your final painting. I'll just add in a few more leaves out here before beginning to remove and at the bottom space. So finally added in some more leaves to add in little more depth at the bottom space. Now let's remove the masking tape and see your final painting. Because clean edges, make sure to remove the masking tape once your edges are completely dry. We are just six days away from closing this 30 day challenge. I hope you guys are enjoying painting all of these beautiful mini paintings. Thank you so much to each one of you for joining me for this class and painting along with me. I hope you enjoyed painting this beautiful sunflower field for today. I will see you guys tomorrow into another beautiful class project. Thank you so much once again for joining me. 29. Day 25 - Autumn Field: Hello everyone. Welcome back to day 25 of the 30-day mini art challenge. Today we are going to be painting another beautiful autumn kind of fee. So let's begin in with the pencil sketch first. It's going to be a pretty simple painting with a bowl fills the sky. This time of mark the horizon line, a little below the center line. And on top of the horizon line, I'm just going to have in a very simple cityscape. So the top area is going to be the sky, the bottom will be the autumn field. So let's begin in with the sky first. I'm going to go ahead with a liter of water onto the entire sky. Make sure you add in an even layer of water throughout so that your paper dries evenly while you are painting. Thus, you get enough time. Even if you're using a 100% cotton paper, let me make sure to run your brush multiple times because that will help in keeping your paper wet for a longer time. Plus it will help in adding the details, wet on wet until you are satisfied. So now let's begin with the details. So for this guy, I'm going to go ahead with one color. And that's going to be the Payne's gray color mixed in with a little tint of the blue, if needed to kind of indigo color that you can pick up. Alright, and using this color, we're just going to go ahead and create a beautiful sky with just the one color itself. I have mixed in the Payne's gray and the peacock blue from this palette. That is the breeze palette from the brand through we add plus. You can see I'm using this color in and liquidy consistency and just using the tip of my brush very randomly, I'm dropping in this color at spaces. Now this time I had kept my background a little extra bit so that these colors bleed and flow naturally. So very carefully, I'm just beginning to drop in this color in-between. You can see I've left in enough whitespaces. I'm going to keep rotating in this and create the depth into the sky. So I've added the first layer. Now I'm just going to begin tilting my board in all directions. Now you can see on the edge the extra water because of wet paint and the extrovert background. So keep a tissue handy to lift up all of the excess water. Otherwise this may begin ruining up your painting. Now you can see I'm just tilting it in all direction and getting in the first place. After this, we'll add in some darker depths as well. So now I'm just going to mix in a little tent of the Payne's gray and the blue color. But this time I'm not going to add in much of the water because now I do not want extra flow into it. So just using in this darker mix now, I'm going to begin creating in the depth into the sky. Now ready randomly, I'm just going to go ahead create in the darker depth into the sky. So I'm just going to add in the Cloud details using the tip of the brush. And you can see how beautifully everything is still flowing in because the paper is still wet. All if it has a good soft blended look, yet retaining the shape and the space in what I'm adding them. Now again, I'm just didn't think that board now I'm going to add in some darker debts. So this time now when adding the darker that you can see, the paint is in a little liquidy consistency because at the top space I have not added in much of the darker death. I want a slower effect for the darker depth. So I'm just rotating my board again in all directions so that the colors flow and leaf and you can lift up the color wherever needed. Now I'm just going to go ahead and create in the blended look at in some more darker depth to the sky. So you just need to keep dropping the colors layer on layer to create the depth this time into the sky. So you can see I'm not adding in all the colors at once together. I'm adding them layer on layer. Now again, after a few seconds, when this settles in, I will add in a little more layer of the color, but I will make sure that the entire sky does not dry out completely. So just a few seconds, but these colors to set it in so that we know where we need to add in the depth more. So now I'm just going to again lift up the colors and begin adding in some more darker dip. The same colors that we have been working with. That is the Payne's gray and the blue color mix. I'm going to begin creating in more depth into the sky. So just at the bottom space you can see I added in a little more depth. So that is it for our sky. Now let's begin painting in the bottom field space. For that, I'm going to go ahead with the autumn colors. So first I'm going to pick up the red color so you can go ahead with any bold red color. You can use Scarlett, Carmine, permanent shed, payroll, dread, by whatever name available in your palette. And I'm going to go ahead with this darker tone at the bottom space. And the next color that I will be using is a little bit of the burnt sienna color. So maybe I'll just squeeze out a little and keep them ready. So first I've added a little bit of the yellow ocher color to the red color that I've picked up. And I'm going to mix both of these colors so that I get a little oranges tend to my red color. So you can see I've got a little orange-ish brown tinge just by adding in the yellow ocher to the red. And now at the bottom space, I'm going to go ahead with the wet-on-dry technique again, because there's not much detail. You can directly go ahead with the wet paint and then add in depth on top of this. So fast using in this color, I'm going to fill in the space completely. Then on top of this, I'm going to add in the depth with the brown color while this is still wet. Now I'm just going to remove a little bit of the bone sienna color and using the burnt sienna, I will begin adding in the debt onto the red color. Now to this burnt sienna mix, I'm just adding in a little tint of the Payne's gray that was already on my palette. And now I'm just going to begin creating in the depth into the field. So I'm very randomly just adding in little of the brown depth from the bottom space force then either blend all of this and begin adding in the further details. So very randomly you can see in-between I'm adding in a little hint of the Payne's gray color as well and creating and little darker effect from moving from the bottom side towards the top. Now I'm just going to lift up a rough tissue and going to cover up the top sky space and begins plotting some brown color at the bottom space here. Make sure in your sky is still wet to this color should not go into your sky to cover up your sky so that this color does not need into the sky. Otherwise, it may give you two spots in your sky as well. Now using the brown color and red color, I'm just going to blend and given little darker depth at the top of the, closer to the horizon line of the field area as spin. So let's wait for this to dry now. So now my sky and feel is completely dry. We are ready with the base layers. Now we're going to begin adding the depth on top of this. So fast I'm mixing in a little bit of the Payne's gray with a very little tinge of brown color. It's more of the Payne's gray and less of the brown color. And I'm going to begin marking out the cityscape on top of the horizon line. So it's a very simple countryside kind of details that I'm creating it. So I'm just going to add in one group out here in the center and add the rest of the space. Just creating very simple low line details to give him the detail on the horizon line. Now just filling this entire space with the mix of the brown and the Payne's gray color. You can see we have a little of the brown tones as well to give him that autumn detail to the cityscape as well. Now using the Payne's gray color, I'm just going to begin adding in little step out, you're at the top of these and create a little more detail looking cityscape kind of a view. Now if you want, you can go ahead with a different cityscape. Look, it's not necessary to follow in the same details that I have gone ahead with. Now using in the red color, I'm just going to add in little texture at the bottom of the field out here. I'm going to just lift up a little more of the yellow ocher and mix it to the red color again. So rather than mixing in the yellow curve to the red, I'm just going to go ahead with a little of the yellow ocher depth on the top of the red color here. So just to create a little more depth into the field and given little foliage detail. Now you can see I'm not adding any water to the yellow ocher color because of feature, I'm able to get in that opaque look or what are the red color layer as well. So very randomly on the entire field, I'm just dabbing in the color to create the foliage detail for the autumn look. Now I'm just going to go ahead and add in more detail. Now at this point, you're the Payne's gray color was red and the yellow coat color went and bleed into each other. So I just lifted up the color from their dried up the space and now again, giving in the finishing touch. So I'm just going ahead with a little more of the red and the yellow ocher details. So you can see I'm just going ahead with a mix of both red and the yellow ocher color. And basically I'm just dabbing in the tip of my brush to create in the texture detail out there to give him the autumn foliage details. So you just have to vary randomly, keep dabbing in the colors into each other and create that texture for the autumn fee. Now in-between, I'm just using in the brown and Payne's gray color mix and giving in some darker deaf with the brown color as well to create in the depth for the field space. Nicely. Notice the base near darker that is visible only at the bottom left side of the D bands have almost got covered up with the dabbing details and the forelimb detail that we created using the dabbing technique. Now using the liner brush, I'm just going to go ahead and add in some small glass steepens at the bottom side using in the brown and the Payne's gray color mix itself. So just adding in very simple, or leave the DNS LTR to give him the debt. Now first I'll just go ahead and define the horizon line where using in the brown and the Payne's gray color. And then again using the liner brush, I'll just add in some details on top of the O horizon line that is in the skies piece to give it a little more depth into the sky. Because we need to wait for the scene space to try to add in for the details out there. So now using the liner brush, I'm just going ahead and adding in little details out here. So just creating in small details. You can either wait and see all of the details that I'm adding in first or you can go ahead with your other details for the cityscape as well. So I've just added in three power poles and now I'm just going to connect all of them using in the byline detail. Also, you can see I've not had them at a much higher. I've tried to add them in a smaller height so as to show that these are a little far from our view. Now using the Payne's gray colored itself, I'm just going to go ahead and add in a little buds into the sky as well. So just three to four of these boats. Now, I'll wait for all of this to dry out completely and then just add in little final detail on the field and will be ready with the class project. So everything is dried completely and I'm going to go ahead and added little detail. So first using in the Payne's gray color, I'm just going to go ahead and add in some more foliage detail of the grass out here, only at the bottom space. And then using the yellow ocher color, I'm just going to dab in a little and create the file age effect on top of this, the yellow Kafala in a thick consistency without adding in much of photo. And just using the tip of this liner brush, I'm going to dab in very small dots to create random file each detail on top of these grasses that we have added. So majorly at the bottom space, you can see I've added more of this detail and creating in this autumn feel kind of a look. So that is it. We're ready with our class project per day, 25 as well. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once your edges are completely dried and always remove the masking tape against the paper. So you also final painting per day 25 of this tragedy many art challenge. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the next class project. 30. Day 26 - Wheat Field: Hello everyone. Welcome back to the 26th of the 30-day mini art challenge. Today we are going to be painting a beautiful sunset with just some wheat field silhouette. So let's begin in with a clean layer of photo onto our entire paper. There is no pencil sketch. We are directly going to add in the details with the colors. So go ahead with the clean layer of photo. Makes sure to have an even layer of water to make sure that you do not have excess water on the edges. Otherwise, it will begin to see back into your painting. Now I've switched into my size four round brush and I'm going to begin picking up the colors one-by-one. The first color that I'm picking up is the Indian yellow color from this palette. So beginning with the Indian yellow color from the bottom, I'll just begin adding in a medium tone layer of this color. At the top, we are going to be having in the pink and the blue shades for the sunset effect. Now, I have picked up a little of the yellow orange color and I will just begin adding in little off the yellow orange detail onto the Indian yellow color space. Now in case if you do not have the Indian yellow color, you can simply go ahead and use in the light yellow color. And if you do not have to yellow, orange color, you can just mixing it into forming into your yellow color and get a yellowish orange tone. Now I'm picking up the Carmine color. You can go ahead with carmine Scarlett or anything that's available in your palate. And closer to the yellow and the orange tones that we added, I'm just going to begin adding in or medium tone layer of the Carmine color. Now to the Carmine color itself, I mixed in the pickup blue from this palette. And you can see I've got a beautiful purple tone. I'm not using the direct violet tone. I'm rather mixing in my blues and pinks to get the population blue tone. So you can see this blue has a little hint of purple as well as a little tinge of the blue because of the pink and the blues that we mixed it. Now I'm just going to add this layer of the color at the top of the sky. And I'm making sure to leave a little white caps to add in further details there. So you can see I'm adding in the text with this color layer on layer. I'm not adding in the darkest color altogether. Let's be careful to not take this color mixed closer to the yellow color because it may give you muddy tones. Now I'm just adding in a little more tend often, you know, violet color directly into this. And now I'm mixing in the violet and blue to get a little darker tone color so as to begin giving in some darker depths as well. So now with this darker color and beginning to add in some darker cloud effect in the top of the sky. You can see I do not have excess water. That is the reason the colors are not spreading much. They're eating the space in which I'm adding them. Now just you ordered the bottom space over to the yellow color. You can see the blue color has created some muddy tones. I'm just going ahead and trying to clean up this space. We quickly lift up the color while it is still wet and just go ahead with another layer of the color there so as to get rid of those muddy tones. So you have to go in very carefully and be very cautious. So I'm going to add in a little of the pink color to add in that Maddie Total Effects. Because the pink and the blue is mixed together will give you a violet color as we mixed right now in our palette. But with when it comes to the yellow and the orange color, they begin to give you some muddy tones because of the properties of the colors mix together. Now you can still see, I've tried to maintain in the yellow and the orange color effects still visible at the bottom side. Now, I'm going to begin using in the white quash and create some more lighter effect at the bottom space. So I'm just going to blend in a little with the white gouache closer to the yellow color space in the center to create some glowing sunset effect and given some lighter. Now before I let this guy dry, I'm just going to run ahead with a little more of the pink pins closer to the yellow and the blue so as to get something effect as well. Because at the moment you can see all of the pink effects are completely hidden because of the other colors that we add it. Now very carefully you can see in between the blues and the violet colors that we have added. I'm just adding in some things strokes as well to create the depth into the sky or lead to very carefully, you just have to go ahead and keep adding in little more depth. Now let's wait for this to dry completely and then we will begin adding in the silicate into this painting and complete a painting for the 26. So now my sky is completely dried and we'll begin adding the details of all the silicate. For that. I've just lifted up my liner brush. I'll be using the liner brush and a size 0 round brush. So first I've shifted to the size 0 round brush. And I'm going to lift up some Payne's gray color out here on my palette. And now at the bottom space, we are going to begin adding in a little bush effect first, and then from that we'll show some wheat field silicate. So let's begin adding the details very carefully. So I'm just using in the smallest sized round brush and add the top space. I'm just creating some detail look so you can see I'm just dabbing in the tip of my brush and the bottom space, I'm just going to fill it completely with the Payne's gray color. You can see I'm going in very carefully creating in the depth at the bottom space and then the bottom area we're going to fill in completely with the Payne's gray color that will not be taking in much of types. So quickly you can see I'm just filling the rest of the bottom space till the masking tape line with the Payne's gray color. But now you can see as soon as you fill in the bottom space, the top area which you have added in the detail gives so much natural effect to the painting as if it's an actual picture that you've tried to click it. I'm just going ahead and adding in the details onto the right side as well. And then we'll go ahead and switch into a liner brush and add in some wheat field details popping out from your. Now at the top, I'm just giving you a little more detail look. And then there'll be ready with this part, and then we'll shift into the liner brush. Now, you can see how quickly we created in the bush effect using the dabbing technique and then filling the rest of the bottom spaces with the Payne's gray color. Now I'm just lifting up some more Payne's gray color out here on my palette. And then I'm going to use my liner brush and begin adding in some more little details into this painting. Now using the liner brush, I'm just going to first go ahead, add in some branches for the wheat field. And then we'll add in details to this. So I'm very Carefully just going ahead and adding in some thin branches using the liner brush, you can see how thin these branches are and plus, I'm making them move in different directions. Some of them are tilted, some of them are intertwined. And now seeing, we're just going to add in a few more. Make sure you do not have to add in a lot of them as well. Just go ahead with a medium range of the same. Because you can always go ahead and add in more details, but it's very difficult to remove or correct any details once you add in with watercolors. So in the center space you can see I took those wheat field details looking long and tall. And on both the left and the right edges, I made them go shot in-between. You can see I've added in some thick leaves as well and somewhere some smaller leaves as well popping out. Now I'm just beginning to add in little more detail look to these branches that we've already added. Now very randomly at certain places I'm just creating in some branches of the leaves as well. Simply I'm just using the same liner brush, just dabbing in to create the leaf effect and lifting up once I'm satisfied with the shape of the leaf. These are called as one stroke leaves that I'm adding right now. Now to these branches that we have added, I'm just going to go ahead and given those between a, D, D, So to some of them at the top, I'm just going to give him a bad detail to some of them. I'm going to give enough detail in a way trying to show that some of the wheat field is growing out from there. So very carefully, I'm just adding in the bud details for now to all of them. You can see they are quite thick as compared to the branch size that we have added. And very slowly I'm adding these so that I do not run out of proportion or I do not overdo any of the details at any places. With watercolors, it's very difficult to undo the mistakes, especially if you're walking in with darker colors. But when it comes to gouache and acrylic, It's very easy to correct your mistakes because you can always go ahead with the layering and the darker colors also get hidden up. But when keys with watercolors, it is very difficult now to hide the details that you've added in with the darker tones, with the lighter tones again. So you have to go in very carefully, especially while working with the main focus detail elements. It's always easier to add more details, but very difficult to undo the details that you've already added. So I always recommend whenever you're walking on adding in the detail, step-by-step, add them little unnatural so that it gives you a perspective where you need to place more elements to make the entire thing go in sync with each other. Now, once I'm done adding in, I'm just going to go ahead and add in some more branches wherever I feel it is important. So depending our placement or size of the paper that you're using, you need to understand your own painting, what it is required, and what it is, which element you need to add in more to get the booty to your painting. Now to some of the buds that I have added to that I'm just going to show in some of the leaf, you know, the wheat field growing details. So I'm just going to pull out small spikes from these boards that I've added. So you can see I'm just pulling out very small strokes from these bad details. Maybe when you will have a closer view, you'll get a clear picture and understanding of how these details are added. So I'm not adding in these buds to each of the bar that I've added just to sum, sum, I'm just adding on the right sides to some only on the left side. Ready little detail to give it a little more detailed view that I'm going ahead with. That is it Let's remove the masking tape and see your final painting for day Twenty-six of this study, the challenge. I hope you guys enjoyed painting this beautiful sunset with a wheat field Zillow hit with me today. It was a pretty simple class project in just under 15 to 17 minutes. And you can see how beautiful the outcome is. That is the reason I love many paintings. It's easy to paint them and fit them into the tight schedule as well. And have a beautiful relaxation time. I hope you enjoyed painting with me today. I will see you guys tomorrow into the day 27 class project. Thank you so much for joining me. 31. Day 27 - Northern Lights: Hello everyone. Welcome back to day 27 of the 30-day mini. Our challenge. Today we are going to be painting a beautiful Northern Lights scene. So let's begin with the class project. So we're not going to have in much of the pencil sketch for this as well. We are directly going to be walking in with the colors, but I'm just going to mark out one separate lines so as to understand what our detail is going to be about. So basically, at the top we are going to have in the northern lights and at the bottom we're just going to add in a simple mountain range to give him the silhouette detail to the northern sky that we'll be adding. I'm just marking out that mountain range for the bottom space. And the entire top space is going to be the northern sky. So we'll try not to add the sky colors to the mountain range. But in any case, if it bleeds us, well, it's perfectly okay because the mountain range is going to be off the Payne's gray or the darker tones later on. So I'm going to go ahead with a layer of water onto the entire sky for now. Now, make sure you have an even layer of water throughout, especially on the edges. Run your brush carefully so that there is no excess water on the edges. Also, make sure that, you know, you try not to add the water into the mountain range space. But in case of a little water bleeds in into the edges, as I told you, it's perfectly okay because it's going to be the darker colors later on. Now the first color that I'm going to use is the cobalt blue compose. Now in case if you do not have this color, It's completely okay. You can go ahead mixing in your turquoise blue with a little tint of white to get the same color. Or you can go ahead with your turquoise blue color directly. Plus you can mix in your viridian green with a little tinge of blue and white to get in a similar looking tone. The next color that I'm going to use is the crimson or the queen rose color, whichever pink tone you have available in your palette. Now, I'm just going to begin in with the pink tones first, closer to the bottom mountain range. So I've just added in some pink highlights. Now I'm going to shift into the composed blue color and begin adding in this color as well. Now this color is a little opaque. Hello, because it has a white pigment in it. So if you see the pigment color of this, that is the cobalt cobalt green color. If you go ahead and check out the pigment number, this is from the brand Magellan mission. It has a pigment of white, which gives it this opaque look and is a little take inconsistency. So I'm just beginning to drop in this color very randomly. Now, the next color that I'm going to be using is going to be the violet color. So this time I'm directly using in the permanent violet, which is from the TV ads breeze palette. So now in the remaining whitespaces, I'm just adding in the violet color. Now you can see at this moment the colors are so light when they will dry, they will again dry or tone lighter. And I exactly. This is not what northern lights look like. So we're going to go ahead and make all of these colors go more intense and vibrant. So I'm just going to begin picking up the same colors again and drop them in a good vibrant consistency. So I have already begun this step with the violet color, as you can see. Now, to get the colors flowing into each other, I'm going to keep rotating my board in directions with every layer of color that I begin adding in, every layer that I add the colors, I'm going to make sure to keep tilting my board in directions. So you will see the colors naturally flow, seep into each other, get those mood beautiful blends between each other as well. Now you see as soon as that carlos begin to flow into each other than adding light soft sky effect begins to blue mature and gives him some such a beautiful view to the entire painting. You can see that the every little color that I'm adding, I have kept my board tilted itself. One so that all the colors flow towards the top of this guy. You can see I'm moving them in all directions. Now when I added the purple, I want it to flow downwards, so I'm tilting it more towards the bottom side. When I want it to flow towards the top side, I'm going to tilt it the other way round. So you can see this is how you can get in the soft and smooth blend between the colors. Now you may be thinking why not adding all of the colors together in a dark consistency once and for all and finish it off. But understand, if you will go ahead and add in the colors in our dark bold consistency altogether, the effect that you get by adding the colors layer on layer will not be the same. When you go ahead adding in the colors layer on layer, you will notice that you get in many different color tones because of the color consistency is that you use with each layer. Plus the blending happens, mood, you get to understand which color needs to be placed more at the specific spaces. Now closer to the entire mountain range, you can see I have the pink and the violet color. I did not want the cobalt blue color onto the mountain range lining. So that is the reason I have added in the pink and the violet tones there. Also with every layer of the color that I'm squeezing in. You can also notice that I try to blend in the palace. I try that they all have a smooth edge and blending between each other. So you can see I'm just dropping in the cobalt green color. And again, I'm tilting them in all directions so that the colors flow and bleed into each other. Now you can see at the top space in-between the papilla as well, I have the green color flowing in, creating in this mode blend. Now I'm just adding in some more violet strokes randomly or places right now, when I've added in the stroke, you can see how bold and differently they are standing out. So I'm just going to again begin tilting in. And wherever you feel that the colors despite tilting aren't flowing smoothly into each other. You can just go ahead with the smallest size brush and drop the colors into each other and make them Floor Plan. Or you can use a little more liquidy consistency so as to make them flow and float. Or you can go ahead with the base layer color so you're in case you can go ahead with a little of the cobalt green color on the edges of the violet strokes that you add it so that the colors flow into each other. Now I'm just going to go ahead with a little more of the darker violet tones at the bottom side. I know the building, the sky here is taking a lot of time, but that's going to be the beauty of the entire painting. Believe me, the bottom mountain silhouette is just a very small detail to add in. The major effect is going to be off the sky that you're building. Work slowly, layer on layer building in the depth, creating in the colors flow into each other so as to get the beauty of the northern lights. So that is it for another sky. Let's wait for this to dry out completely. Then we will add in this task and move to the mountain range. So now my sky is completely dry it and you can see how beautiful the soft blends are between the cobalt green and the violet colors and the pink and the violet tones as well. You can see everything has such a smooth and soft flow between the cobalt blue, and violet color. You can see the lighter tones that are there at the blending spots, creating the perfect transition from the darker violet to the lighter to the cobalt green color. That is the reason and the beauty of blending and adding in the colors layer on layer now have shifted into the white quash and shifted to my smallest sized round brush. I've just picked up some white gouache and splashing in some stars. Now make sure when you go ahead with the splattering technique, you'll make it this platters around onto your table as well. So how you wish to go ahead with it is absolutely your choice. Make sure to use in the white version a thick consistency here so that you get the opaque look for the stars in case if you do not have white gouache and if you are using in white watercolor, you will have to pick up a very thick consistency of the watercolor so that you get in these opaque look. Now for the mountain range, I'm first going ahead with the burnt sienna color, so I'm just squeezing out a little of the burnt sienna color out quickly on my palette. And I'm just going to go ahead with a very medium tone basically are off the burnt sienna color first. Now ready carefully, I'm just defining in the shape of the mountain range as well. So you can see some of the colors from this guy has seeped into the mountain chain space. That is the reason underneath the bunt sienna color, you can see a layer of dark patch on the outline of the mountain range. Now I have picked up the Payne's gray color. I'm beginning to add the Payne's gray color on the edge and creating in the debt. All of this I'm doing while my brown color is still wet so that the brown and a Payne's gray color also blend and bleed into each other and creating that depth. So very carefully you can see I'm just blending in the browns and the Payne's gray color and everything has turned out so beautifully out. You're now using the Payne's gray color. I'm just going to add in some small pine tree look onto the top of this mountain range. Now, make sure before you would have begun adding in the mountain genes, that is chi has to be completely dry. Otherwise the colors will begin to bleed and move into each other and you will ruin the entire painting. Now very carefully you can see I'm just adding in some small pine tree looking of figures using the Payne's gray color while my mountain range is still wet. So basically the bottom of the Payne's gray color of the pine tree and the mountain range blend and bleed into each other because the layer of the mountain range is still wet. Now you can see I've been adding in these mountain ranges as well in different heights throughout and at the bottom, blending them well with the edge of the mountain range using the Payne's gray or brown color. The reason I just added a little of the brown highlight was to give it a little different color dodge instead of the entire Payne's gray color only. Now I've shifted into the white quash again, I'm using in my smallest sized round brush. I'm just adding in some bigger patches of the white gouache. Then using the damp brush, I'm going to go ahead and create in The Shining background for these clean my brush, I have a damp brush and now those white patches that are added, I'm just going ahead and using the damp brush, creating a bigger circle out of these with looking in a dull white color. So these will act as the shining background for the glowing stars that we will be adding on top of this. Now these tasks as well, make sure you're not add a lot of them. Add a few of them in case if you feel the need to add more, you can always go ahead and add in more of them. So you can see I've just gone ahead with the scattered view of these tasks first. Now I'm going to use the white gouache thick consistency without adding in much of photo. And I'm going to begin adding in smallest size dots in-between these bigger circles that we've created to actin as the growing space. So just in the center of these circles, I'm adding in these smaller dots to actin as the glowing stars. So you can see as soon as I have added in these glowing stars and that sky is beginning to glow and having a beautiful effect of the glowing stars. So that is it. Let's remove the masking tape and see our final painting. It was a beautiful simple Northern Lights. The main important focus of this painting was creating in that soft, smooth blend into the sky by rotating a board in different directions while adding in the colors, layers on layers to get this soft and smooth blends. The final painting for day 27 of this Saturday. Money, our challenge. Thank you so much to each one of you for joining me into this class and painting along with me. I will see you guys soon into the next class project. 32. Day 28 - Daisy: Hello everyone. Welcome back to day 28 of the 30-day mini, our challenge. Today we are going to be painting a beautiful or DZ focused field. So basically, our entire background is going to be a very blurry one. So we do not have any pencil sketch. We're just going to begin in with the layer of water. And once we paint the background of blurry, mistake kind of a background. After that, we'll be adding in a daisy in-focus on top to create the depth into this painting. Make sure you have an even near refer to throughout before beginning in to create the misty background. Now to create the misty effect, I'm going to go ahead with this Payne's gray color and I'll begin adding in this Payne's gray color in-between randomly, I'm going to keep in little of the white gaps to create that misty effect. Now at places we are even going to go ahead with the darker depths, but not altogether. Remember whenever you walk on Leo's, you get more depth rather than just going ahead with one darker color altogether. Now at the bottommost space, I'm just using the permanent green color and beginning to add any electron of the green mixed in with a little tint of Payne's gray. Now I told you already that we are going to have in a blurry background. That is the reason for this guy, the Payne's gray and for the field that green color, I have added them both together while my sky is also still wet. Now ready randomly just adding in some dark strokes. You can see I'm going in very loosely because they wanted to create a very soft blurry background. So basically when you will add in the daisy, you will notice that the background is blurry one and the main focus falls on the DZ. Right now at the point you can see the green and Payne's gray color having in that little distinction between each other. But still they're looking much together to show in the blurry effect diagram. Now I've mixed in a little tent of the Payne's gray and the green color. And I'm just beginning to add in your ad the bottom space, giving in the darker depth as well. Now again, I'm going to shift into the Payne's gray color and just begin adding in some more darker effect into the sky. So you will notice I'm walking much on Leo's rather than just going ahead with one darker color altogether. So I've been building in the sky as Ben, layers on layers so that we can get into depth into the sky as well. So now you can see I have built in the sky as well as the bottom background layer on layer, so you can see the different color depths as well. So in the Payne's gray color itself, you can see four to five of the color shades being formed. Now, I'm just using the tip of a brush and just pulling out some grass strokes as well in the bottom side. Wet on wet. Right now. You can see how the strokes are beginning to stand out separately. So you need to add these strokes when your background is still wet only then you will get this 3D effect of the grass stroke. So I've added in very little of that. Now I'm just picking up some dark green color and while my field area is still wet, I'm just going to add in some darker green strokes because all of the details are going to be in the blurry manner. So you have to add them all wet on wet into each other, that all of them have a soft look with each other. And only after everything dries, we're just going to have one daisy in-focus which will create the entire loop for the painting. So first using the Payne's gray color, I'm just creating a very blurry mountain range. So you can see this Payne's gray is in a very dark consistency. I'm just giving a very rough Look to the Mountain Range and I'm just going to go ahead with a damp brush and blend it out here at the bottom space because I wanted looking in very soft along with the field. So I'm just going to give it a little more shape out here. Just going to go ahead and run my damp brush. Now I'm still doing all of this while my background, my sky, my field, everything is wet. So make sure that your paper is thing that for this much time so as to add in all of the details, wet on wet. Now I'm just going to go ahead and begin adding in some grass strokes with the darker green color. So I'm just using my liner brush and using the dark green color, wet on wet again, I'm just adding in some strokes from the bottom space. Now at the bottom space, again to create in some depth for the shadow. After we add in the details I've just added in a ton of the Payne's gray and on top of that, to give it a blended look, I'm just running in with a little tent off the green color. So you can see we've still been working wet on wet since the first layer to create an entire depth. Now wherever you feel that the Payne's gray color at the bottom has turned out too dark. You can quickly just lift up a little of the colors are blended into the background. Now one last thing before we let this to dry is to add in some background Daisy effect as well. So for that I'm going to use in white quash and creating some little details in the background using the white quash. I'm just going to go ahead and just add in some white patches to actin as the blurry background Daisy effect. These adjusting the background that I'm trying to create, the main foreground Daisy will be adding once everything dries out. So you can see as soon as I'm adding in this white gouache, it's spreading, blending and having a very soft edge with the green color actually. Alright, so this is how we're going to create an all of the background blurry details. Now the next thing I'm just going to add in small bud to this as well. So I'm just going to lift up a little of this yellow ocher color. And using this yellow ocher color, I'm just going to add in a soft bud in the center space. So I have not added any water to the yellow ocher color because I want it in a bowl consistency. And since we're adding it on a red background, we need to have it tick as well. Now let's wait for this to dry out completely. Then we'll add the main focus DZ and we'll be ready. So now everything in my background is completely dried and you can see how beautiful the background Jay-Z's as well as turned out. Now using the white gouache, Let's begin adding in the main focus Daisy. So now make sure to use the white version of goods ball consistency. Also you can see I have not added much water. Do my white quash. I'm using my size four round brush and I'm just going to begin adding in the petals first. So you can go ahead with any shape of Daisy that you wish to. And now I'm just going to bring out the petals first. Then we'll use the yellow ocher color to add in the deck. Now at the bottom side I'm going in with some Tim, Tim petals to show in the perspective view as well. So very randomly pulling out some random strokes out from the leaves as well. So you can see as soon as you've added just one volt easy, the entire background has got the bloody effect automatically and you can feel the entire painting taking shape. Now using the Payne's gray color, I'm just going to quickly go ahead and add in the stem as well to this flower. Now from this itself, I'm just filling out small details or some small leaf details you can call it as. Now, makes sure that your background has to be completely dry before you begin doing all of these. Otherwise, all of this will also begin to spreading and will not give you the kind of detail that we want to create in here. Now when he handed me, I'm just going ahead with some more random stems and leaves stroke. So just using the same tip of the brush I've just added in those little details. Now using the yellow ocher color, I'm just going to add in the center of the flower quickly. Now I'm going to mix into white, goes along with a little bit of the yellow, orange color. And using this mix, I'm going to add in a small butterfly, just about the slab of space that we've added it. Alright, so it's going to be a half of a butterfly that is, you're watching it from either of the sides. Wherever you wish to add it. Either on the left, are either on the right. Alright, and now I'm just going to go ahead and create in a very random shape of a butterfly and add in these details. The only thing you have to be careful is that if you're going to go ahead with a yellow, orange color only, you will not get an opaque look. So make sure to mix in a little bit of a white quash. So it will create it in an opaque color, and then that will be visible even under. Oh, Payne's gray color that you are adding in. So it's very important to have it in an opaque look. Now, I'm just going to wait for the butterfly to dry before we add in more details than I'm just going to add in little of the brush strokes out you're using the Payne's gray color. So very little in the bottom space to create a little more focus. Before adding the details to the butterfly, Let's wait for it to dry out completely and then we'll just add in the details quickly. So now my butterfly is also completely dried and I'm just going to go ahead and add in the details quickly to that as well. So for that I'm just going to use in the Payne's gray color and using the Payne's gray color, I'm just going to begin adding in little outline to this. Now you can either use the Payne's gray Carolina pointed tip brush or you can go ahead and use a black pen with a pointed tip. I'm adding these outline details and define the butterfly valve. It's absolutely your choice and as well as how convenient it is for you to add in the details. Now I've just stick to my liner brush and I'm just going to give him little more details to this butterfly. If you want, you can even go ahead and create some patterns like these onto the wings of the butterfly. So I'm just going ahead with the liner brush, adding in very random rough strokes with the Payne's gray color, creating some random patterns onto the wings of the butterfly. So that is it. We are ready with a class project for day 28. Let's remove the masking tape and see your final painting with those clean edges. So here's the final painting for day 28. I hope you guys enjoyed painting this very simple class project for today are beautiful, blurry background with the daisy in-focus. I will see you guys soon into the last two class projects timed you so much for joining me into this class and painting along with me. 33. Day 29 - Cactus: Hello everyone. Welcome back to day 29 of the 30 day mini art challenge. We are on the second last painting for this mini art challenge. Today we are going to paint a beautiful cactus looking feel. I know cactus and beautiful. But yes, we're going to create a beautiful sunset with a cactus feel. So much Dr. Fields space and field area. Now, I'm just going to go ahead and mark out some cactus. Now you do not mark out to all the cactus necessarily. You can directly given those details using the colors later on. But I'm just going to go ahead with the bigger ones for now and then rest of the details we'll try adding in with the beans. So varied off here at the bottom space, I'm just spreading out some random cactus. Now the smaller ones, as I told you, I'll directly added with the paints. For now, let's begin with the sky and create a beautiful warm sunset. I'm going to begin him with a clean layer of water onto the entire sky. Make sure that you run an even layer of water throughout. In case if you're not using a 100% cotton paper, you can run your brush multiple times. Plus you can wait for your paper to dry or latency around 50 per cent after the first layer of photo and then rerun your brush. So that will help in keeping your paper bag for even longer time if you are not using a 100% cotton paper. And in case if you're using a 100% cotton paper, then also you can see I'm running my brush multiple times because this helps in keeping the paper wet for much longer time until you can add in all of the details. Wet on wet. So first I've picked up a little of the yellow, orange color from the palette. Next I'm going to squeeze out a little color from the tube. So that's going to be the cobalt blue color and red color. You can go in with the crimson color, scarlet color, or whichever color is available in your palette. I have squeezed out a little bit of the crimson color and the cobalt blue color here. So first time beginning in with the yellow, orange color closer to the meeting point of the field and the sky. For now you can run into the cactus as well because as it is, we're going to add in the details later on them with the darker tones. So I've just given in a small layer. Now I'm going to shift into the red tone. So as I told you, you can go ahead with any bright red color that's available in your palette. Closely, adding it to the yellow, orange color. And you can see when both of the colors mix, you get a third orange shade as well. Now next, shifting into the cobalt blue color, just about the red color that we've added. Now when the head and the blue will meet, they'll give you a purplish tone, which is exactly Okay. I'm not an issue. So you can see on the left side I've left a little space there. I'm going to go ahead with the violet color. So I've just picked up a little of the violet color directly from my palette. I'm beginning to add it over onto the blue color, as well as blending it with the reds as well. Now watercolors, dry or tone lighter. So to have a brighter effect, I'm just going ahead with another layer creating in some more depth, running with the same colors with the second layer, because we want a bold, beautiful evening sky look. Now you can see with every color that I'm adding in, I'm making sure I do not have access of water on my brush. Otherwise, the colors will begin to spread and bleed into each other and will not read in the place in which you are adding them. So very carefully you can see, I'm just making sure that each of the colors have smooth transition between each other. Wherever you feel that the transitions are not happening in smoothly, you can just use a damp brush or the same, basically a lighter color again, so as to make the blending is going smoothly. Now using the red color, I'm just going to give him some highlights over onto the yellow color closer to the meeting point. So before we let this guy dry completely, I'm just going to go ahead with some more strokes with the colors. So I places, I'm just going to lift up a little of the color using in my **** brush so as to create some lighter strokes. So you can see after every stroke that I lift up, I'm cleaning my brush so that there is no pain left from the previous stroke that we picked up. Otherwise it will get laid over towards the next trope that we pick up. Up some color creating in some lighter strokes. Now let's wait for all of this to dry. Then we'll move ahead further so that my sky is completely dry it and I'm going to begin painting in the field space and the cactus for that or for squeezed out a little bit of the burnt sienna color out. You are on my palette. And now I'm going to beginning adding in the colors. So for that, I'm first going to go ahead with a layer of water in the field space. Be a little careful closer to the sky area so that you'd run into the sky colors. So beginning in with the burnt sienna color randomly, I'm leaving in little spaces in between to add in the other color tones as well. And in the rest of the space. And I'm just beginning to add a little drops off the burnt sienna color. Now in-between these, I'm going to go ahead with the green tones. So closer to the bigger cactus, I haven't added in the brown. Make sure to add in the green there. Because the fact is we are going to show it off the darker brown tone. For that. I want the green color to be around it so that it highlights the cactus space. So wet on wet, I'm just creating in the bottom space now again, I'm running ahead with the burnt sienna color, giving him some more darker depth randomly. And then I'm just going to go ahead and try blending these well into each other. But we do not want to show in a perfect blended look as well. Now for the, for the darker depths that I have picked up a little bit of the Payne's gray color. And I'm just going to begin defining the top space closer to the sky as well. Now you can see I'm holding the brush much closer to the pressing because it gives me more precision and adding in these smaller details, giving it more definition. Now randomly, I'm just creating in some more dark adapt your as well. You can see at the moment though cactus pencil sketch that we had added, nothing of it is visible. So that is the reason I didn't go ahead with much of the pencil sketch in the beginning, just add it very tough. But closer to the big cactus, I've still maintain the green space because the cactus is going to be of a darker color there. Now to create some texture, I'm just going to go ahead and splatter some water out here to create the texture. So I've just picked up some water on my brush. I'm holding my brush at a little distance. I just splattered little of the water. Now I'm just going to wait for a little while for these plateaus to show in the texture. Until then I'm just adding little more of the green details in between because right now I feel the green is completely covered up with the browns. Now I'm just going to lift up all of the excess water as well. And at this moment you can see because they started adding in the green color, the texture of this platter is almost gone. Once I add in the colors again, I will go ahead and add in little more splatters again. I'm just going ahead with this second round of each of the colors because I did some color lifting as well as some splashing. Again, I'm going to go ahead with the splatters to create the texture. Once I'm done adding in all of the colors again, Let's begin splashing the water again to create the texture. Now make sure you do not have excess water. Otherwise you will begin to get him bigger spots of photo. So make sure you have less water and use platter this from a distance. Now in case if you feel that you cannot control your splatter, make sure to cover up the sky space so that the water does not seep into the sky. Now let's wait for this to dry again. This is around 50 per cent dried and you can see the texture has taken up its space. So again, I'm going to head with another round of this lattice to create more depth to the texture. So I'm just flattering the water again after my paper was around 50 per cent, write my paper, that is the field space is not completely dried as of now, it was just 50% dry. And I've added in a little more of this plot is again, now these will bloom. So until then, let's wait for this to dry and see the texture. So now my field is completely dried and you can see the effect the water splatters has created this time. Walk layers on this to get this texture. So at times just in one layer, you may not get this effect. So you may have to run two to three layers of the splatters as well, but you need to wait for few minutes for the first layer to Zeppelin and then understand whether you need to add in more splatters or it is giving it enough texture. Now I'm going ahead with the darker green tone for the big cactus out here. To this, I will add in little darker that's on the border using in the brown color. So now you can see on the edges I'm using the Payne's gray color along with the green to give him the darker depth. Now at the bottom I'm showing this cactus well blended into the bottom field space I've just used in the brown color. And I'm dabbing it into the background trying to show a profit blend from the bottom field to the cactus space. Now, I'm going to go ahead with a little more of the darker tint and just add little more darker on the edges. I'll TR. Now using the Payne's gray color. That and adding in a little small tent of the green color, I'm just going to go ahead and add in the other cactus randomly at spaces. You know, we had added a very little of the pencil sketch for the cactus, which is hardly any longer visible. So you can go ahead with your own placement of the cactus. It can be anywhere in the field space. Or if you want, you can just read, have a look where I'm placing and then you can go ahead with your own judgment as well. So I'm making sure that I blend each of the bottom spaces of the cactus well, along with the bottom field space. And very randomly, I'm just first adding in little details and then I will define each of these wells. So using the tip of the brush, I'm just adding in some towns to the cactus as well. So pulling out very small details for the cactus. You can see whenever I want to add in a little more of the detail view or the precision. I hold the brush closer to the Brazil. So that gives me much more control over the brush and helps me not adding details Much better. So that is it. We're ready with our class project for day 29. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once your edges are completely dried and always remove the masking tape against the paper. I forgot to add in some grass strokes closer to this cactus. So once I'm done removing the masking tape, I will just use my liner brush and quickly add in some of those grass strokes using the same darker green and the Payne's gray color mix and using the liner brush, I'm just adding in some random grass strokes closer to the cactus that we've added into this gives much blended look with the ground and the cactus. So just little details. You can see how beautiful the field area is turning out to be with little details trying to show much more blending between the cactus and the bottom space. So that is eight. We are ready with our class project for the 29th. This is the second last class project for this 30-day mini challenge. Thank you so much for joining me. 34. Day 30 - Foggy Landscape & Thank you: Hello everyone, Welcome back to day, Day off, the 30-day mini challenge. We are on the last day of this maniac challenge, and today we are going to be painting a beautiful misty landscape. So let's beginning with the pencil sketch. I had first painted this same landscape in acrylics and it was absolute fun and amazing to try it out. I just thought, why not create the same landscape with what colors for this 30-day money I've challenged. And I absolutely loved how the entire painting turned out and the feeling of this painting, how it turns out to be giving you that Misty, rainy detail. So let's begin with the pencil sketch. So basically we're just going to have in a pathway. And at the top of this guy we're going to have in a lot of pine trees out your across the pathway. And then even on the right side, we are going to have in main leaf pine tree details, but we're going to use in very simple techniques to create in the details. So first let's begin creating in the background for that. I'm just going ahead with a layer of water quickly onto the entire space. Make sure to have an even near refer to throughout so that you can walk wet on wet getting the details right. Now for the background, I'm going to mix in the pickup blue color along with a little bit of the sap green color and get a greenish blue shade. So I'm just going to the proportion. You can either use a turquoise blue color directly. All you need to mix the greens and the blues accordingly in a proportion wherein you can get a greenish blue kind of a tone. To this, I've just added a small tension of the Payne's gray color as well. So as to get that little darker depth and the darker tint, and it's more of blue. You can see it's near to an emerald, viridian or turquoise green color. So just you can create the same color by mixing in your cereal in blue, your sap green, a little of Payne's gray, and you get a similar looking color. So I'm just running with this base layer color onto the entire paper. So now this is just the base layer that we've added. Now under this, I'm going to go ahead and add a little of the wet-on-wet details to get the misty look. I'm mixing in my light green, dark green, and a little tinge of the Payne's gray if needed. But I'm just going to go ahead with the light green, dark green, and just add it in a little tent of the blue color so as to get the same color theme for the entire details that we go ahead Your to create the foggy look. So I'm going to go ahead use the tip of my brush and just begin adding in some background very blurry mountain range detail or the pine tree details you can call them, suggest creating in some blurry details out you're quickly dabbing in while the paper is still wet. But make sure you do not add this color with a lot of water. Otherwise, it will begin to spread and cover up the base layer completely. Now leaving the pathway, I'm just beginning to add in this color and add the top wherever I feel, I need a little more of the color details. I'm just going ahead with the base layer colors again. Now at the top, I'm just going to give it a little darker that using the Payne's gray color as well to give him little more darker details into the sky to create that foggy look, small tint of the Payne's gray and blending it too well. Now using this darker mix, I'm just again going to go ahead and create in the blurry looking pine tree. So you can see I'm just dabbing the tip of my brush creating in draft random sizes out you're so as to actin as the background blurry pine trees. These are just to create some background focus. We'll be adding in the pine trees later on in front of these once they dry out completely. Now I've just picked up a little of the Payne's gray color mixing in a little of the greens from my palette, and a little tint of blue to this as well. I'm going to create in the darker depth across the path we add the bottom side. So leaving the pathway space, I'm going to fill in the rest of the details here in-between, I've just left in a small white line, as you can see. That is to create literal of the reflection effect on the pathway as well. But make sure you do not have again, excess water. We need to keep the color theme of the entire painting rotating around these greens and blues that we've used in. So in every color mix you can see I add in a little tent of the blue and the green so as to maintain the color harmony. Now very randomly out here, I'm just lifting up little of the color to create little details on the side of the road. Now that is it for our first layer. Let's wait for all of this to dry completely. Then we will move ahead for the add-in further details into this. So now my first layer is completely dry and I'm already beginning to get in that foggy look of in-between the pine trees. But let's go ahead and add in further details. So I'm just lifting up the same because blue again and do this, I'm again going to add in a little tent of the Payne's gray and green color. But this time I'm going to keep it a little more towards the medium tone. I'm not going to add in much of Florida. And I'm going to do, to begin creating in the details for the pathway now, in-between the pine trees and the pathway again, you can see I've left in a small white line and I'm going to fill this entire pathway with this makes off the blue and the Payne's gray color, which has very little tend to off the green color you can see. And I'm going to fill this entire pathway with this tone that we have formed. So very carefully you can see I'm just filling in this color completely defining the shape of the pathway here as well. Now on the edges you can see I'm running in with a darker color. And from the bottom left side as well, I've given in some darker tint in the center, I've maintained little of the light spaces as well. Now till the pathway rise, Let's begin creating in the details for the trees that we are going to be adding in. So we're not going to go ahead with a detailed looking tree. Rather, we are going to go ahead with our technique that is creating in the foil age quickly using in this coiled round brush. So I've picked up some Payne's gray color and using a spoiled round brush, I'm just going to hold it perpendicular and begin creating the foil effect on the right side. For this technique, the important thing is you shouldn't have excess water onto your brush. Plus the pigment shouldn't be, it shouldn't even contain too much or photo. Also to not just dip your brush into the water. Otherwise, it will again create simple effect rather than giving you this bushy effect. So to get this effect right, It's very important that you do not adding water to your brush, neither to your paints. You try picking up the paints in a thick consistency to create this file edge detail. Now in the same way with a little more towards the green side tone. I'm just going ahead and adding in the base layer for the details looking for mileage on the left side as well. You can see I'm holding my brush exactly perpendicular to get in the perfect control over the brush for adding in the foil edge detail. On the right side it was more towards the Payne's gray color. And on the left side you can see it is more towards the green color. Now let's wait for this to dry completely. So my first layer of the foil which has dried completely and now I'm going to go ahead with the second layer creating in more details. So you can see we are working quiet layers on layers here to get in all of the details, right? I'm going to go ahead with the Payne's gray color now to add in further detail. Now I'm using my size 0 round brush and using the Payne's gray color, I'm beginning to add in some detail looking pine trees across the path way. And you can see the background for this begins to add in so much more depth to these pine trees that we are adding in the foreground now. Now first you're the bottom space. I'm just filling in with the Payne's gray color and add the top. I'm going to give him the detail looking pine tree. You can see as soon as I've just added one pine tree, the entire painting has begun to get in so much more of the detailed view. Now all the pine trees are not going to be off the same height. I'm going to vary the height of these pine trees. And in-between randomly, I'm adding in little more of the greens as well so as to get a little more depth. So I've shifted to my liner brush. And using the liner brush, I'm adding in a little more detailed pine tree this time. So you can see, I'm walking little slowly on the foliage for this tree so as to create a little more focus and given little more depth to the entire painting. But still you can see it's very random strokes that I'm going ahead with. So it's just basically a messy-looking tree that you have to add in, but creating the mess is also an RTO. Now, for the remaining area of the blacks left space, I'm just going to go ahead with the quick file each detail and fill in the space. So I quickly added in the fireplace detail you are creating in the more darker depth. So basically only two pine trees that we added in the detail look and you can already begin to feel in the foggy look for this painting. We are yet left to add in a lot of details to create the depth into the painting. I'm going ahead with the white gouache now and I'm going to begin adding in the details. So first across the pathway, I'm going to define the lines using in the white gouache. I'm using my size 0 liner brush so that I get in the perfect precision. And the lines. If you are not confident using the liner brush, adding in these fine details using in the whitewash, you can go ahead using a white gel pen or a marker and adding these details are the highlights you can call them. Also make sure to either use white gouache or white acrylic so that you get an opaque look for these details. White watercolors will not give you this opaque look, and once it dries out, it will turn out little dull. Now using in the white goulash itself, I'm going to go ahead and add in little more details in the center as well. So you can go ahead and keep adding in these details one-by-one. So very carefully I've added into 210 lines as well. Now, as I told you, if you're not confident adding these fine lines using the brush, you can simply switch into your white gel pen for adding in these details. Now for some final touches, I'm going to go ahead with some more detail looking pine trees wherever I feel the need to and just give it a little more details randomly in spaces. Rather than adding in the pine trees, I'll go ahead and add in a little more off the poll details in-between the pine trees. For that, you need to be sure that your pine trees are completely dried. Only then these pole will stand out bold enough. Otherwise, they will get merged with the pine tree and will not give you the ball distinct loop. So I've used the ball Payne's gray color and created all of these are polls across the roadway in front of the pine trees. And now to some of these, I'll add in little of the light details as well. Now using the Payne's green, a little lighter consistency. I'm just going to go ahead and add a little of these lines as well in-between the pine trees. You can see I'm not using the Payne's gray in the dark is consistency. Rather it's in a little medium tone so as to give it a little more foggy look, matching in with the entire background as well. Now to my white gouache, I've just mixed in a little tent of the yellow color and I'm going to begin creating in the details for the lights as I told you to the polls that we added here. So I'm just going to go ahead and add in very small light details to these poles out here. Now using the same byte question, the yellow mix, I'm just adding little reflection of some of the light onto the pathway as well. So that to show that reflection of the light falling on the roadway here as well. So I just added in two lights and I added a reflection to both of them as well. Now I'm just defining this white line because it's a little crooked, so I just wanted to get it back in shape. Now one last thing before we remove the masking tape, I'm going to go ahead with a little more bold color of the Payne's gray color on the edges of the pathway here. So I'm again, I'm going to create in and let those lighter effects be there. So I'm just going to fill this up in shape this time. So the whiter spaces that we had created while adding in the first layer, I'm making sure to leave them. You're the rest of the space is I'm just giving you the darker details so as to make it look much blended in with the pathway and the top village detail that we have added in. So again, from the center I'm just lifting up little of the color so as to give him those little details as well. But you can see as soon as we added in the darker color, it looks more in sync with the foliage and the pathway. The green color was not giving him that much debt. That is the reason I went ahead with this layer. So let's remove the masking tape and see your final painting for data t of this mini art challenge. I hope you guys enjoyed painting each of the paintings in this cartoon art challenge. I loved creating all of the paintings different from each other and trying to inculcate something or the other new details to learn through each of the class project. Thank you so much to each one of you for joining me to this class painting along with me for all of the 30 days. I hope you guys enjoyed this challenge and I would love to see you guys soon into my another challenge coming soon. Thank you so much once again for joining me into the class.