30 Day Watercolor Challenge - Galaxies & Night Skies

1. Hello & Welcome Back: Would you all agree that the only magic that you can see with your openness is the night sky, the Dakota night, the stars shining. There is always something magical about these enchanting night skies. Hello friends. My name is my shoe and I'm an artist and an art instructor on Skillshare. You can find me on Instagram. Pinterest you do under the handle, creating from the heart. This class is going to be a cookie, the watercolor challenge reading for the coming cut DBs we are going to be creating and pretty night skies and some beautiful galaxies. We are going to be binded one class project each day for the coming 30 days. Do not worry if you're a big note, I will be guiding you through all the materials that you will be needing for the class project throughout the 30 days. Through each class project, I will be guiding you with the step-by-step instructions as to how to begin in with the base Neo, creating the light effect into the galaxies. Going ahead and building each galaxy one day after day. Also, we are going to be playing a lot with a wet on wet technique and with the liquidy consistency of the colors making them flow into each other. We're also going to be working a lot on to the riveting technique and create some beautiful depth into some of the galaxies. Using in the riveting technique, we are going to be playing along with the flowing consistency of the beans, making them blend into each other. D2 rotating of what we are going to be getting and textures using a straw into a piece to galaxies. Also, we are going to learn a lot about creating rooms and do the night sky creating in the light effect into the galaxies and the night sky. I'm sure after the 30-day challenge, your shortly going to fall in love with being done galaxies and would create your own beautiful galaxies using watercolors. So come join me into this study. They Watercolor Challenge class, and let's create these beautiful galaxies and night sky together. So without any further ado, I will see you guys into the next lesson of this class. 2. Material Required: So let's have a look at the materials that you will be needing for the 30 days challenge. I'm going to be using in this 300 GSM, a 100 percent cotton paper. This is Gong academy level watercolor people, which I've cut into the size 13 by 13 inch. You can go ahead and use whichever size people you are comfortable with. But I would recommend you to use a 100 percent cotton paper. I would be deeply now my people under this surface so that I can keep moving my board for getting into blends and making the colors float. I will be using any masking tape to tape down my people onto the surface. Next, you will be needing a pencil, white gel pen, and a black pen for adding details and for the pencil sketch. Next coming to the brushes, I'm going to be using in some watercolor brushes, some smallest size flat brush and round brushes. And I'm going to be using in van because it's flat brush forgiving in the background water wash. You can go ahead with whatever brushes is available at your end. Next to, you would be needing it by gosh, for adding in the stars and details into the galaxy and creating the glow into the galaxy. For the watercolors I'm going to be using in Magellan mission and White Nights watercolor, some of them in pans and some of them from the view which I have them MD didn't do a palette. Next, you would be needing in a mixing palette for mixing out your beans and, you know, creating in the color blends as apart from this, you are going to be meeting in a tissue paper all the time. Make sure for each of the class project you have additional beforehand. Because we are going to be playing along with a lot of flooding consistency of watercolors. And you would need to show to keep dabbing off the excess paint on the edges and cleaning up your brush regularly for pivoting in the glow effect as well. Next, you would be needing two jars of clean water for each of the class project. So these are all the materials that you would be needing throughout the 30 day challenge. So go grab them and I will see you guys into the next lesson where we discuss some basic techniques before piddling in the day one to day. 3. Technique - Understanding The Wet background: So for this class we are going to be playing alone a lot with the wet on wet technique. So before moving on to the fourth class project, Let's discuss the basic consistency or wet on wet technique. So your, um, water on the surface and painting in the background before beginning, who add in the bins. Now you can see for this background, I'm adding in a lot of photo type is it's a lot better than what actually it is needed. So you can see the waterfall is being collected on to the edges and so much of water flowing every year. So now let's put on for all the pins onto this or flowing consistency of the water that we have created it. And then let's see how our beans react when the surface is extra. So now I'm just going to add in some random beans, which is their onto my palette to just show you the property, the wet on wet technique and the consistency of wet-on-wet. Now you can see I'm just dropping in themes in a liquidity constraints. You undo this weight back down. Now to this, I'm going to begin adding in some different colors as well. So the next color that I'm dropping in is orange color along the yellow color that I added in. Now you can see because of the workload that you're looking at and resolve these reading a lot and losing it's cheap and it's spreading around everywhere. See adding in the audit. And now I would add a little bit of ground and then see how the beans when float and create one single Palo instead of having in the blend between them. Now let's try to create a blend and see how this reacts. So you can see the excess water is flowing everywhere and we are losing the balance sheets of yellow and orange and brown color is taking over each of the balance sheets that we added previously. And because of the water, you can see there is no single color being formed. You are just having an edge off of single lobbing phone with the mixture of all the three colors that we added in. And the field is just flowing around everywhere without giving us a perfect blend and palate look into the sky. So this will what happens if you haven't water into the background? Now let's understand the exact wet on wet technique which you should be going ahead with. So now again, I'm adding in a layer of photo, but this time again I'm adding in a layer of water which is less. That is, I'm adding in very light year of auto and see how the things will react if the surface is not perfectly but as bad. So basically forced to be alone in the room. They don't wet technique and then even understand the perfect consistency. So this time you can see that it's not much of the water. I'm going to be using kalos and drop and see if they've needed to each other naturally and float and clear the perfect blend? Or do we have difference in Buddha fabulous. Oh Ben B, add them. So you can see the colors are not leaving much into each other, just in bed you have added in because there is very less bokeh in the background, and hence they are not blending into each other and the risk piece in between. Now, let's understand the final outcome. That is, o the wet on wet that you should have. Have a Leona for Dove, which is perfectly in evenly spread throughout. And make sure that you have the Chinese loop of water on the paper. So you are, you can see I have that shiny look of water on the paper showing that it's it's a perfect level of wet on wet. Make sure that you are using or 25 percent cotton paper. You run your brush multiple times so that people will stay wet for a longer time. You can even let your people lead a giant adult. And then we've added again to see. And you know that real people when Steve back for an even longer time. Now in this you can see the pins are flowing much better, undo each other, and automatically creating a perfect blend. So now go. You can test in the perfect consistency for the wet on wet technique and undestand Nepal thick wet Neo that you need to get the beans floating into each other and eating in the blend. So now this time you can see the pins are flowing, but not flowing as much as it was flowing in the first one. Plus the are not staying at one place just as he was seeing in this upper one. So that is how you need to understand the level of water that you need for wet on wet technique to get the perfect blends and small between different colors that we are going to be using interference the blends into the galaxy. So the first two were the wrong method, and the third one is the right consistency, wherein the piece blend easily into each other. Soft look and blend in between and having the perfect look in between the fellows. So this was the force on the most important thing before you begin to pin galaxies and night sky, that is getting the blend between the floating consistency of the palace and understanding the wet on wet technique. Now let's move to the next lesson. 4. Technique - Creating the Glow and Blooms: So now these have dried in completely and you can see the perfect blend, the colors have caught it, but your other colleagues have not needed veil into each other. And then put this one that was lot of water. You can see we only have one brown color into the entire base CEO. So I hope you got that understanding of the wet on wet technique and the consistency of the wet on wet technique. So now moving ahead to the next technique which will be important for you while building and galaxies. So we are going to learn to create in some rooms now. So I'm just going to apply in a liter of water and then adding some pins and show you how we can create rooms and mid the glowing effect into the night skies and the galaxies. So I'm done applying a layer of water. Now to this, I'm going to add in the cobalt green color first, and then around it, I'm going to begin adding in the darker palette, that's the indigo color. So now you can see I'm adding the Legal Palo about the cobalt green colors. So basically, we have a fourth year of compulsion palette before the indigo palette being applied your at the top species. Now I'm going to further darken up this. Hello, We are onto the edges. Then we'll create loans and do this while this is still wet. Now I have picked up a round brush with some water and I'm just going to begin dropping in Waldorf in good at galaxies p's and q's. So I'm just using in water droplets and adding it. Now you can see when I'm adding the drop lift onto the indigo Palo, the droplet is creating a loom and underneath that move you or even to see the Coval gene colonial that you had. But in case if you did not have the caval gene Neil, Under the indigo color, you would have put in white and a mooc because the base color, that is the people color is white. So you can see when I'm creating and move on to the cobalt theme color, you are getting in a white room because I'm beneath the gene color, there is no alarm and the paper is white. So automatically the underlying Palo that you have will emerge, venue clear these known using and wardrobe. Cmv, vivid, even be feeding in rooms using beads in a liquidy consistency just dropping into V as we dropped in the water droplets. So I'm going to use this golden color and I'm going to quickly create a very liquidy consistency of this fallow. Now using the round brush, just as I dropped in water, I'm going to begin dropping in these drops of beans. So you can see automatically even this is creating the only difference you are. I created this off the palette that we are dropping in. So now you can see the portal rooms being created. So now see, as I begin to rotate this, you can see the rooms are spreading and you have the Gordon Gallup who's leading in the glow effect, seeing there, you can even drop in white color and need nums with the white color, giving the glowing effect into the galaxy. We are going to be using in a lot of this dropping method to create the blooms into the galaxy and the glowing effect using lot of whitewash and different colors. These also you can see I haven't the water droplets and increase the size of the Blues. See it whichever color you want, you can add it in a very liquidy consistency and create the blooms like this. So even with yellow, you can see the rooms being created. Now, even under the yellow, Let's talk water and see how the Bloomsbury sled and need a bigger blue. So in the coming class projects you can see here are going to be creating in nums, using in these different light color towards creating and deploying effect into the night skies. Into this one as bed, you can see we've created so much of the noise that using in the water droplet method and the color dropping method and getting in so much of the glowing effect into the night sky. So this was one of the major important technique to understand by painting galaxies and night sky that is creating in the glowing effect. And the light look into the galaxies using in Palo water blooms and whitewash as well to create the light effects. Now before beginning the D1 plus reject, one last thing that I want to discuss is about the floating of metal that we are going to be using it. So you can see the blend between the palace is smooth, smooth because we're going to make the watercolors flowed into each other by moving our surface on which we will be keeping done this before. So hence, I would recommend you to tape down your paper and do a movable surface only so that you can make the water balance float and create this perfect blend in between the night sky. Here also, you can see the talus has blended and have such a beautiful soft edge, even in the other ones, even populating in the Milky Way reset, you will need to make your people move in different directions to get the perfect effect we are going to be using in a lot of whitewashing of very liquidy consistency for reading in the Milky Way set into a few of the galaxies like this so far that make sure to take down your people onto a movable surface. Now without any further ado, let's begin with the first class project for today. 5. Day 1 - Green Galaxy: So let's begin with the class project for d1. The panels that you need for this galaxy is yellow, green, viridian green, indigo, black, and white. We are going to be a beautiful green and indigo galaxy and then add the mountain reach. So I have my paper down onto all the four edges onto this movie. Been bored for you to not have any pencil sketch. I'm Detective going from beginning with the theme, the oral prodrug onto the entire surface. Make sure that you apply the perfect consistency of water, as we discussed in the technique section, so that you do not have access to what do I need to not lose the floating look of the things and get the whole thing lint as well. So I'm almost done adding in a clean. There are four dots since I'm using a 100 percent cotton paper, I'm just running my brush multiple times so that the paper stays wet for enough time for me to add in all the news. Also with the painting galaxies, we are going to be playing in a lot with Nios on Leo's white if this thin bed. So make sure to be a little bit as well by navigating the Palo so that no Leone of the father or the patch of the fallow dries before you begin to add the second color over it. Now I haven't forced begin with the shade of yellow. So I'm going to quickly thicken a little of the yellow-green color onto my palette. I'm going to be using this scholar in a good thick consistency so that I have vibrant looks so fast going to beginning with the yellow-green color at the bottom species. I have not motto, Don't fence and sketch for the mountain area because the mount them is going to be able to black color. So I've been added after the galaxy is completely dry. So at the bottom I'm just leaving very little space white for now. If you want, you can even our documents please with the FIM by the complete because as it does with the black color, it will all get covered up easily. Now next color that I'm picking up is the VDD and green, yellow, which I will begin adding in just me other than yellow pea and tried to create the perfect blend between them. Now, again, understand this is just the fourth year of followers after the I didn't all nose into the first video, we are going to be adding in the second year of colors again over these colors to create the floating consistency. Now I'm using these fellows in a thick consistency, but still in a little floating consistency so that didn't bleed into each other easily. For that, it's very important to have in the perfect fifth Leo. Now again, running onto the yellow-green color, using the yellow-green palette, just have the meeting point of water to create a little more blending effect and the paint flow into each other. Now on top of the VD didn't green color. I'm going to be adding a little of the Van de Jean Carlo. If you do not have a vended gene, it's perfectly okay. You can use any darker green color or you can just make senior sap green with a little touch of Payne's gray and get this darker green color. Now you can see it on the VD didn't follow. I'm trying to blend with the Van Dyke green color. You can see the fellows are so light. And the final outcome is going to be quite vibrant because on top of this, we're still going to be adding in more leeway. Just make sure with every new and a father that you're adding if you try to blend it with the previous year of the Palo so that it becomes easier for you to get in. And now I'm using my indigo color and I'm going to add it into the rest of the top space force. And then again, beginner, I begin the second year of the fellows buying all of this is still red. So I'm done adding in the first year of indigo. Now I'm picking up the naval calling the liquidy consistency and adding the second layer or what are the four students? Now as I move downwards again, I'm going to begin thinking about the CMB Carlos that I need there and create a blend between them. So now next time we'll pick up the vending gene colored object and applied at the same speed. And I added the vending machine previously. Now you can see there is a little more liquidy consistency of the beans. So automatically it spreading, I'm flowing into each other. Now next Eigen, either VD didn't green color just underneath of o of n to dream follow. And then lastly, the yellow-green follow. And then you can just keep tilting my board to get the perfect blend between the fellows and have a smooth transition between the, each neo bone off the values that we have used it. As a complete bottom space. I'm adding in the last. So yellow-green color. You can see all the photon and values of the followers have blended so ran into each other. And I do not have any sharp edges in between. And I have a smooth blend and transition between the follows automatically. Now by this is Sinbad, I haven't just flattered in some stars and build up allocating little glow effect. So wet on wet adding in little balloons using the white faith in another medium consistency. Then even need for all of this to dry before beginning to add the final details into this painting and adding in the mountain range. So these wet on wet stars that we have added infant, softness, hello, sky eating and some stuff. Blurry background, stars. Before we begin to add in the finance does. So you can see the perfect blend between the fallows and the perfect I defect. The stars are Ph.D. Now let's wait for this layer to dry before I've been in the media. So now my fourth field is completely dried and you can see the value effect of this data set. We have four pie splat again divide course weapon in the first 30. Now we are going to be adding in the prominent stars onto this makes your painting is completely dried with the phosphate off. Now for splashing in the stars, I'm using the whitewashing of medium consistency this time. And I'm going to splatter, reducing the smallest size brush so that I do not have much bigger stars. Make sure that you do not have access being done the brush, otherwise you may get patches of white collar instead of getting in these minute study does. Now you can see because of the bloody stuff and these bright stars automatically get the perfect blend into the galaxy. I'm tapping it using my fingers so that I get the full FIFO consistency of this stuff. Not too big, not too small. If you want, you can dab it with another brush as well. But in that case, you may get a little different size of the styles again. Now Let's begin writing in the mountain range or the bottom side. So I'm going to be using the Payne's gray, yellow or you can even using the black color. And I'm just going to add in a mountain range at the bottom side. Then by this mountain range went dry. I will add in the morning to the sky and then we would add little dry brush to this mountain range. So I'm going to add in a mountain range very rough shape. At the top you can see I'm trying to create a very rough shape to the mountain, giving different height at different angles. Now I'm going to simply fill-in the same dialogue with the Payne's gray fellow quickly. Now make sure that you use the Payne's gray color in quadratic and adopt consistency because you wanted a video OB3 out of the mountain. And then do this, we would be adding in the drive rational answer this completely dry. Another important thing to keep in mind your by adding in this Nandan range is that makes sure that the night Jeannie Palo that you hybrid is not covered up completely with them often from behind the boundary, you should have that glowing light effect of the light beam color and then moving into the darker tones at the top speeds. So yeah, mountain range, right, should be such that they bite. Yellow, green color is still visible from behind the mountain and it does not cover it up completely. So I'm done writing in the layer of the Payne's gray color into the bottom layer of the mountain range. Now if in this dries it, Ivan quickly begin adding in the other details into the fingering. First, I will just define the edge of the mountain at the top space a little more before moving ahead. So now this mountain range is drying. Let's begin adding the details for the wound. For adding the moon, I'm going to be using in the white quash color. So let's pick up the whitewashed. I have a separate pattern for the white quash itself. So I'm going to pick up the wide portion in a medium consistency and begin adding the moon on the top right side. So far the photosphere of the moon, I'm going to add in a very small by toggle. You can see it's quite this one so good. Now using a damp brush, I'm going to lighten this and blended into the background this bin. Hence, we need a glowing effect for the moon. This is going to be the background Leo for the moon. And by this dries after that, even adding the moon effect on top of this. So automatically when you will be adding the bright moon onto the top of this, you will have a glowing effect because of the light white New York at the background. Now on the edges I'm going to blend it completely. Now let's for both the mountain and the moon to dry and then add the final D this. So now my mountain and the Mona completely dry. I'm going to be using in the smallest size flat brush now, I'm using the white wash in the thickest consistency without adding much of Waldo. I'm going to begin adding in the dry brush onto the mountain. Make sure you dab off the excess being done water before you begin to add in the dry brush. Otherwise, you may begin to get in patches onto the mountain instead of the dry brush stroke. So Foster I'm defining little of the mountain and giving it some darker highlights with the white wash. And then I can begin adding in the dry brush. Now I'm adding in the dry brush. And you can see the diagram that I'm moving towards the left side. A distinction in between the mountain. Now you can see I had been diving off the excess paint pens. I'm easily getting in the dry brush. D. D. If you're going to have excess of water, you will just be getting invite badges instead of these dry brush. Now from the left side, I'm going to make these dry brush move towards the right side. And I'm going to make sure that I do not add it onto the complete mountain gate. I'm going to leave little gaps in between so that the black color or the Payne's gray color is still in between. You can add in some very darker highlights with the white color, that is a few darker lines to add distinction all movements of the mountain. Now, we're adding in the dry brushes that you'll need them going quite slowly and you'll need to make sure you do not have either excess paint or excess water onto your brush. Otherwise, you may just begin to get the budget of the white color instead of the dry brush tool. Now I'm using the white color, pick consistency and I think in some lines defining the movement of these strokes. Now last, I'm just going to add a little dry brush onto the right side and then we would be done with the dry brush onto the mountain. Now I'm going to use a little damp brush and I'm just going to be admitted light defect in the center upper shoulder moonlight effect onto the mountain. So you are using a damp brush. I'm just blending the whitewash and do the background and it didn't need to meet them. Light effect of debt times the moon effect falling onto these mountain ranges. So just using a damp brush blend a little dry brush stroke and get a little white look out there. Now let's begin adding the D1 into the moon. So I'm going to use in whitewash in the thick consistency and just add a small moon into the center of this white patch that be created. Make sure that it is smaller than the so-called that you already have, so that you have the glowing effect around this moon. Now using a white gel pen, I will just add little ring effect around this MOOC. If you do not have a Vijay, then you can simply add this using innovative, the size down brush and the white wash and limited spidering effect around the MOOC, reading more of the blue loop. Now you can see the white background and now giving effect, getting in the buffering effect on the moon. So that is it for the first class project are very easy one, Let's remove the masking tape and CFI and painting for D1, make sure all your edges are completely dry. Always remove them asking deep at an angle against your paper so that if you have the red pins on the edges, it does not flow back into the edges and mess up your edges. Also remove your masking tape one day by the time that you did not take off the edges. So you are as a finer painting for D1 off this 30-day watercolor challenge. I hope you guys enjoyed being this beautiful green valency with me on D1. I would see you guys tomorrow into the D02 Class Project be adding in another beautiful galaxy. And along that RDDs we are going to be creating very different combination galaxies. So I would see how best to model into the D2 class project. Thank you so much for joining me in to this challenge. 6. Day 2 - Pink Galaxy : Hello everyone, Welcome back to D2 of the TDD watercolor challenge. Today we will be painting in this beautiful pink galaxy. The calculus that you need for today's class project, this opera, pink, when Rose, Permanent red, beans, green, black, and white. Gosh. So I have maybe put the dome on to all the four edges and there is no pencil sketch, meter, dielectric beginning visiting photo folder onto the entire surface. So I'm going to hit the demean quote of even more. Don't want do the entire surface, make sure you have an even layer before the drought and no car pulls off water to float in between. So despite using a 100 percent cotton paper, you can see I've been running my brush multiple times so that I have an even layer of water on my paper stays wet for enough time. We are going to be walking a lot wet on wet. We will be adding in one year of colors. And then by instill, that is where we are going to begin adding in the second neuron it to get the perfect blend and flew between the colors and get the difference, deviations as well into the galaxy. Now first I will begin with the permanent check color. So I'm going to be using in a medium consistency of the permanent red color. That is, it's going to be her little liquidy consistency, but it's going to be a little opaque as well. That is I'm not adding much of water. I'm trying to let the Calla V vibrant. Now around this, I'm going to add in the window Scholar, if you do not have a queen rose color, you can use a Carmine color or any tone of pink, a little darker Pinto. And now around this, I'm just going to pick up a much darker tone of the pink color itself. This the red-violet don't. So if you want, you can just mix in a little touch of violet to your queen rose color to get a little darker tone of radiation to dock wind rose color. So just leaving the top space blank, I'm going to fill the entire bottom space with this color. Now after top space, I'm going to first add in the phosphonium with toppings green color. And then after that we are going to be adding in the father Leo's into this while all of this is still wet. So my people still read, and this is just the force near of the palace. At this point, you can see that it's not blending between the colors. And I can see all laws very distinctively and separate from each other. Now onto this Payne's gray color, I'm just adding in a darker layer. Now, I will quickly beginning with the same colors that I used in the fourth layer and I'm going to begin adding in the second layer or what do this. But this time I'm going to use the color in much darker consistency. You can see the shades of white Dakota in the falsely Apollo's that I added in. So now in-between places, if you will have little of the light add-ons visible from the false Leo. It will create a perfect glow into the galaxy with the lighter tone speaking out. Now you can see near to the beans, I just move migration circular motions and try to get the blend now around the red color completely using in this red violet color. And then I will shift to the permanent red color raspberry to give in the second layer of the permanent red color as well. Now again, at the top speeds giving in the second layer of the Payne's gray color against so that I have a very dark color consistency at the top space. Now I'm just going to take my border little so that not much of the pain scale flows downwards. Now again, I'm adding the red color also in a liquidy consistency and you can see it's automatically flowing and blending where you can use a little of the brush movements as well to create the blends in between. Now at any step, people have saved riding by adding in these Leo's, make sure to stop the process out there. Lego paper giant completely, then revert the entire surface and then go ahead. Now you can see slowly via getting into blends in between. Now again, I picked up the windows color. I'm going to add a little near to the red color and when to blend it with the darker dawns. Now since the Payne's gray and the windows color blending into each other, you can see a very dark tone of pink bean formed. Now this is how we are going to create the blends and get different tonal variations into the galaxies. So you can see using the same three colors over and over again and trying to get the blend in between, I'm automatically creating in a beautiful sky. Now I'm going to use a little of the Payne's gray color. I'm just going to add very little darker highlights emit a very light hand at the bottom space as well. So automatically when the Payne's gray and the red and the pink color react, you'll get a darker Boone. Now at the Bob space, you remember in the first video we added the princely authority, the pink follow. Now, just lift up a little of the beans green color using my brush and automatically, you will get an underlying light effect, often light colors that you added in previously. So I'm just lifting up the bilateral my damn brush and I'm dabbing my brush onto the paper. Sorry, onto the rough toggle automatically getting in the globe. So you can see step-by-step, I'm just lifting the Kylo and dabbing my brush clean before picking up the colors again. So you can see because I added the bottom neon with the Windows color before adding in the Payne's gray color. Hence, now when I'm lifting up the beans click hello, I'm automatically getting in the lithium light effect of the wind rose color at the bottom, Leo. So this is how you can do the lifting technique also to create the glow effect. Now while this is still wet, I'm just going to splattered a little white paint, wet on wet. And I'm going to create little blends with this as well. Now at the top space, yeah, but I have a lot of white space. I'm just going to drop little of Payne's gray and the Penrose color again. But this time I won't be dropping it completely. I will likely do not. Those white gaps be in there. So now just picking up little up the windows color, I'm going to drop it in such a way that all three colors are visible. And then we are done with this tiny, we will wait for this to dry completely before adding in the further details into this painting. So I hope you could understand how using the same colors but Leon, Leon again and again to create the blends, you can create such beautiful skies and galaxies. You need to walk a little quick with this so that your people doesn't dry to give blending. And you need to make sure that in-between, keep dabbing your brush clean. So again, I created little glow effect only in this end, DSPs blending the white, pink and the pins gray color. Now let's wait for this to dry completely. So now my sky is completely dry it and you can see the effect of the white planters that you have at the bottom space and the effect of the palate lifting that we did at the top center space. Now I'm going to use invite gosh, I'm going to first platoon timestamp before moving ahead. And then we will add the salivate at the bottom space. It's going to very simple galaxy. I'm not adding much DDS because I wanted the first few exercises to be just a warm-up exercises for you so as to get a hang or what do the wet on wet technique and so that you learn to move faster and blender kalos. Now I'm showing you how using another brush as well, you can just dab it on doodle brush and create the stars as well. But this may take a little time because of the force at which it gets flagged us. Now you conceive and I'm just plugging the stars using my hand. I'm getting very fine stars. So make sure those pledges a lot of the white quash, but also make sure you do not get bigger budgets. So you need to understand the right consistency of the beam. Also, if you would be using invite water follows, it may not give you the A-B-C Look of the stars as the white goulash given. Now next, using the beam scale color, I will just begin adding in little much details at the bottom space. So if you do not have the Payne's gray color, you can use in black color directly. I'm going to be adding in very simple Bush D1 at the bottom space. So I'm just going to adapt the tip of my brush at the top space and create d-day look to the bush. And then as I move towards the bottom space, I'm just going to fill that space completely with a darker consistency of the Payne's gray color. In between. I will just leave very little gaps in between the shoulder backgrounds piece as well. But first, defining the models and under border also you can see I've tried to, we read a sheep or throughout a now just going to add little more detail at the top space somewhere trying to show a little more bush effect popping up. And then some are just at the bottom. And then I will quickly fill the entire bottom space with the darker tone. Now as I'm moving the bottom, you can also see that I am adding more batches of the Palo and leaving lesser gaps in between. Now you can see as I'm moving towards the bottom space, I'm just filling in more with the batch and leaving much lesser species creating in the buffet bush effect. Now at the left space URLs Bell, I'm going to add little bush effect, but it's going to be quite smaller than the postdoc I added on the right side. Now your also, you can see I'm just using the tip of my brush, adding in the detail look at the top and at the bottom. I'm quickly filling it with the darker tone without running much about how much gap is there. Randomly, the little gap that's t-stat is what will create the perfect meal you're out. Now I'm going to connect this complete meter in the bushes, the right side. And then in between I'm just going to add in very small pine trees using the same pins, gray color. It's going to be very small ones and very less detail ones. I'm not going to add in much of the details. After this, we are going to be adding in a very small moon at the top side, top-right side as well. Now I haven't complete the bush space here in the left corner as well. And then a left piece, I'm just going to be adding in a very simple CI as well to add little more detail to this bottom speeds that we are adding in your butt, the bush effect, you can see it's quite a smaller one as compared to the ones that we added previously. Now just went up a lot of little branches from this now to these branches as well. I'm just going to add in little foil. It just having that above my brush feeding little foil is to this tree. It's going to be very little in such a way that the brand is in between are also visible. So you can see I'm not picking up much of the paint. I'm adding it in a little light consistency so that the branches are visible and you get little dry brush kind of file leach out here. Now next thing is to add the moon onto the top right side. For adding the moon, I'm going to draw a circle using the protractor that by having your, so I'm just going to mark out a small circle out your So now I'm just marking out a pencil sketch off the salt. It's approximately two centimeters in diameter. Now I'm going to use the white goulash and anti-D Damon do this so good. So the circle outline may not be visible to you because of the dark color that we already have about. I'm going to use the white gouache in kind of a dry brush technique to add in the details and to the moon. So basically the moon in the sentence piece is going to have in the detail of the sky only peeking out. We're just going to add in very little detail onto the edges of the moon. So first using a pointed tip brush, I will mark up the edge of the moon using the white gouache in Arctic Kansas, TNC, go very slowly around the edge so that you do not run out of the ship. Otherwise, it will be very difficult to connect them. I'm using a size two brush which has a pointed tip hands. I'm able to achieve the details very carefully. So now I'm done marking the shape of the moon, that is outline of the Moon using the Vygotskian optic consistency. Now I'm going to dab off the excess paint from my brush. And I'm just going to add very little dry brush on top and the bottom edge, creating letter D, D1, the moon, and automatically InDesign does B. You will have the bottom sky only visible. So you can see how on the edges I'm adding in the dry brush and the dry brush altar is the tuple and variations. Some are a little light in color and some have little bright white color. Look. Now I'm going to pick up the question again in a little thick consistency and just going to add a little more highlight to the edge. So I'm just going to add a little thicker and more opaque edge at the top and the bottom side, creating a little more highlight on to the moon. Now before removing the masking, let's quickly add in a few of the shining stars in the galaxy. So I'm going to use the white goulash and using the department brush. I'm going to quickly add in some of the shining stars. So you can see very randomly leaving little spaces, just adding a few of the stars in the sky. So this is the last one is your a and b are the div with the class project for d2, another simple galaxy. But I hope you got the hang of getting the blends between the palace, right? Creating the light-speed using the lifting technique. Also creating the blends between the fallows, walking layers on layers. Now on the edges of the masking tape, be a little careful. You can see there is a lot of back pain that gets collected because of the flowing paints that we use in. So by removing the masking tape, make sure you remove it against the angle of your paper. Edges do not get spoiled in. So your final painting for D2 of this 30-day watercolor challenge of beautiful pink and red galaxy. I hope you guys enjoyed painting this beautiful galaxy with me today. I will see you guys tomorrow into the D3 class project. Thank you so much to each one of you for joining me. 7. Day 3 - Chasing the Moon: Hello everyone, Welcome back to the 30-day watercolor challenge, VR and D3 today. And we will be painting this beautiful galaxy today. The colors that you need for today's class project is indigo, radiant green, brown, Payne's gray, black. And by cosh, so let's begin painting in this beautiful galaxy. I have my B, but they've done on to all the four edges. And this time we are going to be having an unlimited pencil sketch. So at the bottom space we're going to mock up Littlefield speeds. And on top of this, almost in the sample space, I'm going to be adding in a chair onto which we are going to be adding in the chair silicate onto which that goal is standing. So basically you are, We're just trying to paint it. A goal, chasing the moon actually. So just a very simple silhouette. The all, most of these details we are directly going to be adding in with the black color. So it doesn't vary much or doesn't matter much actually asked, Do you know how your word of prevent these species from being followed? So do not worry, you can lead the palace over this as we are going to be adding them with the black color. At the end. I'm going to write a very simple silhouette of a gold standing onto this chair. Times this window show all from the side angle view or the goal is standing in. So I'm just going to be adding inventory D1, trying to soil that the other feed is hidden behind this forced feed itself. And at the top also we are not going to be adding in much of the features. We're just going to be adding in a symphony address and the interface and head EDS. So you can see I'm going to head into very simple silhouette and now I'm going to show that both the hands are all chasing at the top side so as to show that the goal is trying to choose the moon and trying to hold it. And at the end we are going to be adding in the moon exactly. Oh, you know, fetching both the hands trying to show the perfect chasing view. So what the hands are moving towards the top species are now in the piece also you can see I have not added much of the detail. Now, just adding very little hair detail. I'm very bad with adding and silhouettes, but just trying my best to get in the perfect one. Now, Father handy, I'm going to be giving in very simple handy. They're not even marking out the fingers separately, just very literally did. And now this time I'm going to show the moon just touching the hand perfectly. And accordingly, I would just adjust the hands and if needed. So I know for many of you oh, adding the human figures, maybe a task, task. It is for me as well. But I'm just trying my best to act as simple as possible so as to get the perfect choosing the moon field out here. So that is the embedding with the silhouette. Now we even begin painting in. Now, we just have to be careful about one thing that is going to be all around the goal, you have to create a little glow effect Banga show the moon glow falling around the goal site. Now, I will begin with a cleaner or four dot onto the entire sheet in the field. I'm also going to be off the black color, so it's perfectly okay to lay down the water and the galaxy Carlos there as well. Also the solutes are going to be of the black color as I told you previously. So you do not have to worry about leaving the species now, the only thing that you have to be careful is that around the goal, we have to create a glow effect by building in the galaxy. So the first color that I will be beginning is of the bone CNR follow. So just to add the fields piece, I'm going to begin in with the buoyancy and our fellow. You can see using the fellow analyst and liquidy consistency, so it's automatically flowing onto the wet Leo. Seven fourths, we're adding this little layer of brown color. Now next moving to this ACT team follow, I'm going to add in very middle of the VD didn't mean or decide fin Palo forced out your near to the brown color and blending both of them together. For painting each of the galaxies, the main thing that is going to be is that you have to keep adding in the fallows again and again to create the blends between them and get the darker and the lighter shadows. So again, I'm adding little brown, so that is lens automatically with the v. Now with the same VD didn't mean Bhalla. I'm just diving in another video you can see. Now if you'll notice around the goal, I'm trying to let the species being written right, so as to get the full effect, glow effect. Now at the top space, I'm going to fill it completely with the indigo color. The rest of the top speeds with this indigo color. Now you can see the palace had still not that vibrant as we need them. So I'm going to go ahead with the next video. But before that, I'd been quickly lift up a little of the palette from around the goals that is spreading so as to let them glow effect be there. So you can use a smaller size brush and just lift up the color out so that you have that light glowing effect around the Gulf. And the rest of the galaxy is going to build the Docker. Now I can begin with the same colors that I had been using it. That is the indigo VD didn't green and the brown color. And I can begin adding in Dhaka deaths and it blends between it. You can see I'm using the beans in a little, employing consistency to get the blends between them. Now just add the meeting point. I added the bean and automatically you can see the blend between the blue and the green has happened. Perfect Knee much still the blend between the brown and the green is not perfect. So I'm just going before the ad and little brown color to get the perfect blend there as well. Now again, and using the tip of my brush, I'm triangle lift up the color from around the goals. I love it so as to get the glowing effect there. Now in this galaxy we are going to be feeding in a lot of the light effect of using a white quash blue and techniques. So we are going to use the whitewash in quite an equity consistency and drop it in those spaces to create little mite species. And then again, we would be adding in little indigo color around the white blooms apically to get the perfect blend and the glowing effect at the top speeds. So shifting into the white quash, I'm going to take up the white quash, innovating liquidy consistency. Now I'm dropping this white Guassian and liquidy consistency majorly using the default, my brush and misogyny at the indigo color space. You can see I'm leaving gaps in between. Now makes sure once you droplet and white-collar, you clean your brush if the indigo color has lifted, otherwise you may become very difficult for you to get the glowing effect. Now at all, this white, that's again, I'm going to add in little indigo palette of the lens so that you do not have only badges of fighting between your nipple theater blend between the fellows to get that glowing effect. Now at this point, if you can see the blue and the greens are not blended with. So again, pick up a little of the dream Palo and add it so that you get the perfect blend again between the green and the blue. Now you can see the evoking so much Wet on Wet might be hoisted back and you need to move it quickly so as to get these glowing effects and we'll get the perfect blend between the fellows as well. And you need to keep adding layers on Leon's off the same palette again and again to get the blends venue, keep adding on Leo's to create depth into the galaxy. Now just adding some fine and more highlights key thing and more growing effect even at the green space, you can see I'm just adding in the whitewashing the liquidy consistency, creating the white patch and the white glow into the galaxy. Now again quickly from around the goals, the fellows that have spread it in, I will just lift them up using a damp brush. So that is it for the photosphere of the galaxy. Now let's wait for this to dry and completely. Then we even begin adding in the further details into this galaxy. So now my force VR is completely dried and you can see the white effect that we have got near to the indigo color at the top speed. That glowing fact into the galaxy that has come in because of using invite Guassian, a liquidy consistency to create the blues. Now, I will begin by splashing in this task force. So for splatter the stars, I'm going to use a smaller size brush and pick up the white quash in a thick consistency. I'm just going to splatter into the skies piece. Now again, one thing you're as you know, all I would just like to remind you again that while I was adding the white color wet on wet and do the indigo color. It's very important that after every sport of five that you added, if any indigo collagen sniffing, clean your brush and then again pick up white. Otherwise you may not be able to achieve this glowing effect of the white as I have achieved. Migration was not lifting up much of the indigo color. Hence, I was not cleaning it again and again, but I would recommend you to be careful about this thing if your brush has not fit any of the indigo color. Mile adding those white patches. So I'm done adding in this size now I'm going to shift into the Payne's gray color and I will begin adding the details into the galaxy now. So first time beginning to mock out the goals Hello hit. So the pencil sketch is very nicely visible to me now, it may not be visible because of the fellows that have already gotten need overreach. But on your paper, I'm sure you would still be able to see the pencil sketch. Now very carefully using a smaller size brush. I'm forced marking now playing and then filling it completely with the black fellow. Or the veins may follow whichever color you are comfortable with. I'm using the Payne's gray color. So you can see I'm using the smallest size brush. This is a size two round brush, and this brush has appointed. Hence I'm even go achieve the media so easily. Now very quickly, I'm going to fill the completes a low heat with this Payne's gray car lot going in slowly. So you need to be careful and look ahead for your own pencil sketch that you added in. Now you can see as we're moving forward and creating and you'll get the effect that we added in is leading such a beautiful view into the galaxy and is creating a more effect onto this base, giving it more prominent view. Now quickly, I've been adding the details into the chair as well. So make sure you go ahead with the pencil sketch type is visible to you or you can therefore the pencil sketch that you had at the beginning. So that you know, it depends on sketches not visible, regular supposed to add in what? Now for the hair. I'm going to use in a fine liner pen, I'm going to pull out the hair so as to get the perfect ends or you know, those are split and kind of books that we need in the hair so that each strand is visible at the end space. If you want, you can use a for the fine liner brush and add this using the black color itself. But I find it easier to add it to using enough blackface. Now next, using the same Payne's gray color, I'm going to quickly, I did Littlefield detail at the bottom species on the which this jet is standing. So first I would just be it that's mon line that we had added in. And I will fill it completely with the Payne's gray color. And then just using the smallest sized round brush, I even begin popping out of me and expect on from the dot data is giving emitted vast either by just pulling out this black color. So I'm almost done filling this completely with the black color. And you can see the field effect is coming into view. Now I can just pull out little grass draw from top of this while this is still wet. So I'm just using the same beams piccolo and cooling. Very simple adverse effect, just using the tip of my brush giving an a to C and D De Lao Tzu. So on. But the entire line, I'm just going to pull up this simple dd. Now, after this, we will just be left him to add the Monday deal and a little more of the study dealing through the galaxy. And then he would be that even this class project for b3 as well. Now let's begin to add in the moon the data into the galaxy. So before. The moon they didn't. Ivan quickly pick up my white gel pen and I can just add the outline to the moon so that I do not blow out of proportion with the white Bosch. So you feel can see how pencil sketch of the moon then that is perfectly fine. Or, you know, where to place the moon that is just near to the hands trying to show the Golgi is in the mood. Now I've infant this move completely. The whitewashed giving it the bowl, phaco, big LEO. Now into the night sky, I'm just going to be adding in a few of the shining and the bright star loop. So I'm just adding in small patches of the white quash forced and I'm blending it with the background and heating in the glowing effect for this task. So I'm just dabbing it quickly so that I get that very light view. And then once this dries, I will add in some prominent bright stars on to this. This is how you can add little effect of the glowing stars in our galaxy that is created a blurry Leo first for the background to act in as the shine to the task and then pick up the white quash synaptic consistency and add it. So there are always one that I'm adding in the white quash and I'm dabbing it with my finger quickly to lighten the Leo. Second, you can use a damp brush like this and just blend the background and blend this Bitly or in Buddha background, creating an opening night allele of the white wash. Now I'm going to pick up the white quash and thick consistency. I'm just going to add a few shining stars as well. Now my fourth year of the glowing stars have also tried in. So I'm going to use the right question, optic consistency. And I'm just going to add the stars and do the center of this. So now you'll see the glowing effect you have to, these stars are now because of the photosphere of the white that we added in, make sure that these stars are smaller than the false. Only then you will be able to achieve the glowing effect. Now apart from this, I'm just going to add in a few more big stars vary randomly your endeavoring to the galaxy to create more depth into the galaxy. Now, lastly, using the white gel pen, I'm just going to add little highlights onto the Salovey giving him very little highlights and the EPA, the hand species. And that is if we add a div with the class project for D3 as well, Let's remove the masking tape and see our final painting with those clean edges. Make sure to remove the masking tape very carefully because things that may be collected on the edges of the masking. So you are is our final painting for d3 of this 30-day watercolor challenge. I hope you guys enjoyed painting this, and I hope you could get the technique of creating that glue around the solo hits piece. I hope you love choosing the moon into this class project. I will see you guys tomorrow into the next class project of this 30-day challenge. Thank you so much to each one of you for joining me. 8. Day 4 - Milkyway Galaxy: Hello everyone and welcome back to the for. Today we are going to be painting in this beautiful Milky Way galaxy. The colors that you need is yellow, orange, win-loss, Wiley, Prussian blue, black, and white wash. So let's begin painting. I have my people and identity actually begin it with the mean or the photo onto my entire surface. There is no fences catch the mountains and we will be adding in after the, our galaxy is completely dry, deal directly with the black color. So there is no mental sketch as such for this. Just make sure you have a good even neutral portal onto the entire surface. We are going to be working a lot with the felonious again and again so as to get the perfect blend and low into the galaxy. For this galaxy is when you are going to be using invite wash to create that law in the center speeds giving it a legitimate give a loop. For that we are going to be using in the white quash need to run after adding into Laos of the cargo. So the first one that I'm going to be using it is the permanent yellow light. You can go ahead and use any lighter tone of yellow. Make sure you use a clean brush for picking up the colors. So I'm going to begin with this yellow color. And I'm going to begin adding it from the bottom species, even at the mountains base, I'm going to add in this color right now and afterwards of Indiana, the mountains in a week, it will only get covered up because it's going to be off the black color. So the fourth year at the amorphous phase, you can see I did it with the yellow color. Next I'm mixing in a little bit of the woman in follow all the orange color into this yellow itself. And I'm just adding it about the yellow color. Now you can see I'm using the colors for the false newer, innovative medium consistency. Because onto this we're still going to be adding in a lot of Neil's to create more effect on the move. I print Lou. Now next time picking up the queen rose color, and I'm going to add it about the orange color to this windows. I'm just adding a little white color to get a little lighter tone of this color. I'm using this lighter tone, I will add it near to the orange color. Now again, you can see I'm just adding it very close-knit with orange color blending in the pink and the orange has been automatically. Then you begin blending the fallows, you get more different color variations in between, but you need to be careful. Some fellows may give you muddy tones in between if you blend FC, the violet and the orange color. So at such cases you need to be careful as to how you lead on the followers. Now at the top speeds, I just fill it completely. Now. I'm just going to mix in the violet color. I'm going to begin adding in the darker highlights with the violet colors. Now you can see I've taken the paint along the edges to the yellow speeds to create blend and the flow into the galaxy. Now using the violet color in a dark consistency, I will begin dropping it from the edges. Neopentyl, bright orange color. You need to be a little careful that the violet column and begin to create in the brown color lookup not blended well. Now as I'm adding in the violet color, I'm already trying to leave in that little diagnose piece for the mill TV that we are going to create it using the white quash needed on. So you can see how I'm letting that might only be there already. Now who add further depth? I'm going to be adding in little bit of the pollution blue color to my bio recollect cell. And I'm going to begin adding it from the edges. So automatically, you will begin to get into the look of the violet purple color. Now again, I'm going to pick up the Windows Hello, but this time in a dark consistency and I'm going to add just below the violet color. Now you can see him walking still wet on wet and creating more depth into the galaxy. So the first video we just started, very simple Beasley, Apollo's in a very nice consistency. Now I'm adding in the dark polio for each of the Palo seem be continuing with the orange. And next I will continue with the yellow color also in the same way. Now next I'm going to pick up the violet color in a quite thick consistency and inconsistency am going to add in the second video, Ivan, just be careful and make sure that I maintain the night species out there. But then also to add little of the violet effect, I'm going to use it in a very nice consistency. I'm just going to add a wedding night overlying meal. So you can see I added as well as I lifted it up quickly. Now you can see audience and the violet, you get a little muddy dollar debt. So you need to be careful. Now I'm just moving my brush in circular motions and blending the Palo with each other. Now whether we mean that the bellows are not blended, keep on adding in the Leo's of the palace again on boom. Now let's see if the glow effect at the top speeds for the main TV. So I'm using the white quash liquidy consistency and when to drop it in that space which we left plate. Now this is not just going to happen by just adding in the right thing of you, again, need to pick up the BC Apollos and blends between them. So as to get the perfect ploy consistency. Now you can see I'm using the tip of my brush, dropping in the beans in a very slow inconsistency to get that blow out there. Now I'm going to repeat my board into all directions and keep adding the polos around it so as to get the blend and also to create the perfect blend in the galaxy or between the fellows and also in the Milky Way. And I'm just going to keep pulling it out with my brush whenever needed. Now, V8 the perfect blend, I'm adding in the third layer of the same colors that I use in the base neo. Now that is how you're going to create the perfect law as well as get the blends and create a glowing effect and Buddha galaxy. So the key though all of this is you need to keep adding in the Leo's again and again to get the blend and the flow between the pins. Now you can see, since I'm adding in so many layers, the beans automatically flawed and to each other because the people stays wet and the beans are also wet. So you can see with one hand I'm repeating the board and with 19, I'm keeping an adding in the palace again later on, Neil, so as to get the flow inconsistency and the blends right. Now this time I'm going to create new rules using and what also I have just picked up some freshwater and I'm just dabbing it from my brush. So you can see automatically the water needs light blooms and create more blue into this milky. Now you can see the white quash speeds. We have got the perfect blend with the blue color. So in the center, you have the perfect white look around them. You get the light violet loop, and then at the edges you automatically have the dark blue. So you can see how using a damp brush, I'm again blending and getting the perfect blend out there again. Now when the system back just to get little more low, I'm going to splatter some white quash less to get written down looking SAS so that when we add the bright stars, we get the Beaufort glow effect. Now one last thing before I keep this for drying, I'm just going to pull out little of this whitespace so as to show them LTV of moving into the galaxy through different angles. And it feels nice little blend again, you can just drop very little violet color in a liquidy consistency around it to get the perfect lens. So you can see just from the edges I pulled up little violet color from the main TV. Now on the edges as well, I'm going to create a little melty. They reflect using white gouache. So I'm just going to drop little of the white quash on the edges to create the little blue of the multi-view onto the edges I spent. All of this is again wet on wet still before I keep by people for drying completely. So you can see you need to use a clean brush for adding in this. Otherwise the colors on your brush may get nailed down. Dog. Now I will just filling this little money don't that is formed out your and now lastly, just going to splatter little more water again and then wait for it to dry completely. Now. Now this will create the perfect milk giving and the bloom effect. So let's be for all of this to dry and completely, then we will add the final details. So now you can see my galaxy is completely dried. All the effect of the blooms, the white color, the milky B and both by it, the OS Battle of this task creating it's such a perfect Zoo. Now I can begin adding in the photosphere of the mountain out here. So it's going to be quite a small mountain gauge, but I haven't the one thing that I will make sure I do not cover them. Diarrhea? No, No. For you need to make sure that your mountain ranges of a smaller height so that the yellow color is also visible. Otherwise, you may hide the yellow color into the galaxy. Also, I added in this mountain near force, but in these, if you have not additive still, I would recommend knew before splatter the stars and then add the mountain day. Otherwise now you may have to, you know, poverty mountain beans for adding in this task so that the stars do not go onto the mountain. So I've been just didn't please Lipton, height of the mountain ranges urine, they're giving it the perfect oh, you're not distinctive look throughout. And then that is it. We are done with the mountain ranges bed. Then we will just be left to add the stars in the galaxy. I'm absolutely. The Milky Way, we think that we have gotten the key to that was that you need to use the beans in a little slowly consistency so as to get the blends. And you need to make sure by adding in the whitewash to use it in a very thick fur and a medium consistency so that it flows around easily. Now next I'm going to pick up the whitewash and I will begin flashing in the stars in the galaxy. For that, I'm going to be using in my smallest size, brush and divide flush in a little medium consistency so as to get the opaque look and I can just begins pledging it now make sure your brush does not have any color and you do not lift up the wife wash which is already with a little color tint. So I've been fitness lack of the stars into the galaxy. Now, I've been made sure that I do not expect that these styles onto the mountain range. But in case if you're not confident about controlling and splatters, make sure that you cover your mouth and beans once it is dry. And then add in this flat just so that you'll get the ball effect, effect of this does not add them on to the mountain range. This time on the mountain day, you're not even going to be adding in the dry brush D-Day. It's going to be very simple one out here. Now I'm going to add in for those studies. So I'm going to be adding in some shooting stars and then some glowing stars. So for the shooting stars, I'm going to use in my white gel pen and quickly add it. If you do not have a white gel pen, you can use your white quash and actors see now the entire galaxy out here was that you need to use the beans one in a fluid consistency. Sake, you need to keep walking kneels on Neil's. You cannot directly go in with the lipid bilayer of the fellows and try to get the blend and the blue light that you need to walk from light up with the darker tones creating depth into the galaxies they feel. And we had almost added in 32 folios off the same colors. That's the yellow, orange windrows and the violet color. To get this entire effect. Once you add in the fellows tend to create the GloVe using whitewash, adding it into the center line, creating that glowing effect. Then again around it, we added in the violet colors to get the blend. And then again, we added the Queen Rose, orange, and the yellow color to create a blend between the other fellows, again. Now to Vietnam glowing stars, I'm adding it, the force near patches of the whitewashed, blending it into the background using my damn brush and just giant booklet in the glow effect for this task. So I'm almost done adding in the growing males. And now once these dry and leave it to be adding, it does not effect on Buddhist. So for that I'm just shifting into my smallest size brush. I'm using the right question of the consistency. I will just add stars into the center of this. Also using in the of beans and a liquidy consistency and trying to get the blends by moving enough a point deductions. You need not worry about your outcome because your outcome may be a lot different than mine because of deploying consistency of the beans and the blending that we're trying to create, losing in the vector and creating the floating between the beans. So do not provide about the outcome. It's about learning the process, enjoying the process, and getting the techniques right. The fellows, since, because of the flowing consistency, may have a different layout at the end. So that is yet anyway, the class project for as well. Let's remove the masking tape now and see the final painting. You can see often ignore effect that we have achieved very simply by just walking kneels on Neil's. I would again recommend you walk layers on layers to not just simply adding the vibrant colors altogether, you will not be able to achieve the blend and the glowing effect on get the perfect look into your galaxies are the y's. So your final painting for D, for another beautiful gets simple galaxy in just under 15 minutes. I hope you guys enjoyed painting this. I will see you guys tomorrow into the D5 galaxy. 9. Day 5 - Into the Pines: Hello everyone, Welcome back to the five of the 30 watercolor challenge. The panels that you need for today's class project is called windrows. Violet pins, gray, black, and white. Bosch is going to be a pretty simple, yet a beautiful galaxy that we have been doing. So there is no pencil sketch for this class project that has been created. Ethnic went to the beginning in with a thin layer of photo. Make sure you I didn't even know reported throughout so that you have the perfect balance of the water so that the beam can flowing easily. Make sure to run your brush multiple times so that your paper stays wet for a longer time to keep adding layers on. Now you can see I'm running my brush multiple times. So that might be post these bad because I have to walk almost like three to four layers of the colors to get that effect into the galaxy. The first fan of that I'm going to be using in this pasting code in color. Now in case if you do not have this color, you can mix in a little bit of looping yellow and white color to get almost a similar. So you can make when rules or guidelines with yellow and white to get this color. So I'm good. This vertically, this time in the center space host. Now at this I'm going to add in the Windows Hello. So I'm going to use a Windows Palo Alto in a medium consistency forth. You can see the false vocal cords are just like basic color blocking that I do. And then begin adding in depth with the fellows to create the light glowing effect and also get the full effect low as bad. Now the second color you can see, I'm trying to add it in such a way that in the Sendai create an oval shape. Now again, to create a blend, I'm going to add this important following the center again so as to get the perfect blend between the border and the pink colored us. But we are going to keep walking like this, kneels on the Earth again and again with the same fellows to get the blend between the colors. Now around it, I'm going to add in the pink follow in a dark consistency. So I'm using the Windows color out your and again, just moving into muscle circular motions to create that little soap and affecting the sender's piece. But I'm just going go smaller the circle out now. Now again, this and you can see the portal color and the pink color blended. So again, I added in a new era of the coral color. Now again, picking up the windows color, but this time I will not add it completely. I'm just going to begin either in Dhaka badges from the edges and creates a blank and then die. I will try maintaining in the light effect. Now since I used the beans in a flowing consistency, I'm moving it in all directions to get the perfect blend between the portal and the pink color. So you can see elisa blending and bleeding into each other feeding in the soft edge whenever you feel the colors are not flowing. Again, droplet in colors. Now, if you add in the bylaws and extra liquidy consistency, they will flow and the out of control, if you add them in the right consistency, they will blend into each other and feel the soft blend. Now wherever I feel that they are not blending easily, I'm just very lightly dropping in little water to create the blending between them. So this is for the force here of the galaxy. I will wait for this to dry completely then director's office and add the second layer. So now my post here, huge IDH1 and you can see in this N W able to maintain or very little glowing effect. Now I'm going to leave at the surface for that I'm using in my flat brush and I'm lifting up the brush and just laying down very simple euro for the into the entire space. Make sure we use a bigger size brush for laying down this. Now you can see, or after every stroke I'm Victor freshwater and not reddening. Otherwise the follows we begin to blend into each other. Again. You're going very good hoodie with this. If you want to learn a little more about the reweighting technique, you can simply visit one of my classes, which is an orderly and only focused on the re-weighting technique in that i3. Now I'm going the same fellows that I added in the first layer, in the second NewRez belt. But this time I will create much more darker and vibrant effect and add in the next fellows as bent. Now next I'm going to pick up the violet color and I'm going to mix in my violet and the window scholar and theater red violet tone. If you have to take me the red, violet, blue, you can directly use it. So now around the Queen nor scholar, I'm adding in the red violet tone and then add the edges. I will begin adding in the violet color for given more dafur death. Now you can see that every year I learned that I'm adding and I'm again running into the previous colors to get the perfect length. So again, adding a little lighter color in the center to create a blend between the three in-laws house band and the light at all. So this is how you need to keep working with the same colors again, again so as to get the perfect blend between the fallows or a step-by-step. Now again, I'm just keeping rotating my board with one hand and I'm adding the fellows in a very flowing consistency. You can see the beans are flowing easily. So I'm adding more affordable and more of pigment as well to get the vibrant look, we collect stormwater content, widget making the paint flow into each other easily. Now, I didn't keep blending in-between and keep adding in the fields again and again so as to get the perfect length. Now slowly, you can see that Windows color coming into the ascender space and creating the layer we're on to that as well. Now again, on the edges adding in the dark codec with the red violet to it. So as to get more Glenn's, now I will pick up the violet color and begin adding it onto the edges and begin feeding in the final blend into the painting. So the violet color That's going to be majorly on yonder the four edges. This time, you can see we are trying to create a glowing blue the galaxy in a little circular manner. So we have all the colors moving around Tokyo live with each other. Now at this point, if you notice the violet color and the red violet color not blending into each other. So to create a plan, you need to add in the next year off the red violet color again, just near the violet color so that they automatically blend and bleed into each other. These are my unique cookie blocking layers on layers with the same color to create a blend into the sky. Now again, if you would have noticed between the red-violet and Windows color, there was no blend because you are written exterior of the violet color. So again, you need to add little quin rose color to get the blend between the Queen Rose and the red violet color. Similarly in the center again, I'm going to add in little up the caudal follow to get the blend of the lighter bones as well. Now I'm going to keep moving my board in all the directions to get the blend between each of the palace. On the edges, I still need some darker. So I'm going to read for the rapid and onto the edges. So I'm thinking that the violet color in a very thick and right consistency and just adding it onto the edges. You can see my themes are in a fluid consistency for automatically it will blend and I don't have to add in all the values again. Now I can just keep moving my board and keep adding all the fellows again and again to create a blend and get the vibe in blue. So you know, to create a vibrant look and the blend between the galaxies, you have to keep blocking layers on layers with the same color. So your almost 50, 60 years of the same fallows, I kept using it to get this perfect blend and low. So that is how I even knew need to walk that this keep walking with the same Fellows leader on Leo with every darker tone that you add, you will have to add in the previous lighter tone around it to get the perfect law. So now you can see all the blends have happened in Salt smoothly and have such a soft blend between the darker tones and the light returns in the center space. We think the perfect effect into the galaxy. So this is how you need to keep working layer on NEO with dosing colony was if you've been trying to get this blend and this note, just by adding all the fellows enough, I've inconsistency in the force New York. I assure you, you will not be able to achieve in this glowing effect and this, or you don't blend between the followers and the vibrant blue. Now let's wait for this to dry completely, then begin adding in the further details into this big day. So my thinking is completely dry. You can see the center of low effect that has been left because of the foreign color and around it you've got the glowing effect under Dhaka follows, moving around in a circular piece. Now this time I have the bottom space we are going to be adding in fine Gs. So before adding, I'm going to splatter in this task. So I'm going to lose in whitewashing of the consistency. I'm going to splatter the stars into the entire galaxy. Now put adding some glowing stars into the galaxy. Ivan T, If the fullest off the glowing effect with the wash and let it dry. And then after that. We can begin adding in the fine g's at the bottom space. So I'm just adding in a layer of white wash, blending it into the background color, and just feeding the glowing effect. So I'm going to use another brush so as to make my process faster. This brush, I have just kept it down without adding any color to it. So I'm just using the tip of this brush and blending it onto the edges of the circle that I'm adding it and automatically creating the glowing effect blended with the bag now. So I'm just going to add one move Morningstar, and that is it. We are done with this task is bent. Now do this dry air, I will begin adding the layer of pine trees at the bottom. So at the bottom they are going to be adding in the fine Gs in Berlioz's bed. So the force VR is going to be off the background color, which is going to be off the very light. So far the force we are, I'm going to mix in my violet and the pink fallow. And using the violet and the ping file, I'm going to add in the background trying trees. I'm going to be using my smallest size brush for adding in these buying jeans. So the palette that I already have on my palate that the violet and the Plano Scala, I'm just mixing both of them, feeding in a red violet kind of a door. I'm going to add in the background pine trees. The pine trees are going to be at different heights throughout. Now make sure you use the palomino medium consistency, not too dark and not do light as well. I'm going to use it in a little liquidy consistency so that it gets a little valley look as well. I'm going to add in very simple find GCE or not nothing much of the D-Day book that I'm going to add it. Now this download I've added in, I, it seems to be a little lighter, so I'm going to quickly add little more of the violet to get a little darker door so that once this dries stand out I'm and get hidden because of the background color itself. So now throughout I'm going to add in the fourth year of these bind G, I'm going to make sure that I vary the height of the binary throughout some metal loss on Bashar dot. Also not adding it till the bottom space because at the bottom space we are going to be having in the second year of the pine trees. So I'm just adding it to our already done. Namely, if you want, you can take it to the bottom of the people also, that will be completely fine. Now you can see the palette that I mixed in, standing up perfectly onto the palette that we have in the background. So you know, you can just adjust the pylon according to the color of your galaxy that you have quoted on the edges. Since I know the violet is darker, I'm going to use Adafruit inductive scholar. So automatically on the edge also define g standing up even though being of the lighter ball. So I'm almost done, I think in the first year of the binder, just adding some final details in between variety in the gaps is there. Now let's be for all of this to dry completely. And then we will begin adding the final details and do this beam thing. So my first year of findings are completely dried in and I can begin adding in the second video. So by the second layer, I'm just mixing in the violet and the black color religion and getting a darker tint of the violet color, which is almost equal to 0. You know, a very dark bone off the black color itself, but just with a written violet badge. Do it. Now I can begin adding in that second year of the amount of fine teeth. Now you need to be sure that your posts we are applying these is completely dry before you begin to add in the second video. Otherwise, the fellows may begin to read and lead into each other. So now I'm going to begin adding the second layer. So now you can see I'm going planted in such a way that the force near that we added is still visible from behind the second video that we're adding in. Again, you're also, you can see I'm adding in the pine trees very randomly, not with much of the detail. But this time I'm just going to take it completely filled the bottom space. I'm going to define g heights this time also. But the inquiry, according to the background Leo find genes that have added in. I'm going to write it in such a way that the background layers. And be visible under non-kin hidden bigger than this second, we'll find genes that we're adding in using the black color. I'm reading the height of the binary is throughout and making sure that the background fees are visible from behind the second layer of the cheese. Now we're at the edge here. I'm adding in a very big findGene, giving it a little bit D1 lookout, Yeah, I hope so every passing day you are evil to get more hang onto the galaxies and also even to achieve that blend between the palace, I hope with every class project you are also even do understand more in depth about I didn't allele also follows again and again to get the blend and the vibrant look into the galaxy. It is with practice that you will be even to understand and achieve that depth and do the galaxy. If you will, try to ident all that vibrant colors through one layer itself, you will not be able to achieve in the glowing effect, that is what my practices meet. So I would recommend you also do not be disheartened if you do not get the perfect effect in one, try its width practice that you will surely be able to, you know, achieve the blend and be able to walk faster neuron Leo, keeping your people back for enough time for you to walk in. That is why I would recommend you to follow this class alone completely for part D Bs, and then see your progress from day 14 data. And see how much control you get. 0 over 0, walking wet on wet, creating the blend, adding the fallows again and again, the scene follows, you know, adding it neon, neon to create the debt. And all of that will be a V8 learning process and you would be even to see your own progress. Then adding all the findings and the second NewRez. And you can see I've added in, in such a way that the background layer is still visible from behind the second video that we added in. So such a beautiful effect into the galaxy with just very simple fine teas with not even much of the details. Now after this, I'm just going to be adding in the glowing stars. So the first year of the glowing stars have also tried it. And I'm going to use my pointed tip, smaller size brush. I'm going to pick up the why question, Arctic consistency and add up to the center of these going looked at we have Theater. So you can see automatically these drawings task needs such a beautiful look into the galaxy. Now, I'm just adding in a few of the biggest sizes ready than the mean. And that is if we are ready with the class project, FIFA as well. This is one of my favorite class projects from this study, the class, I absolutely loved the blend between the kalos and the effect that this galaxy has such simple blend but such a beautiful view. So let's remove the masking. Be a little careful because on the edges you may have the best PMs need down because of the flowing paints that we use it for creating the blends. So you are, is our final theme, day four, day five. I hope you guys enjoyed being, being this, and I hope you are able to play more with the floating consistency of the beam. I will see you guys tomorrow into the basics class project. 10. Day 6 - Meteoroids: Hello everyone, Welcome back to the 30-day watercolor challenge, VR on D6 today, and we will be painting in this galaxy for today. The colors that you need for today's class project is cobalt blue, sap green. When they treat pulpal, flashing blue, yellow, white, quash, and Payne's gray. So I have my paper down and let's begin painting. There is no pencil sketch with indirectly begin with a clean CTO photo onto the entire surface. We are going to walk with lidar sheets and then increased by adding in layers on Laos, Vietnam vet, giving me that debt in the same don't even try to maintain in the light space of the green column using the cobalt blue color and undo the edges, we will begin adding in the darker details once everything dries, then using the white gouache in the ascender space, we will try to create a little spiral planet look. So the first column is this cobalt blue, which I'm taking out on my palate. Now in case if you do not have this, you can go ahead with the omics of either adopt winds blow with a little bit of yellow color or any lighter shade of green color. Now first I will begin to divide. Egn does face this time formatting and divide. Guassian does invest base in a liquidy consistency, as you can see. Now around the white gouache, I will begin to add in. This provides blue color, this color also you can see I'm adding it in a liquidy consistency. That is this time for the first new and I'm using the beans with a little extra water so as to get the blends right to Ivan, keep moving my board in all directions so as to keep the colors blending as I keep adding them one by one. Now next around the cobalt blue color, I'm adding a sap green color so I can fill in with the sap green color. Again, you can see the sap green color results in a liquidy consistency. In the same day, you can see still the whitespace has been maintained. So make sure that in the center you tried to maintain that whitespace. Now I didn't keep adding in these darker color onto the edges. Now in between your Again, I didn't keep adding in little water droplets or whitewash so that the paper doesn't dry. And the palace lending to each other. So onto the edges of the cobalt green color, I'm adding in the water droplets again so as to keep the colors leaving and my paper wet for a longer time. Now on to that left edge, I'm just adding little touch of the poeple follow. Now next I have picked up the Van Dyke green color, and I will begin adding this darker being done under the edges. Now if you do not have this Van Dyke green color, you can go ahead and simply using any darker green door or mixing a little bit off your Payne's gray or black color to a lighter green and get a little darker green door. Now, the first layer, and you can see there is no blends in between happening yet. So we are going to be working wet on wet with the same colors. So again, I've picked up the sap green color and I'm adding it close to the Van Dyke green color again, just at the same placement of it, I edited audio might with us I can lay out the fellows will begin to blend into each other now. Now next again, I will pick up the cobalt blue color and added and do the space where I added it near to the sap green color in the sample space, I will still try to maintain a little of the white effect. So again, just dropping my gosh in liquidy consistency, you can see creating in the light effect and does, and does base and in-between the cobalt green color as well. Now next I will mix a little bit of the Prussian blue color with my little touch of green color and onto the edges I will add a little darker deck with this darker blue color dodge. So you can directly even use little bit of the ocean blue color directly. But you can see how on your minimum edges I'm adding in this darker paint around so as to get the darker data into the galaxy. Now to this blue color, I'm adding a little more of greens are very less of blue and adding darker things in the center space around the whitespace gap that we have in between, you can see still the sap green color is visible. So I've added the backward and in such a way that the sap green color does not get hidden completely. Now again, big data provides blue-collar and adding it. Vaulting liaison neon's is what will get the blend right into these guys. Also, if you will try to get the blend profit just with the phosphate, you will not be able to achieve the glowing effect and the color blends into the galaxy, you need to keep looking. Because in polos liaison, Leo's again. Again, forgetting in their death. So in the first video, you could have seen me use the balance in quite a light tan systems D. Now as we are moving ahead, we're adding in the same colors again and again on Bhutto, same places. But that does automatically creating the blend. Now again, adding the white near to the cobalt blue color. So rotating my border leaders who asked for the colors to blend in a bit. Now, again, either pick up litter of the sap green color in a liquidy consistency and add little sap green touch in between the white and the cobalt blue color as well. So very limited, but in such a way that the little cobalt blue color is still visible. I didn't keep tilting my Board little by little so that the philosophy blending as I keep adding them now again, will make the blend smoothly. I'm adding invite Guassian between the cobalt blue and the sap green color. You can see the white gene that I'm trying to maintain is little diagonal and sheep and in Europe, or just this end does base very little identity. Now around this, I'm just and the darker depth again, using the darker green tone, we are going to create that planet after the sky is completely dry. So make sure it does and does base you try to maintain that light effect. Now again onto the edges I will begin adding in the darker, the blue pallor and little touch of the violet color as you can see in this NBA, I have still try to maintain in that light effect. So make sure you maintain that light effect and keep walking Meals on Wheels to get this glow and this blend. Now in the center, I again drop bouba, three droplets of water so that the colors move and read and blue each other. Bloom sac will get created. So now you can see when I'm rotating my board, my colors are blending into each other because I've been using the bylaws in a little medium watery consistency. Now whether we feel the need of adding in any of the bins, you can go ahead and add them accordingly because you are flew up. The bylaws may be the only till the frame. So I just felt the need to add a little sap green onto the outer edges. So I just added a little subtree. Now in the center, wherever I feel, I need to add little droplets of right ivan, just go ahead with it. So again, as I told you, since we are playing a lot with the flow inconsistency of the things you need to make sure that your galaxy even require the colors according to your flow of paint. Maybe for you, you may have added a certain dollar extra which may be shown a lot. So to cover that up accordingly, which color you will be needing will be your choice. So at present, like I am adding in little touch of the beans around the white because I think that whitespace at pleases a little more. So accordingly, that would depend on the two because of your flowing beats are in what direction and what Palo consistency. Now I have just picked up a little water onto my brush. And in the center I'm blending in all the colors because I could see little rough edges which I did not want. It. Just mix them all up and in the same time, just dropping little of the white paint again to maintain the light space. And now I've adjusted my board again so you can see how you can even, you know, much everything together using water droplets and then dropping the bellows like this. So in December, I was not satisfied with the sheep of the white sheep, it was taking it. So I quickly blending them using a damp brush and then added in the white gosh. Now lastly, just a little more blue onto the edges. And now I will wait for this entire sky to dry. And then we will begin adding in the planet detail into the same space. So now my galaxy is completely dried and I can begin adding in the sanders Biden planet and the study De Anza has been now for adding that sends us via valid. You will have to walk a lot patiently and go ahead step-by-step and keeping the blending in-between again and again. So first I will add a very small semicircle using white gouache. I even use another smallest size brush that is a size two round brush to keep blending these into the background. So you can see I'm just adding the semicircle using the white quash and now using another brush. Now I have just picked up the white gouache in a very liquidy consistency and I can just add it on to the edge you're forced. And now using the damp brush, I will blend all the edges of this white gouache into the background so you can see automatically the white gouache has got the soft edge. Now in the C V, I can just begin adding in various models by them around this half semicircle that I've added in. So I'm going to keep adding in small, small lines in circular motion, leaving gaps in between trying to create that spider and look around this piece. This is just a forcefully or I'm going to blend this forest floor as well and create a little background for the glowing effect to come in. Then. Jencks Biden of the galaxy. So this was just the base Leo. Now using a damp brush, I will just try to blend all of these and it'll end Buddhas and make them a little blurry and soft edged. Now, then this force here of the spiral galaxy sentence in IVANS back to the stars in the galaxy. So for that I'm using my size four round brush. I'm using the white wash and noted consistency. I will begin splattering in the stars on Buddhist. Make sure the use of AI thick consistency for this. Otherwise you will not get the A-B-C Look for this task. So I will just splatter the stars now, you can see mechanic see that little popup Ashdod I gave on the left side is still visible and the blue on the edges. So that is the reason those little strokes also makes little difference into the galaxy. And you can see the different donor mediations of the clean balance that we have added in all visible into the galaxy. Now, all of these setters in, I have just begin a little bit of a dark green tone. And using this dark green don't either just be adding in videos small meteorite falling into these galaxy. So using this darker green tint, I'm just going to add very small drop like structures that are falling into the galaxy forming those metalloids. So they're going to be very small. You can see now in-between variable, you feel that the palate is happening in too dark. You can just buy new w using in water. So just around this means that we are going to be adding in measuring around the sentence B is I'm going to add a few of these meteoroid effect using in this green color varies and you know, very enough and random shapes. So you can see me, Julie, I'm adding all of the adjusted on the same does bees do not add the margin to this end does base because we are still left to add in the detail and do that spine and look off the galaxy. I'm adding majorly most of these onto the right side and added just a quite few onto the left side. Now my sandals bases completely dried and I will I'm just mixing in a very little tend of the vending machine into white goulash. And I will begin adding in the spine and effect around this piece that I have added in. So now this time, despite an effect, you can see I'm starting from a point taking it around the circle till the half V, then starting with the next point. Taking that also in a circular manner, halfway through. So this time I'm adding the spider in the actual spiral effect that it should be that this tag from a point they get half way through and then leave it. Then starting from the next point, it will be either about the first place or beyond the next plane. So it's basically that all you know, just as those spite of firecrackers that you haven't, it's in the C V. You got to create this byte and look, you start from a point. They get completely around the space that not been doing it. But it does not have an endpoint. So basically it's just halfway through and do the over cheap or the so-called ship. Now again, using a little damp brush, I will begin blending the edges of this Biden look as Venn diagram so as to give it a little soft glow. So you can see, again, I'm using a damp brush and running around the edges to blend it very carefully into the Backspace. Now as I applaud you for adding in that time that effect, you're going have to keep walking, Leo's on the OS to get that fight an effect. And also you will have to be a little patient and go very slowly for adding in these details. Now again around it on good as finance base, I'm just adding little prominent layer with the white quash. Now, again, I will just flatten little stars into the galaxy again for the second layer of this task. In the first video, you can see I did not have much of this effect. So now again, adding a little more of the effect, that same thus fight and look, you can see, you can see the little spider shape, but it is all soft. Blended into the background having that soft edge loop. Now does this and does basins drank? I will quickly be adding in some glowing star looks like and quickly add little of the Big-O white patches. And then using a damp brush either blends into the background and create them as the glowing effect for the background stars. So now using a damp brush you can see I'm simply blending it into the background, creating it a softer blend for the background. Now you can see that done by it patch that has been formed. Now once this, when dry, I will add in little tick white quash only in the center space of this opens to add the glowing star look. So I'm just adding a few more of them randomly. So you can see these patches are not exactly of the white color because we are blended them into the background. Then you will add all Pixar look on both these, you will see a glowing effect because of this dial background. Now I said it does spiral galaxies completely dry. So I will begin making up the white quash again in a thick consistency and now using a very fine brush, I will just begin adding in this fight and look again at around this. So again, you can see the center half semicircle is being maintained now around this ambiguity to add in the spider points. So that's binary points are all connected to the same, does it mean so can that I have added and from around them I'm just removing these Biden rounds now. Now again, using a damp brush and just blend a little of these onto the background wherever I feel the need to engage. If you have the perfect white space around, you need not do this. But in case if you have little more of the greenish effect, then you can also try to blend them little of the edges to get a little glowing effect around this planet that we are trying to add in. Now next I will pick up a little of the yellow color. I'm using yellow color, I will just add little effect into that ten does ME, so that we have added in. Now you can see though I have kept on blending the whitewash into the space. I have made sure I do not have any hard edges are sharp edges. I have blended them in such a way that, you know, all my edges are soft and local value blended into the background. Now even on, but despite that, I'm just adding little Dutch and blow of the NO Palo. So I'm not adding it into the complete spider greatness. I'm just adding it very randomly on do some half of the spider rings, each of the spiral ring. So you can see just by adding in middle of this yellow glowing effect, all of this has been taken so much more debt. Now quickly using an a mix of the yellow and violet wash. I'm just going to begin, I think that stars in Butoh, blowing sound speeds that we have created in. So this time I'm using inner peace or dawn of the ANOVA finding in these glowing stars. Because I wanted to add the reflection of the center planet that we have added in. Now you can see that's glowing side effect that I'm adding is quite smaller than the background patch that we have created. So automatically in the background you have that glowing look and in the sender's base you have done growing stop. Now when I'm done, I'm just going to add in a few more of these yellow stars around. So that is it. At the end of our painting. Just one last thing. I feel the need to blend a little more of the spiral rings around the planet so I can quickly pick up my smallest size brush and dividend of water and just blend little of these edges again, wherever I feel it needs a little blend into the background. Now, this step is optional, invisibility you needed or if you are happy with sharp edges, then it's completely your choice. So I'm just adding a little patch of the orange colors when a blending it with the yellow to give it little more dramatic, not just reading it didn't mean the senders based. So that doesn't let's remove the masking tape. Make sure to remove the masking tape very carefully because you may Theme globs collected onto the edges because of the watery consistency of the bins. So be very careful by removing the masking tape. So you are, is our final painting for D6 of this type BB, wonderful a challenge. I hope you guys enjoyed painting this beautiful planet in the center space and adding in those Metroid. I will see you guys tomorrow and do the day seven. 11. Day 7 - Monochrome Galaxy: Hello everyone, Welcome back to the 7. Today we are going to be painting another monochrome kind of a galaxy using in the blue color sheets. The colors that we will be using for today's class project is saving in green, blue, indigo, Payne's gray, and write, gosh, So let's begin painting this beautiful blue galaxy for today. So I have my paper taped down and again for this class project as well, there is no pencil sketch. We will directly be big thing in with the clean layer of auto onto the entire sheet. The mountains that you saw in to the beginning. Our class are going to be added once the sky is dry it without any pencil sketch. So let's begin adding onto the entire sheet now. For this galaxy as well, we are going to be voting on which Leo's that is, we will begin in with the lighter tones and then begin adding in networking layers on layers with the same colors, we are going to create the Milky Way glow this time diagonally into the center space. Make sure you have good even Neo4j, run your brush multiple times. Radio, people will stay wet under the die. We are adding layers on layers. So I will first begin with the city didn't look. So I will quickly begin some setting in blue color and I will use it in a medium bed Consistency that does not do much of water, but not the R2 less of water as well. And I even begin adding it diagonally. So if you can see from the phosphorylate itself, I have tried to maintain that glows base in the Sendai area, keeping it right into the rest of them diets base I want most are added in this year of study, didn't look. But you can see this such a lively or that I have hydrogen as the base layer. Now to this idea in blue color, I will just mix in a little bit of the blue one blue color, and I will begin adding in the darker death around this. So now you have to begin adding in the Prussian blue color in such a way that in the center you have the whitespace, then you have a little of the lightheaded and blue-collar. And around it you begin to add in the Prussian blue color. You can see diagonally, I have maintained the law and I'm trying to add the pins also in the diagonal consistency only. Now you can see I'm adding the bush and book Allah in a little liquidy consistency so that the beans are flowing into each other naturally. Now next, I haven't shifted to the indigo color. And using the indigo color either begin adding it onto the edges now. So indirectly, you need to make sure that you have for a low variance visible, one is going to be the white patch that we have left. The second Does he didn't look toward the occlusion blue color and now fault, we will begin adding the indigo color onto the edges. Make sure your paper is still wet, but still we are left to add in more layers onto this so I can quickly begin adding the indigo color now. So I'm dropping the indigo color as well, innovating liquidy consistency. You can see that is much more affordable, but I'm picking up the pigment Also in a little dark consistency. Now I have just added the indigo color onto the edges. You can see at the bottom space I have not been muddied much about adding in the bins because I know we are going to be having in the mountain range there. Now you can see because of adding in the beans in liquidy consistency, we are already getting in the blend. Now again, we will begin with the same colors on the same places. So around the indigo color, Started middle of the pollution, blue color. Then I will shift to the city then blue-collar and agnathans at Eden blue color to create the blends. This time, I'm going to create a very rough kind of a blank. That is, I haven't tried to have little darker patches and between. Hence you can see I'm dabbing my brush more rather than blending all of them. Now before they'll create a damping effect, I'm just using a damp brush with water and I'm just adding it in batches like this to create little or no effect into the galaxy having some darker and lighter spots in between. So I'm just dipping my brush in water, clean water, and just dabbing it at the top space like this, you can see creating a texture into the galaxy. Now I will begin using intellectual of the whitewash and I can begin adding it diagonally to create that glows piece. So I didn't begin using the Vygotskian, a liquidy consistency so as to get the glow effect right. So I'm just going to begin dropping it diagonally and you can see automatically, it will begin to blend into those editing blue collar around it because of the beans and liquidy consistency, if you will. Whitewashing that thick consistency. They want spread. And you will be, you know, it will be difficult for you to blending the colors easily. So make sure whenever you want to use whitewash or the glow effect, you'll use it in a little liquidy consistency. Now again, I've been shifted this end. He didn't look Allah. And I even begin adding in the city then blue color around the edges of the white girls that we added in automatically, you can see the colors will begin to bleed into each other and try to create bent. Now when I'm adding in the city then blue-collar also you can see I'm adding it in the same way as I was adding the water and the ions that is dabbing the color to get little texture. In this scene, I will begin by having little of the pollution blue-collar, and then begin to having a little of the indigo color as well. This time you can see I've not tried to get in the surf soft blend into the sky. I have tried to get in a little patchy blends so as to give a little texture to the galaxy. So these are different ways of adding in and creating a different looks and depth into the galaxy. That is just dabbing in the brush, creating in depth, using and giving, admitting patchy kind of details. But still they all have those soft blend into each other. That is, there is no sharp edges. That is just little texture that is getting formed. Now again, I will just drop little of the whitewash. Now, every time that you pick up light beam, makes sure that your brush does not have any other pigment. And after dropping little off the beam, you can see that low brush will automatically be picking up little of the pigment around. So in case then again, if you need fresh whitewash, make sure you clean your brush and then pick up that by gosh, otherwise you will not be able to achieve. Now my gosh, look as there would always be a little pigment along with the wash color. Now I'm just blending the bottom space saw where we will be adding in the mountain range. Now before leaving this guy to dry, I'm just creating little more texture. I'm just dabbing my brush and picking up little pigment, creating emitting light, dark edges around the darker patches very randomly. Now again, around this idea quickly add little of the Prussian blue color, very little, because I find this piece has turned out to light. Now, again, all of this depends on Boyar of law of the beans as well. Because see, if you have not picked up a lot of the white pigments already uni not add the Prussian blue color again. Now again, I will just be admitted LIDAR depth using water bloom effect. So basically, and I'm just using a damp brush adding little, little water to create little lighter badges in between. Now better we feel that the pigment that's too much, you can simply pick it up using your brush, that is a damp brush. Now lastly, I'm just moving a little vent brush around your to get little blends and then that is it. Now we've been made for this guy to dry in and see the batch effect that we have got using the dabbing technique of the brush. Now my sky is completely dry it and you can see the batch effect that you have got around the beans are literate because of the damping of the brush technique that we used in. Now at the bottom space we have to add and do mountain range. But before that, let's flatten this task because we do not want this effect onto the mountain ranges. So I didn't quickly picking up some whitewash using my smaller sized round brush. I'm using a size 4 round brush. And now for splattering the stars, I'm using the white gouache in a thick consistency. Make sure you get a medium size of this task. They shouldn't be bigger blocks because we are going to be adding in the glowing stars yet. Now I didn't quickly create the background for the glowing stars. So by now, I'm sure all of you would have got the hang of creating these glowing stars. I feel these glowing stars create a complete different look and go into the galaxy. So I love adding them to each of my galaxy in view of the galaxies, I am then very little in few of them, I add them a little more, creating a blow of the galaxy using in these tasks. So first I added in all the badges. Now using a smallest size damp brush, I'm just blending the edges of these circles into the background, creating a matte finish that is done finished by batch for the glowing stars. So this way, you can create a glowing style look once these when Dr. V. Will be adding in the study effect onto top of these which will act and the glowing stars because of these light down by color glow that we have created for the background still. So using a damp brush. Blend this white color into the background color and get her done by it. Look palette back out. So now I'm done adding in the first year, now been this dry in Ivan, quickly begin adding in the photosphere of the mountain and the bottom space. Now you need to add the mountain range in such a way that you are exactly at the light. Then in red you have the perfect color galaxy looking. Now I'm picking up the pollution blue-collar force, and I will begin adding in the mountain range. In between, I will be adding in little indigo color as well. So since I'm painting in a monochrome galaxy, mountain ranges also with the same color. So this time, the mountain range, I'm trying to get it various cheap and looks that is not giving it a very uneven. She's trying to add it invaded or sudden straight line angles. So I just added a little of the Prussian blue color line. And now just using a damp brush and I'm blending this color then the bottom space. Now you can see since we have left x Bs light at the beginning, only that is why we are able to achieve a glowing effect of this look, even despite having it around the darker spaces. Now I'm just picking up little of the violet color That's onto my palette and I'm just adding little violet global this, you can completely skip this and just add little darker glow of the blue curve. You can see it's almost equal to a blue color that is visible by just giving it a little darker debt. Now either blame this completely then that bottom space. So that's going to add the second mountain range. I get an even layer of color. So now why is this mountain ranges still wet? I will create little glow effect onto the mountain as bed so as to depict the law of the galaxy falling onto the mountain range. So you have the top space. I will just pick up the polos using my brush. So I'm using a damp brush. I'm just pressing the belly of my brush and lifting up the color to create little glow effect. But you can see on the edge I have a Lipton line of the mountain visible. And underneath that I'm lifting the color to create the glow effect just at the top edges of the mountain range. Make sure that you have added the first mountain range completely than the bottom space. Otherwise, when you add the second mountain range, you will get a very uneven line in-between and it will be very difficult to hide them. Now let's wait for all of this to dry and then add the final details into this galaxy. So now my first mountain ranges dried in. And for the second mountain range, I'm mixing in a little bit of the indigo and the Persian blue color to get a darker blue tone. Now if you do not have the indigo color, you can just mix in a little bit of the Payne's gray color to your version blue-collar to get a darker blue tone. Now, let's see, giving in a straight line edge look to the amount. Then I'm forced marking out the outline of the mountain shape using this darker and then just using what I have and I knew this and diabolical the bottom piece. Now simply using a damp brush and water, you can see I'm just die new thing in the Palo completely then the bottom space, make sure that you do not have any sharp edges because we are working wet on dry on Buddhist small spaces because that is not much details to add in your. Now on to the second mountain range also on the left side, I've been just lift up a little of the Palo and create very little glow effect onto this second mountain range as well. So these little details add more depth and effect into your painting trying to show in the light and the glow effect falling onto the entire species. Now my patches for the glowing stars, I've also dried it, so I will quickly begin some whitewash. The consistency, I'm using the smallest size brush. So this brush has a pointed tip, it is a size two brush. I will just begin adding it into the center spaces that we created this glowing effect. And you can see these tabs stand out very differently into the galaxy, creating the perfect law around it using in that done by batch. Now ready, NANDA me, I've been just need down little off the biggest stars as well in this white quash varied and Daimler. And that is if we would be done with the Galaxy for D7 as well. Another very simple galaxy in just almost neon, 15 minutes using it all just seemed that is different color tones of blue and creating this effect using whitewash. So this is, now let's remove the masking tape and see the final painting. Make sure you remove the masking tape very carefully, otherwise you may ruin your edges. And you may also know that balance, that is, that on the masking tape may get back on bool your paper as well. So be very careful and also make sure that your fingers do not have the pain patches because of the masking is our final painting for these seven. I hope you guys enjoyed painting this beautiful monochrome blue galaxy today with me. I will see you guys tomorrow into the DE class project. We'll be painting a long galaxy tomorrow. Thank you so much for joining me. 12. Day 8 - Warm Galaxy: Hello everyone, Welcome back to the TDD watercolor challenge. We are on D, E to D, and the colors that you need for today's class project is yellow, yellow, orange, permanent J, burnt sienna, burnt umber, white quash. And we also need a little bit of the orange color. So I have my paper down onto all the four edges and I will begin painting. So there is no mental sketch and we will directly begin n-bit of mean there are four dot onto the entire surface. Make sure you have a good even near of water throughout. If you're using a 25 percent cotton paper, make sure you run your brush multiple times so that it stays wet for a longer time. What you can even do is adding a node of water, wait for it to almost dry, then add in another layer of photo and then begin painting it. In that way, people will stay back for a much longer time because the cotton fibers are already written site and they will absorb more water. And we put it to GI longer. And even if you're using a 100 percent cotton paper, make sure you run your brush multiple times so that it stays back. I'm using a 100 percent cotton paper. Despite that you can see I run my brush multiple times, so automatically it stays wet for a longer time. So I haven't phosphate beginning in with the yellow color, so I'm using the permanent yellow deep. You can go ahead and use any medium tone of the yellow color. We will begin adding in the shallows in a little lighter consistency first. Then we put the four CO2 GI leave at the entire surface and then add depth into this beam. So I'm beginning with this color in data and does piece leaving very little Sandoz face violated set. Now you can see the same does beans that I mean white is many random and shape nothing specific shape. Now for this class project, you can see I'm using enough smallest size brush because I want to point very carefully, slowly, Leo by Leo. Now around this, I'm adding the yellow orange color. If you do not have a yellow orange color, you can just mix in a little bit of yellow with the orange and yellow medium paint off the orange color. Now around the yellow color, I'm adding in the orange color and I'm making sure that I'm blending in both the colors together. Again, at the blending spaces, you can see I have a very rough sheet that is most specific shape that I'm falling around. Make sure Lego beans flow nationally and blue each other and create its own natural ship. Just make sure that you do not add the kalos and put a tick or vibrant consistency at this step because we will be adding in another riveting layer and then going ahead with more depth into this. Now I can just use a damp brush and running this. And thus bees, which I have left right around the yellow color. So that little yellow color in the automatically flows in there, giving in a very light effect. Now next time shifting into the permanent red color. And using this permanent jet color, I will begin adding it around the orange color just as an added the orange around the yellow color. Now again, when you are adding this, make sure your pins are northern boutique consistency. They have to be in a medium consistency. Automatically blend into each other when you add them close to each other. So you can see I'm adding a little water flow into these bins and then just using the tip, I'm dropping in these fleets and blending them into each other. So now around the orange color, you can see I'm almost adding in the red color and do the rest of this piece. Now make sure you add each of the colored in such a way that the previous Neil color is still visible. Why is it will make more sense of adding in these colors NEO by Leo. Now I'm just pulling little of the red color datacenter space also very carefully. Then you pull this, you need to make sure that that is not much excess water on your brush. Otherwise, the beans when spread a lot and cover them via yellow space. So now you are just as I dropped in a little extra water and quickly lifting it up so that it does not spread much uncovered and biospace with the red color. So very randomly from certain places I pulled in little red color or whatever the yellow color. Now next, I'm shifting into the bonds TNF-alpha and I can begin adding in this bond C and Apollo onto the edges. So again, you can see I've added the bond C and also innovating medium consistency, forced and just blended it very randomly with the audit color around it. So I've just added medially the buoyancy and Othello or near onto the edges that also very little. We even read for this neonatal giant completely then believe, editing it and adding in more depth. So again, I would repeat, make sure that you do not add the colors and blue violet consistency in this meiotic cell. Now. Feel like you can even go ahead without reverting. But I would recommend you go ahead with delivering technique because that will give it much better depth and blend into this galaxy. To say if you were not going ahead with the eventing technique, you will have to begin adding the second layer of the colors right now it says on the same places to give it a vibrant look under depth look at cell. But I will go ahead with the reverting techniques so that you get a hang and practice of all other techniques that you can use for adding in depth into your galaxy. So now let's wait for this velocity auto driving completely. The first node is completely dry then, and now I will begin to live editing technique. I feel like leaving it at this point, the audit test because it looks so beautiful, but I need to add in more depth. So now I'm using my flat brush and I'm very carefully the agenda and running one by one stroke at a time. And make sure that you only run one stroke. Clean your brush, pick up fresh water, and then run the next row. Because usually if I leave, I think that is little paint and pigment that gets picked up onto the brush. And if you run that brushed onto the next year, they will be pigment which may get laid down. So be ready. Otherwise it will ruin your knot and it will be very difficult to go back to the previous step. Now I will again begin with the same permanent yellow deep cover that they use in the first video. Just that this time I will not be adding much of foregone. Rather I will begin using it in a little thicker consistency so as to get little move I print defect in the sample space. I will try to maintain Lytton light effect and then getting very like Patrick the yellow later on, just using in Bordeaux. Next, shifting into the yellow orange. Again, if you do not have the yellow orange color, you can simply mixing yellow and the orange further and get a yellowish orange tint. Now, local law, I'm just typing in very carefully in such a way that I make sure they get localists will be visible. Now I will just use a damp brush with very little water and just run it in the center space so that little of the yellow color automatically gets laid down there. I'm just lifting little off the yellow color from the center space also so that I have little more lighter effect. Now next, beginning with the permanent red color around the orange color. Again, the permanent red colors you can see it's white, darker than the red color that I used in the portfolio. Now very carefully I will begin adding in this formula and drag color around the orange colors and onto the edges. I'm trying to blend in both the Apollo's as I'm adding in. So you can see when I'm adding in the red color around the orange color, I'm trying to blend it and also trying to end add the colors in a little liquidy consistency. Now again, the flow of the gallows would be different of yours and different of mine because of the placement of the color that you're laying in every step. Since we are playing around with the inconsistency of the colors, the layout will be very different for you and very different for me. At the end, the results will be such that all the colors should be visible. And in December you maintain a little glowing effect. Now very carefully, just as in the last level when I began to add in little yellow, moving it to the center space thing, I tried puling little yellow. See your as well. Now I'm just using a little of the yellow, orange color vary randomly and pulling out delta epsilon has to give little differentiation. So basically, you are, I'm using the blooming technique for adding in the yellow, orange color, dark pink got a yellowish orange color in a very liquidy consistency and dropped it in between the red color in this MSB. Since many Lewis spreading a little extra, I'm just lifting up the color using a damp brush so that I may maintain the light effect. So say even if your yellow color is spreading a lot, you can keep using in a damp brush and lifting up the color from there to maintain that light effect in the center space. Now next I will shift into the bone sienna color and begin adding it onto the edges. Now you can see this one sienna color is darker than what we used in the first layer as well. Now this time, I will keep pulling the buoyancy and also build a little center at random places. So in-between, whenever I feel I'm picking up the permanent red color, although in a very thick consistency, just kneel to the brown color and adding in the darker consistency of the red color as well. So you can see how Leo also can be very using the re-weighting technique. Now very well have been that the blends are not happening in smoothly. You can just use a damp brush and move it around just as I'm doing it. Again, I will repeat, you know, your staff, your procedure may be on LinkedIn and depleting these because of. Your colors look consistency of the fellows that you use it. So very well you feel the need to add in my dog alone, you can simply pick up the lighter tone in a liquidy consistency and drop it in between the darker bones. So automatically the lighter tone will create a boom. So you can see I created a balloon with a yellow color also just a few minute ago at the top space near to the red color. So this is how you can create blooms and events. So see on the edge also if you need little orange or yellow touch, you can simply dropping the color using analytical liquidy consistency creating the blooms. Just transmit blue using water and white goulash. So now using the lighter color even I'm going to create little blooms onto the edges. So I'm going to pick up the permanent yellow deep color in a very light countries are sorted in a very liquidy consistency. And just using the tip of my brush, I will begin dropping in that color at random places. So make sure you pick up the choline and betaine liquidy consistency so that you drop the color and create a boom Sam picking up the color and you can see just using the tip of my brush, I'm dropping it onto the edges, creating lighter effect, moving on to the edges as well. Now I haven't simply just repeat my border nettle and just let the colors bleed and blend into each other very nicely. So make sure you move your board very slowly. Do not move it up quickly. Because saying is if you have a lot of water or the pins are in an extra liquidy consistency, you will lose the effect of each of the color. Now let's wait for this to dry completely and then begin adding in the fatherly this. Now, my galaxy is completely dried in and you can see the effect. Each color is visible. And the blues that we added on the edges as creating little glow onto the edges as well. Now I will begin picking up the white gouache in tech consistency and phosphenes fluttering in the stars in this galaxy. We are not going to be adding in any silhouette of anything. The entire effect is going to be just with the stars. Suppose times flattering in this task using our normal technique. And then I will be adding in some glowing stars, some shooting stars, and some shining stars. So this time was a galaxy. We'll be adding in the deck using in the stars, only, supposed to make sure to splatter the stars very carefully. Now when splashing in the stars, make sure that you get these fines are low because the details to look is going to be off the shining blowing and the shooting stars. So you can see I'm going very carefully, slowly. If you're going to pick up the Carolina very liquidy consistency, you may get much larger spots of the whitewash instead of these fine SAS. So you need to make sure you do not have either excess paint or water splashing in this task. Now using and the same technique of keeping their damn brush idea either begin adding in the background glow for the glowing stars. So first eigenvector and adding in the right spot, I'm using another smallest sized round brush which is damp. Actually. I will begin blending into the background and create a glowing effect for the shining stars that we will be adding later on once these Claude rising. So I'm adding them majorly onto the edges. So I'm going to add a little extra of them because the galaxy is going to blow only because of the styles. So while painting the galaxy, you can see I have stamping even to maintain that same tabloid effect of the white-collar law. Very little, but still that glowing effect is there. So I hope you could even do maintain that glowing effect as well. Because the lifting technique is what will help you if the Palo spread a lot. I hope that this class project your way even though you don't walk with the re-weighting technique. Once again, we then one more previous class project using the reweighting technique. In further also, we are going to be using the re-weighting technique. This will help you to build your confidence in using the riveting technique in the right way and help you add in depth. So that is why I have tried to Kepler balance between, you know, adding Leo's by the silver and then adding depth while adding or you know, using the rebooting technique. So in that case, both ways you can try to get her hind and you know, for some of your derivative technique may not work right? It may walk only adding in details wet on wet. And for some of the writing technique may work better with practice that you will be able to decide what goes better. Now I can begin adding in some shining stars didn't the first year of the glowing styles. So I'm just going to add very simple crisscross signs across so as to act as the Chinese styles for this. I'm using in the right quadrant of the consistency, I'm using a smaller sized round brush. This is a size two round brush, but since this has a pointed tip, I'm able to achieve the details very carefully. Also again, I will be your effect of the galaxy may be a little different because of the flowing consistency of the pins that you have used in. So it's very important to understand that the results may also be RBD a little. But the important thing to understand by painting all of these is understanding the technique about adding layers on the Earth, maintaining the effect of each color that you are adding in and you're not trying to get those soft and smooth blend. Now I'm just adding a few shooting stars vary randomly. Just three to four of them. Make sure you add these in a very pointed way. Now I'm going to add the glowing stars as well, because the force theory strided so far, the glowing stars, I'm just mixing a little bit of the yellow and the white gouache and getting a very pale yellow color. So it's modified question less often yellow color that will remain. And using this talent that the consistency I will begin to add in the blue and do the rest of the glowing stars, which we have added a fourth layer 4. I hope with every class project you are even to get more hang on to the blend and getting in the soft blend and you're not trying to get each of the palate OK, then whichever color you add it. So I hope class project you'll get more hang into adding in these galaxies and creating your own blowing do the galaxies using whichever palette that you like. So I'm almost done adding a nice glowing stars as bad. Now very randomly, I'm just going to place in some bigger star patches. So some of them I'm going to place in with the yellow column itself that I have mixed in with whitewash. And in this MSPs I may add a few with whitewash because the yellow color will not be visible on the yellow color itself. So angled edges that is of the darker tones you can add in these yellow stars. So that is if we add a div with the class, project it as well, Let's remove the masking tape and see the final painting. Make sure you remove the masking tape very carefully because on the edges you will have Lytton Caliban collected because of the flowing consistency of the pains that we are using it. So make sure you lay your hand onto the masking tape. There is no value that gets lifted onto your fingertips. Otherwise it may do in your pages as well. So you are, is the final painting for d. I hope you guys enjoyed painting this one galaxy today. And you put understand the color blending and creating that blowing the center and getting a little hang on to the re-weighting technique as well. I hope you guys are enjoying this watercolor challenge of painting these beautiful galaxies. I would see you guys tomorrow and do the D9 class project. Thank you so much for joining me. 13. Day 9 - Spiral Galaxy: Hello everyone, Welcome back to D9 of this 30-day watercolor challenge. The calories that you need for today's class project is bright green roofs, red, violet, violet, indigo pins three and write flush. This style. It may be a little challenging for you for the first attempt, but do not worry, we will be going in very slowly in creating this galaxy. We are going to point from the night the palace meeting in this final effect and the placement with the lighter colors and then working layer on New York, adding in the f and then keeping the low under the edges. So let's begin in today's class project. So now let's begin with the mean photo for her. There is no pencil sketch for this class project as well, because we will be creating in this fight and look directly with the palace itself. So first let's begin with a mean CTO for make sure you add an even neonatal foreshadow. Again, I will just be engaged if you're using a 25 percent cotton paper, you can bet your entire people feed for a few minute for it to dry and then give it the people. So in that vein of people when Steve it for a longer time, because the pop-in fibers would already be in red. And the second neo-pagan stay wet for a longer time. Even if you're using a 100 percent cotton paper, I would recommend you to run your brush multiple times in that thing of people stays wet for a longer time. So you can notice even I run my brush multiple times despite using a 100 percent cotton paper. So now I'm picking up the colors onto my palate. So the first one is a little bit of the Penrose color. Next I'm picking up a little bit of this bright of a darker yellow. Now in case if you do not have a vital better hello, you've invested at me use and begin with the Windows color instead of putting the effort. Ok, and now I'm using a very smallest size brush and I can begin creating in this final effect. So beginning from the same dough, you can see I'm trying to add the spiral rings around the center space. So in the center I have meat of any NPVs model, so good. So as to guide me through from there, I have to begin adding in the rings around it. So I'm just beginning to add these tidal rings still the edges and you can see. So these are the curvy motion as you can see. So undo the entire beach. I then phosphene a very rough BP for this. So you can see how using a very nice, I have created a little spider to guide us how to we are going to be adding in the entire spiral galaxy. Now in the same data I'm going to create a little spot so that it helps me to understand from where I have to keep pulling out these strokes. Now next I don't dislike does talk. I will begin adding in the quin rose color. Now the Windows tablet also you can see I'm adding in very thin stroke. I'm using the ballerina little thick consistency with very less of water so that it does not spread much at this stage, but it's not too thick also that it does not spread at all. So around each of the wind. That is the link that I've added in. I'm just adding in this Windows color onto one side. So in case if you do not have the rider better calendar, if you've used the Windows Hello for the false here it says Do not worry. What you could do is for the first year, you can use the Windows color in a very diluted consistency just to create a rough outline of this byte and look back will be moving that out. Now you can see I'm beginning to add is that we lose color onto the other side as well, around the lighter lines that I added. And I'm just blending all of these. That is the reason why I don't do that. I will not make much of a difference because at the end it's all going to be blended with the wind rose color. Now next time. Hello. Now in case if you do not have the red violet palette, you can just mix in a little pinch off your violet color. But we often know Scholar, you get underwritten by the fetch. Now with this Docker dawn of the Penrose-Carter, that is the mix of different value than to endorse follow and beginning to given darker strokes. All of this is wet on wet, my people is still vector. Hence I told you you need to make sure for this exercise, your people needs to stay back for a quite enough longer time so that you can keep adding in the stores nearby Leo. So now all news to all of this fight and look onto the edges and given it a little darker left using in this stuff will mix of the pink color. Now, after this, I'm going to add in a violet color bone to all of the white gaps that we have in-between these firings. Now that we have created at present, you can see a lot of thing clones, but as we move ahead, all of this will get a login for dinner and we will be having very just Carlo variations. Let's begin. Now. I'm picking up the wine, it follow, I'm using the violet color. I enforce added many simply into all of the white spaces in between these pink strokes. Now when you pick up the while loop fallow, make sure that your violet color does not have a lot of Bordeaux, otherwise, the wider color will spread a lot into the pink color and you will lose this fight and look that you have created. So you need to make sure I do this class project that with every stroke you control the water. Now you can see I am not taking the violet color in that same burn year. I believe the same.com even be creating justice end up point from which all of these strokes will be passing by far. Now I'm just doing very basic color blocking and melding in the Neo for this binding galaxy. So now on most, all of the white gaps I have laid out the photosphere of the violet color. At present you can see the spider does not look perfect because all of the points are not most input the same post fees. So now I did begin adding in little more darker that bumped divided fallow and trying to get a smooth blend in the bulla thing and the violet color. Again, for this, you need to make sure that you do not have excess paint or excess water, otherwise, the violet color will spread a lot too. Now you can see only I'm running the color onto the edges so that it blends easily into the red violet palette that we have on the edges. Now next time we'll begin the red violet color. This time I'm not mixing in any of it. I've been through this. I'm going to pick it up in a thin consistency under Dhaka bowl and I can begin adding it near to the violet color for giving that to the pink column that we have it. Now again, by adding this also you can see I have he argued any water now across the edges of the violet color I'm adding it kills troops of this violet red color in such a way that in-between of the light pink still visible. Do not worry, we will still be creating a center point to get the galaxy coming up into ossified and look from the sample space. We are still yet the wolf and the ozone meals and do this to build into our debt, make sure that you are working wet on wet still in DC, few people has dried at any point, then wait for it to dry completely, leave again IOS office and then go ahead. So now we're getting the sender. I add a little of that environment fellow, and I have pulled them up into the stroke off the big palette, trying to blend it into the center space. Now, I didn't begin working with a darker tone of the violet color. And this time I will try to create the tender point and getting the violet fellow stopped also fill the center point and feeding one center point. So now you can see I'm slowly taking my right falling stroke still does end no point trying to create one central point. So you can just, you know, imagine one center point from where all these strokes will be popping up trying to create the perfect spine and look. So now you can see in this endless base, maybe gradually I'm taking all of these goals into a center point, trying to make them meet at 1. So now in this envelope I'm trying a little violet space as well. So you can see how slowly you need to build in LEO by Leo so that you would not go out of proportion anywhere. Make sure you build in the ozone layer and in your paper dries. I hope you are now all to become limiting technique as well. So you can stop down. Wait for everything to fly in vivid thing guidance office and begin adding in the deck. So now from all the while loop follow, you can see I'm trying to meet each of the radical is talk meet at 1 in the center. So now you can see this five and look coming into play. Now, either beginning with that backup, interrupt the red violet, Pamela, and begin adding it around the violet follow. So you can see we are revolving in so many Leo's to get the depth value, to get the placement right. And most importantly, forget this fight and look right. So you need often the organ New York. But in this kind of paradoxes, you also need to be careful about the water recovery into your brushes. So at this moment also you can see my violet positive NPV rep that is a red violet color, is not having excess water, it is not spreading in Buddha violet follow it, seeing where I am leaving it. So I didn't wait for this layer to dry before beginning to add in more depth into this BMP. So now as you can see, my fourth node is completely dried it. And now either begin reversing this end diode Leo, and begin adding them, the edges. So I didn't create such a look on leanness and go via going to have in this file and look visible and in the rest of the spaces that is basically on the edges v will be giving enough or death. Now for that eventing technique makes law you lose it because it's flat brush. Make sure your brush does not have excess water and wants to, everytime becoming more now for the next brush stroke, otherwise the pigments are getting lifted me get spread across. Now again for stipend beginning with the theme that valley and the violet color to adding the darker death time, deciding this trope of these darker color onto the edges, creatinine, darker that an independent value can be. I have left. You didn't think speeds like revisit this. Now CMB, I'm beginning to add in the dafur depth using in the violet color. And I'm making sure that it needs very into the red-violet both. Now you can see when I'm adding this time, I'm not worrying much about adding events to the edges of the people because as I bolded there, I'm going to read for the dark connect into this galaxy. So it's only the sample space that despite it look will be visible. So now that I needed for my spine and look is complete, now, either begin earning in the dark, Cody be on the edges. So for that I'm picking up the indigo panel and I'm going to pick up the indigo color in a little more liquidy consistency. So hence, you can have added a lot of water and I've been just begin dropping in this indigo follow onto the edges. Make sure you let in descendant species, this file will be visible only to the edges. Begin adding in this indigo color very carefully. So now we're at this moment that goes in the blanks when not looked at the also do meet them. Look perfect. I'm going to pick up Lytton of the violet color as well in a little liquidy consistency. Just going to add it near to the edge of the indigo color. So now this Endo me, you can see the spider and looked left out and onto the edges we have the dark or depth into the galaxy. And I will make the blend. Now. I'm just starting very little strokes of the violet coloured again so that it looks that the violet color to the edges is emerging out from these so-called that we have added it. Now onto the edges, I've just added a little patch of the beams, three columns, giving it a little more darker death in these, if you do not have the pins, three colors you can simply use in black color on the edge. I'm giving a little more depth to this. Now before leaving it to dry, I'm just adding in another node of the indigo palette just closer to the black color. And now I will a little water droplets and drop it in New York with a legal color edge to create little spaces in between buried underneath. So you remember, at the bottom thieves, we had added in the yellow and the pink and the vine telescopes every way. So now when you drop these water droplets to create the moon automatically, you will get little light dopants onto the edges. Hence by adding in this fight and no hierarchy going on to the complete space. So that made me begin adding in these moves, we get the light they fix at the edges as well. So simply just using the tip of your brush, begin dropping in water droplets. Moves to get the light that effect onto the edges. Make sure when I'm adding these rules, you do not add extra big group of four, but otherwise it will create a very big blue and you will not be able to control that. So you need from me show by adding in these droplets, you draw only one small Drupal for DOE, even one small drop in 38 enough no for you to have that light going space into the galaxy. Now major, you can see I'm creating these wounds onto the edges. I've added in the Dakota ins. So now you can see the pink color being visible from between the blooms variable we added in the water droplets. So I would just add of your water and the meager and there at the top space medially. And then even wait for this to dry completely. We are almost at the end of our galaxy, just we need to add in this time even ones, all of these will dry in. So make sure you are these water droplets very carefully, step-by-step slowly so that you do not overdo it. So you can see I added lived in at the beginning IV DID of USA goals to be created. Then depending on theta, I need more moons, I'm adding in more major. You can see at the end, don't wear the indigo color ends. I have added a lot there so that I get my dispersions. They're creating the perfect blend between the violet color than the indigo color. Now last, I will just plateaus some water droplets, very small droplets. So make sure those graduates from a little distance so that you get smaller blooms in the centers piece. Now, I didn't wait for all of these to try and compete and then begin adding in the final VPNs into this galaxy. So now my galaxy is completely dry it in, and you can see the effect of the blooms that has been created automatically. You have gotten into light of law onto the edges because of the VSD of Bingen violet palette or He had argued by creating this fight and look, and in this enzyme you have the perfect spite and being formed with the violet and the pink color. Now I'm picking up whitewash and noted consistency and I will begin splashing in this ties into the entire galaxy. Make sure the oldest, smallest size brush. Also make sure that your brush is more products as being for one. Otherwise you may get, we go batches of the White v. Now I can begin adding in the going style look to this galaxy as well, because using the, there is no space for silicate to be aggregated. But to give a little more blurring effect to that galaxy too, can simply add in some shining stars. I'm some booing stars. So by adding the glowing stars, I'm just adding in smaller white dots. Then using another damn brush, either blend these dots into the background, creating the glowing effect for this task. And we added on through this. So I'm done adding in the box for the blowing status. Now using another smallest size damp brush, I'm just running it on Buddha edges and blending it into the bag now, I hope it will this class project you were able to spite and look. And you know, you were able to walk me awesome videos walking from the lightest tone of the pink color to move into the darkest tone. I know I doping bonds are no longer visible, but that is how it will help you in building your Galaxy neon, neon and getting the perfect depth and blend with mean the values. If you want to have direct me try to walk in with the dark is turn off the Queen Rose follow and the violet color. You wouldn't have been able to achieve this blank so easily. Now in this endless piece, I just started Lipton white patch. And I'm just trying to create little glow from the same book Into the Spider-Verse piece and spreading that spine and look, I am again writing in it. The next time I passed it did affect it was near the nest. Now just using a damp brush, I'm moving it into the bubbles to above those spiral galaxy. And I've been trying to blend it to create just little glow effect. You need to be very carefully by adding this in diesel fuel. You are not sure about adding in this step. You can skip this step. Now again, using a damp brush, I will just be blending it into the violet color to create that moire effect around in the same puzzle piece. So you can see I've blended the right column with the violet color. And whenever I felt the need, I just picked up a little bit of the violet color again for blending and making it easier for you. You can try to not have any sharp edges. Now I have picked up a little of a Windows Kahlo and I'm mixing it with the whitewash and creating innovative piece to phone peach color. And using this color, I will begin adding into blowing side effect this type. So the white patches that we have created in for the throwing stress on do that, I'm going to add in the finance task with this color. So make sure you add these growing stars and very small size so that the glow behind is visible only in the sample space is dropping these tasks, you can see the peach cells up needing another glowing blue, that galaxy. Now I'm just going to add a few of the glowing stars that is just symphysis each Carlos tasks onto the edges very randomly. Now one last thing, I will quickly blend this inverse B is perfect because I by mistake need to up in the middle of the peach color data as well, which was not supposed to be there. So even again, blended, veiling, buildup, open strokes, and then that is it We will be the idea with this class project has been. So I just blend the white color in the center perfectly with the violet color. I would recommend you to only do that step if you're confident about the blending. Leave that violet color and let it do not add any white forced into the same space. So let's remove the masking tape and see the finally BNP. Be careful onto the edges because you can see her father default, it's out there. So you're either finding fame being 49 of this 30-day watercolor challenge or beautiful spiral galaxy even got more onto the edges. I hope you guys enjoyed painting this unknown new technique of living in this firing galaxy. Look, I will see you guys into the big end class project to model. 14. Day 10 - Mountain Lights: Hello everyone, Welcome back to the 30-day watercolor challenge, VR upon depend today. Let's have a look at the colors that you need for today's class project. You need a shade of red, violet windrows, violet, indigo, black, fight gosh, yellow and orange color. So I have my people, they've done on to all the four edges. There is no pencil sketch. We will directly be beginning in with AP, linear or photo onto the entire surface. So I'm almost done adding in a thin layer of water. I'm just running my brush multiple times so that the paper stays wet for a longer time. This time, we are going to create a very simple blend galaxy, but we are going to move our brush in a little circular motion. So first I will begin with the queen rose color. So almost in the same space, moving in the semicircular motion, you can see I'm creating a little curvy angle with this Windows color at the bottom space, we're going to let little glowy effect as we will be adding the mountain range at the bottoms fees and create a glow in-between from behind the mountain ranges. Next, I'm picking up the violet color and I will begin adding it at the top space. So these are just the bees Nios that we are creating. We are still yet to add in a lot more effect and lens and fellows in between. Now next I have picked up that red violet color, and I'm adding in, in-between the Queen Rose and the violet color. Now next I'm going to begin some whitewash. And using the whitewash, I'm going to begin laying it in a very watery consistency just below the light pink palate, that is the quin rose color that I have added in. So automatically, this will begin creating in the glow effect from behind the mountain range that we are going to add. At the bottom side, you can see a lot of the bottom scientists still empty because then I'm going to add in the mountains are located under the delight light. After everything dries in. Now before beginning to add in more colors, I will just tilt my board and our detection. So that's the fourth CEO Carlos, blend into each other. This is just the photosphere of the colors that I have added in. Make sure that you do not end in one specific direction, only filled in all the four directions so that you have the perfect blend and flow. Now again, I will pick up the same colors. That's a wind rose color, red, violet color, violet color, and the white color. And begin adding them again to add the vibrancy. Now you can see I'm using the beans in a medium liquidy consistency. That is a little extra Waldo because I wonder beans to flow naturally into each other and create the black. So next adding in the red violet color. And lastly at the top I just added the violet color in such a dark consistency. Now to give a little darker data at the top space, I'm just going to add a little of the indigo, just about a violet color and blend them. Now you can see I'm taking the indigo color till the bottom. Carlos has valid but very little only on there just to give an Docker depth. Now you can see the blending happening very slowly and all the blends are being smooth. Now, pick up some whitewash and lay down again. You also asked to get the blend between the white and the windrows also, when now ready quickly, I will just droplet or more of the Queen Rose Carlo in a very liquidy consistency. And now I will begin to think my board again and try to get the blend in between the colors. So again, make sure to move your body NOL deduction. Now you can see the white flowing into the queen rose color and the Queen Rose flowing into the white because of the motions that I'm doing right now. So this is how you need to add the beans in a lithium liquidy consistency. But indecency, if you add a lot of auto or the beans in extra flowing consistency, then you will not be able to achieve all the distinctive color looks because you will just get one flat color look as I have shown you in the technique section, bedding, I had taught you about the water control in the beans and on the paper as well. Now I just added a little more of the violet color because I felt that the white color was a little light and there was little light space out there. Now just dropping written red, violet color again. So this time, the major law of the galaxy, or the media blending of the galaxy is through rotating the board and keeping the palace in little circular angle. I'm trying to blend them using this tilting motion and the floating consistency of the beans, You need to control the water. I will repeat again, because it's very important to understand the, if you did the beans in extra flowing consistency, they will seep through the white color completely and you will not be able to achieve this glowing effect that you are having of the white beans. So in order to achieve that, you need to pick up the beans in medium flowing consistency so that they blend into each other well. And you can see the soft edges, but still the reading and maintain their placement as well. So you can see each column has very distinctively. So at present you can see all the full balance distinctively, a little indigo, violet, red violet, then the Queen Rose and the white color. Now, a yellow color. I'm just going to add it into the bottom space very little. I'm just going to blend it a little with the white color as well to create little light effect from behind the mountains as well. But below the quin rose color you can see I'm letting Lipton wide gap be there. Now. I'm just dropping little more of the white and between the yellow and the window so that the yellow doesn't flow complete detail that we know Scholar. And you can see it's in a liquidity consistently, not blue liquid, but in a little flowy Kansas. Now I will just do the board one last time. And then I will be for all of this to dry and then begin adding into further details. So before leaving this to dry, I just feel like pulling little of the window Scala at the bottom space because I feel the bottom space is too large. So I'm just adding very Lipton liquidity when no Scotland near to the white color. And I will just make it seep into the white color, creating a light pink glow from the white to the light pink blue and then the regular pink glow that we already have it. In case if you do not have much based and you can leave it at this step for it to completely dry. So I'm just running a damn brush in-between that windows on the right color so that these colors blend easily because you could see a little sharp line in-between both DACA does, which I do not want. So you can see a little light pink color being formed just about the yellow color. And that's perfectly okay. So I'm just moving the last round till the bottom space. So that is it. Now I can just tilt my paper again a bit and then I haven't made for all of it to dry completely. And then we will begin adding into further details into this pin day. So you can see how you can even create lists in US ocular manner and in little differentiates as well. So now my sky is completely dry it in and you can see the perfect blend under smooth transition in between the followers and the perfect glowing effect that we have just below the windows tallow. Now using the white gouache, I will first begin dropping in this ties into the galaxy. So make sure to use the Guassian at the consistency so that you get the opaque look for this task. Make sure you get those fine study. These are non batches of fight color. So I am then adding in the first layer of this task has been, now I didn't begin creating in the first year for the mountains. So for that I'm mixing in black color with the violet color and creating a very dark whitish gray color, kind of a condo. Make sure to pick up this color and a dark consistency for us. I've been thinking, marking out the mountain range outline first and then just using water, I will simply just denote the palatal, the bottom species, and get the gradient to the color. Now when you are adding this, make sure you do not cover the entire glowing effect of the white dwarf that we have added below the quin rose color. So you need to make sure and add this in such a way that you get that look. Now I just added that black brush into the Windows color and got a magenta kind of a tone. Now using this color, I'm just adding it in the bottom space, creating the lightest space for the mountain range. We are going to be adding in a second mountain range after the first run dry season. And then even just that. Betty little city like defect into this. So I'm filling this color, fill the entire bottom space because I do not want any sharp lines when I add my second mountain range. So make sure that you have the same layout by law for the second mountain range completely so that you do not have any distinction when you add the second mountain range. Now we need to add the second mountain range only after this first one dries. You can also see on, you know, I'm even cheap off the top mountain range that I've added didn't add the doc, the doc highlight that we have now been trying. I'll quickly add in the glowing stars. So I'm going to begin, I think it's monitored by dots and then using another damn brush, I will just begin, oh, you know, creating a soft background around it. So now you can see just using a damp brush, I'm just, you know, creating in the law for this task that we will be adding later on. So just using a damp brush, I am blending this white spots into the background, creating a dotted white background for the glowing stars to be added into these. By now, I'm sure you would have launched to add in these glowing stars if you have been following me from d1 itself. Now in this fourth layer of the star is dry and even the mountain range dries. I will just add a small moon onto the top right side. So for adding the moon, I'm going to be using in this so-called device. And using this, I'm just going to please a very small half-moon. So just a very small size, according to the paper size that you are using, you can adjust the moon size. So now keeping out your, I'm just going to directly begin white gouache and I'm going to add in a half-moon. So I will just mark the outline of the half-moon and then fill it with white quash, very little so forth, just marking in the outline using a very smallest size brush you can see. Now I've just begin adding a little deeper into this moon at the top side also n given little debt. So at the top space you can see me and I am just using the brush in a little dry brush patent and adding detail to the moon, creating that depth into the moon. So just a simple half-moon like we have added in your. Now my first mountain range has completely dried and I will begin adding in the second mountain named just as added the first one. So I will first begin with the outline with this thick and bold color mix off the violet and the black color. Now for the second mountain range, I'm going for a different shape than the false mountain range. So again, just make sure you have uneven edges across. Now for the second mountain range, I'm filling the entire second mountain range with this dark color itself. I'm not giving in light up onto this mountain range so that we automatically have two distinctive look to the mountain ranges. So I've been just define the shape you are at the top speeds a little more and give it a little uneven look. Now my background for the glowing stars have also dried completely. So I will shift the way smaller sized round brush and I pick up the white quash in a very thick consistency and begin adding in the blowing stars. Now when you begin to add this, make sure you use the whitewashing that thick consistency at them smaller than the background that you have created. So automatically, you will get the glowing effect around these styles. Because of the philosophy of whitewash that we have laid him. Now let's begin adding in this a direct effect onto the first mountain range from behind the second mountain range that we added in. So far, adding intensity light effect, I'm foster adding in little white spots and I will blend it into the background, creating the glowing effect for the city lights as well. So now using a damp brush, I'm just going to blend this very carefully and create a glowing space. Now for the city lights, I'm just going to mix in white quash with the yellow color on it and create a piece of yellow door. And using this basically, I know Kayla, I even begin adding in the light into the center of the mountain danger of the first layer that we added in. So I'm picking up the white quash. I'm mixing it with the yellow color, getting in a paste and yellow. Now using this, I will just simply begin adding in very small dots out. You're trying to clean up the city light defects you. So you can see how randomly I'm placing in these light effect in between, I'm adding very confined light effect. So all of this will automatically the city life into in-between this mountain range. So very randomly, just add a little of these yellow lights. Now to this yellow color mix, I'm just going to add in a little touch of the orange color. And now I will just add a few lights with the orange color as well. Make sure to this mix you already have added in the white goulash. Otherwise you will not get these opaque look often lights that you are getting in right now. Now to the glowing patches that we created on the mountain, I'm going to begin adding in whitewash in the center of these and create these glowing lights your as well. Now lastly, just going to add in little white lights as well, in-between the yellow and the orange lights that we added for the city light. Now you can see the lights that have added are so small. So just using the tip of the brush, I added these. So make sure you use appointed the brush for adding in these DIY light. Otherwise, you will not be able to achieve these like dy dx. So you are, is defined and painting you can see. Thus it delights, create such a perfect view in-between the mountains. So let's remove the masking tape and see the final painting. Make sure you remove the masking tape very carefully because on the edges you may have in vet being collected because of the flooding consistency of the pains that we were using in. So you can see the beams that are collected is still wet now, in case if you lay your hand or what do this, you will make the beans onto your fingertips and engaged In angle of the paper. It will go back onto the edges. So you need to be in it against the paper and not towards the paper like this. So always be lit against the paper also automatically spins, want to end your edges. So here is the final painting for deep then of this type dd watercolor challenge. I hope you guys are enjoying painting in different galaxies each day and creating these beautiful stars and the glowing effects. I would see you guys tomorrow into the d 11 class project. Thank you so much to each one of you for joining me into this study. They watercolor challenge. 15. Day 11 - Through the Roads: Hello everyone, Welcome back to the 30-day. Want to count the challenge we are on day 11. The abundance that you need for today's class project is when Drew was quoted, beans tree, sap, green, dark green, black and white, wash, do not buddy who do not have the border color. You can just mix in a little bit of your being yellow and white to get a face important. So now let's begin BGN thing in today's class project. So I have rekey put the belt, and before beginning to be, this time we will be having a little pencil stage. I didn't beginning with the pencil sketch. So this time you're going to be building in a galaxy in-between the road. So let's begin marking in the pathway voiced. So I'm not from the center of the paper. I have begun marking in the pathway and do the bottom space. I've taken the font to be. So in the center of the battery has a diminishing point, which is not though of you not visible to us, which will be hidden 00 00 bushes that we would be adding in a row. Then this reshaping the Submit and Biggie it a little more coal. We end. Now on the left and the right side, we are going to just paint in sympathy, you're handsome mouth or by your genes, depending as we move on here. And I'll act of space we are going to be having in a galaxy and just start them on rising line. I'm going to add in a very fine mountain Beach. So this is a pocket vengeance neck, just very basic sketch. Now let's begin being done. Indonesians one by one. So I've been thinking painting the galaxy worst. So I will begin with a clean border for not only into the galaxies base. So remember either human clean Bureau for her into my entire galaxies base. Now either to begin picking up the fellows one by one. So the first column that I'm going to pick up is the minerals or not. So I'm going to pick the free North Carolina innovating liquidy consistency. You can see, I have a lot of wonderful that being said. Now just using the tip of our smaller sized round brush, I will begin dropping in this green nodes panel. Now you can see I'm making sure our daughter is in very high drop in the bylaws. I have not been written the mountain speeds right now because that I will be adding in the North. So on most in the entire sky, I have given it the photosphere of the windows follow. Now whenever I'm leaving the white gaps there, it's going to be been created on time, not all you know, adding in the quin rose color right now they're, now I meant shifting into the Scala ID, begin adding droplets of this triangle, green and blue and the light very vague. So you can see I'm using the BIM and such watery consistency, dropping in-between the quin rose color to create the bloom effect and the effect? Yes, didn't do left pad In Argonaute-2. Add in more detail in for this to be in the perfect you. This is just the force field that we're beginning in width. Now again, close to the border color, either begin arriving in the window scholars so as to be a blend and the Docker list. But this time you can see I'm beginning to pick up the windows color in white and all that isn't that consistency much student, I'm trying to go ahead with the dropping method around it automatically it will bleed in with the ordered follow as I told you at the beginning, if you do not have the board and you can simply mixing a little bit of the yellow and whitewash to get an affordable product, you would have to walk ahead, oh, you know, vitellogenin mixes to understand the propulsion. But at the end you will be able to achieve in this column. Now, I'm picking up the Payne's gray color and I will begin arriving in the beans Greek our law on Uber edges or at the top side and on the right trade as well. So even the beans me far right, you can see I'm dropping with using the tip of my brush in a liquidy consistency force, it's automatically just bleeding and blending with the green nodes Carlo. So now you can see I'm just beginning to dropping this fellow. I'm trying to get and lifted up this color into the same those visas very hard when you begin to add that makes sure that you do not have accessible or not. Otherwise, it will spread a lot and you will not be able to control it then even still be creating the effects or by adding in water droplets later on. So basically all of Bosnia, you know, we had added the fingers follow. So when we create the water moved automatically from between the bones, you will get the little light pink radiation coming in. Now you can see on most on the entire edges I have added in the themes great Karla. How about dogs hoping follow onto the edges? And in this NBA I have the border color and the window scholar look. Now I'm tho beginning before not in a ton of this beans green partner as well from the top speed. Just taking a delimited Santo and blending that with the border. But you need to make sure that you do not add excess water otherwise it will cover there. And via Wharton palette, I do that we need Neo-Orthodoxy of polarizing light. So the basic goal, you know, view of this galaxy is going to lead the night species in the same boat, IDA. And the rest of this piece is going to be off the darker color. I'm beginning to pick up the windows Palo need to liquidy consistency and I even begin to drop it onto the edges of the beans, Greek or Latin I have added in automatically it will begin to lead in Buddha or beans great Karla and create a darker pink tone that we need on Buddha edges. So now just using the Windows Carla, you can see at the top species how I'm creating in the moire effect being born from between the pins gray and the coral color. So you can see how liquidy consistency of the beans that I'm dropping in to create the depth and do this beam. So this is how you can play around with the flooding consistency of the fields and create depth and use the blooming method appropriate in low or no effect in between by laying down the false leaders with the lighter color. Now I'm just lifting up the excess beam that is collected on the top is because I've kept my board so that the darker tones do not evolve, you know, floor down at the morpheme space completely. And picked up a little of the calla and Ivy just begin dropping it, losing the tip of my brush. So you can start getting an eye drop in this light, but don't automatically I get a glowing effect how death. Now using this coordinate phyla, I will just drop and give little rooms onto the edge is false and then try to bleed and blend them. Brush I will just blend into the background so that you just have a little Lewis base out there and not a fight off the board and follow. Now again, adding in some important comment at the top space to given for the glowing effect. So you can see how you are trying to create in the law only in the same space. And all these engrafted DOB, gloomy galaxy of because of that dark thing parallel, because of the mixing of the windows and the Payne's gray color. Now that is it for us guy. Now, Isaac, we can begin painting in this one about at the boardroom space. So I've been begin painting in the feeling on the left for that and for speaking up this green color and I'm just going to lay down a layer of sap, green color force. So you can see that is a distinction between the sky and this field area that is the mountain range. So because you have that white gap human beings in these models pieces still that sky dries it. Now using and Jacobean Bhalla, I'm beginning to add in more darker depth into this field space. So you can see sky is often very dark color. So to give the effect of this guy as well on Buddha field space, I'm adding this darker green color now into this fetus base item for the Arts, I'm Docker debt. So for that I'm just picking up the Payne's gray Carlo and I will begin to drop in droplets off the beans green Carlo to give more than condensed into this field space. Now after this Ivan begin between the species onto the right side, note there on the right side, I'm going to give him a little effect of this high as men for I'm going to use a little of this guy Carlos, so far. So I'm picking up the phone and I'm giving you there now. Right now I have picked up that. Hello. And very carefully just don't build the edge. I'd been dropped, lifted off the beans great Karla, by drop it in such a way that it does not spread much and cover the entire portal gala that you have dropped in. This is just to actually given the dot-product input of beam space your as well. I just want a little of this bipolar deflection. So now next I have picked up if we knows her LA and I'm going to add it very carefully, New York UDL or unfollow five and make sure in-between the windows and the beans being followed, I have a very light data off the board and fellow visible. Now next I'm picking up the black color and I will add it into the rest of the species on the right side. Now at this moment you can see the blend between the border and the beans. Three, Carla is a little messy kind of a look which I do not want. So I can quickly talk little more of the foreign follow and then be developed between the North and the Payne's gray color. I just wanted it in like that effect there. Now let's make for all of this to dry and then begin adding in the for the DBAs and do this being done. We've been doing is completely dry. You can see this guy, I'm the boss, I feel areas have very been completely. Now, let's begin painting in the pathway before adding in the photo DBS. So for being, being the 53 I'm going to be using in the black color. Let me make sure I use the black color in a thick and dark consistency so that you have an offbeat look to the bathroom. Now, by about three, I'm going to very carefully add in the black color, make sure that you do not lose the line off the field codes that we have added it. So if you want, you can follow spark in the outline to the fetus. And then from v drawn with the black fellow Leo. So I'm quickly filling in the entire pathway, but the black color, I'm halfway through and just half of the boundaries left. I'm going to very carefully so that I do not run into the field spaces. So very carefully, even ubiquitin if and then buy a box with the black color. So I am then are they in the black color to the entire 53, either just define the shape out your own to the left side a little better because I'm not fight that fight with the robot job. So if you are satisfied, you need not to add dispatch again. Now the mountain range, what are the horizon line either being that as well with the black color with me, make sure that you do not use your hand or what are the five cleavage is still wet. So you can either take your paper, albeit for the pathway for dry before being, being this. Now using the theme black color, I'm going to pull out the pine tree. You are from the mean field space and I can been blended in the bottom speeds up the field. Adr, New York, Berlin would be completely. Now this is a very basic fine G that I'm adding in with very basic violet and I'm just going to blend it into the bottom space. And we didn't moving into this guy Edi, as you've been seeing, the fields phase, I'm adding a little more darker data. I will pick up the green color again. And then this because I've been this green PSPs is developed in light. So on the edges I added in the decoy effect with the black color. And now very carefully using in the dream follow and breathing in more darker left as you've been seeing. So I provided even this one right, it will have a label of that leaves him still left, but more darker tint onto the edges like I did it. So now define g is only undeterred visible at the top space because I've learned the rest of this piece into the bottom area of the space. Now of course, I didn't begin some whitewash and factor the stars in the galaxy before moving our head. So make sure to cover your product to be completely so that you have dr up. This dies on to the file. Now I have a few extra dots moving into the fetus based on the path there. I didn't cover them up now blending them and do the Wharton space again using the black color. Now next Wednesday, dan him, Hey, I've been just begin adding in videos, modifying keys. The mountain range horizon line and kneel to this field ADR onto the right side. Now really basic buying jeans, as you can see, I'm adding in with very disappointed and going down very randomly from left to right. So you can just simply add in very simple bind g's out your so you can see me Jimmy, on to the right site that I've added in the pine tree. And now I can blend this into the bottoms. B is moving in a damn brush so that I do those sharp line of define g endings. Now simply using a damp brush and little of the black column you can see I'm blending it into the bag non-blank space, that is the theme space so that we find these do not have those sharp edges. Now might be anything, it's completely dry. I'm the edges left to add in-video little details moving in the wind push medially. So I'm going to begin arriving into the beans one by one. So I'm picking up the whitewashing in a good thick consistency. I will begin adding the edf using a fine brush. So first I'm going to begin, I think that maybe gone to the bathroom. So losing the whitewash thematic consistency with the fine brush, I'm going to begin adding in the VBS onto the edges of the bottle. We want to move the left and the right edge of the boundary. I'm going to mark out a fine line with the right color to actin has their own lines. Now in this endodontic just giving in to do the deals to this path holding and divide portion. Now in Buddha fetus pieces, I'm just going to add in very simple folds using it up. I said very swan lines to act thin as the boards across this normed space that we have added in. Now these lines, I'm just defining them a little more takeoff using the same brush but just divide cosmetic consistency because they seem redundant. Now just adding a very small highlight is between the mountain range and the field space to add in little distinction with very fine line of the white wash. Now let's begin writing in this style ads into the galaxy. So far are adding the stars I'm going to be using in this piece of code in color. And using this color, I can begin adding in the stars into the darkest pieces first. So Boston creating one big started this inverse base. Now, I can begin adding in smaller stars, but this darker 50 itself onto the darker spaces. So that is it. I'm done adding in the status bar. Now let's remove the masking. B and C are fine and feeding for the elaborate, all very simple galaxy are moving through the pathway. So make sure to remove the masking tape against the paper. And very good for me one-by-one. So you're always, I find that being being for d 11. Miss to add one thing that is all highlighted, New York Dada, right? White highlights that I've added in defining ethos that I liked. So I haven't quickly begin my smaller sized round brush and pick up some black carbon, but the consistency and just define the outlines well. So just going to begin using it as qualifies brush. And I've been just to add a bidding fine by me or to the right length that I've added on little b. So by adding this line, you can simply define this the lines of the pathway giving you the full feature. That is, those white lines will be equal to all if you've been just define it using it the black follow to see a lawyer and on the right side as well. Now, December 9th that we have our didn't even just defined in this space as well between these giving you full big distance in-between each of the lines and giving the shapes ultimately did achieve. So make sure you do not run into the edges and ruin your edges so you can just add the, the duty is very good for me. I'd even though my underpainting from the 11 now, I hope you guys enjoyed painting this beautiful galaxy for the day. I will see you guys tomorrow into the thread class project. Thank you so much for joining me. 16. Day 12 - Glowing Sky: Hello everyone, Welcome back to the 30-day watercolor challenge. We are on D2L. Let's have a look at the colors that you would be needing for today's class project. You need to shade of green rows, violet, cobalt, teal, Payne's gray, white quash and black color. We are going to be painting in this beautiful northern light kind of a cityscape painting today. So let's begin painting in today's class project. But deep down and even beginning with a very basic pencil sketch. So the basic pencil sketch is going to be the horizon line to mark the distinction between the sea and the sky species. And then on top of the horizon line they are going to be placing in the mountain range. So I'm marking the horizon line a little below the center line because on top of it, I'm going to be adding in the mountain range. So I'm going to add in a very simple mountain range which is going to be dominant on the left side and short on that I'd say. So the top space is another night galaxy, and at the bottom we are going to be having indices k. Now at the bottom space, I'm just going to add in a very small area across the sea space for adding in as the science space. Now let's begin painting in the class. I will begin with a green code of four, the only into the sky space, leaving the mountains piece also blank for now. So I'm done adding enough linear for the into the entire sky space. Now I'm going to quickly move in a little of this cobalt green color. Now if you do not have this compiles gene color, you can go ahead with a medium tone of green color or you can mix in a little bit of your white. Vd didn't read and get a little bit still green color and use that instead of this color. Or you can even mix an emerald green with a little bit of white and make it a little base to Vienna and use it. So first, begin with the queen La Scala. Onto the right side. Make sure to leave the left side line because we are going to be adding in the Coval gene calendar day. So these are just a false note that I'm beginning and we'll make sure to lift up any excess water on the edges of the masking tape if you have it. Now next I'm beginning to pick up this covariance between Calla and Ivy, begin to add it onto the left side. Now you can see I'm adding in these colors in magnitude, liquidy consistency so as to get that soft blend, which we will get the end result. Now very carefully, I'm running it into the queen knows Kahlo. Make sure when you run into the Windows calculator, we know Scala may get lifted onto the tip of your brush and if you move it into the green color, it will get completely gone into the green color. Now at the above space, I'm just adding in the violet color very gently. Now on top of the violet color, I'm just picking up a little of the indigo color and beginning to add it at the top space giving it the darker debt. You can see my brush has led to very gently on the top space only. But I am able to cover it up by just moving my brush ready carefully. Now make sure when you are discarding or do not cover up the entire cobalt green color onto the right side. Now I will begin adding in the second layer of the same balance on the same places. Just that this time I'm going to drop the colors in a little more watery consistency. So automatically they flow into each other. And by adding in the paint itself, I will begin tilting in my board so as to get the perfect blend. Now you can see I keep moving my Gordon between so as to get the perfect blend in between the colors. Now next time picking up the windows color, and I will begin adding that as well in a liquidy consistency. So now I'm dropping the colors. I'm just using the tip of my brush and dropping the color so that they automatically blend and have the soft look into the sky. If I would have left it at the false Leo, I will then have got that vibrant look into my sky, which I haven't get after this dries in. So it's very important to I didn't Leo by Lee also that you'll get the vibrancy into the skies piece. Now just dropped in a little off the wild-type tolerance value, just about, we know Scholar. Now I begin to take my ball very gently. You can see I'm not moving it completely all together. I'm moving it very slowly and in all direction. So automatically, you will be able to maintain each of the different color Luke as well. So you can see that the loss flowing into each other, just make sure that your skin color does not get hidden completely. Now you can see from the edge a little of the violet color has gone into the cobalt theme. Let's just near to the mountain side, will be very careful out there so that it does not cover the space completely. Now before letting the sky to dry, I will quickly just add little of the indigo color only at the top space to given the darker debt. Now when you begin to add in these bins, be very. Because since we are playing around with the floating consistency of the beans, you know, you may droplet and being drops urine, just like I dropped the droplet here. So I'm just quickly using a damp brush and lifting up the Palo. So now the excessive violet color which I had gone on the left side, I have quickly lifted that up as well. Now I will just once again lose my board so that the indigo color moves into the violet color and blends better. Then Ivan, wait for this to dry. Now that my sky is drying in, I will begin painting in the bottom speeds, that is the CAD, because I cannot be in the mountain range until my sky is dry. So I will quickly add in the forest near for the seascape as well now. So just one last time, tilting my board in detection so as to get the blend. Now you can see at the bottom space, I again added the violet color because it was having a violet battle there, which I did not want. So do I, I, I added them by by, by blending again, I have to be careful that it does not ruin them direct cobalt green color. Now in the scene, I will begin bending the seascape. Seascape is going to be an exact reflection of this guy. Now I would recommend you one thing in these, if you are not sure about building your board and controlling the top speeds, then wait for your sky to dry completely. And then being this key skill. Because in the seascape also even have told you not delta board to get the blend like the sky. But in that you need to be cautious and control two things that is unique to keep looking, that your sky colors are not lending again and moving urine there. Otherwise you will mess up the sky or mess up this one off. So you can either wait for it to dry completely odd, if you're confident about controlling the movement of the beam, then you can paint dialogue. And as I'm doing right now, I'm beginning with the same colors that I used for the sky at the same placement of this guy. So in this guy I had done cobalt green color on the left side. So I'm basing the cobalt green color at the bottom left side as well. Next beginning in with the Windows color onto the right side. And then at the bottom of these two, either simply add in the violet color and blend all of three. So again, that was just the first Neil. At this moment you can see how each candidate standing distinctively and that is no blank. Now I'm going to pick up the veins in a watery consistency and just drop them using the tip of my brush and try to create legs using the floating movement of the paint. So I'm just dropping in all the three Galassi in offloading consistency, that is watery consistency just using the tip of my brush. Now lastly, I will just drop the last color, that's the covariance gene. And then I will begin to anything in these and grieved the blending between indices keep as well. So you can see how using the beans and the flowing and the flooding consistency, you can play around and get the blends right and create such magical views and do yes guys and galaxies. So now very carefully, I'm just beginning into debt to buy board. You can see I'm being very careful because I have to get off the sky as better because my skies aren't so bad. But I wanted to get a smooth blend in between my seascape as well. So I'm trying to maintain a balance between what that does, what I told you in the beginning, if you're not sure about this week for your sky to dry completely. So then you would just have to focus on DRC escaped by moving your board and not worry about this guy. So you can see my CAD eyes looking up the exact deflection of the sky. Just that I did not add the indigo color because at the bottom then the sand Ada is going to be off to black, which will given the Docker depth automatically. So now I'm almost done getting into blends, right? And I'm quite satisfied with my sky ansi escape. Now I've invade for both of these to dry completely and then add the find and deviance into this being the onComplete a galaxy for today, next week for all of this to dry and completely make sure you do not move it in between leaded giant watch TV. So now my sky in the seascape is completely dried in and you can see the soft blend between the kalos. I mean, the colors are flowing so ran into each other because of the flooding consistency of the themes that we used in an created in the blend. Now I will begin adding the details one by R1. So before moving the head, I will first begin adding in the stars into the sky. So by adding in the stats, I will just cover my seascape so that I do not have the status flag goes onto the boardroom species. I didn't even get up with any deaf people. Now using in the white gouache, I will begin plugging in this task into the sky. So I hope that every passing day you are able to achieve more smoother blends into your galaxy. The whole point around getting in these soft blends is playing with the floating consistency of the beans. That is a lead down in the false Neo, just lead on the gallows and get to know value will be needing in which color then for the second layer, begin adding in the same beans Medina little watery consistency. So that float and blend into each other and create that smooth blends. So you can go ahead and change the color combination and try it with different color combinations. Does that you will have to be careful that you would not use muddy color combinations like orange and blue because they make me a little muddy tones in between. Now using the black color, I will begin adding in the mountain range completely. So then die amount and age. I'm going to add it with the black color. And then we would just be adding in little dry brush using in the right quash later on. So I've mapped the outline off the mountain range and now I can simply beam then die a mountain range with the black color completely. So I'm done adding in the mountain range and I've defined the horizon line quite when we're giving it the perfect edge. Now this bottom space as well, which is going to be like the sand area just did on the short space. I'm going to fill it completely with the black color as well. So you can see that this also I have given an event enough uneven edge so as to get the perfect match and look to this. Now I've been saying diagram peaks base of this as well with the black color quickly. Now before I begin to add in further details, I will quickly cuneate then some glowing stars so far. And in the first video for the glowing stars so that they can dry in, until then, we can begin adding in the other details. So I'm picking up the whitewashing in a medium flowing consistency and I will create invite badges. I'm sure by now if you have been following me from day one, you would know the trick you are creating in these growing stars so far, the fourth layer I'm just going to add invite Karla and blended into the background and create a doll by Leo. And then once this dries in, I will add in the style effect using in the right question or take consistency. So very quickly, I'm just going to add in a few patches into this guy's face for the dial, creating the globe space. And so I feel like adding a little stars into the sea, the eye as well to give that reflection to this styles as well. So what I do is I haven't quickly cover the mountain range using enough Paypal and I will just splatter some stars and do the CSPs as Ben, I know a little after styles may go into the bottom field space, but I will quickly cover that up again with the black color. I should have added in the stars actually, by adding in the stars into the sky. But I just felt right now, unlike adding in a reflection to these styles as well. So quickly just adding in a little more your antemortem space. And now I've been just shift into that black color uncovered in those tabs at the bottom fetus phase that I've got there. So just using the black color, I will quickly cover these up now. Now next let's begin adding in little stones into the seascape. So for that I'm going to be using a nice monocytes brush. I'm using the black color. I'm going to simply be adding in very small stone effect and do the seascape EDL. So basically just some rocks into the seascape activity. So very thin ones, I've tried to vd them across and they're going to be very little. So do not add a lot of them. So your ad, the left side, I'm trying to create a little kind of, you know, up addictive drug space completely. So just willing get delta Medusa into base. Now I did just to add a fuel mobility randomly urine there. So you can see I'm trying to strike a balance between the shapes of the rock and also the sizes that I'm adding into some very, I've added them because I'm varchar does some OF key to then a small patchy space into the CAD. So like this, you can be in the VDS giving in more detail. Now a little, I'm connecting the short space as Van onto the left-hand side, giving little more detail to the bottom shore speeds as bed. Now after this, we would only be left to add that stars on the dry brush to the mountain range. So false. Let's begin picking up the whitewash. So make sure you pick up the right question that take consistency because for adding in this dies if you've infected it, pick it up with a lot of water. You will not be a GIF. The opaque look and The Shining look to the stars. Now Buddha backgrounds that we created, you can see they have to honor data and blended into the background, creating and white spots. Now Buddha's ended up these badges just I didn't smallest task. So automatically you can see the background is creating the blowing look to these tasks. So just to add the stars to each of these background that you add it in. So I'm done adding in this dyes as well. Now the only thing left to do is the dry brush to the mountain range. So I'm going to pick up the white gouache and not the consistency, but I'm going to dab off the excess paint and water on, do a rough paper on a tissue, and now begin adding in the dry brush. So that I think deep forgetting in the dry brushes that your brush should not have excess paint or excess water. If you have excess water, it will begin to spread. If you're going to have a fist, you're going to begin to get batches of the color. So you need to make sure you pick up the car magnetic consistency, but always dab it off onto a paper. So automatically all the excess paint and water don't get picked up by the water. Also divide their tissue or by the rough paper, by the rough cloth. And then you can begin adding in this dry brush. So very carefully, begin adding in the diagrams to then DIA mountain range. I've created a little darker at the top space only because by mistake the eye drop then I'll do an extra pain down there. So I just gave it a little darker spot day. So that does it, are ready with our class project for D2L, another simple yet beautiful galaxy and giving it the Northern Light look. Before removing the masking tape, I'm just dotting blue shooting stars as well into the sky. And that does. Now let's remove the masking tape and see our final painting. Make sure that you remove the masking tape against the paper and very carefully so that the beans onto the edges of the masking tape the Nazi back into the edges of your being vague. So you are, is I find them fainting for D. If I'm in now for this class project. And this is one of my favorite from this end diatom D-Day series. I hope you guys enjoyed painting this. I would see you guys tomorrow into the next class project. 17. Day 13 - Meadow: Hello everyone, Welcome back to the 30-day watercolor challenge. The Canvas that you need for today's class project is yellow, orange. Window is sitting in blue, violet, white gouache, black paint, indigo, poor, sap green and light green. Painting in this middle galaxy may take a little longer time, but we will learn a lot of videos by adding in this. And this time, we are going to create in the blue into the galaxy on top with a little different method. Let's begin painting into these class project. Let's begin with the class project. I have met people for ages. I mean false beginning with the pencil sketch. First, I will pick in marketing or in rising, rising a little below the center line. And now on top of that and we'll be adding in a mountain range. In the center. I will take the mountain range or the mortgage, and I will be adding in a second back-end mountain range to directly kinetic study boy, girl, on the right side, I will just add another background line to the age of any small one in the background. If this is going to depend on stage that the rest of the details in the middle and everything will be great with the built-in sin. First, let's begin painting in the galaxy sky for that, beginning with a mean or median my sky area. This time the galaxies, the half of the paper as you can see. So it won't be taking much in the bank, but still to be having a lot of detailing to put it. I'm first going to begin with the yellow orange color. And using the yellow orange color, I will be coming from the right side. Now what I'm going to do is the character is going to be at the end a lot. But first I'm going to lay down very light colors because we are going to be using in water moves to create the color into the sky later on. So that is the reason I'm going to read on a lot of the night light colors onto the right side first, so that we can create the view from behind these monkeys using the water movement technique. Now after the yellow, orange color, I'm picking up two twin girls color and beginning to adding the Queen Rose Fellow. So you can see I'm just adding it in a little liquidy consistency around the orange color and letting the colors blend in very naturally. Next I have three decibels and sienna color, and I'm going to add a digit bond sienna color, just Neal, who door or window Scholar. If you have a nitrate color, you can use that instead of the burnt sienna color. Or you can just mix in a little bit of red and burnt sienna and then get a bright warm Sienna Carlo. Now I will begin. They look under again because I do not want my people on the colors from Zion in until I fill in the rest of the space. So I am again added a little bit of the endocardium decile that all stays wet. Now next time picking up the civilian blue color and I'm going to add a new color into the rest of the space. You can see I'm adding this color, altering the liquidy consistency. So a carpet magically splitting in. Now when I'm adding this, you can see I'm trying to inform off the sheep of the mountain in taking care of that. I did not add in March into the market space. Now I'm mixing a little of the blue and the violet color that's already on my palette to get a MOOC wireless going to add this color into the entire space completely. Now on the leftmost panel, I will begin in the indigo color and I will begin adding in the indigo color varies. For the indigo. You can see I'm using it in a very liquidy consistency and I will just begin to talk to him before even onto the blue color. Now I will begin adding the darker debt onto the right side where I have already added in the lighter colors. First, picking up the violet color and just going to begin adding in the violet color on Buddha left, right edge out here. You can see quizzes. We are not worried much about how the Amazon right now, because at the end the major galaxy will be often doctrinal born and we will just be having in the glow effect on p onto the right side coming in from behind the mountain, very randomly dropping in the violet color onto the right side of creating in the dark. So Padgett in-between the lighter sheets that we added in. Now picking up the city name who follow in Dhaka consistency. I'm just beginning to dropping the darker tones of the city in blue color onto the next slide. And the little onto the right side has been on the right side at the end we will be having embeddedness in effect, but for that we had to add in the followers. Now I'm just trying to cover them up and trying to get a little blue effect. Now again, I didn't pick up the indigo fella and begin adding in little darker depth of indigo color onto the left side when I added in the darker depth of the city in Buffalo. So you can see I'm again using the indigo color in this watery consistency and just dropping it using the tip of my brush and letting it spread on tune. Now on the right side you can see very little light colored effect that is death from just behind that small mountain range. But they are now we will begin creating more and more using in the water droplets. So I'm just going to begin dropping in water using the tip of my brush. Make sure you use clean or light colored water otherwise you will not be able to achieve in the blooming of, in fact, we will even be adding in little bloom effect using in the current date, given more light effect. For now, just begin dropping in droplets of water very randomly using the tip of my brush. Now you can see if anybody I'm dropping the water onto the blue color automatic leave it there was brown underneath. You can see the brown color coming into glow effect. That is the reason I'd have to add in the colors previously out there to get that effect. Now, I'm just only two unsatisfied with the darker tones. I'm just going to add little more darker tones to create more booms. Just behind that small mountain. I've added more of the darker tones are now again, I can begin dropping in the water droplets to create the blues. You can see how the goons are creating that blue effect variable you are dropping. It makes sure for dropping little by little and not access altogether. Otherwise they will always pause and margin to each other. So drop at one, please then wait for it to set the name, then drop another one closer to if if needed. I've looked at more of the light effect. I'm going to begin adding in some lighter color depth to this. For that I'm going to be using in this sport in color. You can mix in a little bit of your quin rose, yellow, and white quash to get in this coral color that I already have this color on my palette. And I didn't begin dropping it just as the water droplets using the tip of my brush just behind that smaller mountain, creating in further glow effect. Make sure you use this color in liquidy consistency so that when you drop it, it automatically create the bloom and the lighter effect. And make sure you only use the of your brush for dropping in the paint and letting it spread. Otherwise, the colors may get lifted on your brush and it will be difficult to achieve in that room effect. That visit for the sky. Notice this guy tries and I will paint the base near for the midwife has been for that. I'm just beginning in with a layer of water first. And then once all of this will dry in, we will add the mountain and the middle did is they did all the base layer. I'm just picking up a medium tone green color. You can go ahead with any clean that is available in your palette and add the top space. I'm adding it to that, code it by mixing it with the paints gray color on my palette near to the horizon line. Good afternoon, My middle space and at the bottom I have the lighter tone. You can go ahead and use the sap green color and make it darker using in brown on the Payne's gray columns. Now on the horizon line I'm giving him darker. You can see I'm just using the tip of my brush dropping in the dark of beans, CMV, even at the bottom space, I'm dropping in the dark codec to in the centers piece, I've maintained the light color in my site that is excess water, which I can see getting collected suggest using a damp brush. I'm quickly lifting up this excess water onto the edges. Otherwise, it will ruin my sky look because it indeed back into the speeds of the lighter tones. Now since I've lifted up the color, you can see on the right edge it's becoming more messier. So I will again dropping little of that food and color to get that blooming effect when he gets nearly there. Now using the portal color again, I'd be just dropping it to love it. Now I can begin adding in little detail into the middle piece using in the backdrop of a smallest size brush, I'm just going to begin pulling out some grass strokes into the middle space. So basically using in the pointed tip off the backside, I'm adding in these middle details, that is the glass details. Now you need to do this by no grass area is still wet to my glass pieces still recommends I'm able to do this. In case if your glass piece has dried, then you will have to leave at the entire space and then add this only then you will be able to achieve in this class. So basically, we are doing this a texture technique, wet on wet. I'm using in the back pointed tip of a brush. I'm just moving it very randomly given graph sheets into the entire space. So make sure you use a pointed tip brush and so that it's easier to add it. And just keep on adding in these glass torques closer to each other using that tip of the brush. And automatically you can see the texture being formed off the glass sheet giving you a more realistic look to the middle space. Travel quickly, add a little on the top space has been I'm done adding in the class D1, but twine, My middle ear is still wet. I will just drop in little of the lighter green tones in between to give me the lighter than it has been suggested randomly picking and little of the light green color I'm going to drop in a little pageant of this light pink color very randomly. Now we'll just fill in little of the strokes over into this light green partners Bell suggests the same technique that I was using previously. With that same technique just going to simply pull off little off. It works. Now, know these may not be much visible but do not worry, it will perfectly recover up and you begin adding in the middle. And this lighter patches will feed the perfect balance into your middle space. That is it now I will wait for all of these to dry completely, and then we will begin painting the further details into this galaxy today. Now my entire painting is completely dry. It's either light effect in the night sky, onto the right side near to that small mountain range. That's the perfect glowing effect of different colors into the sky that we needed. I will first begin splashing in the stars using the whiteboard. Even on the left side of this guy, you can see the light of new and the darker blue balls creating in the perfect blue into the sky space just begins splintering in the stars only into the galaxies face first. Now I even begin painting in the mountain ranges. It's been so far the first big mountain range. I'm going to pick up the paints gray color and I will just begin adding it onto the top edge of the mountain range. Then at the bottom I will blend it with the blue color to give you a little effect of the sky, even undo the mountain range. For the bottom space of the mountain range, I'm going to mix in my city in blue color with this Payne's gray color and get the darker blue tone, or do they just mixing these colors that are on my palette and getting in this darker blue tone. And I will fill the bottom mountain range with this darker told no. In-between, I have picked up a little bit of the ultramarine blue colors when living in Newton violet color depth fluid. So you can directly use Newton violet color as well, mixed in with mu. So you can see now there are three colors into my mountain. That's the landscape setting and blue darker tone. And now a little of the violet color. You can either use ultramarine blue collar or the violet color for adding in this detail. Now using it as smallest size brush, I will begin adding in for the class took this time I'm adding in the trash groups directly using the green color. So I'm using the darker green tint and I'm using a liner brush so that I can add in these fine strokes as well in-between. So first I will add in little off the strokes with this light green color, the dark green color. Then once this dries and we will add in for the lighter highlights into the grass as well. Now the second layer. Across groups, I'm adding embedded and nimbly because we already have in the class talks in the BCE, the average is adding into the meadow details. But they are looking to us to add the little bright look I'm adding in the second year of the grass details as very quickly, just keep adding in very randomly thin strokes as grass details moving in urine there into the field. You can see I'm almost done adding in the first year of the grass strokes now the lighter green patches that you have from the false Neo you can see I'm painting in the glow effect into the middle space because of the light reflections of the galaxy. Now I'm mixing in a little bit of white to my light green color and I will begin adding in the light when strokes, since I haven't mixed invite, watch automatically in this lighter color will stand out definitly onto the darker green strokes. If you would use the light pink watercolor directly for adding in the lighter green strokes. It will not stand out that grid. Make sharp or just adding a little white wash to your darker green to get this opaque color. And automatically you can get those big strokes. Now, very beginning into adding these lighter strokes onto the darker strokes. Major leaguers, lighter patches that are given in handful starting in these lighter stroke onto those places. And then I will add in highlights into the rest of the space. Mia just added in smaller highlights into the spaces, as you can see. Now I'm going to paint the background mountain range that I'm just going to use in very little touch of the violet color and going to spread it losing water into the entire mountain, the mountain danger is going to be very likely to be adjusted, going to give him little dry brush technique out there. The base layer has to be just very light tint of the violet color. Now for I think in the Florida's into the middle space, I'm going to be using in the violet color, my violet color, I'm going to make some little white gouache so that these flowers to stand out or big into this dark background. So I'm going to begin by washing mix into the violet color, get a pistol violet color. And now using this color, I can begin adding in very simple flowers. I'm using a size two round brush which has a pointed tip between helped me now adding in very small details as well, the parabolas. So I'm adding in various in Belize it flower lookout, you're very simple. Some of them I'm going to add incomplete form. Some of them I'm going to add in a heartbeat blue moving towards the top speed. And some of them moving downwards as when I first added some bigger flowers at random places. Now I've been triad again, smaller flowers again in-between these now major in India, the horizon line, I'm just going to be adding in very small dots of this piece, still violet color so as to depict that these flowers are very far from our view. Hence, a unit just filling in that space. I'm still going to be adding in a little more white to this color and adding in some lighter flowers as well because you can see it right now Also, the colon is a little too dark and acting in Lytton done. I'm just going to add in Newton whitewash to the same mix and create for the basal tone of this status or lighter tone of the violet color. Now using this color, I will begin adding the next layer of the florals and do this. Now using this lighter color, I will begin adding in the same shape slaughters. You can see I'm majorly just using the tip of my brush. Now automatically you have to color variations of florals into your meadow species, which will add into the beauty. Now you can see very randomly I'm adding in the shapes of the flower and trying to really the angle look of the flowers somewhere. I'm just showing in half level moving towards the top space and somewhere half blooming towards the bottom space. Now even on near to the horizon line, I will add in the deny the highlights as well. Now, quick live anymore, I've been the need to add in a little more of the Florida's. I will just add in using in this lighter tone. You can see somewhere I'm adding in very small florals in between to fill in the space somewhere. We go once depending on the placement of my first year of Flores. That is it. I'm done adding in all the flawed and details into the middle space. Now I've been just begin adding in little d. Deal with this lighter tone of the violet color. Pick up this lighter tone, and I even begin adding in little detail of dry brush technique onto the mountain gate. So under the first mountain range that we have, that is the bigger mountain Beach. I'm just beginning to add in little dry brush details using the damp brush method. Basically, I picked up a lot of color. I dabbed my brush onto a tissue paper so that I do not have excess paint or water. And now I'm just beginning to add in the dry brush technique under the entire bottom mountain danger using in this lighter Norah, I'm going to add in the dry brushstroke. Make sure you do not have excess water or paint onto your brush. Otherwise you will not be able to achieve in this dry brush tool. Now onto that small mountain range at the background space, I'm going to pick up little off the paint, click Allah and begin adding in the dry brush out debt. Make sure you use already smaller size brush. So you can see I'm just using if off my brush and adding in very dry brush. If you will pick up lot of paint or water, you will not be able to achieve in the dry brush. Instead, you would just be getting in patches of the color up onto the bottom mountain dangers value can see that I've used in Bitcoin cash for adding or dry brush onto the mountain range. I've made sure that I do not have excess water and I added the dry brush into phases a little from the welcome space analytical at the top space. Now you're into the centers piece I'm creating in a wide GUI fat for the moon to be added. Now using in the whitewash, I will begin creating in the bathroom for the gluing status. Well, by now I'm sure you would also be knowing the method to be adding in these glowing stars, just add in little droplets of the right color. Then using a damp brush blended into the background for creating in the background of the white color. And once that will dry in vivo, we add in bright stars with the white color into the center of these patches, creating in the glowing stars as the background would create in the global. Now I'm just making a mix up the green colors. I've mixed in a little bit of the yellow or white gouache and gotten a bright yellow kind of a color within it to be in touch to it. And I'm going to add in the center of each flowers with this piece and follow. If you want, you can deduct the Odyssey, the right colon not forming this green color. It's perfectly your choice. Now after this, we're just left with very little detailing and highlights. So first I will begin the black color. And using the black color, I will just start in a very small highlight near to the mountain age that is giving you a distinguished line between the mountain range and the middle space with this dark color. Now using in this darker didn't off the black color, I believe in giving little dry brush onto this big mountain range at the top space, your beta had lifted blank. Use the darkest fantasy of the black color, but make sure you do not have excess paint onto your brush. Otherwise you will not be able to achieve in light. You can see I had exists more than I was only getting in patches. I just tapped on it and onto my paper and automatic, yeah, I was able to achieve in their drivers strokes again, just adding in the stars into these growing star patches that we created. And you can see the law from behind this adding in the mourners when you're into the center space, The bigger patch that we created. Now already learned, it is going to add in a few biggest stars, Gordon. I feel that the green color into these flowers is the little Delta. I'm just going to add a little white highlights to the center space of each of the flowers so that the standout distinguished Lee last year. I'm just going to add a little highlight into the grass looks as well to just went to add in little highlights with the white color. I'm going to be using in my smallest size brush and just using the tip of the brush, I'm going to add in a few highlights with the white color. Just very few. That is, if the entity with our class project for Depot dienes bell In Middle Galaxy loop. So let's remove the masking tape and CR finance AND make sure to remove the masking tape runs your edges are completely dried. It is the final painting with those clean edges for the 30, I hope you guys enjoyed painting in this beautiful middle with me today and loved creating this law into the galaxy with a different method. I will see you guys tomorrow. 18. Day 14 - Warm & Cool: So let's begin with a class project for today. I have my paper taped down and there is very little pencil sketch. So the only pencil sketch that I will be having in this market, the planet in the center space for marketing of the planet. I'm going to be using in this so-called instrument here to mark out the planet. You can go ahead and use any other instrument to mark out this circle. You can even marketed directly with your pencil without any tool or anything. I'm going to take in a medium-sized circle that's approximately, or I guess so two to three centimeters in diameter. And just underneath that I'm going to be adding in another small ring across this planet that we are going to be painting in your half of this is onto, because again, as you can see in half of it is outside the bigger circle. This is the only pencil sketch that we need for this class project. Now I will directly beginning with a clean code of photo. So I didn't avoid adding in water to the circles that we have added in. So make sure you do not add the water out there. So the process that we are going to be following this, we would be creating a cool and a warm galaxy together. So at the top we will be having in the cool one with the blue sheets. And at the bottom we are going to be having in the red one with the 1 and around this planet that we are going to be painting in the center of you are going to maintain the glow effect. When we begin adding in the colors, we will try to maintain the globe while adding in the colors itself. And diagonally, we will be giving you the globe with the white quash has been I'm running my brush multiple times, so that might be bursty is bad for enough time despite being a 100% cotton paper. I do this, so that might be boys wet and I can keep adding layers on layers and add depth to my Galaxies. Then adding in the layer of photo. Now let's begin adding in the cold side of the galaxy first. The cool side is going to be at the top space. First-time picking up the city Lynn blue color. I'm adding in a lot of water here because I'm going to play along with the floating consistency of the paint. I've been just begin adding in and dropping in this paints using the tip of my brush. Now you can see around the planet so-called that I've added in. I will try to maintain a very thin line with the white color itself for adding in the glue. But do not worry in case if the color splits there. We've been using white gouache and cleared the glow space there into the top half of the sky and first adding in the city Lynn blue color in a very watery consistency. You can see now on to the edges I have mixed in a little bit of the pollution blue color so that I have a little darker tint onto the edges. As I told you previously, we are going to maintain a glow into this galaxy diagonally onto the top right and bottom left. And we will be having in the closed space now around the planet space very carefully adding the colors so that you do not run out of shape there. I'm going to be adding in the white gouache later on while creating in the global space there. Now you're all time just very randomly dropping in little darker tones. Now, I will first start in the force field for the bottom space as well. For the bottom space. For the first clear, I'm picking up little bit of the burnt sienna color, mixing it with a little bit of the permanent red color. So it's more of red and less of the burnt sienna color. Now this color all time will be for speaking up in a very watery consistency. So if you want, you can first go ahead. Did I click just with the red color and then add in the burnt sienna randomly at pieces. Now be careful and mark the edge of the planet out here as well so that you do not run out of shape. So very carefully onto the edges, adding the color carefully. Now you can see even the red and the blue is mixing. You are getting in a darker, violet or reddish kind of a tone, but that's perfectly okay because onto the edges we are going to be giving it much darker depths. Now at the bottom space I have mixed in the bone, sienna and the red color and just giving in the first layer, make sure all of this is wet on wet, we are still left to add in a lot of Leo's might be placed enough wet that it will stay wet for the next five to six minutes probably. So that is the reason I run my brush multiple times by adding in the layer of water so that the cotton fibers in the paper stay wet for a longer time. Now you can see I took the little red color into the blue marching and getting a perfect transition between the colors. Now next I will begin adding in the darker depths at the top space. For that I'm picking up the indigo color. Now again, for the indigo color as well, I'm going to be playing along with the floating consistency. I'm just dropping in the color using the tip of my brush in very watery consistency. Just remember one thing you need to maintain in the globe diagonally on the top right tail, where we are going to be having in the growing space, we won't be adding in the dark audience there. I will try to maintain that space light. You can see how Santa's piece, I have maintained the light effect by not adding in the darker indigo tones there because then we are going to be creating in the glow effect at the top space. Now in the same way we are going to be adding in the darker color in the bottom space of the galaxy. So for that, I have mixed in a little bit of my Payne's gray and burnt sienna color and I've got a darker brown. If you want, you can directly use in our CPR color, but I preferred mixing in the color. Now I'm going to add in the darker depths into the warm side of the galaxy using in this darker mix off the brown color again at the bottom space also, I will make sure diagonally I will keep a little space light for adding in the glow effect. So that is going to be in the bottom-left side and at the top it wasn't the top right side. I'm done adding in the second layer of depth. Now I will quickly become little of the red color, liquidy consistency, and just drop it yours so that it mixes well with dark, darker things around because I can see little rough edge which I do not want. So dropping in these paint again to get the perfect blend in between the darker tones. Now we have to begin adding in the glowing effect. So for dad, for the first period of the glowing effect, I'm going to be mixing in white gouache with the blue color a little and get a very pasted blue tone. And using this color in a liquidy consistency, I will just begin dropping in this color using the tip of my brush. So basically I'm willing to be treating in Bloom's using in this lighter blue color. The Bloom's with this color is going to be at the top right side, moving in diagonally. You can see after every drop I'm picking up fresh color dropping in. Make sure if I'm dropping this any darker tints I've been picked up onto your brush, clean your brush, and then pick up the lighter tone again. I will just drop in little more of this blue color because I want more glowing effect later on, I will be dropping in the white color as well, forgetting in the glow effect. And you can see the blue is much brighter with the second layer. Now in the same way, I'm going to add it at the bottom left side as well. So for that I'm mixing in my red color with the white gouache. And using this piece still color of red, I'm going to begin adding in the same week knowing effect diagonally but moving towards the bottom left side. I will quickly add another Leo creating and more glow effect at the bottom side you can see the glow is not much visible at the moment. I'm going to pick up more of white this time and just going to drop in the white color with a very liquidy consistency to get more of the glowing effect at the bottom, say. Now next time shifting into an appointed tip brush and using the white color. I will begin dropping it around this planet, as I told you, around the planet, although I need a glowing, glowing effect. So for that onto the edges, I'm dropping in this white gouache and very liquidy consistency. And you can see it's automatically spreading and blending with the colors around and creating in the glow around this planet space. You need to do all of this while it is still wet, otherwise you will not be able to achieve in the blending between the colors and the glowing effect. So my galaxy is completely wet right now. Hence, the colors are blending and bleeding into each other carefully. You need to make sure that you do not pick it up with a bigger brush. Otherwise, the white color will be a lot and you will get extra glowing effect which do not want. Now, I will quickly just blend it using an a damn brush and get a perfect blend and the glow effect around the ring space. Now I'm just picking up little more of the indigo color and I'm going to begin adding in little more darker depths urine there wherever I feel that there is less depth included at the bottom space also, I'm adding in little darker depths using in the indigo color. If you want, you can use in the Payne's gray color instead of the indigo color. It's perfectly okay. Now next I will pick up a little bit of the in CPR color so you can mix it. Or your bond sienna and black or paints gray color to get a CPR color. Using in this darker brown bone, I will just started closer to the indigo color. But I will make sure that I maintain that glowing space. And you can see I'm adding this color in the liquidy consistency in such a way that the lead and browns are still visible in between at thesis. Now, lastly, I'm going to begin dropping in some water blooms very randomly so as to create little glow effect with the water blooms into the galaxy very randomly under the radar, or sorry, onto the dark spots, just going to add in a few droplets of water onto the edges to create blooms on the edges. Now before letting this to dry, I will lastly beginner white gouache and add little more white gouache or into the diagnosis pieces to create that glow effect. Just going to pick in fresh white gouache and drop it. So make sure if anywhere by learning this, if your brush has no fill up the color, you wash your brush and then pick up fresh white gouache. Suggest going to add a very prominent line of the white colors onto both the side, the top and the bottom side. Now I will wait for this to dry completely and then we will begin adding in the further details into this galaxy. Now my galaxy is completely dried and you can see the glowing effect that I have diagonally into the galaxy, into the warm and cold spaces. Now before beginning into add the planet, I will first begin by dropping in the stars into the galaxy. For that, I'm going to be using in the white gouache in a little medium consistency and going to splatter it using a medium-size brush. So I will quickly begins plotting in the stars and then we will move ahead and add the planets. Make sure you do not pick up the whitewash and extra watery consistency. Otherwise you may get patches of white color instead of the fine style loop. So it's very important to maintain the consistency of the white paint so that you get the perfect style loop. Otherwise, you may get bigger patches which will not look great into your galaxy. So try getting in, find spots of the white color. Now let's begin painting in the planet out here. So for the planet I'm first going to be using in the yellow, green color. You can use a mix of yellow and green if you do not have a yellow green color, form a very light yellowish green tone. So I'm going to add this color at the bottom space near to the small rain forest. Now next I have picked up the Prussian blue color, and I'm going to add it at the top space, just near to the green color. And I am going along with the wet-on-dry technique. You are because it's quite a small space and there is not much detail. Do we added wet-on-wet. Now in the remaining bottom space, I'm going to pick up brown color and I'm going to add in the burnt sienna color in the bottom space. Make sure you blend all of the three colors well so that you have a perfect transition, even if you have little sharp edges in between, it will be okay because we are going to be adding in dry brush using in the white gouache funds all of these dry in. Now using the green color again, I'm just blending all the three colors that I have. Soft and smooth transition between all the three. And you can see I've got the perfect blending between the three and all the three colors are visible in perfectly. Now make sure by logging in this colors, you do not run out of the ship. Otherwise you will lose the so-called shape of the planet in the center space. And it's very important to maintain the shape because we have added in the glow effect accordingly while adding in the galaxy. Now on the left side, I'm just going to add in a little bit of the red touches bell in-between the brown and the blues. Now the little ring here and painting it with the red color, do not worry if the red color seeps into the top space, we will be giving it a different edge with the white wash runs all of these drives in. Now to the edges. I'm just adding in little bit of the burnt sienna colors. Bell, Do not worry at the moment. They may be looking both mixed together. But once this dries it, we've been given the effect with the white gouache later on. Now, when this dries, I will quickly create in the background for the glowing stars that we are going to be adding in. For that, I have mixed in a little tint of red to the right color this time. And using this I'm going to create in the glowing practice for the glowing stars. I'm sure by now you would also be knowing into add these if you have been following me for the past 13 days, suggest going to be creating in a small patch of the white gouache first. Then once this dries and I will be adding in the stars into the center space of these patches. Automatically, these dark patches will act as the growing space from behind the stars. I'm going to add quickly a few of them into the entire galaxy. That is it. Now let's wait for all of these to dry completely and then we will begin adding in the final details into this galaxy. For today. Now my entire galaxy is completely dried and I will begin adding in the final details for us to, I'm going to create a PC, a lot of the yellow palette, I'm just going to mix in white gouache with a little tint of the yellow polo and get a piece still yellow color. Now I'm not satisfied with the glow around the planet space. So first I'm going to create for the glow light around the planet space. I'm going to use a very small size brush. I'm using a size two brush, which has a pointed tip. And using in this space to the yellow color, I'm going to leave it around the layer after layer. And I'm going to very gently blended into the background so that it does not have a sharp edge, auto rough edge. So first I will add in this link layer and then using an a damp brush, I will blend it into the background. The small planet also I'm adding in this background with the yellow color first so that it stands out distinguished from the bigger planet that we have added in. Now using in the white gouache, I'm going to give in a very thin line closer to the yellow line to create the glow effect. And very randomly you can see at places I have leftover yellow space only be there and at places I've given it a little more glow effect with the right color. Now simply using in the white gouache, I'm going to begin adding in the dry brush onto the planet space. So it's going to be very random. But just make sure you do not add a lot of it at one space. Otherwise, all the colors in the bottom layer will be hidden. Now make sure when you're adding in this, you do not have excess paint onto your brush. Otherwise, you may just begin to get in patches of the right color while to make sure that you do not have access water even then you will not be able to achieve in the dry brush. So always dab your brush onto a tissue order of clot after picking up the paint so that you do not get patches of the color. And you'll get the dry brush strokes. You can see in-between are added little darker strokes of the dry brush and the rest of the spaces I've maintained in light color of the dry brush stroke. Now lastly, I'm just going to be adding in the glowing star, look farther, glowing stars, I'm mixing in a little bit of the red and the white color. And I'm going to get in a pastry color of the light red color again. Now using in this pastel red color, I'm going to add in the glowing star. So you can see that glowing stars are smaller in size as compared to the patches that we have added in only then you will be able to achieve the glow loop. So it has to be only in the center space of the patches. Now ready to MME, I'm just going to add in a few stars with this space till peach color. That is it. We are ready with our class project for day 14. Let's remove the masking tape and see our final painting. Make sure you remove the masking tape very carefully. Do not happy with this because you may have a lot of wet paint onto the masking tape. Be very careful by removing the masking tape. I'm just willing to pick up my gel pen and just going to add a little highlight at the bottom Van your, in case if you do not have to divide gel pen, you can simply use invite gouache and add in this little highlight is our final painting for the 14. I hope you guys enjoyed painting this beautiful warm and cold galaxy with me today. I would see you guys tomorrow into the D15 class project. Thank you so much to each one of you for joining me in to this challenge. 19. Day 15 - Black Moon: Hello everyone, Welcome back to the 30-day watercolor challenge. We are on the 15.5 it through this challenge today. The colors that you need for today's class project is sap green. When the green, blue, indigo, black, fight squash and Payne's gray. Let's begin painting into these class project and TA didn't this glowing space moon. Let's begin with the class project. I will just begin with a small pencil sketch of marking out the moon into the center space. So I'm going to be marking out a pulsar a month into the center space Exactly. You've been really the size of the moon according to the size of the paper that you're using it, just try to take it in the center as much as possible. Now I will begin with the clean water further into the entire space. Now it's okay if you run the water into the moon's phases. Well, because the moon is going to be off the black color. But in this, if you want to avoid tube in a wide adding in the water that is built. So I will go without adding in the water there now and own them. Wouldn't we have to maintain a it growing space and into the rest of the space we are going to be having in the green color are coming in and different color tunings. Make sure that you have a good even near of water throughout. Do not add the water and evenly or lead pot holder for the V anywhere faster. I will begin with the white gouache since I want the growing space around the moon space. So I'm going to be adding in a lot of whitewash stand. We are going to be creating in the glow effect a lot it on using in some color listing method, adding in more white, creating lighter tones of green as well. I'm done adding in the white now next time picking up the sap green color and using the sap green color, I will begin adding it around to the white color. At the moment you can see the white and the dean or not blending in smoothly into each other because the paints are not in much fluid consistency even make them blend. Now you can see I'm dropping the green color in more liquidy consistency. Do not worry that blends will happen when we'll begin in with the next layer of the paints again. Now next around the green color, I'm going to be adding in the Prussian blue color around the green color. That is the sap green color that you added in either very medium tone layered off the Prussian blue color. So you can see it's not pulled up but not too light as well. And I'm just adding it very randomly. You can see blending it onto the edges with the green color a little. Now this is surely the loop that we do not want, so we're still going to be adding in more layers. Bet on red. Next time, beginning in with the indigo color and I will begin dropping in the darker tones onto the edges. And then I will begin adding in the same colors around where we added in the false Theo and tried to get in the blends. And then at the end I will try to pull out the strokes growing space around the moon. Now let's begin with the same colors again. So now I'm going to begin in with the sap green color first. So this time I'm going to pick up the sap green color in a little liquidy consistency. It is going to be a little more of water, but I will try to maintain the darker tonal variation as well. Now you can see majorly using in the tip of the brush, I'm just dropping in the green color around the dark indigo and Prussian blue colors that I have added in. Now you will see that the colors will automatically begin to bleed and blend into each other. But make sure you do not add much excess water also otherwise they may bleed a lot and Ms spread across everywhere. You will just have one flat color look. Now in the same way, I will just begin dropping in little of the white gouache in a very liquidy consistency around the green color. Now every time that you drop in the water droplet or the whitewash. So I'm using whitewash as well as neaten up the water droplets around so that the color light enough. But every time that you drop it and make sure you pick up fresh water and there is no paint lifted onto your brush. Now I've been just begin to tell this a little in all directions so that the paint is automatically blend and bleed into each other. I will just begin dropping in little more water droplets into the center space around the green color edge in the center area. That I automatically have a very light soft green color coming in around near to the moon space. So automatically that will create in the glowing effect that we needed. So you can see just using the tip of my brush, I'm very carefully dropping in water. Now when I will begin to tell them you can see the water and the white, basically all that we already had, will begin to flow into the green color automatically creating in a lighter green tone around the edge. And you can see automatically that bleed again into the center space as well, creating it much lighter tint of the green color that I want around the moon. In the need to drop a little of the water again, suggest dropping and using the tip of my small size brush. Whenever you drop water, makes sure that you use the smallest size brush so that you can control the water movement. Now you'll see if I keep my board tilted at one space a lot automatically. There is a lot of greens knowing directly into one area, which I do not want to make sure that you keep moving your borders well in all direction. Now you can see slowly you have got a very light paint around the moon of the green color. And you are immediately achieved in the blend between the sap green and the integrals as bell. Now I'm picking up a little of the vendor green color, That's a dark green tone. Basically. Say if you do not the vendor green color, you can just mix in a little tent of paints gray to your sap green color. And I'm beginning to add in some darker patches of this vendor green color majorly around the indigo color. Now I'm just mixing in the ocean blue and the vendor green color. And I will just begin dropping it near to the indigo color again to give in some darker blue depth as well. Again, all of this you can see I'm adding in a lot of water and majorly just using the tip of my brush for dropping in these paints, which is automatically creating in such beautiful blends and transition between the palette owners. Now, the moon you can see me, I will ignore of a very light tint of green with the white. Then you have the light sap green color. Then moving to the dark green, then to the dark blue and add the edges, the dark indigo tones. At the bottom side, I feel the need of a little more of the indigo tense, so just dropping in very little indigo again, just mentioned here at the bottom side where I feel the indigo is little lighter than what is needed. Now, after this, I'm going to begin creating in the glowing strokes around the moon space. So we are doing all of this wet on wet, so make sure your paper is still wet. Now I'm going to shift to my smallest sized round brush, which has a pointed tip. And I will begin picking up the white gouache and picking up the right Guassian, a medium consistency I will drop on near or fight guage around the moon. Make sure that you drop the layer in a good consistency because from this color we are going to pull out the groin strokes around the moon. I'm adding in a layer of white wash in a little medium liquidy consistency. Do not add it into typical consistency. Otherwise you will not be able to pull out the strokes that we are going to pull out now in a medium consistency such that you can pull out the strokes added across the entire moon. Suggest adding in a little color across the round circle that I didn't add any other lighter green tones. Now I will clean my brush and using a damp brush while this is still wet, I will just begin pulling out strokes from this. So make sure you use the smallest size pointed tip brush for every stroke. Makes sure to clean your brush. Otherwise the green color that will be lifted, you know, getline it back into that white space. So you can see after every stroke, I'm cleaning my brush and wherever I feel the need that, you know, I need to even dab it into water. I'm cleaning it with water and using the stamp brush. I'm just pulling out these strokes from the center space. Then the little edge creating and deploying strokes around the moon space. Make sure this way you pull out the strokes into the entire space. But with every stroke makes sure to clean your brush. Otherwise, that white patch around the moon will begin to have in green color because of the color that's getting lifted onto your brush in-between. Keep cleaning your brushes well into the water. Make sure in this final paper is still wet otherwise you will not be able to achieve in this stroke. Look, I'm almost done adding in the strokes across around the moon completely and you can see the glowing stroke that is looking right now. Now wherever I feel the need to make little adjustments, I will just make them while this is still wet. Places where I feel that the slope was two or prominent. I'm just trying to blend it into the background so that I get. That stroke look, but I do not want a very definite and, you know, are different loop from the entire space. Now you can see at pleases even my brush and the green color lifted and I had not cleaned it quickly lifted up again with the damn brush to that that color gets lifted up. Now you can see I have created in a glowing stroke around the entire mood having in the lighter glow around itself. Now let's wait for this entire moonscape to dry incompletely. And then we will add the mean moon into the center space and the stars into this galaxy. My galaxy is completely dry it. And you can see the effect of the strokes that we pulled out and the glowing effect that it is creating. Now before I didn't in the moon, I will first begin by scratching in the stars into the entire galaxy space. First flattering in the stars, make sure to pick up the white gouache in a thick consistency. Make sure you use the white quash and thick consistency for splattering the stars. Otherwise, you may get big patches and all of the white color, which will be very difficult to hide them or erase them because since being washed, it will be an opaque layer and floss or you're not even if you're trying to get rid of them, the base layer will get activated and you made them get very irregular patches. So be very careful when splashing in the stars. Make sure that your brush does not have either excess paint or water. Now I will quickly add an R magic that is those glowing star patches. And then we will begin painting in the moon. The moon is going to be quite a simple one. It's going to be a complete black moon were just very little white strokes onto it at the bottom side. So that is the reason I'm first starting in the fourth layer for these glowing stars so that by the time we add in the moon, these layers of the star may alter, dry in and then we can add in the glowing stars as well. Now let us begin adding in the moon. So far adding in the moon, I'm just picking up the black color directly. Now. Make sure you pick up the black color in a thick consistency so that you get an opaque layer of the black color. Secondly, begin with the smallest size brush because, you know, you have to maintain the shape. And plus, since I'm using the smallest size paper, my moon is quite small and I did not want to run out of shape by any chance. Now very carefully I will first add in the edge around to the moon that I maintain the shape of the moon, and then I will fill it completely with the black color. Now, make sure you are not adding in a lot of water to your black color. Otherwise you will not be able to achieve an opaque loop. And we want the moon to be completely black because I want that glowing space around the moon to be the prominent one. So I hope that this class project you have launched to creating another kind of glow around the moon. And plus creating the globe by the lifting method, that is the brushstrokes that we added in to create the glowing Stokes. That is called lifting of the colors that we did. That is we lifted the green color and created in that glowing effect. It's very important to do those wet on wet only. Hence, I always tell you that your paper has to Steve it for a longer time only then you will be able to add in all the details together. Also, if you were trying to create an add those strokes by the re-weighting technique, you will not be able to achieve the same effect. It's very important to lift up those colors in the false Leon itself. While it is still wet, you will not be able to lift it up once it is giant. And if you try to read it and then lift it up. So it's very important, again, for the people to Steve it. The entire, or you know, many techniques entirely depend whether your paper is still wet and if you are on the same layer where you want to get those pictures, I'm done adding in the black color to the moon. Now the list, Jason, I will quickly add in the stars around. I'm just picking up the white gouache in a thick consistency. It began adding in the stars into the entire blowing star spaces that we have created. Make sure you use the right question. Tick consistency for this. And just please a very small circle into the center of these patches that you have created. So automatically you can see the glowing star loop coming to life. Now, just adding in a few bigger stars who are in their very well, I feel the need to. After this, I'm just going to be adding in very little or white details into the moon. If you want, you can skip adding that, but I don't know. I just feel like adding it and seeing how it looks like. What I would recommend to you is you could wait and see how it looks and then you could decide whether you want to add in these drugs onto the moon. Very simply, just using in the white gouache makes sure you use the smallest size brush because you just need to add in very small detail. Now, I've just left a very small gap in-between or the line that I'm adding it at the bottom, I have a very fine black line and then I'm starting to add in these white strokes, strokes to give him literally effect to the moon. Now, I'm almost done adding in the details. You're just, I will blend it a little into the background with the white color itself using a damp brush. So that is it. I'm done adding in all the details. Now let's remove the masking tape and see the final painting. We are halfway through this challenge. And I hope through this halfway, you have learned a lot about wet-on-wet and getting in the blends and do the color going, playing along with the floating consistency of the paint. We will be exploring 15 more galaxies in the coming 15 days. So here is the class reject for d 15. I hope you guys enjoyed painting in this beautiful green glow galaxy. I would see you guys tomorrow into the day 16 class project. Thank you so much for joining me. 20. Day 16 - Camping Under the Stars: Hello everyone, Welcome back to the 30-day watercolor challenge. We are on D6 to D. And today we will be painting this beautiful campsite view under the stars. So let's have a look at the colors that you need for today's class project. You need to shade of sitting in blue, blue, indigo, Payne's gray, black, fight garage, yellow, orange, burnt sienna. Let's begin painting in today's class project. I will first begin with the pencil sketch. So we're just going to be having in very little pencil sketch. I will begin with the horizon line first. It'll be a little below the center line. And at the top of this, I'm going to be adding in among certain range. So we are going to show in snow-capped mountain range for which details we will be adding in after painting in the galaxy. And at the bottom space we are going to be having in a camp site. Now in the center of the bottom space, I'm just going to add in a camp site. I'm giving you a very basic pencil sketch. I will be adding in the details directly while painting it is. That is it I'm done in with the pencil sketch, suggest marking in little windows as well onto the camp site and that is it. We are ready with the pencil sketch. We will first begin painting in the galaxy and then go to the mountain range. And then the bottom details. First, let's begin with a clean layer of water onto the entire galaxy Skype. This time we are going to be painting in all monochrome kind of a galaxy with different tones of blue color. Make sure to add an even layer of water throughout and make sure that you have enough water so that your paper stays wet for a longer time. Or it will make sure that you do not run into the mountain range. Because the mountain range we are going to be adding in only majorly with the dry brush detailing. Make sure you maintain the light effect of the mountain G so that you can get the perfect snow-capped view on the mountain range. Now, I'm running my brush multiple times so that my paper stays wet for enough time. Now this time I'm going to maintain a gloss piece in the center that this perpendicular. So I'm just going to begin in the city didn't look I love first, but in the center space I will try to maintain in little whitespace. And then with white gouache, I will try to get the glow effect or violet blending in the blues. Very carefully around the mountain ranges. You can see I'm running the blue color. I'm going to lay down a layer of cereal in blue color into the entire space, onto water sites just in the center space. You can see I've maintained a whitespace for adding in the glow effect there. Now I will quickly add in a layer of this area in blue color onto both the sides as well. I'm done adding in the Europe blue color. Now in the center where I've maintained the whitespace, I will begin by white gouache and liquidy consistency and drop it in the perpendicular line in the center space to get the load line there. I'm just going to begin by adding in a little bit of water into the white color. So automatically I will be having the right question or liquidy consistency. Now using the tip of my brush, I will just begin dropping in this white color. I'm Ben adding in the false here of fight. Now, I'm going to mix in a little bit of the Prussian blue and the Sanhedrin blue Carlo, going to get a medium tone of blue. And I will begin adding in darker details around this white color. Now you can see it mean to play along with the floating consistency of the paint that I've picked up the beans in a liquidy consistency. So automatically I'm able to drop them using the tip of my brush. Make sure you pick up the paints and liquidy consistency. But you also need to make sure you do not add excess water that the paints just keep flowing everywhere. And then you mess up the glow effect. So you have to be cautious that it shouldn't be that exists, that it, you know, just gives you a flat color everywhere around. We need to play along the floating consistency onto both sides. I'm adding in this mix off the color. Now again, I didn't begin little white color and drop it. This time I'm picking it up in a more liquidy consistency. You can see a little blue color being dropped. And that is because I did not clean my brush because I needed a little sky blue tone now to make sure if you want, you can directly add invite because the blue word blended. But if you want a little blended effect, you can just add in very little tinge of the setting in blue color. Now you can see at present the paints are all in Florida, the consistency all way around. Next, I'm going to pick up the indigo color and I will begin in the indigo color onto the edges giving it the darker depth. With the indigo color, as you can see, I'm playing along with the floating consistency, but I will make sure that I do not cover the setting and local and the Prussian blue color mixed around the right layer. So basically you will need to have in three color variations into the sky. In the center, you have the lightest sky blue tone. Around it. You have little dark blue tone. And now under the edges you have the dark histone with the indigo color. Now again, at this point you can see the blending are in that vary between each of the colors. Now, after this, I will again begin with the civilian blue color near to the indigo color, and then again a little bit of white and try to blend all of these and get us more transition. Beginning in with the Sahelian Luke, Alaina, liquidy consistency around the indigo color. You can see basically I'm just dropping in so that the colors blend into each other. The color pigment is there, but blending needs to happen step-by-step. Now before adding any photo pigment, I will first move my board in all directions so that I can see the blends that has happened so far and then decide how I need to go ahead further. Now, next I'm going to add a little blue color into this glow effect as well. I'm going to be picking up the blue color and dropping it in-between the glow effect in the center line of the glue, just using the tip of my brush, I'm dropping in literacy if he didn't blue color and I will again blend it basically again in-between the glow alter you have in little darker space. Now after every droplet you may be picking up little of the white color so you need to clean your brush and then pick up fresh blue to get the blends rate. Suggests using a damp brush and blending all of these alittle. Now I will again just tilt my board a little and try to see the blends happening in smoothly. Now wherever you feel that there is excess paint flowing in, you can just pick up a tissue, dab off the excess paint very carefully. So you can see here on the edge, I had excess of paint flowing around. If I let the paint flow around, then when I will be tilting my people, it will keep flowing into those white gaps as well. In order to avoid any darker edges are places you can just lift up the paints that is excess flowing onto the edges. Now I will just create in certain balloons into the darker spaces using in the water droplet suggest using the tip of my brush, I'm dropping in some water droplets major lead from behind the mountain range that I want little glowing effect in the base layer, if you remember, we had given in a layer of serine and blue color throughout. Now when you would be dropping in the water, lifting up the color, you would automatically getting in the lighter color tone from the base layer behind the mountain range, I want to let them glowing effect and hence I'm picking up the darker tones from this behind the mountain range. Now these droplets are for pain that I have dropped in. I will just blend it into the background and they will get covered up and we will be painting in these pieces. Now why in the mountain? While the sky is drying, I cannot paint the mountain range, so I will quickly fill in this camp space and then we can wait for all of these to dry and then begin painting ahead photo, support the thumb side I'm going to be using in the yellow color first. I'm using in the permanent yellow deep color out here and I will paint with the yellow color into this entire camp site. You're going to head with the wet-on-dry technique because it just a small space and then a little details to add in wet on wet. Now I will just pick up a little of the orange color. And using the orange color, I will just begin adding in little highlights onto the edges. Make sure you pick up the orange color only on the tip majorly and added onto the edges. I'm just blended with the yellow color in the center light, the yellow light be there. That is it. Now before letting all of this to dry, I will just add a few more droplets Your into the skies. These, because this is still wet and I want little blooming effect. So if you want even you can add these. And after this, I will wait for all of this to dry completely and then we will begin adding in the further details into this painting. Let me give you a closer view of the blooms that are getting created because of the water droplets that I'm adding in. And you can see the glow effect that is being formed because of these water droplets. Now let's wait for all of this to dry completely. Now my sky is completely dried and I can begin painting in the mountain range. So far, the mountain range, I'm just trying to pick up a little touch of the indigo color or you can pick up any blue tone and use it in a very liquidy consistency. So it's like 1% pigment and 99% water. So I'm just going to be adding in a very light layer of the blue color. So I just wanted to, you know, onto the mountains adding little shadow of the sky. Hence, I'm adding in this diluted tone off the blue color. So just a very light tone. It will be almost negligible or transparent, right? Kind of transport in blue, kind of a color. Once this dries in b will just be using the dry brush method technique for adding in the details in the mountain range. Fatherly out of the mountain, just quickly add in this very diluted layer of the indigo color. Now let's begin painting the bottom space. In the bottom space around the camp site. I wanted to show some glow effect of light onto the around space as well for data and for speaking up the yellow color. And I will drop it near to the camp site. Already. The bottom of the camping area, you can drop in little of the yellow color. Then we will add in the two, touch off the orange as well if needed. Two, this will automatically show the effect of the light onto the ground space as bell. Now, in the rest of the space, I'm picking up the burnt sienna color mixed in with a little bit of Payne's gray. So it's a dark brown color. So you can directly pick up a dark brown color if you want. Very carefully, I will begin adding it around the yellow color and blend it with the yellow color using a damp brush wherever needed. In the rest of the bottom space, I will paint it completely with this brown color and then add darker tonal variations as been around the camping site. Just be careful if you do not ruin the shape. And also make sure that your mountain ranges completely dried before you begin to add in this color around the mountain range. So before moving ahead, I want the blend between the yellow and the brown. Perfect. So I picked up a little yellow again and added it there. So automatically it's blending in perfectly together. Now in the rest of the space, I'm just going to drop in this darker mixture. It is more of the Payne's gray color unless off the brown color here. And I will fill this space completely. Just be careful that your mountain range has to be completely dried in. I'm almost done adding in this darker color and you can see my blending smooth from the yellow to the light brown to the darker brown onto the edges in-between. You can use the damp brush or the previous colors again to get the blending great. Just as we blended the brown and the yellow first. Now using the white gouache, I will splatter the stars and I will just cover the bottom spaced or flee so that I do not drop the stars out there so quickly using in the white gouache, I will drop in finding stars into the galaxy space. Make sure you do not have excess paint or water onto your brushes. Otherwise, you may just get in patches of the white color instead of these finds. Does now my mountain day in this completely dried and I will begin adding in the dry brush onto the mountain range. In the diversity, then I'm shifting to a smaller sized round brush. I'm using a size two round brush. And I'm in the mix of the black and the brown color. It's more of black, less of proud. Using in this scholar, I will begin adding in the dry brush detail faster at the bottom of the mountain range, I'm going to be adding in certain darker strokes so as to give them little more depth out there and then add the top space I will be using in the dry brush tool. Now make sure that you do not have excess paint or excess water onto your brush. Otherwise you will not be able to achieve in these dry brush strokes. Now at the top space, I am very carefully beginning to add in the dry brush details. You can see I'm just moving my brush roughly and getting in these dry brush patches. Now make sure that every time that you pick up the color onto your brush, dab it onto our tissue. So automatically you will be having in very less and dry pigment automatically giving it a new drivers straw. If you will directly begin after picking up the pigment you will not be able to achieve in these dry brush stroke because there may be excess paint or excess water that will be collected in-between. I'm picking up a little of the indigo color and I will just drop in little darker edges at places with the indigo color to give him little more depth to the mountain range. At the bottom space of the mountain range, I added in depth using the darker tone of indigo color. Now at the top space, I will begin adding in the dry brush onto this space. Make sure that your second near of the indigo color is also dried it. And then roughly onto the entire mountain range, you can simply just add in the dry brush very randomly. You can see my lighting the dry brush in-between. I'll play some even giving in darker depth using the black color that is giving him little patches so as to show little more depth into the mountain range. Now next I'm going to pick up a little bit of the burnt sienna color and using the smallest size brush itself, I will begin adding the DTs. You're not turning points into this camp site. Faster edges that have marked been, I'm adding in the layer of burnt sienna color. And then using in a damp brush, I will blend these together into the background. Then I will further add details to this. Now using a damp brush, I'm just giving you a little full detail using in the burnt sienna color. You can see I'm using the burnt sienna Catalina very light consistency and blending it to Bill. Now I've been just begin adding in a few stars in the galaxy. So for that I have formed a sky blue color. And using the sky blue color, I will be adding in a few big or prominent stars. Then I will be adding in a few stars using in the mix of yellow and the white gouache, giving in some yellow glowing stars as well. Very randomly. In a few biggest stars to give it more depth into the galaxy. Now next I'm adding in a few stars using in the mics off the yellow and the white quash, giving him very little in-between. We are almost done with our painting. The only thing left is to give it a little dry brush in the bottom ground space. So for that, I'm going to pick up the black color and using the black color in the Kansas TNC, I will begin adding in little dry brush at the bottom space. Make sure for the dry brush you do not add a lot of photo. Makes sure to dab your brush so that you do not have excess paint. I will begin adding in a few patches first and then using the dry brush stroke. Make sure for adding in the dry brush pattern. You do not add in a lot of pressure. You need to move your hand very gently, so automatically your brush will begin to act as the dry brush stroke. You can see in the ground space around the camping site, both on the left and the right side. I'm just adding in little dry brush detail and little patches of the black color as well, adding in more depth to the ground space. That is it. We are done with our class project for day 16. As Bill, let's remove the masking tape and see our final painting. Make sure to remove the masking tape once your edges are completely guided. Remove your masking tape one-by-one so that you do not ruin your clean edges again. Now your UPN see on the masking tape there is so much paint collected. You got to remove it quite carefully so that you do not ruin your edges at because the paints may get lifted onto your fingertips. A final painting for day 16, we are halfway through this challenge and beginning the second half today. I hope you guys enjoyed painting this class project with me today. Thank you so much to each one of you for joining me into this 30 day challenge. I will see you guys tomorrow into the next class project. 21. Day 17 - By the Sea: Hello everyone, Welcome back to the 30-day watercolor challenge. We are on day 17 today, and we will be painting in this beautiful galaxy by the CSA. The colors that you need for today's class project is yellow, orange, brown, sienna, burnt umber, black, cobalt green, Prussian blue, indigo, and white quash. We will first be creating the galaxy and the CEO together this time and then we adding in the details into this galaxy. Let's begin painting today's class project. Let's begin with today's class projects. So I will first begin with the pencil marking. This time the horizon line. I'm not going to keep it completely straight. I'm going to add a little curvy or horizon line onto the edges, a little below the center line. I'm first adding in the horizon line. We are going to be painting in a galaxy by the seaside. We're going to make the sea or complete reflection of the galaxy. Now, let's begin in with a clean coat of water onto the entire paper. This time we are going to paint in the galaxy and the seascape boat together because in the center space we are going to be having in the yellow and the orange color into both the galaxy and the seascape space. Basically the CATI is going to be a reflection of the galaxy space. So we can paint them along together and after they die in vivo, given little details on the horizon line to mark a distinction in between the C and the galaxy space. Make sure you add an even layer of clean water onto your entire paper. First, I will begin in with the permanent yellow deep. If you can go ahead with any medium tone of yellow, or if you want, you can just add an attendee of orange to it to get a medium orangeish tone. First, I'm beginning with this yellowish orange color, and I will begin with this color onto my horizon line on the top and the bottom space board. So very lightly, I'm just adding it onto the horizon line and a little below the horizon line as well into the sea space. In this area we are going to have in the reflection, as I told you, but we will be having in the reflection only of the yellow, orange and the brown tones, none of the blue and the greens that we added at the top space, I added very little. Now I'm picking up the yellowish orange color, more of in orange to it. And now I'm beginning to add it just about a yellow color onto the edges. I'm adding in little of the orange touches and in the center space, I'm letting the yellow glow BD. Next I have picked up the burnt sienna color. And now using the burnt sienna color, I will begin adding it about the orange and the yellow color. You can see I begin in from the edges pulling out strokes onto these colors as well. Even in the seascape ADR, I'm adding in the orange touch. I'm making short in the seascape area, also in the center space, I maintain the yellow colored glow that I needed. Next time picking up the cobalt clean new color. If you do not have this color, you can go ahead with any medium tone of green. Now using in this medium tone of green color, I'm going to add it about the problem color into the galaxies piece. In the seascape area, I'm not going to be adding in the greens and the blues that I will be adding in the galaxy right now. In the center top space just added in this cobalt blue color, cobalt green color, sorry. Now on the edges I will be adding in the blue color tones. I have picked up some Prussian blue color and I will begin applying this scholar in a letter medium consistency around the cobalt green color that I've added in. Because after this I'm going to be adding in the darker tones with the indigo color as well. Do not worry when your blue mixes in with the brown, It's okay to get in those dark sheets because we are still going to be adding in the indigo color darker tones. Now using the same Prussian blue color in a little extra liquidy consistency. I'm just dropping it near to the cobalt green color so that the color automatically blends. And we also get in some darker depth. We are still the left to add in more Laos into the yellow browns and the orange that we have added in. This is just the false Leo that we are still working with. Now next time picking up the indigo color, I'm picking up the indigo color alternate liquidy consistency so that I can play along with the floating consistency of the paint. And I'm going to add this indigo color majorly onto the left and the right edge at the top space only not going to pull it a lot below. Now next time I'm going to pick up the bond amber color. And I will pick up this color and a little dark consistency and begin adding in Dhaka highlights of the burnt amber color. Because you can see the brown color is right now looking as a light red tone instead of the bonds CNR dark blue. To give him little more depth I'm using in this bond amber color in a dark consistency. If you do not have burnt umber color, you can just pick up any darker brown sheet. Now with this bond amber color from the edges also I'm defining in the horizon line. On the horizon line I'm adding in this color where I'm making sure that I do not add excess water, that I do not lose a blow in the center space as you can see, even in the bottom seascape area. I'm just adding in streets of this burnt amber color from the edges in the center space. You're also making sure that I maintain the yellow glow light because we are going to add in some city life view onto the horizon line when we add the details out there. Now next time picking up the orange color and adding in some data depths with the orange color where I added it previously. In the same way, I'm just going to pick up a little of the yellow color again. I'm going to drop in there so that I have the perfect blend and transition between the followers. So again, you are also, you can see just using the tip, I'm dropping the color and automatically because of the floating consistency, it's blending and bleeding into each other, giving it the perfect blend that we needed. Now you're I'm just dropping little more of the blue car lane. A very liquidy consistency because I'm not satisfied with the blends in-between the cobalt green and the blue color to just dropping it in liquidy consistency. So automatically you can see them blending into each other. Now next onto the horizon line, I want to add a little depth wet on wet so that I have a soft background. So I'm picking up a little bit of the sepia color, makes sure you do not add a lot of water to this. Otherwise it will spread a lot which we do not want. I'm going to shift to my smallest size brush and now using the sepia color without adding in March of photo on the horizon line, I'm just going to give it a little darker lines with the brown color. When all of these drives we are going to be adding in some bush effect onto the horizon. Lines of force are modeling in the reflection to these underneath the horizon line suggests in a smallest size brush you can see using the sepia color, I'm just adding in little reflection to the bushes that we will be adding on the horizon line after everything dries in. Make sure for this, you control the water because we are playing along with the wet on wet technique. If you will have a lot of water with the sepia color, then it will begin to spread a lot and you will not be able to achieve that refraction group to the bush that I'm trying to add in. Now very randomly just adding in little of the C strokes as well using in the sepia color. Again, you're also important thing is the water control. Otherwise the paint will only spread in flat and give you one flat color instead of giving in the waves effect that we are trying to give in your. Now you can see that reflection that I've added in for the bushes that we will be adding later on once everything dries in. I'm just adding a little more depth, picking up the sepia color in much multicore consistency. Now, you can see in the center there was excess water, hence the paint spread in at the top space, which I do not want. So quickly using a damp brush, I'm lifting up this color so that it does not spread and lose the shape of the reflection that I'm trying to add in. It's very important to use a smallest size brush and the paint without adding in much water because you are playing along with the wet-on-wet consistency to get this reflection. Now let's wait in all of this to dry completely then begin adding in the further details. Now by painting is completely dried and you can see the reflection looks so beautiful and we've got such beautiful blends into the sky with the perfect blend from the colors having in the soft edges. Now I'm just going to pick up white gouache first for adding in the stars into the galaxy. Make sure you pick up the white gouache in a thick consistency without adding in March off water. Now I will just begins plotting in this task, make sure that you do not have excess paint or water onto your brush. Otherwise, you may just begin to get in patches of the white paint instead of these fine style loop. So it's very important to control the paint and the water onto your brushes bell. Now, I'm just plotting the stars into the top space artists, the galaxy space. A few of them go into the CSP space also, it's perfectly okay as they may act as the reflection of the stars in the sky. But I'm avoiding too. And much of the reflections out their hands. I've just tried to control and limit the stars into the sky Myspace. Now next I'm going to create in the patches for the glowing stars that I'm going to be adding in. So I'm going to quickly creating the background. Dad Look, I'm just adding in the patch with the white gouache and then using a damp brush, I'm just going to blend it and give it a certain look into the background. So automatically you will be having in dull white patches which will act as the growing space for the stars. Once you begin to add in the glowing stars, I'm just going to be adding in a few patches like this. And once this will dry, then we will be adding in this star, which will act as the glowing stars into these patches that we are adding in. Make sure that you add these patches in a little dull white color because they just have to act as the glue to the stars that we will be adding on a hair. Next, I'm going to pick up the black color and using the black color, I will begin adding in the bush details onto the horizon line for the reflection which we have already added wet on bed when we were painting the falsely or background. Now using the black color, I will just begin adding in simple Bush detail out yours. I'm just running my brush perpendicular, giving in different Bush height. Now make sure you read these height of the Bush Throughout. Do not add them in one single height. Make sure to add them taller, shorter, and longer in-between places reading the heights. Alternatively, I'm going to run it to the little centers piece in the center area. I'm going to let there be blank. And then again, I'm going to add in this bush detail onto the right side as well where I have added in the deflection. Now when you're adding in this bush di did just make short about the deflection that you have added in and accordingly add in the details. You can see at the bottom, I have a reflection space. And according to that height only I'm taking at the top space where you have larger reflections, you can add in larger bushes at the top space. And when you have added in smaller reflection makes sure at the top also onto the bush line, you keep the height of the bush smaller. So I'm almost done adding in the bush details just a little bit left onto the left side or sorry, the right side. And after this I'm going to further, I didn't little more depth to the reflection that we have added in using a damp brush. Let me quickly fall. Start in this bush detail out you're on the right side and then add in little more depth to the reflection. Now next I add the bottom area. I'm going to add in a little short space for that also, I'm going to use in the black color did it? And using the black color, I'm just going to mark out a very short space. I'm going to fill it with the black color completely. So you can see I've given it a very random edge. So just quickly going to fill this entire space with the black color. Now, you can see by filling this with black color also, I made sure to vary the shape at the top space and give it a very random and COBie edge that it looks a natural short end. Just make sure that at the bottom near to the masking tape, you add the color perfectly so that you have the perfect line of the black color. When you remove the masking tape. Now the DBAs left to be added in is the glowing star effect. Some bigger stars and some city lights near to the bushy area on the horizon line. So first I will begin by adding in the stars into the glowing star spaces and some bigger stars. So for that, I'm going to pick up the white gouache first. Now using the white gouache in a thick consistency without adding in much water and using the smallest size brush, I'm just going to begin adding in few bigger stars into the galaxy. Apart from the glowing stars that we are going to be adding in very randomly, you can see I'm just adding in some bigger stars with the white color using a smaller sized round brush. Now next into the glowing styles that I've created, I'm going to be adding in, these are small patches. Now when you add in the glowing stars based, make sure you add them only small and in the center of the growing patches that you have added in, then you will be able to achieve in the glowing star look of the stars that we are trying to add into our galaxies. Now next let's begin adding in and creating in this piece for the glowing lights that we are going to be adding on the horizon line. So I'm first picking up the orange color and using the orange color in the center space where we have not added in the bush effect. I'm going to create a little glowing background patch for adding in the city laid out there. I just added little orange color and I blended with the background to that. I'm adding in little bit of the burnt sienna color has been very little you can see. And I'm taking it across. I'm just going to let this patch tie into using Madame brush. I will blend it well with the background so that I do not have any sharp edges for this. Include these we are going to add in city light effect. Also, we are going to add in little delight effect into the bushes space. Using the white gouache, I will begin creating in the growing space there as well. For this, make sure that your bushy area is completely dry before you begin to add this. First, you are in the center space where we added in the orange and the brown color. I'm just adding in a few white circles creating the background for the light that I will be adding with the yellow color later on. In the same way into the bushes on the horizon line, I'm just going to add in very small white patches first. You can see very random white lines that I'm adding in using in the white color. And then using a damp brush, I will just blend these and create a little dull whitespace. And onto these I'm going to add in little city light effect. Once these dry in using a damp brush, I just blended these and created a dialogue. Now I will wait for all of this to dry completely and then add in the final details into this painting. Now the white patch is a completely dried and I'm going to mix in a little bit of the yellow color with my white gouache and create a peaceful yellow color. And using the space to yellow color, I will add the glowing light in-between the bushes better I have created in the patch using in the white gouache with this yellow color In the tip of my brush, I will begin adding in the light effect. So first in the center space on the white patches that I've created, I'm just darkening the yellow color for the centers piece because the yellow that I've created looks too light. It's almost equal to a white color. I added in darker yellow to this. Now, only in the center of this, I'm going to drop this model, white, yellow color light on the white color. Now the white patches that I created onto dipole time adding in very small lights with this yellow color. Make sure you mix a little touch of the white to the yellow color so that you get an opaque look to the yellow color for adding in your on to these white patches. Just using the tip of my brush, I'm adding very small lights to act as the city light onto the horizon line from between these bushes. Now lastly, I will just pick up a little of the white gouache again, I'm going to add it into the center light speed because I feel that there is a lot of yellow that has, you know, covered up the light effect there. Just lightening this a little. And that is it. We are ready with our class project for the 17. Let's remove the masking tape and see your final painting with those clean edges. Make sure that you remove the masking tape once your edges are completely dry. And on the edges be careful because you may have portholes of colors because of the floating consistency of the paint that we added. Here is our final painting for these 17. I hope you guys enjoyed painting today's class project and learned another way of adding in the seed directly while painting in the galaxy itself. I will see you guys tomorrow into the DAD in-class project. 22. Day 18 - Northern Sky: Hello everyone. Welcome back to the 30-day watercolor challenge. We are on day eight deemed today and today we will be painting a northern sky, night sky. Let's have a look at the colors that you need for today's class project. You need a shade of cobalt, green, white, quash, indigo, and Payne's gray. These are the only four colors that you need for today's class project. Let's begin painting now. Let's begin with today's class project. It's a very easy class project with not much of TTS, but still creating in Northern Lights is always challenging and fun. So let's begin with a very basic pencil sketch first. Markdown to a small field space. And on top of that, I'm going to add in a mountain range. Now this time the mountain range, I'm going to take it in a little flat surface kind of a mountain. So the top of the mountain you can see is more flat than the pointed edges that we usually add in. So this is the only pencil sketch. Now, I will begin in with painting the sky directly. First, we will paint the northern sky, that is the night sky. And then we will add in the ice loop or the snow-capped look to the mountains. Beginning in with a clean layer of photo only in my sky space. Make sure that you do not add water onto your mountain ranges because we do not want to paint the mountains at this point. And Buddha mountains we're immediately going to be giving in the dry brush details, keeping in the mountains white or with a very light tint of the blue color, trying to show it as the snow-capped mountain. And do the rest of the sky space, make sure you add a clean and even layer of water so that it's easier for you to paint the sky and get the blend. Now I'm going to begin in with the cobalt green color, which I already have on my palette. And this time I'm going to use my flat brush itself. I'm going to begin adding in the cobalt green color diagnosed, as you can see. I'm going to add this NEO into the complete sky space first. So adding in a layer of a light color tone of the cobalt green color. Then onto desert self, I will be adding in the strokes with the blue color and darker strokes with the cobalt green color later on. For now, I have to, I'm just adding in obesity or with the green color into the entire sky. But you can see, um, I didn't get diagonally because this time the strokes that we are going to add in our galaxy are going to be diagnosed. I'm done adding in the layer off the cobalt green color. Now using my flat brush itself, I will begin adding the indigo color. Now indigo color, you have to add it in strokes. At pleases. You will have the cobalt green color visible. And rest of these drugs will be off the indigo color. First at the top space, I've added a very big stroke of the indigo color covering the cobalt green color. And you can see the blends happening source smoothly because of the BCR cobalt green color. Now in the center space, I'm just using the tip of my flat brush and adding in strokes with the indigo color on the cobalt green color. This is creating in the strokes into our night sky or the northern sky that we are painting this time. Make sure you only the people of your flat brush for adding in the strokes in the rest of this piece, It's only in the top space where we needed in the darker tint or the biggest part of the indigo color. Now I've shifted to a smallest size flat brush. And using the smallest size flat brush, I'm just running over to the same stroke that I've added in, adding in some darker highlights. So at places you can see little light highlights also visible of the indigo color. We are still going to add in another layer of the cobalt green color, giving in darker depth of the cobalt green color as well. For now you can see the darker depth of the indigo color already coming in. It will quickly pick up little more of the cobalt green color and begin adding in the darker strokes of the cobalt green color as well. Now picking up the cobalt green color, this time I have not added much of water because I do not want the paint to flow much suggested very little water to get the paint in the right consistency. And using the smallest size flat brush, I'm adding in the cobalt green color at the same places where I have left it visible in the first layer. Now you can see automatically with the second layer of the cobalt green color, so much more depth has come into the sky and it is looking more vibrant. And the blends with the indigo and the cobalt green color halftone doubt so perfectly. Just tilt my board a little so that the blends are more smoother in-between the color and I have soft transition between each stroke of the indigo and the cobalt green color. I will just add a little of the cobalt green color. Now into this guy. I'm just going to add a little more highlights and then we are going to be for this guy to die in. First with the indigo color. I'm just going to add in very light highlights of the darker, wherever I feel that the darker color is a little less. So that is it. Now next I'm going to pick up a little bit of the white gouache in a little medium consistency and using my flat brush itself in-between the cobalt green color, I'm going to add a little highlight, just very little highlights with the white color giving him very light stroke in between suggest going to pick up the white gouache in a medium consistency so that it blends with the cobalt green color. And just going to very carefully just using the tip of the brush, going to drop it in-between the cobalt green color like this, giving him one light straw showing in that light path a little more. Just a little more of the highlight here. You can see the highlighted such that it is blended with the green color and looks as if the green color is only in the lighter tone, suggest very little highlight that I'm adding in your, that is it for the sky area. Now we will be for the northern sky to dry completely, and then we will just begin painting into a mountain ranges. Let's wait for this to dry. Now. My sky is completely dried in and you can see how beautiful it is looking and with the white color that little highlights it can be seen in-between the green stalks. Now let's begin painting in the first layer of the mountain G. So far the photosphere of the mountain range, I'm going to pick up the indigo color in a very diluted consistency. So it's just 2% of the it went 98% water that I'm taking in as you can see, with this light color, I'm just going to add in the falsely onto the entire bottom space like this, the mountain range and the field space as well. This will depict as the eyes area onto the mountain range and the field space that we will be painting around the mountains piece. You can see how light the tone is off the indigo color. Make sure you add this indigo color Leo in such a light tone because it's basically, we just want to lift a small loop onto a mountain ranges. And then the details onto the mountain ranges will be with the dry brush stroke. Now the bottom space all times is going to paint it completely with this diluted tone of the indigo color. Knee up to the sky space of the mountain range. Be very careful otherwise you may, you know, or that skies piece and the colors may begin to bleed it. Now using a little darker tint of the indigo color, I'm just going to add in little darker highlights by of the indigo color while the bottom layer is still wet, this is wet on wet. The base Theo palette that I added and is still wet. And just on top of that, I'm adding very random strokes. On the mountain range. I'm adding the strokes diagnostically as you can see in the field area, I had added this drops vertically as you could see, suggest going to add these little strokes. Now I can just add another layer of P stock or highlights while these pieces still read, do not worry if this piece dries in between by cladding in this also or is a little dry, it's perfectly okay. It will only add to the texture of the mountain that we are trying to add it. But just make sure on the mountain range you add these all strokes diagonally. Now while this area dries, we cannot add in the dry brush until this is completely dry. Let's wait for this to dry and completely. Till then, I will begin adding in the stars into the night sky. So for adding in the stars, I'm going to be using in the white gouache. So make sure to use the white gouache emetic consistency branding in this task so that you get the opaque look to the stars have shifted to my smallest sized round brush and I'm going to pick up the whitewashing, take consistency and begins plotting the stars into the sky. Now why splattering this task? Make sure that you pick up the paint in a thick consistency. Also make sure that the all you know on the paint is not access onto your brush. Otherwise, you may just get in patches of white color instead of getting in these Feinstein, I keep repeating these small things because that is what, you know, made ruin up your painting or make up your painting at times. Because, you know, if you get in those white patches, it will be very difficult to cover them up since we are painting with watercolors are not gouache or acrylic. So be very careful about adding in these stores. Now using the same white gouache, I'm going to quickly add in a few bigger stars using my smallest sized round brush. Using the smallest size round brushes with a tip of the brush, I'm going to add some bigger stars and some shining stars and some shooting stars as Belle. This time I'm not going to add in glowing stars, mostly just going to add in these bigger stars and some shining stars and some shooting stars. By lighting in the shoe, stars make sure that you add very fine lines. So users smallest size brush, because if you will add them to tick, it will not look beautiful in your composition. So be very careful about these things. Now just adding a few shining stars using in the whitewash you can see how small I am adding them. Now. Lastly, let's begin adding in the dry brush detail in the bottom space. So my bottom piece is completely dry. I will begin picking up the paints gray color. Now, make sure that your bottom space has to be completely dry then for adding in the dry brush technique that I'm using a smallest size brush only so that I get fine details. If a tissue always by your side and always dab off the brush onto the tissue after picking up the paint. First or marketing or horizontal line, giving him the distinction between the mountain range and the bottom space. Now in the bottom space, I'm going to add the dry brush very simply or horizontally, suggest going to move my brush horizontally. I'm going to add in these dry brush detail in-between. I'm going to add in a few patches as well with the Payne's gray color itself. You can see in-between in little darker patches. Though, you're not adding in little more detail trying to show only the snow part onto the field space. So automatically, this is showing like the snow being dropped onto the road or the field, whatever you wish to consider it as going to quickly add in the dry brush into the rest of the field space. And in-between going to add in very small, small patches just as I added on the left side. Always make sure that while adding in the dry brush technique, you do not have excess paint or excess water on your brush. Otherwise, you may just get in patches of the color and not the dry brush tool. And always after picking up the paint, dab it onto a tissue so that the excess water and the paint will get to also invite the tissue. And automatically when you will run on your final painting, you will begin getting into dry brush details. I'm done adding in the dry brush D1 at the bottom space. I'm just giving in some darker highlights onto the edges so that after removing the masking tape, I have proper edge law. Now let's in adding in the dry brush detail onto the mountain ditch on the mountain range, I'm going to add the dry brush detailed diagonally. I will begin defining the mountain range as well. So you can remember by adding the pencil sketch, I had added the mountain range in three paths. One smaller on the left, smaller underwrite, and a bigger one in the center space. To those guidelines, I will be adding in darker strokes and rest. I'm beginning with a very medium tone of the Payne's gray color and going to begin adding in the dry brush technique first at the top space and then moving ahead, adding it at the bottom space as well. Now onto this cell, center mountain, the age I'm first going to give in certain darker patches of the Payne's gray color. In the center area, you can see I'm going to add few strokes of the Payne's gray color, which are quite dark. So these are not the dry brush strokes. These are patches that I'm adding into given depth. Then later on the in-between I will be adding in the dry brush stroke, defining in more details onto this mountain range. Now as I told you, taking up the beans click Align darker consistency you can see are defined the mountain range in the center space and give it a darker line, will distinguish it from the right side mountain. Now on the right side mountain as we're just going to add little dry brush strokes. Now at the bottom space of the mountain date, I'm going to pull the dry brush strokes towards the top workspace so you can see it on the mountain being tab I did the dry brush strokes diagonally. That is defining the movement of the mountain ranges as well. Now from the right side here, you can see I'm pulling up the dry brush towards the left side diagonally. Suggest going to add little dry brush you are. And then we will just add little darker strokes and then we will be ready with this painting. A mountain range, you can see there is more of snow unless I've dry brush and antemortem space, there was more of a dry brush, less ofs know that we let be visible. Now lastly, with the Payne's gray color, I'm just defining this distinction line between the mountain range on the bottom space, making it more prominent. That is it we add a div with the class project. Let's remove the masking tape and see our final painting. So you can see on the mountain range we added very little dry brush and let that I use look be there. That is the snow loop that we gave in with the indigo color, very light tone, giving it the perfect snow cape Look to the Mountain. Be very careful by removing the masking tape is a final painting for day 18. I hope you guys enjoyed painting in this pretty simple night sky today with me. I would see you guys tomorrow into the day-night in-class project. Thank you so much to each one of you for joining me. 23. Day 19 - Winter Night: Hello everyone, Welcome back to the 30-day watercolor challenge. We are on D9. D. The colors that you need for today's class project. This yellow, yellow ocher, burnt sienna, black, white gouache in the core for bonds between you and pushing. We will first be creating in the galaxy sky and then move our head, adding in the other videos into this painting, in painting into these class project. I have my paper taped down and let's begin with a very basic pencil sketch. So I'm just going to market the horizon line, which we are going to be having in the AI space and the pine tree standing on top of this. And at the top space we are going to be having in this guy escaped space approximately, you're the second line that I've marked their entire space we are going to be having in the pine trees coming in later on. For me not mark it out. It's just for your guidance that I've added in. Let's begin with a clean coat of water onto the entire sky space. Make sure to have an even new photo onto the entire Skype. I'm running my brush multiple times. So that might be both states with for enough time that is done or the hidden layer of water. Now let's begin with this pi one by one to the fourth caliph that I'm going to begin with is a shade of my permanent yellow deep. I have added in a little pinch of the white-collar for me thick and it is based on New. And I'm going to begin with this piece to your new onto the second line that I've added in. Is Carlo, a little below the second night because I want behind the findings also the parlor to be there because behind the pine trees, the background will be visible. I had forgotten glad in the water till the bottom horizon night to make forthrightly get loop on the bottom, the overriding night. The first adding in this space and yellow follow almost in half of this guy speaks. Next time, picked up a little bit of the white brush in a little medium and oh, you know, a little warm tea consistency and just adding it about in yellow color it onto the nanofarads bathroom light in tone as we moved towards the top species. Now Next time we're going to pick up the cobalt green color and I'm going to add it in the top speed. With the cobalt green color. I will get the blend tool, the white color that I have added it. Then on this we're going to add in blue highlights onto the edges. In the center. We're going to have little globe with the yellow color and at the top space and it is love with the cobalt green color. Now next time picking up the Prussian blue color and blue color, I will begin adding in the blue depth onto the edges support the pollution blue color. I'm picking up the Persian group in a little liquidy consistency. So ask me along with the flooding consistency of the feed, I'm going to begin dropping in this blue color just using the tip of my brush. So you can see just using the tip of my brush, I'm dropping these paints very carefully. Make sure you in-between the leaves little gaps, or the cobalt green color to be visible. You can see in-between vary randomly. I'm leaving sodium sheets blank so that the cobalt green color underneath is visible. Now on this right side edge, I'm filling it completely with the Prussian blue color in the center near to the horizon line, I will maintain the Ignore with the yellow color that we have added in the center of your Verizon nightmare trying you have the yellow, blue. Now I'm not thinking the new color till the bottom line because there as it is to find these will be coming in. Martin visa if you want, you can be getting the bottom speed of the yellow line as well. Now next I'm mixing it a little bit of the yellow ocher now and the VPN and a little white to it to get a little darker tint or yellow follow that I have been using. He just adding a little tinge of yellow or brown sienna. Again, new analytic indoor flight. This time I have formed one Xing therefore often, you know, Carlo, which I have been using in the previous CEO, quickly begin adding in this darker Leo into the theme, please let me add it on your yellow padlock. Make sure this type to not add matter Photoshop, but have it in a little of Louis, Kansas. And these will not automatically blends with the blue. Though, you can see just by adding the paint in a little liquidy consistency, I've been able to achieve the perfect balance between the blue and the yellow. Now make sure that if you are running near to that new edges, if the blue collar has picked up, clean your brush and then add the rest of the yellow. Now, next time picking up the indigo color in iniquity consistency and I even begin adding in the darker depth on the top space major leap. Suggest using the tip of my brush you can see I'm dropping in the indigo Palo. Now make sure you're dropping Depot calling start to be such that you do not cover the cobalt green color of gaps that we have left at the top speed and enact pleases you. It led to an item blue color destitution Ruffalo be visible at pieces. Now lastly, I'm just going to pick up the cobalt green color again. I'm going to just drop the four balls green color at the police venerable lift the cobalt in talent gaps that I have a vibrant look to the cobalt green Canada is when I'm picking up the cobalt green color in and liquidy consistency, you can see I have been dropping the paint using the tip of my brush, creating the floating consistency in the paint near know the yellow and the indigo lines as well. I'm adding a middle of the football team color. I will just tilt my board and he did so that's the cobalt green color automatically moves and leads with the blue color will create the perfect no effect wherever I'm trying to add. Anything point on the blue and the yellow, you can see I'm adding the cobalt green color and Dr will make them move towards the new color, often blend and the growing species. Now one last thing, I will just start a little cobalt green color near to the yellow color and then just drop little yellow color again through that with the colors blended because I feel my yellow glaze and it'll more than the cobalt teal blue for discovering mittens piece of the, you know, with the cobalt pink color. Now again at the yellow color space, I will droplet in yellow color so that it bleeds with the pink a little game. So again, you know, it's all about playing along with the floating consistency of mediating in the blend and making the paint flow into each other to not just, you know, running it on the tissue onto the H2S to pick up the excess paint that has got the link. If you can see at the bottom, the yellow color has already died, dried and I have many prominent night. I will try to cover that up while adding in the fine teeth because in the background find z I just fell in the bathroom. So that's some in-between the gaps of alleles visible. Now just turning my board in all directions and trying to get the perfect lips. Now you can see the green color that you add in new York to the yellow light has created such beautiful blends into the sky. And we've got such a soft look. Now I'm just going to drop some water loops using the tip of my brush. That is it. Now let's be honest, galaxy two giant completely. And let's begin adding in the further details into this painting. Let's wait for this to dry completely. Now my galaxy Skype is completely dried and you can see the glow that we have because of the cobalt green color gatt and the cobalt green color that we added in the liquidy consistency and the end near to the yellow color. Now let us begin adding in the styles first part of staff, I'm picking up the whitewash in a little medium parenthesis and z and I'd be begins planting in the south. You can see I'm getting in find stuff, but since I had literally access speed in the beginning, I got little bigger batches, but it's okay now adding in the smallest staff I retried to balancing the biggest stuff that I've got added it. What I can do is of these bigger patterns that I've dropped in idle quickly blend them and create the glowing star spaces, you know, in this week. And you can correct up little arrows and try to use them for your benefit. I had to add in some blowing stars into this galaxy. But now because of these white patches, I'm adding them by creating in that glowing not Let's begin adding in the bottom space to fall apart and picking up the indigo color in a very liquidy consistency and just giving in a very nightly. So basically this is the ice fields that I'm going to add in. Now I will pick up their legal invalidity consistency and just add a few strokes diagonally into the bottom space using just the tip of my slides. I'm Josh. So you can see just using the tip of my brush, I'm adding in these strokes. Now let us begin adding in the pine trees. The pine trees, I'm going to pick up the black color directly. And using the black color, I will begin adding the pine trees onto the horizon light. Now, make sure you add the pine trees. That was galaxy sky is completely dry, otherwise the colors will begin to bleed. Now, I can begin adding the fine teas and different heights across the entire horizon night. And then once this dries, I will be adding new no patches onto these fine teeth. Now finding these pine trees, I'm going to be adding in very basic findings, not Martin beat it. You can see I'm adding in the foliage very quickly. I'm not worried about how the foil isn't looking at this moment begins very basic point is that I'm adding mean I'm just trying to create the pine tree sheep right now because I'm going to be adding in more detail by nodding in this Normandy did, I didn't create into depth into these finds 0s so far now across the entire horizon line, I'm just going to add in, find these in different heights. Now why did adding in these pine trees, I will also try to cover that sharp line which has visibility between the sky and the light yellow Palo. I didn't make sure that may find these are in such a way that it covers up these sharp line incompletely that I will not have these sharp lines visible in my skies fees for automatically you can see the reason of adding the yellow is because from in-between the pine trees need to love them back down is visible. And then I did not want in the right space to be there In quickly. I didn't black horizon line and begin adding in the pine trees along with the four and the bottom, you can see I've given enough thick black line, asked him all the distinction between the fine teeth and the bottom piece. I'm almost halfway through adding in the fine teeth. And you can see I'm adding in the foreign keys bidding under me, not worried about how it is. All you know, look in detail at this moment because using the white wash, I will be adding in snow patches onto this only thing that you have to be careful about by now adding in these pine trees is one. Let me try who tried to really the range or that is the height of the pine trees throughout. And to make sure IT, or these binaries adding the shape of the triangle looked at is giving it the pine tree pea shape at the end. You can be very carefully, I have covered at that shaft light off the yellow color in this high-speed and carefully achieved in the fine these companies just going to last the last few pine trees, you're onto the right side. And then we will begin adding in the further readings into this painting. Now on the left side I'm going to add in one big fine teeth from the boardroom speed that is from below the horizon night. So what are these pine tree is standing out from this nose piece. Now if it does findGene, I can add the foliage in a little detail. We add the top space in the galaxy. Because I wanted to make this painting look in the mean foreground space and in-focus suggest adding in this wireless. It is slowly inelegant DWB. Now at the bottom you are using a damp brush to blend this into the bag now to ask as if this is probably standing out from this bottom space, suggest using a damp brush. I will add in very little in line of this black color. And you can see it's looking as a perfectly into this nose piece. Now let's begin adding in middle of the dry brush tool into this new area. So you can add the dry brush either with a darker tone of the indigo color or Payne's gray color. So I'm just adding little of the drivers talk with the indigo color. You can see I'm using a very smallest size brush. I'm making sure I do not get address of the color so very carefully, I'm just using many little paint and thick consistency and beginning to add in these drivers to make sure you are. It's dab your brush onto a tissue or enough clock before beginning to add in the dry brush tool that automatically the exists paint or water gets absorbed by the tissue on your brush. You have very little pigment region help you in achieving the diverse India and adding in the diverse diagonally into the entire bottom space. Now around this geographer, I'm going to quickly add in this dry brush. Now let's pick up some fresh whitewash and ethic contrast in C4, adding in the stars into that growing space. So you can see the glowing patches of the white color that we added in. Now using in the byte watch, I will begin adding in the stars into these spaces to make sure you pick up the white washing the feet in deeper, adding in these stars. Now just in this end does based off these small batches that we added in, I'm going to drop in the white colors open. So after the victim has the blowing stuff, so you can see automatically that does piece around this small star is creating in the glowing look, giving him the perfect gloss piece and the profit look through these growing stars. Now randomly, at least wherever I feel the need, I will just add a few more bigger stars using in the right color itself. Now my pine trees are almost right and I can begin adding in the bitwise details to this shrine to join this more detail, very carefully just going to add patches in between in such a way that the black color is also visible and the white color is also there trying to join the snow collected onto these trees very quickly onto all of the findings on my horizon line, I'm going to add in this node. Now as I'm moving towards the right side, I'm adding in the white gouache, even though the Black Alan is a little bit, because I wanted to give the byte watch a little dance on the right side, trying to solve the effect of the night sky onto the snow off the pine trees, as you can see on the right side. And the snow is looking a little dash that is in a little gray color. This is because the reflection of the sky that is a night, that is a dark sky, as you can see. Because of the dark sky, this node should also have IT and dark look to it. Because of that, I wanted to show it a little dance. Hence, I added in this white wine, the flat color was still a little wet, automatically creating in the grid in for this new area. You can see because of this north of the Greek, automatically looking as a reflection of the dark colors of the night falling onto the smallest fetus suggest a little bit color change, but it shows the reflection defend. Now this adding the last node it ends onto this bag, find two years. And then we will be done with this class project for today. That is aqueous, that EBITDA class project for B19 has been. Now let's remove the masking deep and C are financing being made sure to remove the masking tape one by one school that you'll do not date off the edges. Always remove the masking tape but you added last so automatically you will not get off the edges and doing them. If we're removing the masking tape and the top side, you can see that indigo color being collected because of the liquidy consistency. So be careful and the y's are the colors may get lifted onto your fingertips. And if you please, those fingertips on the edges again, it made when your edges as well. Is a final painting for D9, a window, galaxy, night sky. Look. I hope you guys enjoyed painting this with me. We adjust 11 days of Ephraim ending this 30-day challenge. I hope to see you guys into the next class project tomorrow. Thank you so much to each one of you for joining me. 24. Day 20 - Night Sky Meadow: Hello everyone, Welcome back to the 30-day watercolor challenge. We are on d 22 d and we will be painting in this night sky me to look today. The colors that you need for today's class project is burnt sienna, yellow, orange, violet, Payne's gray, sap green. There, white gouache. In case if you do not have Payne's gray color, you can simply use in black color as we are in creating in a mix of the violet and the brown color this time to achieve to all violet brown tone which we will be using in the galaxy. Let's begin today's class project. Let's begin painting. I have my paper data and I will begin with the pencil sketch. To the pencil sketch that we are going to add is the field area and the mountain date. So let's begin adding in the horizon line first. I'm going to add the horizon line a little below the center up because we are going to be having in a mountain range on top of that. So very little space at the bottom space, I'm leaving for the field space. Now on top of this, I'm going to be adding in a very gross mountain range. That is it for the pencil sketch, Let's begin adding in a clean mural photo into the sky space. We can find having an opinion neural photo only into the sky space. Make sure that you add an even beautiful and made sure that your paper stays wet for a longer time. For that you can run your brush multiple types, so automatically or paper stays wet for a longer time because of tough, you know, 45 was inside getting wet because of the breast multiple times. In case if you're using a twenty-five percent cotton paper, then you can even read your paper. Which part are little time for it to almost dry and wet the entire surface and begin painting this way. Now, twenty-five percent cotton paper will also Stevens for a little longer time. Now first time beginning in with the orange yellow color. So if you do not have to audit your new palette, you can mix it the yellow and the orange together to get an orange-ish yellow tone. So this time it is motor for orange layers of yellow. And I will begin adding this color from near to the mountain dy dt. Make sure you do not run into the mountain range because the mountain range is going to be off the lighter color. You can see how it gave layer added it near to the mountain range and maintain the sheet fall motion. Half of this guy, I have added in this yellow, orange color. Now next, I'm picking up the windows color and using the Windows color, I will add it about the yellow color. We're going to add in the depths of the brown color listed on. The reason for laying down this color throughout, is that a variable you want to add in the brewing space? You can use the rooming technique and create this moves as well. Now, next, picking up the violet color, I will add it into the top space chi. And then it will be mixing in the brown and the violet color and get a darker, brownish violet tint and then begin adding in the depth to this novel my violet color, I'm adding in the burnt sienna color and now using it this burnt sienna and violet MIT, I will begin adding the in the darker depth at the top space so you can see how beautifully the colors are blending into each other. Now completely then the bottom space from the edges, I'm going to pull out this brown color mix. But in the center, they strive to maintain the flow of the yellow, orange color as well near to the mountain, the age. Now I've been just drop a little of the yellow, orange color again so that I get a vibrant blue to the yellow orange color. I do not want it to be hidden between the browns completely. Now using the burnt sienna color, I am adding in the darker depth onto the edges. Now next to the, in a color, I will add in a little bit of the Payne's gray color, creating a CPR kind of fur color. So in case if you have a CPR file and you can directly use the CPR follow. But since I want to form the color despite having it in the palette, I have mixed in a little bit of Payne's gray to my burnt sienna color. Now using this color in an liquidy consistency, I'm beginning topic. Now, dystonia, I will try to maintain the growth pace because I'm going to be adding in the whiteboards diagonally from left to right this time that is at the top right to the bottom right. I'm adding this color very carefully onto the edges, just using the tip of my brush near to the mountain range I've maintained by yellow glow effect and diagonally I have created in such a depth so as to add in the details. Next time I'm going to begin adding in little more depth using the Payne's gray color. So I've just picked up Payne's gray color in liquidy consistency with no brown or just little touch of proud. So at this time it's more of a Payne's gray color rather than a sepia color. Now using this color, it will begin adding in depth onto the edges. Now you can see as I'm increasing the tonal values does piece is growing less. That has been a begin adding in the von sienna color. I added it at the largest piece. But if I'm in a dark brown color, I began adding it in a little smaller space such that the light brown still be visible. And now when I'm adding the Payne's gray color, I'm adding it for the list so that the dark brown is also visible. Now you're also, I will try to maintain the yellow glow from behind the mountain and also diagonally keep it light for adding in the glowing effect. So far, adding in the blue effect. And when we use the white quash also in a very liquidy consistency and using the tip of my brush, I will begin to open this whitewash diagnosed in from the top left to the bottom right. Now you can see after every drop I'm picking up fresh white gouache. Now in peace with any drop if the color is getting lifted onto your brush, see the brown color of the Payne's gray color. Make sure you clean your brush with water and then pick up the white color. Otherwise you will not be able to achieve in the growing space. So I just added a little more water to my white gouache because it was not spreading that 3D and I wanted this free spread. Now you can see with every store, if there is any pain that will be picked up. I haven't cleaned my brush. Just adding this white color diagonally forced into this in the center line of this lobe, we are going to add in the darker brown paint again, for adding in depth. I have picked up a little bit of the violet color and using the violet color, I will begin adding the depth in the center of this white light. So I have picked up the lighter color in a very liquidy consistency. And just using the tip of my brush, I'm dropping it in the center space. You can see three anything in the darker death in-between the white detail that I've added in. If you have to do wet on wet, so you need to do all of these binders. Sky is still wet. So make sure that your paper stays wet for a longer time. Now again, I will pick up some white wash and I will begin adding in more low because you can see at the moment the whitewashed nor is a little dull. So to create a more prominent, I will begin adding it again. Now this time, um, I didn't get in-between the fopen line. I'm a bit unsatisfied goes or what I will do is I will quickly blend in this violet and the white because the glue is looking a little dull. Quickly blend both of these and then again adding the glowing effect variable, I feel that there is excess paint which can be picked up. I will just pick up using my damp brush and damper on a tissue. And in case, you know, wherever I feel that the flow is perfect, I will leave that space be there. So I just blend it both of the colors and butter light space. Now using the white gouache, I will again begin dropping into, you can see now I have a very light violet light around this. I'm just going to drop into white color again. Across this you can see I've added the white color. So in the center you have the light violet globe and around them you have the white color blue. Now I'm going to pick up a little bit of the burnt sienna color and I will begin adding in darker depth just around the white color that I added in so that the ground color and the white color meet up perfectly and having the perfect blend. Now next I'm mixing in a little bit of the Payne's gray. I'm the brown color and I will begin adding in photo darker details in the center of this glue. Now for this, you have to make sure that the color is just on the tip of your brush so that it automatically drops into the center line. And now you can see in the center we have a dark space and around that We have the growing space of the white color. Now using the Payne's gray color, I will just drop some darker highlights onto the edges. Two on the right side you can see it's majorly mode of the brown color that is visible. To add little darker highlights. I'm just dropping in the paint gray color directly onto the edges. You can see you're also, I'm dropping in just using the tip of my brush. Now let's wait for this guy to dry completely and then we will begin adding the further details in the mountain range and the middle space. My galaxy is completely dried and I will begin adding in the stars into the galaxy first before moving ahead, pick up the right version, a medium thick consistency so that I have an opaque layer of this task. Using a smaller sized round brush, I will begin splashing the stars into the galaxy space. Now make sure you do not have excess paint on your brush has been, otherwise you will just begin to have in splattered of white paint that is bigger patches of the white paint instead of these small scar loop. Now let's begin with the paints gray color and begin painting the mountain, the mountain range. I'm first going to pick up the paints gray Carlino medium consistency. And I'm going ahead with the wet-on-dry technique because it's quite a small space and there's not much detail to add right now, wet on wet. But I will begin defining the top range of the mountains. You can see I'm trying to define the edge of the mountain at the top space in-between. Now I'm going to add in a little bit of the green as well. So you can see if Mark covered the entire mountain with the Payne's gray. At the top, I added in a line of the Payne's gray color. And now I will pick up a little of the sap green color and I will blend with the Payne's gray and get it to a lighter tone as we move downwards. Then when this will dry, you will see the green touch as well in the mountain range. Now wherever I'm feeling that the color is a little dark, I'm just lifting up the color using in my **** brush and you can see it now the green color is visible perfectly. Now on the right side, I'm creating little lights space to show the reflection of the galaxy light there as well. Make sure that the green and the Payne's gray color has blended into each other. Next, we are going to be painting in the field space. You can see the mountain edge at the bottom space is not that clean as we needed it. Because in the field space I'm going to first begin adding in allele or of the Payne's gray color directly. I've got the perfect blend on the mountain beat with the Payne's gray and the green color. Now let's begin painting this field space. For them. In space, I will begin picking up the paints gray color and going ahead with the wet on dry technique, you are as well. I will just add in a lot of the Payne's gray color first. Now at this point you can see that the paint will begin to seep into your mountain range because the mountain range is still red. So you can just keep an object underneath and keep your board. The column still need a little, but it will not be much such that it covers the entire green color. So I just get the masking tape underneath and kept the paper in a tilted inclined, say, now just going to run a damp brush again so that the green color is still there. And you can see I have a perfect transition from the green to the paints three of the field space. Now why in all of these drives, Let's begin adding in the growing study deals into the galaxy. Even if you leave this at this page, that is, you know, without adding in much more details to the mountain and just adding in a few Flores. This will still look such a pretty outcome, but we are going to add in little details giving in depth to our painting. First, let's begin adding in the background for the glowing stars. By now, if you have been following me from day one, you know the drill of creating in these glowing stars. We're first going to create a background using in all diluted turn off the white gouache. Creating an adult white background. And then once this dries and we will add in small stars into the center of these patches, creating in the glowing star loop. First, I'm adding in a few patches. Did I clean with the ovary or denuded tone of the white gouache. You can see it is a dull white finish that I'm getting in right now because it's blended with the background colors. I'm done adding in the background for the glowing stars as well. Now let's wait for all of these to dry completely and then we will begin adding in all the other details into this painting. Now everything is completely dried and I will begin creating in the colors for the flowers so far first, earlier, I have mixed in the red color with white gouache. And using this mix of the red and the white gouache, I will begin adding in very simple patches to act as flowers. Suggest using the tip of my brush you can see I'm dropping in very small circles, IT petal patches trying to depict them as flowers. Now false near to the line of the mountain Dean, I'm adding in very small boats to show that these flowers are far from a view. So you can see I'm adding in majorly very small dots using the tip of my brush and some small patches. As we will move downwards, I will begin increasing the size of these flowers, trying to show that those flowers are much more closer to a view. Now again, closer to the horizon line that's just below the mountain range from where afield spaces beginning. I'm just adding in the details perfectly. You can see I've got the perfect line for the field space as well because of the colonists thing that we did wet on wet. And I've got a perfect line in-between my mountain and the field space. Near to the mountain line, you can see these flowers are just dot, dot, dot. That is, I just want to show that these flowers are quite far from our view and not visible clearly. Now isn't moving downwards. I will begin adding these flowers in a little detail loop. This is just a falsely out of the flowers that we are adding in. We will be adding in photo lighter, darker tones flowers as well. Now I have added little more white gouache and turn the color a little more lighter. Now as I'm moving downwards, you can see I'm adding bigger patches. That is, I'm adding three to four petals together. But again, you can see this is a very dark field that I'm adding in a non giving in much detail to the p because my main focus was the galaxy part. Now with this slider donors, well at the top space where they added in the flower with a darker tone, I'm just adding little highlights in between with the lighter color. So make sure when you add these highlights, the falsely out of the darker tone is. Otherwise the colors will begin to blend into each other. Now as I move farther downwards, I will follow the light in the tone and make it more brighter. Now as we are moving down, you can see I'm adding in much bigger patches, very randomly moving my brush. I'm not even worried about what flower shape this is looking. I just wanted to show it as a middle filled in with flowers. Make sure you add in white gouache only and not watercolor. Otherwise you will not be able to achieve this opaque law onto the black color or the Payne's gray color that we have added in the base. Now at the bottom you can see how I've added touch bigger flowers directly and giving him more look that these flowers are most closest to have you. Hence, they are visible so big and the ones that was smaller ones are not visible closely to us. Now next time picking up the red color directly. So this is the permanent red color. I will not be adding any white gouache to it, and I will just begin adding in some darker highlights to these flowers that I've added in. This also you can see very randomly onto the lighter flowers I'm just adding. Logit highlights with this darker red color. That is enough adding in the dark co pallidus because galaxies of a dark color and I want the dark reflection to fall onto our field space as well. Hence, the background I painted with the paints gray color first so that we already have a dark background. And then I added the flowers with the light color and now adding the highlights with the dark color again, almost onto the entire field space. You can see I've added these darker highlight of the permanent red color. And it's looking so beautiful and it's giving so much more depth because you already had an underlying lighter tone of the whitewashed. Hence, this red color is also popping out very brightly. If you would have direct me, I did the red color on the Payne's gray color, you would have not been able to achieve this bright look of the red color. It's very important that you add in that first layer of the mixed with red color. Now next I'm picking up this yellow mixed in with white gouache. Now using this mix of yellow and bite watch, I will begin adding in the glowing stars this time, suggesting the center of these patches that I created using a smallest sized round brush with a pointed tip. I'm just dropping in various small study DNS. You can see very small ones who automatically the glow that we added is now blowing and giving it the perfect knowing look around the stars. Now lastly, using in this darker green color, I will begin adding in little Dr. Raj detail onto the mountain. I have picked up or dark green color in case if you do not have the dark green color, you can just use your paints gray color or black color in our dry consistency and begin adding in little dry brush detail onto the mountain range. I'm going to add it very randomly. Make sure for adding in the dry brush. You done your brush onto a paper so that the excess paint and water from the brush gets so big by the tissue or the last claw. And then you will be able to achieve in these dry brush strokes easily. I'm just going to add little darker highlights onto the mountain danger by just blending in the green color on it with the light green color giving him darker depth because of this guy onto the mountain range on the left side. On the right side, I have maintained in the light growing space itself. Now. Lastly, using the whitewash, I'm just going to add a few highlighted flowers into the field space. Made sure that variable you are trying to add this, the colors are a little guide just on the dental you can see majorly onto the flowers that I've added him on both doors only at the bottom space majorly, I'm adding in these highlights. So basically I want to show that the flowers that are closer to a view that is the bottom orange flowers are a little glowing because we are closer to them and we can see the real colors of those flowers. So you can see near to the horizon line of the mountain range, the flowers are dark and at the bottom space I've added a little lighter highlights. The me tapping thing for the 20. Now, let's remove the masking tape and CFI in and painting. Make sure that your flowers are completely dry before you begin to remove the masking. The colors may get lifted onto your clean edges. Is our final painting for the 20. I hope you guys enjoyed painting in this middle with me today. I will see you guys tomorrow into the date 21 class project. 25. Day 21 - Misty Mountains: I have my paper taped down onto all the four edges and we will directly beginning painting the sky. There is not going to be any fences sketch the only thing that we will keep the bottom space light if we're going to be adding in the mountain ranges wet on wet later on. First, let's begin with a clean photo. Photo. I will begin with a clean Leonov or don't do the entire surface, even the water them space. Only vile painting. I will make sure I liked the board game space be majorly of a very light tint. I'm running my brush multiple times so that I do not have excess water anywhere. And I'm also making sure that onto the edges I do not have excess water. Otherwise, it will begin to see back into my painting and may ruin the edges of my painting. So I will now remove the cobalt green colored a little on my palette. If you do not have cobalt green, you can just mix in a little bit of your yellow, white, and blue and get a teal green kind of a color and use that color. Now, I will begin with a smaller size flat brush, the first beginning in with the cobalt green color at the bottom space. I will let the space be right as I told you. So almost 40% of the water namespace let it be right completely. And about that beginning with the cobalt green color. Now next I will just pick up the **** brush and run the cobalt green color till the bottom space that I have a perfect transition for the cobalt green colors where you can see at the bottom, I have the light color and at the top it's going to the perfect cobalt green. Now I'm going to add the cobalt green color at the top space also completely and then shift to the indigo color. Now using the same flat brush, I will begin adding in the indigo color. First at the top space you can see I'm adding the indigo Collins such a liquidy consistency that it's automatically spreading on its own. So I will begin adding the indigo color. Now, as I'm moving downward, you will begin to see that I only pull the indigo color from the edges in the center space. I will maintain the glow of the cobalt green color. And just from the edges I will pull out the indigo color a little diagnosed. Now again till the time you reach the whitespace that we have left in for the bottom area, make sure you stop the indigo color also ear as well. Now using a damp brush, I'm even taking in the lighter tone of the indigo color till the bottom space you can see I just picked up the **** brush and picked up the last level of the Indigo and cobalt green color and began to move it to the bottom space. Now in the bottom space, if you see I have a very light tint of the indigo color and that's perfectly fine, almost equal to a white tool. I'm just tilting my board in all directions so that I haven't even on the Out of all the colors. Now again, I will just pick up little indigo color and given darker highlights, a nutshell. Now next I will again pick up little indigo color and just add a few darker highlights onto the edges. Now when I'm adding in these highlights, I'm making sure I do not add much of water because now I do not want the paint to flow much. I will make sure that I let little lighter indigo strokes be visible. And at places I just let the darker strokes come in. Now again to make sure such that I have this smooth transition, I'm picking up very diluted consistency of the cobalt green color and I have pulled it down space, getting in a very light tone of the cobalt green and indigo color till the bottom media. At the bottom space, we are going to be adding in mountain ranges, which we are going to depict. And from the behind mountain range we are going to show the glowing sky effect. Plus these mountain ranges are going to be in a very misty form. Hence, make sure the bottom space you maintain a very light glowing space. Now, I'm just dropping in some of our two droplets in the darker indigo color space to create some blooms into my skies piece. Now last year I've been just pick up very lightened up the indigo color and take it a lift and down you're at the bottom space. Because as I told you from behind the mountain range, I want a perfect glowing space coming in off the lighter. And the mountains are going to be off the misty or color tones at the bottom space. Now we've been weighed for this entire sphincter die in, and then we will begin adding the mountain ranges one-by-one. You can see the bloom that has been created with the water at the top space also. Let's wait for this to dry now. Now this has dried completely. Now I will begin in with the indigo color and begin adding in the mountain ranges. For the false range of mountain, I'm going to use the indigo color in a very liquidy consistency that is more of waterless of pigment. And just from where the glowing light is ending, that is from where the indigo strokes are ending. I will begin with the first mountain range there. I'm first giving in the outline to the mountain range. You can see it's such a light tone. Now, I'm just going to use a damp brush and going to dilute this light tone further and spread it till the bottom space. Make sure that you spread this color completely till the bottom end of the page. Otherwise, when you begin adding in the next range of mountain, you will begin getting in darker depth. Now you can see I dropped in little indigo color, but it is so dark that I quickly lifted up using in the tip of my brush and I'm lightening it. So in case if you happen to drop darker color tones tool, you can simply do the lifting technique. Now you can see using the damp brush, I'm blending it to the bottom space. You can see the color is only right at the bottom, almost negligible indigo light tone that we haven't. But still make sure you run the **** brush to the bottom page. Otherwise you will be getting in very sharp edges. Also, if you see from behind the mountain range, I'm getting in the perfect or glow that I needed in that is the light color before moving to the sky tones. Also on the right side you can see I've added little darker tint because I wanted a little more darker effect on the right-side mountain space. Now let's wait for this first layer to dry in and then we will begin adding in the next layer of mountain. My first layer of mountain is gigantic. Now for the second layer mountain, I'm using the same indigo. Hello, but this time I'm adding in little less water and I have mixed in a little of the cobalt green color as bell. Now I will again give a very random outline to the mountain range first, make sure it's not exactly symmetrical to the first layer that you have added in. You go ahead with a little different shape of the mountain. And now again, using the same technique, just using a damp brush, I will try to blend this top line that I have added into the bottom layer, creating in the next layer. This is how we are going to keep adding in the misty mountain Leo's, you can see at the top of the mountain range you have an edge which has this darker, darker glow. And as you move, though at the bottom towards the mountain range, you automatically have the lighter tone. Now if you're feeling that the color is too light, you can just add little indigo color at the top edge again. But as you move towards the bottom side of the mountain range, makes sure you dilute it and get it to a lighter tone so as to give in the misty look after this dries and we will further be adding into volumes of the mountain, creating a mode of the misty view. Again, you're at this step, make sure that you add the water layer till the complete bottom space. Otherwise, with the next layer of mountain, you may have little rough edges in between. Very carefully you can see I've defined now at places wherever I feel, I need to give it a little more shape. I'm just turning my brush at the top space and defining the shape. Now let's read for this second mountain range to dry in and then begin with the third mountain range as well. Now, my next mountain range is also completely dried, so I will begin with the third mountain range. So now for the third mountain range, I have added in little more of the indigo color. Now this third mountain range, I'm just going to add in halfway through. It, added the mountain range in the half space. You can see by two this also we need to make sure that we have a soft blend. On the left side, I cannot add in much of the blend, so I will take it till the top layer mountain so that I do not have sharp edge and EBIT. So you can see how I have tried to avoid the sharp ending off the third mountain range. Alright, so this is how you will try to achieve in that Misty hanging mountain range of the third layer. I added the third mountain range, 2.53. I blended it in the bottom space, but on the left side I do not have the mountain range at all. So I took it till the top space of the second mountain range d vetting that again. That I do not have any sharp edges in-between. Now do the hard mountain range, you can see I've, I didn't get much darker. I let us compare it to the first MT, first two mountain ranges. Now let's wait for this third mountain range also to dry in. And then we will be adding into more mountain ranges and then adding the details into the galaxy. Let's do one thing. Let us begin adding in little details into the galaxy until this dries in. Beginning in with a medium consistency of white gouache, I will begin splattering the stars. So make sure when you begin splattering the stars, you do not add them onto the mountain range. So you can either cover the mountain ranges with a rough form paper or you can try to control the movement of the brush only till the top skies piece. Also be careful about one thing that when you pick up the white gouache or it should be in a medium consistency and you do not have excess paint as well on your brush. Otherwise you will get bigger patches of the white color instead of these fine stars. Now I will begin adding in a few of the glowing stars. So for that, I will first begin creating the glowing part of the stars. So quickly going to use in the white gouache with little extra water and create those small circles for the glowing stars. You can see how I'm adding in these glowing stars, creating in the perfect glowing space around all that time. This is going to add major new on the indigo colors. And then once this dries, we will add the stars to this creating in the perfect glowing star Lu. So for now just add a few of these glowing stars, they will majorly Luca more glowing only on the indigo color hands. I'm adding more on the indigo color as you can see. You also closer view of the glowing star background that I've added in and the third mountain range as well. Now let's wait for this to dry completely and then begin adding in the next mountain range. Now I will begin adding in the next mountain range. Again, I'm just picking up a little indigo color, adding it to the indigo mixed so that I have the darker tone. Now I will begin adding in the mountain range from binaural, the third mountain range. But on the left side I do not have the third Mountain Day. So I can begin in from a little top side. As I move downwards. This time I'm going to take the foot mountain range on legal the half left side. So again, just as I did in for the previous layer, this time I'm waiting on the right title, the third mountain range. You can see I have reverted it till the third mountain range so that I do not have any sharp edges because of the water layer that I'm adding underneath. Now to the top edge of this as well, I'm adding in much darker highlights. It's very important for you to understand why I have taken up the white water blending till the third layer. Because if I do not take it till the third layer on the right side, I will get a sharp edge line of the water if I run it only till a certain level, hence, to avoid that sharp edge, I have taken it till the second card Leon. Now if you see in-between my third layer and second layer, I have a little sharp line because of this water that I added right now, I will get rid of it also later on. For now, I will begin adding in small stars into these glowing stars. For this, I'm using in the right question, I think consistency and using my round brush, I'm beginning to add in these smaller stars, you can see how automatically the glowing stars are giving in so much depth to our night sky. I'm going to quickly add in the stars to each of the glowing stars that are added in that certain place. If I'm randomly going to add in a few of the bigger stars using in the white gouache. Now let me give you a closer view of the stars that we have added in how it is looking so pretty into the sky, you can see such a beautiful view. Now, I'm just going to add a few more shooting stars as well. So I'm going to use the white gouache itself, but make sure you use appointed the brush and just using the tip of the brush, adding very thin diagnose drops to create the shooting star look. Now you're between the second and the third mountain range. You can see that sharp line in the center space. To get rid of that, my mountain ranges still wet, but using a damp brush, I'm just running onto that line so that it blends perfectly with the Secondly amount beta not have that sharp light. Now you can see the sharp line has disappeared. Let's wait for everything to dry now. My fourth mountain range has died as well. Now for the last mountain range, I'm going to directly add in the indigo color in a dark consistency without adding much of water. So it's going to be the last mountain range. And then we will be done with this class project for today. I'm going to add a very big mountain DHS compared to the first mountain ranges that we have added in. I feel that this mountain ranges actually extra biggest compared to the previous ones and it looks a little out of proportion to me. What I will do is I will quickly wait for this mountain range as well to dry in. And then I will add in one more mountain range using the Payne's gray color, giving him more depth to this or painting. Let's quickly leave it for this to dry completely and add the last mountain range and be ready with our painting for the 21. My mountain range has dried. And father, last mountain range, I'm picking up the paints gray color and I will add in a mountain range. So almost all of the mountain ranges will now be off the same height throughout. You can see how we have created in a misty look to our mountain ranges into our landscape galaxy. And how these misty mountains are looking so beautiful with that night sky. And also the perfect glow that we have from behind the mountain range as well. The growing space that we left in by adding in the skies piece. This is it, we are ready with the class project. This is one of my most favorite class projects. So five, a beautiful one yet so simple and you know, in such a less time you can create such a beautiful piece. Now let's remove the masking tape and see our final painting. Be very careful if your bottom layer mountain is still dry otherwise it made when the edges I'm going to remove it very carefully since my mountain dangerous a little wet still. So be very careful or you may remove the masking tape once it is completely dried in your final painting for D20 one, I hope you guys enjoyed painting in this class project with me today. We are just nine days away from ending this challenge. I will see you guys tomorrow into the day 22 class project. Thank you so much for joining me. 26. Day 22 - Evening to Night Sky: Let's begin. In these past Pluto. I look for speaking with offenses it. So let's begin with the basic pencil sketch of marking out the horizon line indices, fees, and the PDD thriving begins with the horizon line. The horizon line is going to be almost a little below the center space. So 35% of the buttons piece is going to be that been beating up. On top of the horizon line. I'm adding in a small mountain. I'm adding in the pencil sketch. Very nice. Now on the right side, I have my God, a small space, a small leaf that we've been we speak being big and around the legs, please. I'm at immunity small camping thing that we are going to be adding the details to this gas we will be adding for the width of painting didn't need. But for now I'm just giving you a knitter. She put this tent with the pencil sketch. Make sure you are dispensing sketch video idea and not much dark enough. That is it for our pencil sketch. Now let's begin painting in. So I didn't begin with the same photo, photo onto the sky space force. We will be painting our night sky. The sky is going to be a powerful one. Basically, it's going to be just a perfect evening, sunset kind of a view turning into a night sky, just beginning in without the input of water only in the skies. Please make sure you do not add the water onto the mountain space. This time does tie that we are going to be, painting is going to be a very simple one. We are going to lead the followers and it's in Bootstrap incline and blend them into each other, creating a transitional sky from the sunset to the night sky that we are willing to pay. So first I'm picking up the permanent jet color. I'm using a medium-size flat. Depending on the size of your people, you can adjust the size of your flat brush has been in the center of the sky. I have added in the red color. You can see it near to the mountain range. I've lived in an evidence-based by adding the yellow color. Now, I'm using the permanent yellow light color. I'm using this. I will please let me know the red color near to the mountain range. I'm making sure to let the mountain veins PMT's, I've run my brush very carefully. Next I'm going to pick up the violet color and picking up the violet color. I have added it about the red color at the top space. You can see I've left in our little gaps still because I'm going to be adding in the brown color so you can see the night sky coming into view. Now I'm picking up the brown that is already on my palette. I'm going to mix a little more of the burnt sienna. You can go here and with any medium tone of the brown color, this is just the false beard of the sky. And you can get the movement, the blending doesn't look smooth. I'm transitioning from Bangkok or two ago. I forget the perfect. And I will begin in with the same colors again, beginning in with the yellow color at the bottom space. Next, I'd been shifted into the red color. Next time thinking of the violet color and I'm going to addict above the red color. And now you can see the sky is turning out for by state. You can see the blending is knocking the odd. Not that great because the colors are looking uptake from each other. We will be blending them as men. Now at the top space on the brown Pylab just need a little of the bunt sienna color. And I'm going to pick up this Payne's gray color, which is on my palette. And just about one sienna color gets a little darker if you're showing in the forfeit night I coming into the picture. Now forget transitions in between. I'm just pulling for begins in by running my flat brush from one color to the others. So I haven't begun in from the yellow Carlo and I will keep moving towards the top space, lending the follows into each other. Though, you can see just with one stroke from the yellow to the brown, the smoothness between the lines of other shifts is much better. Also, you can play along with the protein consistency of the paint and keep rotating your board and getting the blenders bed. So that's another way you can get the blends, right? I just added a little more of the leg because I wanted to make more shift towards the night sky and keep very little view of the light sunset view. But I'll make sure that there is little yellow visible just from behind the mountains. Now I will just keep tilting my board in all directions so as to get the blend stride. So you can see now the blends halftone dots or small dot, and the perfect transition from one color to the other. Now I will keep my board a little bit because I do not want the red to flow into the yellow. One more thing then I will paint the small lake area. So the leaky area is a very small space and not much detail to add in. I just want the reflection of the sky colors into the legs paste. So first I'm beginning in with the yellow color, next beginning in with the light color just below the yellow color. And since this is a smallest piece, I'm going ahead with the technique. Wet on dry. Now. It my board dumb because I know now the red will not see it and cover up the yellow completely. Now you're also between the red and yellow. I will get in the perfect blend. My running in a **** brush in-between watercolors. Prefer topic transition data's. Now I will wait for all of this to dry completely and then we will begin adding the further it is into this painting. Fitting as trident from PPE. And I will begin adding the further details. For now. First we will begin painting in the field space to follow the field ADR, I'm going to begin in with the sap green color. You can see all of my sky at the top near to the brown seems to be a spin better. But I will be careful because I wanted to paint the bottom space so my leak is completely dried into I can paint the bottom field area. So I'm picking up the sap green color and a medium tone consistency and leaving the camping site blank, I will just begin adding in a layer of this watching consistencies are fleeing. Follow your Also, I'm going ahead with the technique wet on dry because it's going to be just the sap green color and little depth with a darker green color, which I can directly add on this app Bean in a small space. This layer will also save it for enough pain. But in this, if you are using a paper which dries off material, I reject when you to false that in a liter of water and then add in the Sapien Carlo so that this will save it for enough long time for you to add in the darker death as near to the lake area. Be very careful while living in the edge out there. Now I have picked up some Van **** green color that's simply a darker green tones. You can go ahead with any darker green that's available in your palette. And I'm beginning to add in these darker green strokes at the bottom area. And you can see I'm adding them diagonally trying to give him little field detail. All of this is wet on wet, that is my green color. Bottom layer is still wet. I'm adding these details wet on wet to get the soft edge. Now near to this line of the legs piece also, I'm going to be adding in a dark green color line to separate the lake and the field area and given depth to this connecting point. Same way, even underneath the camping site, I'm going to add in middle of the shot the beam with the darker green color. And we are going to paint the camps IPA did on the satellite to glean and yellowish tool. Now at this point you are, you can see the green line is very prominent, which I do not want using a damp brush. I'm just blending it and getting a gradient to that dark green tool. Same way you're underneath the tense piece as well. So you can see the darker line is still there, but it is blended with the rest of the space in the center area. Now underneath the camp, I'm further adding in some darker shadows using the Payne's gray color as well. Now even in the bottom field space, I'm adding in little depth with the Payne's gray color. Again, this is altered diagonally. You can see automatically even working wet on wet, you can see the field spaces getting little detail view. Now make sure when you add in this detail with the Payne's gray color, you do not have excess water onto your brush. Otherwise have been screened alone, will give you a flat look and not give you that soft diagnose stroke book. So it's very important to control the water content out while adding it. It's Dr. Death. It should be such that it spreads and blends well with the lighter tones that are liquidy, that it completes me completely gets a flat color look out there. Now let's begin painting the next component. So for that I'm picking up the paint gray color and we're going to begin painting the mountain range now with the Payne's gray color. So you can see of my sky color has run into my mountain. I had completely forgotten about that. But nobody's since we are going to be adding in a Payne's week alone to the mountain range. It will get easily covered up. Now be very careful when you run on the mountain range because your bottom thieves piece is still wet completely. And if you lay your hand onto the field area, the colors may get lifted and you may get rough patches of this. So be very careful or you can wait for your appeals piece also to dry incompletely and then begin adding in the mountains age. For now, I'm going to add this mountain range completely with the Payne's gray color. I'm using a smallest size brush so that it's much easier to give them the, It's, now as I'm beginning to add in the detail you can see at the top of the mountain range, I'm defining the top of the mountain range, giving in the spiky loop, do the entire mountain major. I will be giving you these smaller font of Gilo to these are not going to be much details ones as you can see, just simple strokes about the mountain range that I'm adding it. Then rest of the entire space, I will fill it with the Payne's gray, yellow. You can see I have just tried to vary the height of the range throughout. And that is what is important. Hence, we had added that pencil sketch to understand the height of across the mountain range. I'm almost done filling the entire mountain. The Payne's gray color you can see I've drawn very carefully such that I do not leave my hand onto the field space. Now on the left side of the camp, you can see there is a very small field space which I have by mistake, we lift and blank. I will quickly fill in the dots have been ALU or the dark green color. Do they agree? Just a very small space but that needs to be filled in. Now the least it is dry and I will quickly add in the stars in our galaxy, since my sky is completely dry. For that, I will pick up a little of the fresh whitewash. Make sure you pick up bite gouache without adding any color. I'm just going to pick up lifting whitewash separately. As you can see, other hello mixed in with the whitewash on my palette. Now for adding in this task, you have to use in the whitewashing a thick consistency without adding in March of water. Using the smallest size brush, I'm going to begin adding in this task. I'm just getting the whitewashing the perfect consistency because at the moment it is to pick we even be splattered. Now to splatter, I will Welcome space with the rough people because I do not want the stars to go onto my mountain range or into my fields face. So I'm going to cover the warping space with a rough people. You can cover it with anything or wait for it to dry completely. I'm going to place a paper in such a way that it does not lift up the bottom colors which is still wet. So I'm just going to fold it or a little diagnose and just went to lead very likely such that it's not touching the paper completely. Now I will just splatter this task weekly onto my entire sky area. That is, if I'm adding in the fine study, next we have to add in some of the shining star. So for that, I'm going to quickly give another **** brush JD in my other hand. And I will post that in few white patches. And then I do quickly blend it into the background and create the growing space. These glowing stars completely add a different view and depth into your galaxies and night sky. And they've given so much of the glow and depth effect. You can see I have not added much of these glowing stars onto the top-left side because now on the droplet size, we are going to be adding in a lot of leaves out there. So first I will make an in with the Payne's gray Karla and begin adding branches out there. Then this time we are going to be adding in little detail leaves. It may take a little time, but definitely what are times to adding in detail nice, instead of just going ahead with the simple dabbing technique, supposed to begin adding in all of your branches. So I will begin adding in bigger branches and Bentham them. I'm thinking the shorter branches, as you can see, I'm using a smaller size brush hands I'm able to achieve in these thin strokes, since my brush has a pointed tip, make sure you use a brush but it builds to give you that under thicker strokes all together very easily and help you achieve or simply dealing quickly without shifting brushes again and again. You can see me, Jenny, all of the branches are popping out from the left side. Now I will just pop out of your branches from the top side as well if needed, needed on, and I've taken these branches only till the center space of this guy now found these, you can see very randomly, I'm adding in leaves. These leaves are very simple, divided by 20 hard them one at a time. It takes Annelida time, suggest adding very simple leaf shapes onto these branches. You can see in-between the branches, I'm leaving space for the branches also to be visible when I'm adding in the leaves, I'm adding in, in such a way that I want the look of the branches also to be there. I'm going to quickly add in few leaves so you can see I'm leaving extra space right now because if I feel the need to add more of these, I can simply add them later on as well. But if I will add a cluster altogether at the moment itself, then it will be very difficult to delete them from the painting since we are walking in with watercolor For me show you first started in fuel leaves onto the branches and then see and understand where you need to add more of these. You're adding a few of the leaves popping out from the top space and the side edges as now I will quickly, I didn't know if you often evs from the rest of the branches that we have added in. Now from between the leaves, I'm popping out a few more branches married randomly. So you can see now to give them better branch detail onto the edges, I'm just pulling out these branches from avow the leaves as well too. They are overlapping the leaves at pleases because onto the edge in the center area. And I even wonder branches to be visible. You can see how step-by-step you can keep adding in more details. But if you would've added a lot of them at one, please all to get up, it would be very difficult to again, remove them or connect them. Just lastly, your farm near to the mountain range, I'm popping out a few branches, means you show them a little overlapping onto the mountain range as. Instead, you can see I'm just adding in a few leaves with the dark consistency of the paint along the mountain range. And they're popping out very brightly on the mountain range perfectly. Now, we are going to be adding in a moon this time, I'm going to add in a growing space for the moon as bed. First adding in a layer of white gouache and now using the damp brush, I will blend it back its edges into the background and create a glowing Kavya. And then once this also drives me would be adding in the morning to it. Next, you're on the right side of the mountain range at the bottom media, I'm going to add the density night effects. There also, I'm adding in all of the white patch for are in the growing space. Then once this also drive, I will be adding in the glowing effect euro has been. We are left with very little details to add it. First one being the D1 into this camp. So let's begin adding this and then we will be adding the moon and the stars, and we will be done with a class project. This area is quite small, so make sure you use the smallest size brush. So I first picked up the lemon yellow color and beginning in with the lemon yellow color first. And then after this, I'm going to pick up the yellowish green color. Same case if you do not have the yellowish-green color you've been just makes it more of yellow and less of green and get a yellowish color to add a little depth out, you're forced to adding in a new layer of the lemon yellow color completely. Now this is again, they had on dry technique that I'm going ahead with because it's the smallest piece and I can quickly add in the DTAs. Now I'm going to pick up the yellowish-green color. I'm going to quickly add and lifted off the yellowish-green color in the center space. And when the blended with the yellow color on the edges in the center, you can see I've just started and opinion bluish green patch and blending it with the yellow on the edges. The edges I have the yellow color itself. Now, while this is drying, I will just add in the glowing star since my ink is completely dry, I'm going to pick up the white gouache in a thick consistency. Make sure this time you do not add a lot of water to the white quash, otherwise it will not give you the opec started look. You can see as soon as you add in these growing stars, it creates a completely different glow into a night sky and galaxies. Now in-between these leaves as Ben, I'm just adding in a few bigger white stars that the peak out from between the years and given more depth to our painting as men. Next, I'm adding in the moon. As you can see, my moon is also completely dry and the glow that I have right now because of the growing cash that we added previously. Next time, the mix of this white and yellow squash with a little touch of orange as well. And I will add in the light effect and add the mountain range where we added in adult white patch. I'm just adding in simple dots of this piston, yellowish orange color that I have formed a triangle. Show them as the LCD United fact out there. In-between, I've added a few bigger dots, and otherwise I'm just simply adding dots closer to each other, very small, tiny dots. One light in between. You can see I've added it a little more extra bright in a bigger sheets so that it stands out prominently. Now I can just pull little more light on what the edges, and then I will be done with this part as you can see, such simple method, but it adds so much depth and details into European. Now with the same mix of yellow and white, I'm just adding little reflection to these nights into the lake area, very little dots to show in us that he fled chip. So you can see just very little detail, but again, these are also much more depth and detailing into the painting. Into the next phase to start small reflection of the light of the city lights that we have added in. Now lastly, using the Payne's gray color, I'm just going to mark out these lines that we added in a pencil sketch. So I'm using the Payne's gray in a very dull consistency, not too dark. It's more of borderless of beans mature. You have to control that the beans green should not have excess water as well. Otherwise it will begin to spread a lot. So I'm just adding in these DDS giving him more depth into this space as well. Now onto these light lines of dependence where I'm going to add in darker lines using in the darker tone of the Payne's gray color. So I'm going to pick up the paints Greek island arc consistency and begin adding in these lines. But they will be in such a way that little lighter lines are also visible. Now with these darker lines, I'm just adding in little more details into the ten species which we did not add with the pencil sketch, suggest a little opening at polices and some more lines trying to show more different than a kid. Then we will be done with this class project for today. Now to give you a little shadow effect, I have picked up the paint staying very liquidy consistency. And two of these blocks, I'm going to give it a little bit of the Payne's gray color to add a little shadow effect into these ten species as well. That is, if we are done with a happy ending for the 21, this was a little detail being done, adding in reflection to the light, adding small leaks pieces, adding in detail leaves as well. So it took a little time, but absolutely worth the time and the outcome. Let's remove the masking tape and see our final painting. A final painting for the 22. I hope you guys enjoyed painting this beautiful sunset night sky with me today. I will see you guys tomorrow into the D 23 class project. We are just seven days a week from closing this 30 day challenge. I hope you guys are enjoying this challenge and thank you so much to each one of you for joining me into this 30-day challenge. 27. Day 23 - Thunder Sky: I have my paper taped down onto all the four edges and we will begin in with the pencil sketch. Now, I even begin marking the horizon line. This time we are going to be painting in our galaxy. Look. We are going to paint in Tonga strokes into the sky and we are going to paint the stomach kind of a galaxy. It's going to be majorly only the dark colors now at the bottom space will be having in the sea area and below the sea area, I'm going to add in a little short space for the shore space. You can see I have taken them higher on the left and the right end. And in the center up get them low. So that is it for our pencil sketch. Now let's begin painting in the sky first. For the sky, I'm going to begin in with a clean code of photo forced. Make sure you didn't even hear of water on your brush throughout multiple times so that your paper stays wet for enough time. The two colors that I will be using this time to paint a galaxy kind of for loop is indigo and Payne's gray color. I'm going to pick both of the colors out. You are on my palette. These are both from the brand right time. So first I will begin in with the indigo color. And as always, we are going to flee along with the floating consistency of the paints. And later on to create little glow into this to understand sky, we are going to use invite gouache and then add to under strokes later on. Farther false layer. I'm just beginning in with a light layer of the indigo color throughout. You can see at the top space I'm adding it in little darker consistency. But as I'm moving downwards, I'm just diluting and getting in a gradient of the indigo color up till the horizon line. Now next I'm going to pick up the paints gray color and I will begin adding in darker depth. Now near to the horizon line in the center space, we have to maintain little glowing effect for some time the cloud, make sure you try to add in the colors accordingly. It began with the Payne's gray color and I'm adding in diagonally from the top space till the center of the sky. You can see I'm pulling in diagonally from the edges and in the center space. Again, I'm trying to maintain the glow space. I'm just pulling out only to the center space and maintaining the glow in the center area completely. I'm going to begin pulling out the indigo Payne's gray color from the indigo color. Now next time mixing in a little of the indigo and the paints gray color. And I will get an, a intel, Oh, you're muted kind of a tone in between. Now using this.com mix of indigo and the Payne's gray color, I will begin adding in more depth. So again, I'm going to begin pulling out some diagonal strokes and given depth onto the edges. Now again, you all, you have to be careful that you do not have excess water. If you will be having an excess water, then the paint will flow a lot and you will not be able to control them. At present, you can see I'm able to control the flow of this paint that I'm adding in right now. And I'm majorly adding in this darker depth only on the edges to give it more depth on the edges as in the center I wanted to maintain or glowing stone look out there in the center. You can see very carefully, I'm just adding in a few strokes and my paint doesn't such a form that it is not spreading beyond the level that I'm adding in. It just blending in and having the soft edge but not spreading a lot and covering the space. Now I just pulled out these darker strokes till the ascender space, maintaining the center of the space didn't light and glowing. You can see I just blend it out in the center space. A little of the darker donors, well, but still my center space has a glowing effect. Now next thing I'm going to shift into white gouache and create further glow and that cloudy look into this galaxy thunderstorm. So I'm going to begin in with the white gouache in a little medium and liquidy consistency. You can see that it's very little whitewash with two which I'm adding in extra water to get it in a liquidy flowing consistency. Now you are in the center space where I wanted the glow effect. I'm going to simply begin dropping in the whitewash using the tip of my brush. So you can see I'm trying to add in the glowing effect. I'm adding it in such a way and connecting the dots to each other to create a cloudy patch out there. Now you need to be very careful every time that you pick up white gouache makes sure your brush does not have the darker tones on the edges picked up. Otherwise you will not be able to achieve in this whitespace. Now using the damp brush, I'm just blending the edges of the white color with the darker tones. And after every stroke you can see I'm cleaning my brush before moving to the next row so that I do not mess up that white look that I want them with the growing space. Now I will again pick up this mix of the darker tone of the indigo and the paints gray color. And I will begin adding it near to this white cloudy, glowy looked at. I have added in and I'm just dropping it using the tip of my brush, creating in the bloom effect around that automatically you can see the darker lines being formed now in-between these Cloud as well, using the tip of my brush, I dropped in little patches as well to get a little sky loop from between these kinda clouds as well. Now I have again shifted into the white gouache and this time I'm using a pointed tip, round brush. And just with the tip, I am dropping in little rays of that growing space on the bottom edges as well. So you can see very lightly, I'm adding a little white cheese to create the glowing effect to this. As I told you, we are going to be adding in the tundra strokes as well once the entire galaxy drives in. So far that right now I'm just creating a little effect and the growing space around as well. Now wherever you feel that you need little perfect blending, you can just pick up the mix of indigo and the Payne's gray color and blend the white perfectly with the background such that you have a perfect transition between each of the layers. So you're in the center spaces, you could see the patches that I added previously were not that visible. So I have again, I didn't take patch of the Payne's gray color there. Now lastly, I'm just going to pick up the paint thicker consistency. And I will make sure that at the top spaces I have in the darker blue, having the perfect tender sky creation on the edges wherever I feel that I need little more darker depths I have just dropped in the paints. Now lastly, to create little glow more, I'm going to be dropping in some water balloons. I've picked up a smallest sized round brush and I'm just dropping in water droplets from a little distance, getting in very small white blooms as you can see. So make sure you splatter these water droplets from a distance so you get these fines plateaus. This will again for the BR, adding into the growing space into the sky as well. So make sure you add this from a little far and major new on the top dark edges is better. I'm adding this as you can see. Now before letting this to dry at the bottom space, your, I feel that there is extra light colors, so I'm just going to add a little of the Payne's gray color, but I will make sure the white strokes are also visible that I added it. And then we will wait for this galaxy to dry incompletely now. And then we will begin adding in further details into this painting. Let's wait for this to dry now. Now my sky is completely dried and you can see at the moment that under stroke that has been formed. But it will look more detail when we add in the tender strokes. Now. Let's begin painting in the sea area. For painting the sea area, I'm directly picking up the paints gray color in a medium consistency. And I will be going ahead with the wet-on-dry technique here because there is not much detail to add in. Now when you are adding in this detail, makes sure that the sky is completely dry. Device the colors will begin to bleed from the bottom space to the sky area. Also make sure and be careful that you do not run into this guy space. Otherwise, you may get patches in-between. So you can either lay down a masking tape around the horizon line so that you don't run into the sky space. Make sure that the sky is completely dry, otherwise the balance will still bleed into each other. So first you can see I'm picking up the Payne's gray in a very medium consistency. This is in duck, it's more on the diluted tool. The shore area is going to be off a very dark Payne's gray color, so it's perfectly okay if you are adding little color right now by painting in this, now I'm going to begin adding in little darker depth to the sea as well. So it's more of a monochrome kind of a galaxy that we are painting in with the Payne's gray and indigo color only. So at the top, near to the horizon line, I added in Dakar depth and at the bottom center space of the C, I'm going to maintain a light gradient, wash off the Payne's gray color. I'm just going to add in little darker deck. Your again near to the horizon line, you can see I'm dropping in such darker paint. So I'm just using the tip of my flat brush and dropping in this color now around the center space of the short area to give them little shadow to the short effect, I'm adding in the darker depth onto the outline that we added in whatever outline you have followed around it just given a very fine darker line so as to showing depth of the shadow of the short area in the CSPs. Now holding my flat brush perpendicular, you can see I'm just adding in simple wave effect into the CAD. So you can see how perfectly we are getting in very little minimal detail wet on wet. Now next time shifting to the white gouache and shifting to divide gouache, I will begin adding in the thunderstorms into the skies piece. Since the area is wet, we cannot add the further details now into the sea area. So we will quickly add in the thunder details. I'm using a smaller sized round brush. So this is a size two round brush which has a pointed tip. Now in case if your brush does not have a pointed tip, make sure you use a detailer brush for adding in the thunderstruck. Now, I will begin adding in the candid strokes, creating in the thunder effect into the sky. Now these strokes make sure one that they are not completely single street line. Try to make them a little crooked to move your hand very shaky Mano. So automatically you will get in these two underlines. The center cloud that I added in from that I'm trying to show out the standard lights crapping out. So basically the candlelight effect that we're trying to show in the, through these torques. Later. I believe in B blending these drugs well into the sky space so that we do not have only signal lines coming out from around the center big cloud that I have added in. You can see I'm pulling out the thunderstorms in different directions. You can see how carefully I'm moving in and giving it a very good shape, trying to get in the perfect candle lightening effect. And from these bigger lightning effects, you can see how I'm removing in the smaller lightning effects as well. So make sure you try to strike a balance between the effects as well. So majorly from that big center white cloud that I added in, it's from data that I'm pulling out these strokes for now. Now to blend these strokes into this cloud, I'm just adding in very little white patch near to the ending of these lines. And now using a damp brush, I will blend this into our Cloud. Right now you can see it is having a sharp edge and looking like a white patch. Using a damp brush, I will just blend it into the Cloud and you can see it's looking buffet Lee as if it is connected to the cloud saying they're doing into the bottom patch as well. You can see as soon as we have added in those white patches and blended using a damp brush into that center cloud. It's looking as if the standard lightnings are coming out from those clouds. It's well perfectly. Now I will just add in a few more tendonitis effect just as I have kept adding in the previous ones. Again, you can see I'm adding these drugs very slowly and being careful about adding them in a very crooked manner so that I get the perfect time. The lightning looks same way from the top you are as well. I'm just pulling out a few strokes very randomly. You can see all of this is creating in the perfect tender galaxy kind of look after this, we will be left to add in the bottom shortly then with the black color on the horizon line, we are going to add in little mountain range and denied details as well. That is it for the time that I think the fact that we need in our galaxy Skype now since we are onto the white quash part. So using the white gouache, I will create a glowing space for the OCD light effect on the horizon line as well. Just as we have been adding in glowing stars and galaxies seem way to creating the growing city light effect out here. I'm first adding in the white gouache. I'm going to blend it and create a data layer of the whitewash. To the right end of the horizon line. You can see I have created in little of a white patch. Now in a similar way, I'm going to create a little dull white path onto the left side here as well. Now using this, we will be adding in the light effect later on once this dries in, suggests the same way as we have been creating in the glowing stars, CMDB, we'll create growing city loud lights. Your first added in the dark patch for the glowing effect. Now once these dry, we will add in the city light effect. Now next I will shift into the Payne's gray color and I will be adding in a very small mountain range in the center of the horizon line. So before that I will quickly add in this short space. So we had the outline for the short area. Now, the shore area outline is visible to me in my painting out your same. It may be visible to you into your painting. So accordingly, you can just mark out the shoreline and fill in this space completely with a darker tone of the Payne's gray color. Now in case if you do not have the Payne's gray color, you can fill it with the black color as well. Also in the entire painting, I forgot to mention if you do not have the Payne's gray color, you can use the black color, but you need to control the consistency or the or darkness of the black color by adjusting in the water content into the pain. At this moment you can see the layer looks a little lighter, so I'm just, I'm going to drop in little darker patches of the Payne's gray color again. I'm just going to pick up little Payne's gray color in a darker tone. And just using the tip of my brush, I'm going to drop in this color. In this way you will get a sense of depth into your short area as well. So basically you can see two different color tonal variations into the short space as well. Now next into the sea area out here, I'm going to add in little drop details as well. When he randomly, I'm just dropping in little patches of the Payne's gray color to show some floating rocks into the sea area very randomly just adding a few of them with a dark consistency of the Payne's gray color or the black color. Now lastly, into the center of the horizon line, as I told you, I'm going to add in a very tiny mountain range. You can see how tiny the mountain ranges. And I will just connect it till the OCD light edges. And you're on the leftmost side. I'm going to add in a small mountain range. In-between what the mountain range on the left, you have a little city lights space, same way on the right as well. Now, let's begin adding in the city light details. Your white paint has to be completely dried. It now I have some mix of the yellow and the white gouache using this yellow palette, I'm going to add in the city light effect. Now you can mix in any lighter shade of yellow and white gouache. Make sure you mix it with white boards so that you get the opaque look to the city light effects. Otherwise you will not achieve the opaque loop. Just as in the last class project we were adding this or you know, using the tip of the brush where you are as well, just using the tip of my brush, I'm dropping in very small dots of the yellow color to create the light effect out there. You can see that done by parts that we had is now blowing as an creating a glowing effect for the city light from behind this satellite view. I'm just going to add in these white patches or this yellow patches onto the white color quickly. Now in the same way, I'm going to pick up a little of the yellow, orange colors. I've mixed him little darker orange tint to this mix. And using this darker color, I'm going to add in little delight effect onto the mountain range as well, suggests that the bottom line of the mountain range on the horizon line, you can see I've added in little city light effect and in-between these yellow lights as well, I'm adding in little of the dark or city light effect. So you can see in such simple details, but it adds so much more life to your paintings. You can have a closer view of the city lights that we have added in. And that is it. We are ready with our class project for day 23 as well. Let's remove the masking tape and see our final painting for today. Be very careful when removing the masking tape such that your short area is not wet otherwise, the pins may begin to seep onto the edges and made when the clean edge loop and always remove the masking tape one at a time. Otherwise it may tear of your paper because of the tips coming out altogether. So here is a final painting for date 23 of this 30-day challenge. We are just seven days OB from closing this challenge. I hope you guys enjoyed painting this with me today and learned creating in this thunderstorm and the thunder cloud glowing effect in the center area using white gouache. I will see you guys tomorrow into the day 24 class project. Thank you so much to each one of you for joining me into this class. 28. Day 24 - Warm Planet: Hello everyone. Welcome back to day 24 of the 30 watercolor challenge. We are going to be painting in this bond galaxy today. The colors that you need for today's class project is yellow, orange, burnt sienna, burnt umber, Payne's gray, black, and white gouache. We will begin painting the sky first and then move to the planet later on. So let's begin painting. I have my paper taped down onto all the four edges and I will first begin by marking out the placement for the planet. For that I'm using. Are these circular? But it seems that the token is too small. So what I will do is I will quickly shift into my compass and I will add in a little bigger. So good using in the compass. If you have any other bigger circle shape, you can directly use that. But since I do not have one, I will mark it out with the compass on the right side and another little centers piece that I'm adding in this planet space. I'm done adding the planet. Now I'm going to shift to my pencil again and I'm going to add a very small horizon line, your small space at the bottom media, which we are going to add in as the land didn't already small one as you can see, and that is it. We are ready with our pencil sketch. Now, leaving this planet space blind, we will begin adding in the layer of water onto the entire of the sky space. So make sure you do not add water to the planet right now. I've been picking them with a clean coat of water onto the entire skies piece leaving the land and the planet space. Another thing around the planet we are going to be creating in a very glowing effect with the yellow color. Make sure around the planet you have the globe with the yellow color coming in and rest of the space we are going to add in darker depth using indifferent tonal values of the brown and the paints gray color. Now you can see I'm running my brush multiple times so that my paper stays wet for enough time and I haven't evenly at a photo throughout and there is no potholes of water left out anywhere. Make sure that you run your brush multiple times so that you have the perfect you don't Lear a photo onto the entire sky. The first color that I'm picking up is the shade of yellow, orange. So it's more of yellow and less of orange to yellow orange kind of a tune that I already have in my palette. In this, if you do not have this, you can simply mix in a little danger of orange color to your permanent yellow deep color. Now, I am going to use this color first around the planet to create a glowing space. I'm going to use this color in a medium consistency so that I get a little lighter tint of this color. What I will do is I will lead on this color into the entire galaxy space first, so that I can give them bloom effect and get lighter blue in-between into the entire galaxy, whichever please I want after adding in the darker tints as well. So for now, lead on this color completely. Just make sure around the edges of the planet, you do not run into the planet space. Around the edges of the planet. When we begin adding in the darker tones, we need to maintain this light to turn visible for the glowing effect. I'm almost done adding in this layer of the yellow, orange color onto the entire space. Next column, I'm shifting into the orange color. I'm just mixing it to the same yellow mix out. You're leaving a little space around the planet area. I'm going to begin adding in the orange color. Again, you are also, you would have noticed I'm playing along with the floating consistency of paint smudge and dropping them just using the tip of my brush, making them blend naturally. Now to this same mix I'm adding in the burnt sienna Canada. I'm from New York, the audience piece. I'm beginning to add in the burnt sienna color to the buoyancy. And also you can see I've added lots of water and I'm just using again the floating consistency and dropping it near to the orange color, trying to get in the color bleeding into each other very naturally. You can see almost into the entire space around the yellow and orange color I've added in the layer of the burnt sienna fellow. In-between you can see that the lighter bones of the orange and the yellow color visible. And that is exactly what will get covered up ahead or at places it will act as the law space. Again. Now to this I'm adding in the bond Tambo color and I will begin adding in darker depth with the bond amber color around the burnt sienna. You can see how color by color we are beginning to building the depth into our galaxy. Now again, you're also, if you notice, I'm just playing along with the floating consistency of the bone, Dumbo. Hello. I'm adding it in such a way that I make sure the bond CNI is also visible. Now around the planet area you can see I still have the light yellow color creating in the glow space. Make sure you maintain this clause piece around the planet area. If you feel the colors are spreading, you can just use a damp brush and lift up the colors from there. Now I'm picking up the sepia color and I will begin adding in depth with the CPR. In case if you do not have the sepia color, you can just mix in a little bit of the bone Dumbo with those beans gray color. Now beginning from the edge, I will begin dropping in this dark color, that is the sepia color. Again, you can see that this also I'm playing alone with the floating consistency, adding it very naturally. All of this is going wet on wet. And you can see my paper is still wet because we have been adding wet paint on the wet layer, which is making it stable for such a long time. Now you can see majorly around the planet area we have the lighter glowing effect and on the edges we have different color combinations coming in. And we've tried to maintain the look of each color layer that we have added in. Now for the last layer of depth, I'm going to begin in with the paints gray color and I'm going to begin dropping in the paint gray color from the edges. Again with the Payne's gray colored Altay will play along with the floating consistency. Now make sure your, your paper is on the flat surface. Otherwise, if you keep it tilted, the paints will begin to flow around. If you want. If there is excess paint or excess liquid flowing around, you can just pick up or a tissue and dab of these excess paint. So I'm just going to pick in a tissue and dab off the excess paint from the edges wherever I feel that a lot has been collected. Beginning from your you can see I'm just lifting it up with the help of my damp brush. I'm just lifting the excess paint on liquid that is flowing around on the edges and dabbing it off on the tissue. Now, when we do this, it may so happen that the dark colors on the edges may also get lifted up at times because of the brush tool. So are those places you can again lay down that darker tones again. And to pick up the darker tone that is the Payne's gray. Again, I'm just going to leave a little of that on the top edges from where the colors are called, lifted up a bit. Now to make the blend smoother, I'm just dropping in this darker brown color mix again near to the Payne's gray color, so that the colors flow and float into each other naturally. And you have perfect transition and flow between each of the color layers that you have added in. Now next, I'm just going to add in some color blooms onto this darker edges. So for that I'm picking up the light yellow color and I'm going to add in little water and get it in a little liquidy consistency. And I'm going to begin dropping in this using the tip of my brush. Using the tip we're going to use in the blooming technique here and begin dropping in the water droplet or the color droplet, in this case, a one-by-one. I will just mix a little orange has been to this entry reignited balloons with some darker colors to this yellow itself. I'm going to mix a little orange and begin creating little looms with that as well. Now next I'm just going to splatter some water. Just going to a little water onto my brush that you make sure you use the smallest size brush. And I'm just going to begin dabbing in water and you can see the water droplets creating in further blooms into this galaxy, given in the lighter glow coming in. Now lastly, before leaving all of this to dry in, I will just pick up this lighter yellow color and drop it around the edges of the planet so that you have the perfect glowing effect. And you can see how dropping it in a liquidy consistency, it's just floating and blending well with the branches giving you the perfect glow around the planet edge. That is it. Now I will wait for this to dry completely and then we will begin adding in the planet and the bottom field area. Make sure you lay this flat and let it dry naturally so that the colors stay vibrant. Now my galaxy is completely dried in, and you can see the perfect effect in the galaxy that we've got, especially around the planet. We have the glowing space and the one loop. And then we've darken the color layer by layer, and we've got the buffet bloom glowing effects as well with the yellow circle, the droplet and the water droplets. Now, I'm going to begin in with the yellow color and I will begin painting the planet first. I'm going to pick up the medium yellow color directly. And I'm going to begin in with the wet-on-dry technique. That is, I'm not going to be adding in a layer of water out here. I will begin adding in a layer of the yellow color forced onto the entire planet space. Now when you add this layer of yellow color, make sure you be careful that you do not run out of the planet space and you do not add water onto the galaxy area. Otherwise, the colors will begin to get activated and bleed into each other. Very carefully, going very slowly and add in this video, make sure you are the yellow-colored, a little liquidy consistency so that it will automatically stay there for you to add in the details. I'm done adding in the forest cleared of the yellow color onto the entire planet. Now next I'm going to shift into my round brush and I will make an adding in the burnt sienna color onto the edges. So I'm going to pick up little of the burnt sienna color in a medium consistency. And just using the tip of my round brush, I will begin adding the bond sienna color only onto the round edge of this planet. So make sure your paints are not in an extra flowy consistency, otherwise they will bleed a lot. We want them to blend with the yellow but not spread much until and unless we want bigger patches at places. Now to this, to add little depth, I'm adding the depth with the bond amber color as well. Again, with the bond amber color also you can see I've tried to maintain the flow of the bond Tambo Carlo. In this case, you need to make sure you lay your hands very gently to make sure that you do not add the paint in extra water. You are liquidy consistency, otherwise you will not be able to control the flow. You can see I'm just using the tip and I'm making sure I do not have excess water on my brush or the paints are not an extra fluid consistency. Now I'm adding in patches with the bond on book or look at the bottom half diagonally. So you can see the top half diagonally is more of the yellow color. And at the bottom we are adding in the darker tones. Next time shifting into the white gouache. And beginning in with the white gouache, I will create little glow out your signpost, adding in a batch of the whitewash our tour. And from this now I'm going to pull out little risks. This is to create a little of the glowing effect out here into the planet space. Now using the yellow color again, do a yellow, orange mix. Actually I'm going to add in little warmth, depth and the top space IT. And between the brown colors as well, you can see I'm going in very slowly with the planet space and adding in patches or LEO by Leo so that the colors don't spread and did not lose their space. The moment you will see the brown color is still intact wherever you have added it, they haven't spread it much, but they have the soft blending in-between. Now I'm just going to add a little darker debt to these brown patches. These are going to be smaller than the first fluid itself. And on the Edge as well, I'm going to define it so that it stands out separately from the galaxies piece. Now I'm shifting into the white gouache and using the white gouache, I'm just going to add little highlights onto this planet out you're on the right side creating in some glowing effect out here. So make sure you use the white version thick consistency your again, this is wet-on-wet because I want the white gouache to have a blended effect. I'm going to use a damp brush and going to blend it well with the browns. Now lastly, again, at this piece where we had created in the region of the glowing effect, I'm just adding in another Leo so that the standout prominent because they were not looking that vibrate. So again, I did in the race with white gouache. That is it. We are ready with the planet as well. Now, before moving into the bottom space, I'm going to quickly splatter the stars into the galaxy. So for that I'm using in the white gouache. I will try not to add much of the styles onto the planet space, but a few of them, if randomly going there, I will let them go and I will blend them quickly as my planet is still there. If you want, you can cover the planet completely and then add this to avoid the stars going onto the planet space. You can see I've added enough stars now quickly using a damp brush, I will blend the stars which have fallen into the planet space. Since my plan myth is still wet, it's easier for me to blend in. In case if your planet has dried in, I would recommend you to cover your planet and then splatter the stars. Before played painting the planet, you add in the stars, since I absolutely forgot about data and added the planet false. Again, I would recommend it to you to first add the stars are covered the planet, or try to blend in the stars on the planet again. Now let's begin painting in this bottom field space. So I'm going to begin in the yellow color and I'm going to lay down the yellow color on the entire bottom or land area. Now your all-time going ahead with the wet-on-dry technique because it's quite a small space and we are going to be adding in the details quite quickly onto this. So fast with this yellow, orange color mix, I have laid down on the complete space, make sure that this paint is in a little liquidy consistency. Next time picking up the burnt sienna color and I will begin adding it from the edges. Now when you begin adding in the bouncy intercalate also makes sure that you edit only from the edges in the vendor maintain that won't effect to reflect the effect of the galaxy on the land space as well. Next, shifting into the bond amber color, I will begin adding in the depth again, you're as bed. Make sure when you add all of these, you do not have access water, otherwise, the paint will spread a lot and will not read in the shape. Now I'm adding in a little bit of the Payne's gray colors Bell, and adding much more darker debt onto the edges. Before that, I'm just defining the horizon line with the dark color perfectly. Now from the edges you can see pulling out random strokes onto the land space. Now next I shifted into the white gouache and I'm just going to be adding in a few of the shooting stars into this galaxy using just the tip of my round brush, I'm going to pull out some diagnose torques to actin as the shooting stars. Make sure that these lines are very fine. Use appointed the brush order detailer brush for adding in these and be very careful. This one out here you can see it turned out a little extra fat. You know, take them what I wanted it to. I'm just blending it very carefully on this. I will add the shooting starts. So basically this will act as the glowing space behind the shooting star, just as we have been adding in the simple glowing stars till now, same thing, this time of blowing shooting star that I'm converting it into. Now quickly, I'm just going to add in a few of the glowing stars as well. So I'm going to quickly using the white gouache and create small circles out your, and these are going to be the LDL, so-called blended into the background space. First I'm using in the Big-O white patches which are already there while adding in the stars suggest a few of them you can see. In case if you do not have the biggest stars, you can simply pick up the white gouache and I didn't these patches. And you can see we've got the around seven to eight of these growing stars out there. Now using the white gouache geometric consistency, I'm just going to add the stars into the center of these patches that we added it. Now automatically you can see that dial is acting as the glowing stars with, and these cells are acting as the glowing stars. So we'll quickly added to all of them. Now randomly, I'm just adding in a few of the biggest stars as well into the sky area. And you can see our galaxy coming in all together, getting in the perfect one to and the planet effect out here. Now before removing the masking tape, one last thing I'm going to pick up a little bit of the bond sienna color and going to add little detail out. You're at the bottom center space because I'm a little bit unsatisfied, suggest little dry brush, detailed blending that I'm trying to give in your It's kind of a reweighting technique that I did in that ID vetted it completely with the burnt sienna color. Then on their ideas just added a little of the bond amber colored again. That is going to be already with our class project for D24 as well. Let's remove the masking tape and see our final painting. We are just six days away from ending this 30-day challenge. And tomorrow we are going to be creating an galaxy. And also we are going to be adding an effect using in the straw. Make sure you have your straws ready tomorrow for creating the perfect based on galaxy and giving a defect and texture with the straw is a final painting for day 24. I hope you guys enjoyed painting this with me today. I will be seeing you guys tomorrow into the day 25 class project. I hope you guys are enjoying this challenge and I'm loving to see all of your class projects coming into the project section as bell, I will see you guys tomorrow into the day 25 class project. Thank you so much for joining me into this class. 29. Day 25 - Texture Galaxy: Hello everyone, Welcome back to the TempDB watercolor challenge. We are on VPN device today and we will be painting this piece still galaxy with the texture look to the, the colors that you need for today's class project is yellow, cobalt, three new windows, permanent, violet, blue, and white quash. We are going to bring in these textures using a straw. So make sure you have a straw ready with you for this class project. As we begin ahead, we will pose beginning in the piece of background, and then we're giving him the texture using in the floating watercolors with the straw. Let's begin painting. I have my people, they've done and I will post begin forming in the face of colors that we will be needing for this class project, I will begin adding the colors one-by-one onto my palette. We do not have any pencil sketch. Everything is going to be all natural flow. Just make sure you have a strategy with you because we are going to be creating in the textures using this draw. The first color that I've picked up is the shade of yellow. Next one is the shade of green rules. Next, I have picked up the shade of yellow, orange, and the shade of violet. After this, I'm going to pick up a little bit of the cobalt gene mu. Now since this cobalt green new is already like puppies to tone, I'm not going to create a piece it onto this by two rest of the colors. Now I'm going to add in whitewash analytical liquidy consistency to get the pastel tones to each of these. Also, I'm going to pay these colors in a little protein consistency because again, I'm going to fill around with the protein consistency of the watercolors. I'm quickly dropping in these beans into the whole basic colors that we have out on a pallet. And then I will begin mixing them and begin creating in the pastel colors one-by-one. I've mixed in all the four basic sheets with the white color and created in the pastel tones. Now, I feel that yellow is a little on the lighter side. I'm going to add in a little more of the yellow. Do it to get to the little move right though. One. And also, this is how you can, you know, getting the perfect sheets and you can alter depending on the color up sheet that you have got by mixing in the proportion of yellow and white. I'm just going to add in a little pinch of white as well. Now, make sure that you have enough color ready on your palette, because we are going to play around with the consistency of the paint. I'm also making sure that I have enough of each of the colors depending on the paper size that you are using it. Otherwise, after you begin painting, you may get a different color variations to these two colors where I feel the right is a little less. I've just added a little more white to get it a little more basal. For the base Leo, the bass notes are going to be off the lighter tones. And then the architecture that we will be adding in using the store will be of the darker doors. Now let's begin painting. So impulse when the beginning without the input of water onto my entire office. Make sure you have an even layer of water throughout so that you do not have particles of water anywhere or your paper does not dry out from any one single-space quickly to make sure you have an even layer of water spread throughout and run your brush multiple types so that your papers these bed for enough time for you to complete the entire galaxy. I will first begin with the cobalt gene color. Now as you do not have cobalt green, you can go ahead with our basal turn off in bean color. In the center space. I will begin in with this color. Now I'm going to play along with the floating consistency. So you can see my beans are on a little floating side and not too thick. Now next I'm going to pick up the yellow balloon mix that we have created. And I will begin adding this at the top space in-between. I'm going to leave a little by depth on the right side. Next, just adding a little of the yellow at the bottom of your as well, you can see both the colors are meeting in an bleeding in a yellowish green in between as Beth Next, picking up the pace or tone of the window Scholar and I'm going to add a tumour. In case if you did not have the quinoa scholar, you could go ahead with the scarlet color, just adding a little more white to get a little pinkish color. I'm going to pick up the violet color mix now and going to add the violet color mix as well to the violet color mix. I've just added a little more of the basic violet color because the color seem to be too light. Now you can see I have on my palate, would the yellow and violet are managing to each other. So I'm making sure I pick up the violet from the adult side, but it is not mixing into the yellow color. Otherwise, it will give me muddy tone on the color palette itself. Now at the bottom here again, I'm just going to add a little bit of the cobalt green and the pink color and get ready with the false neo color out here. So you can see I've added the colors in such a way that the blend into each other, but still the standard distinctively, even to the queen rose color. You can see I've got a darker tone than what I used previously. So this is how you can just keep altering the color depending on the need of the shade that you require. Now last year I'm just adding in a little bit of violet, you're at the top space as well, but I'm adding it in a very liquidy consistency as you can see, that it does not blend with the yellow and get muddy thought. Now this isn't for the false Leo. We'll wait for this to dry and then begin adding in and playing with the texture using in this job. So just a simple layer. Let's wait for this to dry completely. My base layer of the galaxy is completely dried in. And now I'm going to be using in this steel store. You can see this is a steel straw and I'm going to use this for beginning intermediate texture using in the store. Going to be blowing in air using a straw and try to create the texture into this galaxy. So first let's begin forming in the fellows and dropping them one by one. Now I'm going to go ahead a little slowly into the texture creating pattern tool. Suppose I'm creating in a little darker tint of the yellow color what it used in the base NAOH. I'm adding in a little bit of the permanent yellow deep and do this, I'm going to add in a little bit of water as well as whitewash. Because for creating in the texture or using in the straw, we need to make sure that the paints are innovating fluid consistency only then you will be able to be a detection using in the straw boss, taking up the paint in the liquidy consistency and using the brush, I'm going to falsely it onto the paper creating in a very rough line. You can see I've added in a lot of water so that I get the perfect growing consistency. Now using the debug my brush, I'm going to begin dropping in this paint your inner shape very carefully. You can see how liquid the paints are at this moment. I have laid down a very rough line with the yellow following a very liquidy consistency, as you can see now, using the straw, I will begin blowing in the air from the top end. And I will just begin pulling out these paints. You know, the strokes out from this pain. It will take a little time plus it will take a little energy as well. So at any a point after adding a few strokes, if you feel like taking a break, make sure you take a bit. Now using a bigger size brush, I'm just adding in little water onto the edges so that you will see it can flow in 3D. As I told you, if you will not be having in these inner liquidy consistency, they will not flow easily. So it's very important to have them in a liquidy consistency for them to spread easily and to be blown through a straw like this. This is just the first architecture part that we have added in like this. We're going to go ahead and keep pulling in with the colors creating in the texture. Now I'm just adding in a little bit of survived crash out here while this is still wet to automatically create a little distinction and a prominent line for this texture. Again, using in this drawer I will just spread a little bit of this white as bed. It will take a little pressure to add in this air through the straw for creating in this texture. But it will definitely be what the effect that you will begin getting it. Now next time I'm going to begin creating in the same texture using in the violet color. I'm mixing a little bit of the white to the violet and picking up this violet color, I will begin adding it at the top right side. Now, on my palette you can see the yellow color zipping to the violet. I'm making sure I did not let the yellow effect out. You're going to add it to your on the rightmost side. Again, you can see I'm playing along with the liquid consistency. And now taking up this jaw again this time I'm going to pull this towards the yellow color. So I'm going to blow the air from the right edge out. You're going to make it overly onto the yellow color and make them flow into each other at places creating different textures. Now next I'm again going to pick up the violet color. I'm going to add the tour on the left side. Again, I'm going to play along with the floating consistency. So I just added an edge line with the violet color. Now picking up the color in the liquidy consistency, just going to add it here onto the entire block that I have shaded. Now, again, picking up the straw, I will begin pulling out this paint towards the center. Say it again. You can see very than the mere, I'm just blowing out these troops into the center space. Now, blowing this can actually be or tedious task if you can see, it may take time as well as it requires a lot of pressure to in-between after a one-color patch, if you want, you can take a break off a little time and then move to the colors true. But you can only create in these patterns while the color patches still where once you add the color, you will have to create the badge or the movement for this. Now you will notice I'm creating in these movements very randomly in all directions. Just rotate in my board so that it's easier to get an angle correctly. Now from your you can see I'm trying to pull these out into the yellow and the light purple strokes as well. So again, these, this requires a little extra ratio and it has to have the paints in a flowing consistency only then the paint will float out easily. Now at the bottom you are again, I've added in the violet in a piece too. And you can see it's in such floating consistency. Now again, I'm going to begin pulling out this using in this trial trying to create a texture. You will notice I'm very randomly pulling these torques out to creating the texture. There is nothing in specific. I'm just going to pick up the tissue. I'm going to pick in little of the color from the top side that is just dabbing into create some lighter colors at the top is then lightening the color a bit. Now again, I'm just going to begin pulling out these tubes. You can see the colors move into the dark purple strokes as renovated under me creating and texture farther out there, suggest be all free and keep creating it. Now again to these lighter purple strokes to make them more lighter, I'm quickly dabbing it with a tissue to create give it more lighter tones as well at places. Now at the bottom side you're on, I'm adding in this pastel pink color, but it's in a little darker consistency than the previous New York of pink. And again, you're also, I'm going to play along with the straw and creating in the Tech Show your Asbell. Again, I will repeat the two important thing out your is one that your planes have to be in a little fluid consistency that you can add in the texture. And secondly, you need to blow the air while this is still wet. This time to this pink. I'm even adding in middle of the cobalt green color to give in a little color texture detail out here. You can see simply pulling out. Now you're again, I feel that there is extra love being collected so quickly dabbing it with a tissue or pleases creating in some lighter and some darker depths, giving in the texture and making the paper also dry out well, to make sure you use just one edge of the tissue to dab it that the colors, otherwise, all the colors on the tissue may get lifted onto the paper. Now lastly, you are again at the top side where we began with the yellow color. There. I'm going to begin with the pink shade against I will quickly create. Electric windows and the white color mix, I'm going to add it. You're at the top side and then again begin walking in with the straw. You can see I've, I didn't mix up the light and the dark pink. Now I'm going to pull this towards the center side again. You will see very randomly this course on and you can pull out these strokes in any direction. It need not be the same exactly like mine. Feel free with the motion it's about creating in these, it shows into the galaxy using in this method of the straw. So you can see I'm trying to make it push to the left edge of the paper, trying to pull out and market with the violet color as well. And very randomly you will see from the biggest rocks I'm trying to make out smaller strokes by again giving in the air in different directions in which I want the biggest strokes to turn into. Now again, raspberry just quickly dabbing up the excess pin wherever I feel that there is a little excess of it and quickly need some dabbing for some lighter tones. That is it. We are done with the effects that show with the straw. Now we will begin adding in the stars. So this time for the stars, I'm going to add in white gouache and the yellow color. And beginners watching the stars with a very dark face and tone of the yellow color because the white stars alone would not stand out that by printing, hence to give it a little vibrancy, I'm going to splatter the first period of stars with this yellow color mixed with the whiteboard. So same way as we have been splurging in the white stars. In the same way we address that during in the stars with the yellow color mix off-white Bush. Now next I'm just picking up a little based on mics off the pink color and going to slag given a little splatter of the paisley pink color as well, creating further more detail into this galaxy, a little more depth into the stars. Now lastly, I'm just going to be adding in a few of the glowing star. So for that I'm shifting into my smallest sized round brush and picking up the light wash I will begin creating in the growing background very randomly at places I will begin creating in these patches with the whitewash book adding in the growing stars. Once these dry. You can see very randomly at places I'm being creating in these patches for the glowing stars, you will notice that majorly I've added these onto the darker spaces so that the B visit bill so quickly just going to add last few more and then it will shift to adding in the stars into these glowing spaces. Now Mike, knowing star patches have dried completely, so I'm going to shift into the whitewash again. This time I'm going to pick up the whitewashing, I think consistency. And I will begin adding in the main styles into these Morningstar's patches. Now, make sure that you pick up the white gouache and pick consistency. And using This, just begin adding in smallest stars into the center of these patches that we have created. Make sure you use the smallest size brush or a brush that has appointed fifth so that you can add in these fine study it is. Now in the same way I'm going to quickly be adding in the smallest stars to all of the patches that we have created in for the glowing stars. You can see how the stars are coming into life as soon as you add in the small stars in the center of these growing spaces, automatically you begin to get in such a growing look into the SaaS. Now very randomly at places I'm adding in a few of the bigger white stars without the growing space. Now, lastly, just going to use in the whitewash, I'm going to add a few shining stars vary randomly at places as well. Now just adding enough you're blowing starts at places very randomly wherever I feel the need to. You can see very randomly at places wherever I feel the need, I'm adding in a few of the shining stars. You need to strike a balance in-between the glowing stars and the shining stars into this painting. Make sure you add the growing styles also forced, limited in numbers and then accordingly, whichever style you need a little more, you can add them later on again. But if you will add all of them together at one place, it will be very difficult to undo and go back to a specific style. Again. That is it. Now let's remove the masking tape and see our final painting. It would have been a little tedious to play along with us draw because it creates little pressure while blowing Ear to get those textures. But I'm sure the end result is what the pressure that comes through it. I hope you guys enjoyed creating in this texture using a store today. And the piston galaxy looks so beautiful with that little picture that we have created in your final painting for the 25, we are just five days away from closing in this 30-day challenge. Thank you so much to each one of you for joining me into this challenge and painting along through the 30 days. I'm loving to see all of your class projects and would love to see the other photo coming class projects has been. 30. Day 26 - Candy Galaxy: Hello everyone, Welcome back to the 3D watercolor challenge. We are on D26 to d, and we are going to be painting in this cotton candy galaxy today. The colors that you need for today's class project, this fruition blue. Why lift coded white gouache paints gray, indigo, and yellow. We're first going to be creating in the cotton candy Galaxy low. And then moving ahead adding in the details one-by-one. Let's begin painting in today's class project. Let's begin in with the pencil sketch. So I'm just going to begin by marking the horizon line first and now onto the bottom space I'm going to be marking in the pathway ealier. You can see the pathways quite broad and I've given it a diminishing point and the horizon line. Now from the sides of these roadway we are going to be having in a few power lines. I'm just giving you a rough sketch to these power lines for now. You can see I'm giving it in a very rough manner so that I do not have these sharp details visible from these power lines. I'm going to add in some VIA connections moving towards the top space from both the sides. As you can see. I will begin with again quarter further into the sky space. First, I'm going to be painting an apartment and legality this time. And then we will be adding in the deflection of this guy onto the pathway and painting a very simple road v. Let's begin by painting the sky falls. Make sure you have a clean layer of water throughout the and you have an evenly also that the paint spread evenly and your paper does not die from any place. We are only going to be painting in the sky for. So make sure you add the water only on to the sky space. I'm going to begin in with the white gouache force. You can see despite cleaning my brush where I hadn't listened tint of the green color on my brush. Now I chose, I wanted any light color tone our tours, I will quickly lead this. You can just leave white gouache if you want. Now next, I'm willing to be shifting into the peach color, that is the coordinate color. Actually know if you do not have the colon color, you can just mix in a little bit of your quin rose, yellow, and white to get a beach otoconial tone. So I'm going to be using in this coordinate on directly and I'm going to be spreading it just near to this white layer that I added in. I'm going to create a cotton candy blow into this galaxy, into the left side. And the rest of the galaxy is mainly going to be off the blue color tool. You can see I'm adding in some patches of the coral color again because at places I'm going to be using in the blooming technique went from between the blue color I create the bloom, I want that or you know, the glue of this according color comes into light. Now you can see on both sides of the part we have extended little of the coral color as well, so as to get the perfect coral blue at the horizon line. So make sure at the horizon manual given the coral color view as well. Next, I have picked up the Prussian blue color and beginning with the pollution new color, I'm just going to begin adding it in a very liquidy consistency so as to play along with the floating consistency of the paint. Now, you will see majorly, I'm going to be adding in this color onto the entire space, but near to the horizon line, I even tried to maintain middle brewing effect of the coral color in this false me what I'm adding it enough ready or light consistency, as you can see. Now, I'm going to pick up the Prussian blue color this time in Dhaka, Kansas City. That is, I will not be adding much water to dilute the tone of the color and picking up the occlusion blue in a darker tone, I will again begin adding GIF into the blue colors pieces. But this time I'm going to make sure that I added in such a way that I have the lighter tones also visible. But again, you will notice I'm playing along with the liquid consistency as well. If you want that. If you do not have occlusion blue color, you can simply add in onCreate a darker blue tone by either adding indigo to your basic new or adding in a little bit of the black to your basic blue. So you can see how very loosely I'm adding in these wet on wet Leo's out here. I am almost done adding in the Prussian blue color. Now you can see the color layer of the coral color that I have added in is looking solar light and it's not blending easily with the blue color. To make those blend easily. I'm again going to pick up the code and color. Now I'm going to drop it in a floating consistency, New York with a blue color. Now when you begin to drop this, you got to be very careful. You need to make sure that you only use the tip of the brush and you have the color picked up in a very liquidy consistency so that it drops quickly just from the tip of the brush. And now you can see the blending happening in between the forest and the blue color very naturally. Now CMV, the center space by it also if you see it's not blending in easily. So again, I'm going to pick up the white-collar and winter drop it just in-between the coral color lines. So automatically you will see the blends and the bleeds happening there as well easily. Now just using a damp brush, I'm trying to create blends in-between the white and the coral color. Again, you will see how easily the colors are blending. Now, I'm just moving little of the coral colors to the blue as well. Now picking up some bright violet color, I'm just going to begin dropping it in the center space of the white color that we added into creating for the MCAT cotton candy glow out here. Again, in order to get the smooth soft blend is that your paint has to be in a floating consistency, makes sure your brush does not lift up any of the previous colors. Otherwise, clean your brush before picking up any other color again. Now I'm going to shift into the indigo color. And using the indigo color, I will begin adding in for the monarch or depth into the blue color ranges. Driving add them in such a way that I have the lighter blues also visible at places major new on the edge. I'm going to be adding in the dark blue effect with the indigo color. On the right side, if you see I have left in a little small patches of the coral color so as to show a little more glowing peaking space out there has been. Now again with the coral color. I'm just going to be dropping in little of the coral color onto my horizon line as well, so as to get a little glowing color of the horizon line. Or with this old coordinate column at the present moment, if you see there is a lot of blue that has big bins of to give it a little touch, I have added the coral color in a very liquidy consistency, and I have tilted my boards majorly towards the top three so that the photo color flows top what I automatically have in a quarter line near to the horizon line. Now, moving into tilting my board very slowly in all directions to get blends in-between the colors very easily. And since we have been playing along with the floating consistency of the paint, you will notice that the paints very easily float and keep flowing into each other. You've got to even control this. Otherwise, if you will tilt it already harshly or altogether, then the paints may quickly flow into each other and give you a flat color. So again, with the coral color I've just added in little of the glowing effect out here. Now with a small brush, I'm picking up little of the coral color and using the tip of my brush, just dropping in some very small blooms of the coral color at the right side near to the horizon line. Basically we just added in some oral blooms, just as we add water blooms or white blues, that is it for the Galaxy sky. Now let's wait for this to dry incompletely. Then we will begin adding in the further details into this painting. Now my candy galaxies completely dried and you can see the 4 fifth perfect effect of the glue that we have gotten your also at the horizon line, the little coding color blue that we have in. Now we will begin painting in the bottom space, that is the road we force for that old way I'm going to be using in the violet color and the blue color mixing. So first I will lay down the Riot color at the bottom side. You are going ahead with the wet-on-dry technique because it is quite a A small space, as you can see in on top of this violet color, I'm just giving you in earlier of the Prussian blue color that we used in the sky. Now when both of these were mixing, you will get a bluish violet kind of a tone. At places I've been let little off the wild-type color be visible on the edges of the places I'm just going to, and blending with the blue getting in a bluish violet tone. Now on the edge to give him more darker depth, I'm adding in the indigo colorize bell. So you will see at the bottom I have little of the violet color still visible and add other spaces added in a little more of the indigo color to give in darker deck. Now at the bottom also you will see I've still left in little sneak peek of the wireless color to give in that very light violet path because of the cotton candy look. Before moving ahead, I forgot one thing that is to splatter the stars into our galaxy. So what I will do is while my roadway sweat, I will quickly pick up some fresh white gouache and I will splatter the stars. Now a little of my stars may go into my roadway as it is still way. Since that is wet, I will quickly just blend those colors available to each other. Otherwise, what you can do is wait for your pathway to try and completely cover up that space and then begin to splattered in the stars. Now, make sure you're splatter the stars from a little distance so that you can define star details. I'm done splintering in the stars and you can see there has been so much of the stars coming onto the path we as bell. So I will quickly blend all of those using in the blue color because my EDI still in case if your anion has dried, make sure you cover it up and then you begin to splatter the stars so that you do not get any white patches. Now in-between again, I picked up a little violet color and adding in little while it touches bell. Now let's make for all of this to dry completely and then add the further details on the edges of the pathway and complete the painting as well. Now everything has dried completely and you can see the little violet touch we have on the pathway at the bottom space. Now I'm going to begin painting. It is. So I'm fast picking up the paints gray color and I will begin adding it onto the left and the right side edges of the pathway that we have the whitespaces. Now, I'm going to direct the pick up the paints Greek alla from the pan and begin adding it onto the edges. So I will first begin defining in the horizon line and then just begin filling it with the Payne's gray color directly. At the moment, if you see on my horizon line, I do not have the state perfect line because they're now I'm going to add in little details, Bush kind of a look. I'm just going to be using in that they both my brush and just begin adding in little bush kind of details onto the horizon line. Now in the same way I'm going to do it even onto the left side as well. So I forced my dose the edge of the pathway. And now at the top I'm giving in little of the bush D1, and then I will fill the bottom space with the Payne's gray color completely just as I did on the right side. I'm almost done filling in the left side as well with the paints gray color. And you can see the perfect or detail looked at comes in just by giving it that little bush detail. Now you can see I've made sure that the coding color is still a little visible from behind these black pushes now onto the center space that is the ending point of the roadway as well. I'm going to be adding in little bush detail using the Payne's gray Carlo. So picking up the paints gray color just using the tip, I'm going to add in very little bush detail there as well. Now to this I will begin adding in the power line detail. So at the moment, if you see the pencil sketch that we had added at the beginning is no longer visible because of the darker tones that we have been using in. What I will do is I'm going to quickly pick up already fine size pen. So this is 0.3 or dip pen. Using this I will just give in rough lines for the powerline grid that I will be adding in so that I have a mapping to go ahead with and then undo this I will be using in a fine brush and giving him the black detail. Because if you see with this fine line of the, it still will not be looking in that prominent or that clear as the look that black color or paints gray color we'll be giving it. I'm going to quickly mark out to two power lines onto both left and the right side. And then moving towards the horizon line, I will begin adding in power lines or in the smallest size. So the pollex will keep on decreasing in height as we move towards the horizon line. Now I've shifted to the Payne's gray color and using my smallest size brush, I'm just going to give in perfect detail to these lines. I'm going to mark all these lines with the black color. Now, these were just acting as the guiding lines and the pencil marks would again not be visible. Unified added them onto these pins. Hence, I added the lines with a black pen. Now just adding in a little thicker line with the brush directly using the paints gray color in the thick consistency. So you can see the difference of using the lines with the pen and adding in the lines with the Palo in the center. As we get moving towards the horizon line, you can see the size of topo lines going on smaller. Now from these lines I'm going to be adding in the virus moving towards the top left and the top right side. Using the same smallest sized round brush. I'm just pulling out these violence towards the top side. Now you can see these violins are quite thin and not to take all ones. It make sure you add these quite thin and do not rush into adding them going very slowly. And you can see I've just popped up three to four from the right side. Now seeing there, I'm going to add a few from the left side as well connected to this left bigger pool, moving into the smaller force towards the center side as well. Very randomly in the center space, I'm connecting them to each other. Now just going to add in little details onto these polls that we added first. And you can see how randomly I have tried to really the sheep of these powerline bias that we have added in. One of the points I just added in a bigger box to give in a little sign board kind of a detail. Now, I'm going to shift into my white gouache. Gouache. I'm going to mix in a little bit of the yellow color and when to get a very pastel yellow color to add in the details onto the pathway as well. I do not want to go in with the basic white lines out your hands and mixing it with the yellow color to get in a little yellowish tint. Make sure you mix it with whitewash only then you will get an opaque look of this onto this dark blue violet color mix that we have out your, otherwise you will not be able to achieve the opaque look of these grid lines that we are adding in now. Now onto both sides as well, you can see I'm just using the tip of my brush and using the same yellow, white mix, adding in a very fine line, going very slowly while adding in these fine lines. Otherwise you may get and take line. And then there is no going back. Instead of adding in a complete PICC line all the way in the center we had, and it will take line and on the edges we had very fine lines. Now one last thing before we remove the masking tape is adding in some of the glowing stars. So I'm first weekly adding in a few of the bigger white patches in a very diluted consistency. And now using a damp brush, I'm going to quickly blend this and create a dark patch of the white color to act as the growing space for the glowing stars. Now using in the mix of the yellow and the white color again, I'm going to begin adding in the glowing stars into the spaces that we created in this time, the glowing stars I'm going to be adding in with the yellow color suggest using the tip of my brush, I'm going to drop in very small stars only into the spaces that these are in the center space of the patches that we have created it. Now randomly, I'm just adding in a few bigger yellow stars as well, urine, they're very randomly, but they are quite smaller as compared to the glowing stars that we have added in. That is, if not, let's begin removing the masking tape. We are ready with our class project for date 26th says bell, or very simple cotton candy galaxy. As you can see, I hope you guys are enjoying this 30 day challenge. We are almost towards the end of this challenge with just four more paintings into this series. I hope to see all of your class projects coming into the project section as Belle B, if followed by removing the masking tape so that you do not tear off the edges and the color from the masking tape does not seep into the edges is our final painting for D26 of this 30-day challenge. I hope you guys enjoyed painting this. I would see you guys tomorrow into the day 27 class project. Thank you so much to each one of you for joining me into this class and painting along with me photo DDS. I will see you wastewater into the next lesson. 31. Day 27 - Pastel Galaxy: Hello everyone, Welcome back to the 30-day watercolor challenge. We are on the Twenty-seven and we will be painting in this space to Galaxy today. The colors that you need for today's class project is mint, lavender, royal blue, yellow, lilac, green rows, violet paints, gray and white gouache. Do not worry if you do not have the paste on colors. I will be teaching you performing your own based on colors. So let's begin painting. I have my paper taped down and there is no pencil sketch for this class project as well. We are directly going to begin the paints. This time also we are going to be painting in a paste tell Galaxy. And this time I'm going to be using interdict pasted colors which are already available with me. These are the colors that I already have, which I will be using in a few of them are in pants and other, I have freedom from my tubes available with me. I'm first going to swatch out these are based on colors so that you can get an idea about the nearest sheets that we are using in. Plus I would even be showing you some of the color mixes which you can form on your own using in the basic color palette. First, let's begin swatching in B6 based on colors. So the first one is the lavender panna. Next is the caudal color here. The next one is not actually a pasted color. This is Naples yellow, but this is almost like a pastel yellow color. Hence, I really using this instead of a face still yellow color. The next color is this royal blue color, Aotearoa. All these are from the brand White Nights. So some of them were in tubes form, which I have filled them into pans. The next one is the new black sheets. The last one is the mint color. Now the mint color is almost similar to the cobalt green new color that we use for an odd in light in which you can further add in a little mix off white to get it more lighter tone of the color or create a piece of green using in viridian green and a little touch of yellow as well. I will first try to show you the color mix of the coral color, how you can create in. So I'm picking up the windows color, adding in a little bit of yellow it. And move this. I'm going to be adding in little bit of the white color. Now, once I mix this, you can see I'm mixing in, in very less quantities because I'm just showing you the color mixes that you can create. Next according to the color mix that you are forming in. And you'll feel the need of adding in the colors accordingly. You need to keep on winning the proportion. When I first added in the colors, but the colors were a little less. Then I added in a little bit of the yellow and the pink again, and then again a little pink. And now you can see we've got almost similar tone. Just a little pinch more white if you wanted more on the lighter side. Same with the Naples. Yellow is a basic, a yellow color. So you can go ahead with any paste in color of yellow if you do not have the Naples yellow for the royal blue, I'm picking up settling in blue first and do this. I'm going to mix in a little bit of the ultramarine blue. Also say if you do not have the exact same color tones of the colors that we're using in. You can try with the newer shade and try to see what color combinations can work for you. This you can see is still a little on the darker side. This I will for the add little more of the white color to get the royal blue shade. So in this way, you can create your own pasted tones by adjusting in the proportion of the color mixes that are required for farming in the colors from your basic color palette. Now next is this lilac color. So for forming this and false point to pick up a little bit of the permanent rose color. Next to that, I'm going to add in a little touch of the violet color that is the bright clear violet. And to this I'm going to add invite. Now after adding in the white, I would see what McCullough proportions do. I need to adjust to get a similar tone? If for now, if you'll see, I can see that the pink is on the darker side. That is, it is more on the pink side. So I'm going to add a little more of the violet to get it into the midtone that I'm looking for. You can see we've almost gone up pasted pink tone. I just added little more violet to get, get it on the violet touch more. And you can see we've got almost the same tone. As we needed it. That is how you can form your own color mixes from the basic colors and create your own pastel colors. It's just that you will have to study the basic proportions. And you know, at times, you will have to keep reading the proportions of the colors that you keep using it. Now I'm adding in a clean layer of water onto the entire surface to begin painting in the background for the galaxy. This time the galaxy is going to be quite a simpler one. We're just going to be playing around with Paste in colors creating in a pistol galaxy. And then we are going to be adding in stars with some different color tones this time. And then lastly, we will be adding in the pine trees. If you are someone who's going to be preparing in your sheets, then I would recommend you to keep all your sheets radiant pipette because we are walking in with watercolor. So you need to make sure all your colors are ready. And if you are someone who's going to be directly using in the paste and colors, then you can begin painting in directly. First, beginning in with the Naples yellow color. Next, I have picked up the code and color. And you can see I'm picking up these colors in quite a thick consistency to get the perfect vibrant blue. Also, I would suggest you that if you are trying to mix in your own piece in colors, then instead of using invite watercolor, using white wash, performing the pastel tones that will help you in getting in little opaque color. Because watercolor or will try to give you a little transparent look to your pastel colors. And for this galaxy, I would recommend you to get in a little opaque loop. So try and mixing the basic colors or with the white gouache to get a little opaque colors. And if you see, or basically the basic pastry colors are also usually opaque inconsistency, as you can see, the ones that I'm using in your I added it, the cobalt green color or the mint color from the pieces set out your as well. Now next I'm adding in the royal blue color again. Or you know, you got to be very careful about certain color mixing into each other. By the green and the blue are mixing together. Sorry, the green and the yellow mixing together. I made sure that I added in such a way that the yellows are still visible. Now near to the royal blue, when you add in the yellow color, be careful that you do not form green tones or just adding in little or codelabs value are in-between. So you can see, I'm just very basically dropping in the pastel colors randomly urine they're creating in the pastel color tones into the sky. So next time using in the lilac color. Now in the remaining top space, I'm going to be adding in the lavender color. Again, I'm using all of these colors in quite a thick consistency. As you can see, they are quite opaque and you know, they aren't acting transparent at all. Now at this point, if you see all the colors are not blending well into each other and you can see quite a lot differentiation between each of the colored transitions. I'm going to begin in with the same colors, adding them at the same places where we added them. But this time I'm adding them in a little liquidy consistency so that they float into each other. So you will see the blends happening automatically in-between the PSTN colors this time seem bigger. It says I did the yellow color. Now, I'm going to be shifting into the same colors as we began in the forest Leo, by just the difference in a little liquidy consistency, I'm going to quickly lay them over again. Now if you see since we are playing along the floating consistency of the paint, the paints are very easily flowing into each other and blending much more smoothly than the first meal because this time we are using the planes in the floating consistency. Also you will see very randomly I'm going ahead in-between the colors. Now again, I picked up a little bit of the mint color and adding it here at the top space again because they felt it was too much of the purple or the lavender overpowering out there. Now in the same way, very randomly, I'm laying in the lilac color at pleases wherever I feel that a certain color is overpowering. This is how you can even alter the color layout at places by adding in the fellows and liquid consistency to creating and Bloom's with the colors. Now I'm picking up a little bit of violet color that is going to be without adding in the white, I'm going to use this scholar in its own form. And this is going to be dropping in a little of the color in-between, creating a little darker tones. Now at places you will see that because of the liquid consistency of the paint, there was so much water being collected that link of this paints will look a little difficult. You've got to be very careful in such cases. Hello us to not bleed and form any muddy tones. Now, just going to keep rotating my board in all directions so as to get some smoother blends. For that, I'm going to keep a tissue ready so as to lift up the colors from the edges which is overflowing. Otherwise, these colors will see back into the painting creating different color of blue color blobs that we do not wanted. Now, very carefully, I'm going to pick up a little bit of the windows color and I'm going to begin dropping in little of the Queen Rose color. So you can see I'm picking up the windows color in quite a liquidy consistency, but again, on the edge since there is excess water or the PVC of pain and just lifting it up a little so that I can easily drop in the Windows color. Make sure you pick up the windows colon liquidy consistency so that it's easier to drop in and let it flow. And just going to add little more of the Queen Rose effect very randomly for the business. And you can see how smooth the transition and mixing has to happen because of moving the board in all the directions and letting the colors bleed and blend into each other. Cmv again, I've padding in the Windows color, I'm just going to move it across so as to let the colors bleed and blend smoothly around the queen rose color and just dropping in a little bit of the Naples yellow so as to meet the blends more smoother in-between the colors and to make them flow into each other. So again, you will see that the blends are happening in smoothly. And again, it's very important when you are trying to get in blends between the colors that you keep rotating your board in all directions, trying to make the colors freely fluid into each other. It's very important that you tape down your paper on a movable surface so that it becomes easier to rotate accordingly. Now using it, It's mics off the windows and the violet color. I'm just going to pick up the color in a very liquidy consistency and splatter some of this color into the galaxy space. So you will see color blue, color blooms of the windows color happening into the galaxies sky. This isn't a very liquidy consistency. So once this dries, it will have a very light tone coming in. So this is how we've created in the color or blooms as well. Now I will again just to repeat it a bit so that it's adult and blends well into the background again. Now I will be in all of these to die incompletely and then we will begin adding in the further details into this galaxy. Let's wait for this to dry completely then move ahead. Now, my galaxy is completely died. And you can see in how beautifully the colors have blended and bleed into each other. And the darker tones of the violet and the queen rose color that we added in is adding in the forfeit contrast to the light piece of colors that we have used in. Now I'm first going to begin adding in the different colors styles that I'm going to add this time. That is the glowing star loop. So I'm going to use in the pastel colors of the lavender and the yellow color. If our data, I'm going to mix in a little bit of the windows with white gouache and yellow with white gouache. And using these two colors, I'm going to first add in the data layer or the background layer for the glowing stars. I've picked up some fresh gouache, white gouache, and I've added in a little bit of the windows violet and a white gouache color. Now first I'm going to add in smaller dots of this color. And then using in a damp brush, I will blend this and create them into adult background for the glowing star spaces. Next I have picked up the yellow color and to data as well, I'm adding in the white gouache and using in this mix I'm going to add a few of the dots with this color as well. And then I will blend all of these dots together into the background one by one using a damp brush. So you can see the size of these background. Glow area is quite small. Make sure that you do not add them. It because still we are going to be, you know, our blending them into the background and creating and further dull spaces. Now before blending them, I'm just going to pick up some white gouache as well. I'm going to add a few of the white dots as well. First, I will just splatter the stars so that I know where I need to add in accordingly. Just going to quickly splatter in the stars first. Make sure first planting in the start you pick up the white gouache in quite a thick consistency. Only then you will be able to achieve in the obit look for this task, it's very important for the white gouache to be not the consistency. You can see if there is excess paint who may get in, make up batches of the color just as I have quantile. Now using in a **** brush, you can see I'm just blending all of these dots into the background and creating them into adult version. Now you can see at places where these dots were a little bigger, I'm getting into quite bigger patches which is actually not needed. So you've got to be really careful about adding in these thoughts quite smaller so that you get in perfect smaller spaces. Now turn the background layer off. Other stars die in. I'm going to begin adding in a lot of pine trees at the bottom layer out here. For that I'm using in the Payne's gray color and using it as smallest sized round brush. I'm just going to begin adding in the foliage details. This time, I will make sure that at the top space I have little detail. Look to these pine trees as you can see. As I move towards the bottom space, I'm going to be adding in more of the foliage quickly. Now if you do not have the Payne's gray color, you can simply use the black color. Now, I'm going to make sure that I buried the height of the binary throughout in-between. I'm going to add in a few of the smaller ones as well. You can see I'm trying to be the height of the pine tree. I'm going in with the smaller and the shorter heights. And at the top space I'm adding in an agility medial view. And as I reached the bottom of the pine tree, I'm just adding in quick for a niche that is more of the black patches. Now quickly. In the same way I'm going to add in the pine trees at the entire bottom species. The only thing about being careful about the pine trees is that at the end you're buying G should have a little triangular ship and a pointed tip that will define its shape and the view much better. In-between you can even see I'm adding in quite smaller pine trees and then automatically some bigger pine trees as well to maintain the entire range and consistency out. You're also asked to give it the natural view as much as possible. You can see almost in the center space I added in such a big pine tree. Now quickly I'm going to add in the rest of the pine trees on the right side as well. And then I will be done almost with this class project for today. We will only be left to add in the study this, and that will be it for the class project off the 27 as well. Make sure you really the height of the binary as I have tried to. Otherwise, it will just look a flat range of pine trees without any variation. So it's very important to be the heights throughout to ask to get into perfect look to it. Now I'm going to quickly add in the last two pine trees as well and then move ahead further. Then I'm done adding in the pine trees as well. And you can see I've tried to bury the heights throughout giving it the nitrogen view possible. Now I'm shifting eq Windows color and using in the smallest size brush, I'm going to be adding in a few stars with this Windows color onto these are patches of, you know, pistol or lavender color that I have added it on doors. I'm going to add in some of the shining star details, giving them with this Windows color. You can either mix it to the base layer color with a little bit of fight and get one shade darker. Or you can even using or just the Windows color directly. Now this time, as I told you, I'm going to play along with the colors of this task. So using in this pink paste in color, I'm adding in a few of the shining stars as well. Basically, for this task, you can simply play along with whatever color combinations you want off the pastel colors that we have used it. You just need to make sure that the pastel colors are visible on the BCOP Sue colors. So at places I'm adding in the glowing stars with a white color somewhere. I added in the shining stars with the pace and tone of pink. And even though we know Scholar directly, now other places I added in styles with white and now shifting into the yellow as well in trying to maintain all the color variations possible into this beautiful pastel galaxy that we have formed in you're not randomly. I'm just adding in a few of the biggest stars with the yellow-colored as well. Cmv going to add a few of the biggest stars with this pastel pink color as bell. And then we'll be almost done with this class project for D 27. We adjust three days of IV. I'm closing in this 30 day challenge. I hope you guys are enjoying in this 30-day challenge and having to paint in the galaxies. I'm quite excited about the last three projects as well, because they are kind of my favorite ones. Just three more days to close in this 30-day challenge as well. That is it. I'm ready with my class project for D 27. Let's remove the masking tape and see our final pasting galaxy for today. Your final class project for D12, D7. I hope you guys enjoyed forming in your own based on colors and creating in this space in Galaxy. With me today, I will see you guys tomorrow into the date 28 class project. Thank you so much to each one of you for joining me into this class. 32. Day 28 - Window Galaxy: Hello everyone. Welcome back to the TBD. What kind of challenge we are on day 20. Today, we are going to be painting in this galaxy view from a window. The colors that you need for today's class project. These shall be green doors, skin tone, yellow, cobalt green, new compose blue, indigo setting in new, faintly whitewash and violet. Let's begin painting it to these class project. It may be, but they've done, and I'm going to do vector beginning with a vein photo, photo on the right. The window DBS we will be having even after the galaxy is completely drive it. Because even if I add the bender sketch mouth even get completely they didn't under the colors that we will be adding in right now. So after the full sphere of the galaxy drawings and even adding the markings are directly using the black product for adding in the window vanes later on. For now, make sure that you add in Indiana quarter throughout so that you have an even layer and make sure there are no portrait of water on the edges otherwise, the water Missy back and medulla in your edges. Him again and going ahead with very different sheets. So the first one being the shelving. If you do not have to shell pink color, you can go ahead with the foreign key column in start, we learned in the last class project, the next color that I'm willing to be bringing up is this jaundice. This is almost like a skin tone color. So you can form a skin tone followed, or you've been using a place to mix up the audience had the yellow color for it or the sheet. Next time we're going to be using in the cobalt green color. If you did not have PVD, you can see it in pieces mean that you don't want you using foreign decides. Majorly. This one's going to be the next scholar. Lastly, I'm going to be using in the, it was blue Canada as well this time. Now I feel it's not imposed glue you can use in dough boys do with a little tint of all white added to this. Lastly, I'm going to be using in the Naples yellow. Hello, my name is yellow is going to be the pan from White Nights or lead. So these are the color tones that I'm going to be using it now since I was removing the pain, I feel my people might have dried in a bit. So before beginning in, I'm just running over quickly out of water to it so that it does not drive. And I begin to add in the colors the galaxy, you see simply you can just run your brush again so that your people will stay back for much longer time now. Now first I'm beginning in with the yellow color. You will see I'm picking up the fellows in quite a liquidy consistency, but I'm going to use a smaller brush size so that I can control the spacing in which I'm adding in the colors we are going to be creating in a very colorful Galaxy as well again this time. And then we will be given in the video with the window being net shifting into the cobalt teal color and beginning in the same column near to the Naples yellow color that we have added in. Now after this, I'm picking up the shell pink color. You can see it's a paste will be beeping tone that is dated, suggest to adding it ready. Now again, you will notice this is just the first layer of the Carlo's that they are adding in. The Carlos may not be blending and bleeding into each other quite easily. We will be adding in the next layer and make them float and mix and match well into each other later on. Next, shifting into the John Brilliant color. Now, this color, if you do not have, you can simply mixing yellow, orange and white and getting yellowish orange color and use that color. Lastly, I'm shifting into the composed blue color so you can see it's more kind of the turquoise blue color, but just with a little piece that tend to quit. So that is the reason I told you you can just start in a little tinge of white color to your turquoise blue color and make it as a composed new color. Or if you want, you can directly use in your turquoise blue colors. Instead. You will see now I'm just adding in these darker tint onto the top and the bottom edge. Now as I told you, I'm done and ready with the first layer of the color blocking. Now I'm going to begin in with the same followers, but this time in March, liquidy consistency, I'm going to begin typing them at the places where we have created in the colonial. Be either keep adding in all the colors one-by-one in the places that I have brought them in the first knee up. Just in this I can know you will automatically notice the vibrancy. It automatically gets a little darker. And plus we're dropping in the fellows in Brighton liquidy counterinsurgency making them thought and flow into each other very naturally. Now, I have just picked up a little bit of the yellow, orange color directly and adding in little darker things on this Jonathan and follow all little of the darker green with this yellowish orange, yellow. So that is why I told you you can form this color. You will see just a little bit of white would get you the prophet John color itself. Now, next I'm shifting it a little bit of the windows Scholars Welcome, given that codec on the shell pink, I'm adding in the tail of the windows color. So basically you will see the contrast of the lighter and the darker tones out your happening. And all thing. We'll notice that I'm adding all the paints and quite liquidy consistency. Hence they are already bleeding and blending into each other. Next I'm picking up the city in, in Lupe. Hello. Again, you will see the darker tint of the blue that I'm dropping it near to the compose blue, cobalt, three new color that I've dropped in. But you'll notice I'm dropping in all these colors in such a way that the BCR light colors are still visible. You need to maintain a balance between the pacing and the primary color tones that we are adding in. Next, just dropping in little off the violet color randomly at all of these you will see I'm just using the tip of my brush, dropping in the paint and uploading consistency and letting the paint blend and margin to each other. We will still be tilting the board once we are done adding in all the fellows net shifting into the indigo color and I will drop in some indigo highlights as well. For the integral color, you can see I'm just using the tip of my brush and dropping the color and creating a bloom off the indigo color in-between these color sheets that we have added in. Now very gently and just beginning to tilt my paper in all the directions so that the colors bleed and the window each other and have much smoother blends. You will see how the colors begin to move into each other. Now are the top side. If you see there is excess paint images floating in. And make sure if there is excess paint, you'll quickly pick up a tissue and all you know, dab it off so that it does not keep going everywhere. In this way. If you'll notice there is a little more of the cobalt green which I feel I'm going to pick up the shelf in color in liquidy consistency and leave the balloon with the shell pink coloured out your, you know, it this way, you can reduce any specific color that you want by adding in the room with another fellow as to get the perfect flow of the pattern as well. I'm just going to meet that colors will blend into each other. Make sure you move your board quite slowly. Do not rush and move it through shaft altogether. Otherwise the Carlos may all blend into each other if they are in extra floating consistency and we'll give you one flat color look. Now I just feel the need of adding in a few more rooms with the indigo color. So you will see I'm just dropping the indigo color in quite an equity consistency moving in the tip of my brush, creating in that room effect. So let these colors also bloom and feared that blooming effect automatically. Now last year I will just tilt it again and then I will wait for this to dry incompletely. Again, I would recommend you whenever you didn't do it in very slowly and make sure you are building in all the directions. If you have the perfect smooth plains happening in-between the colors and getting into soft edges and soft blends between each of the color news. Now you will see I'm trying to get the lighter. Don't move into the indigo color and indigo into the lighter tones as well. This is going to be our galaxy multicolored sky. And then we are going to be adding in a window pane. So basically we are going to be showing that this is a galaxy view from our window view. That is, if we are ready with, obviously are for the Galaxy sky. Now let's wait for this to dry completely and then we will begin adding in the window pane under study these into this galaxy, you can see the darker depth using the indigo palette that we have added it. Now let's wait for this to dry. Now my galaxy is completely dried in and you can see this smooth blend between the followers that has happened and the effect of the DACA. In color that is coming in between because of the blooms that we added with the indigo color. Now before we think to add in the window panes, I'm going to pick up some fresh bite caution going to splatter the stars first. And after that, I will begin adding in the window panes. For this task, make sure you pick up the white gouache in a thick consistency so that you'll get an opaque look at the stars by two watercolors will not give you an opaque look as white gouache or acrylic would give you all this splatter the stars from a little distance so that you get these fines task and make sure your brush does not have excess water or paint. Or you may just get in patches of the right color. You can see I'm almost done scratching this task. After this, I will be denied even the window beat using in the beans need to know. Make sure you have enough of these moths standard of this task because what is it that exhibit that sounds dirty. Make sure you have enough of these stars. Now. I'm just didn't use the Payne's gray Carlo. Now before I begin to add in the IEP with the fellow, what I will do is I'll quickly do some pencil market using an offense Elana sphere. Maybe the pencil markings may not be visible to you, but you may get a little drop idea of the LEA or you can be for me, but firstly it out with the Payne's gray color and then add the sheep according. On the left side, I'm adding the window bean or Littleton did that isn't written diagnosis. So at the top it is a little broad and as it is moving downwards, It's become narrow. At the bottom, I have added in a perfect state night, again at the top space here, I'm going to add in a little diagonal one. So you can see on the left side. And as I move towards the right, it has turned deep. And again on the right side I'm going to keep the window panes G, two sides I have added in the lines, diagnosis and ODU sides. I've added it to you. Now almost in the center piece, I'm going to add one grid to this window so that our flea are adding in a line or a little just about the center line. Now I have picked up my size four round brush which has a pointed tip. And with that I'm just painting it with the outline losing in the Payne's gray color. And I'm going to be filling in all of these window grids, that is the window panes. Did I take me out of the Payne's gray color. Now when you are adding this, make sure you do not add a lot of wanted to Europeans great Carlo. If you do not have Payne's gray, you can simply use in black color. So since I'm using the Payne's gray coloring, quite a thick consistency. You can see it's acting like a black color itself. Also, you can see on the left side the window pane was a match at the top space. And as I move down what I have made it snip, same. We are at the top red light is the top beam light. I am again adding it the intellectual diagonal manner. So on the left side it's a little thing. And as it moves towards the right that I have found it a little broader. And the other two lighter, I'm going to add them Street Whitney and fill them as well with the Payne's gray color directly. Now all the white stars that are there in the grid light you can see I'm trying to Muslim vary with the black color or the Payne's gray Karla and give it the perfect hiding look. I'm done filling in the last bean as bin. Now I will be adding in the center line as well. Good, I have added in as a grid to this window, please. The SRD, the right, and the bottom line, you can see they are quite the street and no diagonal or margins there. Felt, you know, I didn't pick up the same Payne's gray color that the Kansas. And I've been beginner adding in the center liners very whatever I didn't read the pencil sketch. The center vein, I have shifted into a smaller sized round brush. This is a size two round brush which has appointed this. And I have tilted my board accordingly so as to get a little angle for adding in this easily. So you can see I'm adding quite a thinner line is compared to the paints that we added at the top and the bottom side. Now I'm just going to give it a little thick view as bell. Now at the top half of this window, I'm going to add in for the grid lines. Just add the center of the top space. I added in another 109. I'm going to be adding in some straight lines has been, according to the size of your paper. You can create an either six or eight of these grids or even more if you are using in a bigger size peep up. I'm going to go ahead with approximately IV drip, the right tile grid. I'm going to keep it a little smaller. One as compared to the other six grid or this is all the details to the window. And you can see you're getting the perfect window view from the galaxy out. You're coming tonight. Now this bottom line and just turning it a little thick so that it looks as the grid line and gives the perfect view to the body. It is that we have added in into this grid suggest going to broaden up this line quickly using in the Payne's gray color. Now using the Payne's gray color on these the window panes line, I'm just going to be adding a little of the bush details as well. Using the same smallest size brush I will begin adding in the bush detail posts at the bottom side here. You will see basically it's just dabbing in the tip of my brush to create little plant view on these old windowpane life. Already. I'm just going to add little more. Now make sure you add these bushes quite small so that you do not cover up the entire galaxy that is visible. I'm going to shift into the right side. I'm going to add a little detail. On the right side, you can see quite small details that I'm showing here. Basically these will be depicted as the plants which are kept onto this window pane. You can see I'm just dabbing in the tip of my brush, forgetting in these plans he deals with me and I'm keeping the height right? Smart so that the galaxy is still visible. Now in the same base on the top space, you are going to show a little of the bush detail coming in from behind the window. See, just going to add in little detail on the left side here as well. Again, the same method out your dabbing in the tip of my brush to get into details. Now in the center of this being that I have added in, I'm going to add in a very small kind of hook, kind of a detail for the window pane to be pulled out. So already small nine and a small circle ring to act as the hook out. You're now glad and do depth to the stars of the galaxy. I'm going to shift into the white gouache and I'm going to create a little off the glowing stars. So I'm going to post that in the background for the following stars. The whitewashing that I knew did consistency as you can see, and I'm just creating it in the soft background for these stars. And then I will begin adding in the growing stars into this. Just a few of them. And I'm almost done adding in these glowing stars. Now this time I'm even going to be adding in the moon. The moon that I'm going to be adding. It is going to be at the top side in-between these paints that we have added in for the moon as well, I'm going to fall speed. In a very dull background, who do you know? I didn't little of the growing space for the moon as well. I'm done adding in this style is now on the left side. On the right side, I'm going to add in a bigger patch for the moon space out your now to the window panes as well. I'm going to add in a little highlight with the white gouache. So far, I didn't get the highlight. I'm picking up the right portion of the Kansas and Z. And I'm going to add in a little driver's trying to highlight this time, I'm making sure her brushes not have either excess water or be on both this nine that I have added in at the top. You can see I'm just adding in a fine white line. Same week to a few of the grid I'm just going to add in this fight highlight using in the white gouache makes sure that no black color of the window pane is completely dried. Otherwise you will not be able to achieve in the white. And the colors mean just blend and bleed into each other. Just adding a little highlight to the left side here as well. You can see how find the highlight is. Make sure you use the smallest size brush for adding in this highlight. And also make sure this highlight is quite fine just using the tip of your brush in Asada for dry brush technique. Just a little more highlight your in there as you can see. And then he would be done with this painting just left to add in the stars. Once the growing space for the stars as well, dry, add the paint space. Your, you can see I've added all the highlighting, both few of the great light and dark places I have not added in the highlights. Now, you can see at the bottom species the white has gone in a little north. I'm going to quickly blend it and get it this line out here. That is that now I will just begin adding in this task weekly. So far I didn't in the stars I'm going to be using in the right part in the thick consistency and just adding in the stars into the center of the growing spaces. So automatically, by dropping at will act as the growing space. Same we are going to be adding in the moon as well. Quickly are added in a few stars and randomly added in some bigger stars as value Gordon there. And you can see by just adding in the stores automatically the galaxy gets in so much more of the groin law. Now lastly, just going to quickly add in the moon with the white quash itself and that we will be done with this class project for D2L. It has been this time I'm just adding in a quarter moon kind of look as you can see, that I created in the growing space for a complete round area so as to get that perfect glowing look, you can see the moon has such a glowing effect in the background. So that is it. We are ready with our class project. Now, very carefully, Let's begin removing the masking. So make sure your edges are completely dry before you begin to remove the masking tape. Your final painting for the 20 eat, we adjust to these or be from closing in this 30-day challenge. And I hope you guys enjoyed this 30-day challenge and learn to paint in different galaxies throughout the top DDS. I will see you guys tomorrow into the date 29 class project. Thank you so much to each and everyone for joining me into this class. 33. Day 29 - Galaxy by the Drive: Let's begin with our second last class project now. So I have my B both feet down and I will begin with a very basic pencil sketch. Beginning with the pencil sketch this site. And at the bottom space we are going to be adding in a very small roadway so that the area is going to be quite smaller. So much below the center line, I'm adding in a line to distinguish the sky and the roadway pathway. The top area is going to be the Skype path. Now in this also, I'm going to add into details. That is, I'm going to mark half of the area to join. A little c's inside around the road area and the bottom space is going to be the roadway. And onto the sea area, I'm going to be adding in the fence detail. So just adding in very basic fence DBN for now and I will begin adding in all the details when we begin painting in. So basically this is going to be an outside galaxy view wherein there is a leak or just by the road site. So you can see in our wherever added the fence and now all from the fence line, I'm going to be having in two to three or, you know, street light poles as well. So just adding a very rough pencil sketch for them as well. The last fool that I'm adding in this poll, I'm not going to add in the street light, rather I will give him little sign board kind of detail. I'll let suggest adding in very basic details for now. And you can see the false teeth light was from the fence line and the second sheet line was from the bottom area of the rod. We now do this one out here. I'm adding in a signal lights as well. Now on the roadway, I'm going to be adding in little small spaces to act as the green field or a small or you know, feel grass kind of an area around the road, say at the top space and one out you are at the Boston space. Sort of a small footpath actually from where this ball is actually coming enough. Now you're also going to add in very simple stands around the footpath and that is it. We already with a basic pencil sketch and now we will begin painting in the galaxy. For painting the galaxy this time I'm going to tape down my people onto the horizon line. The horizon line I have deep down another tip so that it's easier for me to paint the galaxy without worrying about moving into the sea area. This is how I even you can tape down your paper and use it and made them a painting of the galaxy much more easier. Now, I'm first going to begin painting in the galaxies of other galaxy. I'm going to go ahead with a clean coat of water onto the entire galaxies piece. Make sure you add an even noon of clean water so that there is equally out of water everywhere. And that is more for tools of water form and also your paper when Steve it evenly and not dry out while adding in the colors. Alexi. The first color that I'm beginning in width is the violet color. So I'm going to pick up the violet color and going to begin in with a very liquidy consistency and just using the tip begin dropping in this color. For now I'm not leaving in the spaces of the street all order or the traffic light area blank because we will be adding indeed deals with the white gouache and getting the perfect glue out data as well. Now why did adding in this violet color, you can see I'm leaving right gaps in between because we are going to be used In composed new palette out there when I'm done adding in the violet color. Now next I'm using in the composed blue color. Now in case if you do not have the composed luke Hello, you can use in the dope boys new fallow within Littleton of blue to it. Or you can simply using any shade of blue that you want in your ballot. And go ahead with all medium consistency out here as well. So again, you will see I'm just using the tip of my brush and dropping in the paint in the white gap in-between the purple color tools. Now next I am picking up the indigo color and using the indigo color, altering a medium consistency, I will begin dropping in into the rest of the whitespaces that we have. Again, this is just the photosphere of the galaxy that we are adding in. Into this, we are still left. It added more of the Leo's with the same color tone to get a very night sky kind of a loop plus getting into blends in between the colors as well. So at the moment you will see the colors are not softly blending into each other. Now I'm going to begin in with the second layer also for data and false picking up the violet color again and picking up the violet color, I will begin dropping it into the darker spaces out to her. Now in the same beginning in with decomposed a blue color as well and beginning to drop to compose Lu as well into the spaces where we dropped the compose blue in the falsely or in the lighter tones. Now next beginning to drop in the darker tints of the indigo color. Now the darker indigo color, I'm dropping a little bit on that in New Caledonia is better because the composed blue, I have dropped it in a little lighter consistency only. Now on the edges you will majorly notice I'm adding in the darker depths above with the indigo palette. Again, you will see all of these colors I'm just dropping in using the tip of my brush and liquidy consistency, letting them in thought and flow into each other naturally creating in the blends in-between. If you've been used the fallow without much of water or in a very thick consistency. They won't float and flow into each other naturally, and hence they would not cause in the natural flow under effect with each other. Now you're I think the composed Louis Still a little extra light to just adding a little more depth to that as well. Now to give a little texture, I'm just dropping in a few droplets of water using in the brush that is just sprinkling in some mortar giving you the effect. And you will see the water blues creating in the magical, they're just giving you a little texture. Make sure you do not have excess water. Otherwise you may get in bigger blooms of the water beneath very fine ones just as we splatter the stars, you will just have some growing space automatically into your sky with these water balloons. Now till my sky is drying, I'll paint the bottom node we out here. Then we can let both of these dry out together. So for painting in this, in order to weigh out, you're going to be using in the white wash mixed in with a little bit of Payne's gray creating in a pistol greenish kind of a tone. Very little Payne's gray mixed in with white. This space to create bone, I'm going to paint the complete roadway. I'm leaving in the spaces for the Greenfield area that we have marked on the pathway or you can call them the footpath area that we have less than. Also you will see I'm just running only into the space of the road. We do not add it into the fence area because in the defense area, we're first going to be adding in a very simple seascape loop and then adding in the fence across the roadway. For now, filling in the entire roadway with this grayish. I'm done adding in this greenish tint onto the entire road. We, as you can see, now I'm going to add in little details around this rod. We only know given more depth. So for that I'm going to be using in the Payne's gray color directly by adding in little texture and depth using in the paints gray color, especially across. In part bottom spaces, I'm going to add a little of the shadow effect using the Payne's gray Carlo. While this is still wet, I'm adding in the darker deaths and blending them with the lighter tone of the gray color. So automatically you will just have a very light dark data acting in as the shadows. After adding in the darker line using a damp brush, you can see I'm blending it into the road wages, creating the darker highlights onto the edges that we needed to act as the shadow suggests, simply using a damp brush, you can blend it well and getting the perfect expect. All of this is why the road is still wet. I'm going to blend the shadow of the bottom space as well. I'm just adding little more paints gray color onto the entire roadway because I feel a little extra light and once it dries, it will dry one more tone lighter. And I want a little darker effect because the galaxy is a little darker tone and kind of a night sky. I wonder effect of that on the roadway as well. Now onto the edges, be sure that you add the color perfectly. Otherwise, once you lift up the masking tape, you may get an uneven edges out there. Now my galaxy is still wet and I want a little more blooms hands, I'm adding in the blooms, but in case if your galaxy has dried and do not add these blooms now, otherwise you may get in very rough patches, but it's my galaxy was bad. I added in a little more blues. Now I will wait for all of these to dry and then begin adding in the further details. Now my galaxy on the roadway are completely dried and I will begin adding in the further details into this painting. First using in the white gouache, I will begin splattering in the stars into the galaxy and then we will begin removing. If I'm adding in the further details, make sure the white gouache is not in a watery consistency, otherwise you will not get those. We've looked to the stars, it should be noted consistency, and also make sure you do not have access to water. Otherwise you may again get much bigger white pattern instead of these finds task. Now let us remove the tape out from your Be very careful and remove the tip very slowly. You can see the clean line that we get because of using in the tape. Now this bottom media, just below the horizon line is going to be the area A2. So we will first begin painting in the area. For this ilya, I'm directly going to go in with a call with the colors instead of adding in a layer of photo. So I'm going ahead with the tone of the violet color for now already carefully on the horizon line, I will first mark out the line that I do not run into the galaxy space. So across the horizon line, be careful, make sure you're using in a smallest size brush so that you do not run out of proportions. And very importantly to maintain that clean horizon line that we have achieved in I'm done adding in the forest Leo for the CEO, using in the violet color. Now while this is still wet, I'm going to shift to afford the smallest size brush so that I can control the color content and using the indigo color, I'm just going to begin adding in little cv blue. Now when you're adding in this detail, make sure you do not have excess water in the indigo color that your brush onto a tissue Autodesk plot before you begin to add it onto the paper. And just going to add in SimpleCV of lines vary randomly. You can see I'm not even maintaining any size or anything, just very randomly adding in lines with the indigo color while the purple color is still wet. This was the first layer of the leaves that we add didn't. And you can see it is a little dull. So now I'm going to pick up the indigo, call him a little darker consistency and just add little movies. You can see it. Adapt my brush onto a tissue before proceeding ahead so that the excess water is out onto the tissue. Otherwise, when you're working wet on wet, the paint will spread a lot and you will not be able to achieve in the loop to the VMs that you are adding in. We want the wave is going to be there but still having in a soft edge, hence working wet on wet. So very randomly you will see just adding in little darker deck with the darker tone of the indigo color. Now next, picking up this add pink color, I will paint these small field areas out. You're the one near to the horizon line. I need to wait as they are. As you know, the CEO is still where I will be for the C2 dry in and then add the ones near to the CDL line at the bottom space out your eye can simply added for now, my CTI is drying. I'm simply adding in the green color out. You're at the top of the roadway as well. But in case if your seascape hasn't dried, then make sure you wait for it to dry. Only then add in these green color. Otherwise, the green column is seep into your area as well. Now, I know all of this is drying. I'm going to quickly be adding in a little off the glowing star loop in the sky space. So I'm going to quickly, quickly be creating in the growing spaces, using in the white gouache and creating it a dull background into the galaxy. I'm sure by now if you've been following me, you know how much I love adding in these glowing stars to my galaxy. So I've added in a few of the patches to which now I'm using a damp brush and just diluting it and getting in the growing space. The patches which are, you know, some bigger white patches that I've got wise flattering in this task, I'm using that white color only the wetting it again and creating in the growing space out there so as to get rid of those bigger patches as well and getting the glowing look also simultaneously. Now using the paints gray color, I will first begin adding in the detail out your first to this traffic light signal that I'm adding in. I will add the complete whole with the Payne's gray color and then using the white quash and the base colors, I will begin adding the light details out data has been now seeing baby with the Payne's gray color. I will be painting all the three poles that we have added in so far. Doing that, make sure that you all see EDI is completely dried from all the spaces. Otherwise, the Payne's gray fellow will begin to, you know, or flawed in bluesy area and give you darker edges. So first I'm adding in all the details into the pool area at the top spaces so that I get a little more time for my seascape to be completely dry so that there is no paint, three colors spreading when I add the line of the poles. Now my seascape is completely dried. So first just on the top of the road, we're going to add in that small fence detail using the Payne's gray Karla and my smallest sized round brush, I'm going to add in the line. Now this line may not be visible to you, but the pencil line that I added all your is visible to me. So I'm just following in that pencil line. Now, I'm just going to add in small lines in between to act as defense detail out your. Now quickly adding in these lines to act as the fence makes sure you leave equal distance in-between these fence lines. Also, you can notice the fence line is a little thicker as compared to the top and bottom line that I have given in for this fence space. So now quickly going to add interest of the fence lines into this entire space. And then we will be left in very little details to add to the pool, the street it, and adding the stars as I'm almost done, adding in the detail. Of the bone, you can notice the poles are equidistant from each other. And also I have made sure that the poles are a little thicker as compared to the top and the bottom line that we added in. So I'm done adding in all of the lines out your and I've got the perfect fans across the roadway as bell. Now using the Payne's gray color, I will begin adding in the lines as bed. But before that I will just give one more finishing line to the top space so that I have that perfect dark loop to the top line as well. I'm done writing in the bowl nine to the top and the bottom spaces as well. Now, I'm going to simply be tilting in my board and begin adding in these full details. So the two street light folds are going to be a little thinner one, I can see the pencil sketch for the pool if my pencil sketch may not be clearly visible to you, but to me it is clearly visible. So I'm just following in the line and adding in this. Now in this, if you're not sure about adding in these poll, freehand using in our brush, you can add these with a black pen or a black marker as well. I'm done adding in the two poles to the street light and now the pole to the traffic light out here as well. Now you've got to be very careful because these lines have to be Street. Otherwise you will just have to keep all you know, broadening them so as to get into perfect balance in between these lines as bell. Now I'm shifting into the white wash and to the whitewash, I'm going to mix in a little hint of yellow. So I already have a little yellow out here on this palette. Now using invite, wash and yellow, I'm going to mix in both of these and going to begin adding the color to the street light out here. I'm showing the street light with this yellow and white color mix to give it a little glow effect. Now inside this piece, that is inside the pins, three markings that I added in, just filling it very carefully with this yellow color, make sure you use these colors in a thick consistency and mix the yellow bit whitewashed. Only then you will get the opaque look under the traffic light and added in one of the light with this same yellow color. Now second mixing in jade with white. I'm going to add in the second light with the red and white color mix. You have to be sure that you add white gouache only then you will get the opaque look on the black color. If you will think of adding in a white watercolor to your base color and then adding, you won't get the opaque look at all the farming in this traffic light with the green color as Ben mixing it with white gouache. I'm going to add in the third line you are as well. This top pole as well. I'm just going to add in the yellow light out your little more extra light that I've added it. Alright. Now quickly using in some fresh white gouache, I will add the final details to the glowing star spaces that we have created it to the center of the growing stars. I'm just going to be adding in small tokens of this white color to act as the glowing star. So you will automatically see that dollar whitespace that we have created is acting as the glue area to the stars, creating in the perfect glow into the galaxy. Now at pleases, I just feel like adding in a few more growing stars wherever I feel it is a little more require. I'm just adding in a few more. And you will notice that I am blending though previous ones as well because I've seen the first node of the growing spaces at places has turned out to LDL and is not visible nucleoli, hence creating in the second layer. So even you can do these studies in the false layer. After the first layer dries, you'll find that, you know the stars are not getting in the glowing effect. You can again add a patch onto that just as I did right now. Now till that dry, I will quickly add little markings onto the road be using in the white gouache suggests simple ODE arrows. Now again, for this I'm using in this smallest size brush. This is a size two round brush from Princeton velvet touch. So you can see very simply I can get in fine details. And since these brush, I have a pointed tip when they've been water, it's much easier to add the details as well with these brushes itself. Just using the Payne's gray color and adding in a very fine line to distinguish the galaxy and the C line of very fine line that I'm adding in. And after this I will just be left to the glowing star again because my glowing spaces I've dried now so quickly going to add in the glowing stars. And then we will be done with this class project for d 29 of this 30-day challenge, we are just one day away from closing in another 30 day challenge. I'm so glad the anti uncle to each one of you who have joined me into this challenge. Now you already, you can see the growing space is getting in the perfect law of the stars. In the first year, I was not quite satisfied because the glowing spaces, we're not that old enough. But now the glowing spaces are giving in the perfect view. I just added in two of the shooting stars as well. And that is it. We are ready with our class project. Let's remove the masking tape now and see our final painting. Make sure your edges are completely dry before you begin to remove in your masking tape. And always remove your masking tape against the paper so that you do not tear off the edges. Your final painting for the 29, you can see the little details that we have added in for the traffic light and the politique. We are ready with our class project as well. I will see you guys tomorrow into the last day. Thank you so much for joining me. 34. Day 30 - You were Created to Do Magical Things: Hello everyone, Welcome back to the 30-day watercolor challenge. We are on day 30 today. And the colors that you need for today's class project is composed blue, violet, indigo, Prussian blue, green rows, paint, scree, whitewash, and gold metallic. Let's begin painting in today's class project. I have my paper taped down and there is no pencil sketch for this finance. We'll be adding in the fine Gs did I p. After painting in the galaxy, we will begin with a green coat of water onto the entire surface. I'm just adding in between the Europe watercourse, make sure you add in an even layer of water throughout so that your paper is wet even need. This time on the galaxy, we are going to be adding in the lettering as when using in another little crafting technique out your fonts. Let's begin painting in the galaxy. I'm first beginning with the windows. Hello. If you do not have the Windows installer, you can use either crimson or the scarlet color, but in a very light consistency. So I'm just adding in little of the Queen Rose color. Next, I'm going to shift into the violet color. I'm going to begin adding in the violet color around the pink color very randomly. I'm going to be painting in a very multi-color galaxy as well. This time it's going to be much on the darker side. And then I'm just going to be adding in the pine trees at the bottom space and a small code into the top space of the galaxy. After everything is dry, you can see the violence scattered also. I'm just adding in very randomly. Next time picking up the composed blue color and I'm going to really pick a randomly begin adding in the blue color in-between the pinks and the violet. Now if you do not have to compose blue color, you can either use Prussian blue and the light tone, or if you have the dopa is blue color or the cobalt green color, you can go ahead and use those calories. You need not have the exact same sheet you can void with the best alternative that is available in your palate. Now to begin adding in the darker tones, I'm shifting into the Prussian blue color. So engaged if you had used pushing row instead of the cobalt it or compose blue color, what you can do with, or using a little darker tone of the Prussian blue color right now on human directly shift into the indigo color. Instead of shifting into the Prussian blue color, I am going to shift into the indigo color as well. But for now you can see the vibrancy is quite low. So I'm going to begin adding in the same colors in the second layer route now to get in more vibrancy to the paints out into the galaxy, simply picking up the same colors. First one is the wind rose color and added at the same spot, but this time in a much darker consistency as you can see. It's using the tip of the brush. I'm dropping these paints in a floating consistency to play along with the flooding consistency of these paints. Next, even drop in the violet color. And now you will see that the colors blend and move into each other might easily, because of the floating consistency in which we are adding them now. Now just adding in a little of the Prussian blue color as well on the edges. Now I'm just going to keep tilting my board in all directions. And you will see the paint is floating and flowing into each other much more smoothly, creating in the perfect balance in-between the color sheets and the blend happening in smoothly. After this, I'm going to be adding in little highlights using in the bitcoin cash. I'm going to use in the blooming technique but with whitewash to get a little blooms in-between and add in some growing space into this beautiful galaxy. I have picked up off the white gouache, and I'm going to pick it up in a liquidy consistency so that I can easily drop it onto my galaxy and we add in the booth. So you can see just using the tip of my brush, I'm dropping in the paint. And this is automatically creating in the balloon because the paint spread with the wet-on-wet paint in the background. And you will see a beautiful glow effect coming into view. As soon as you drop in these droplets of white beans. Now to make these as well blend into each other easily, I'm just tilting my board again so you can see even the white color is blending into the base TO colors very smoothly, creating in the perfect soft edge between the blending. Make sure you are doing all of this wet on wet. Otherwise you will not be able to achieve in the soft edges. And you can see I have been slowly tilting my board in all directions. Now I'm going to quickly pick up the tissue and going to lift up this color which is out on the edge of the masking tape. Otherwise, if this seats back into the painting, it may begin to ruin your edges as well. So it's very important to always keep picking up these excess paint from the edges of your masking tape using in a tissue audit of clot. Now I'm just going to pick up a little more of the white gouache and I'm going to be adding in little more blooms with the white paint, basically where I first started in their alternate adding in more of the white paint to give a little more glowing effect. You can see I'm just using the brush and dabbing in the white pen. Now, make sure when you're adding this and if any palette is lifted onto your brush, then you clean your brush and add the pain. Otherwise you will not be able to achieve in the right color LW. Last week, shifting into the indigo color, I'm going to begin adding in little darker highlights onto the edges. So you can see, as I told you in the beginning, I'm going to be using in the indigo palette as well for adding in the highlights. I will not be adding much of the highlights at the bottom side because there I will be having in a good range of pine trees coming in. So at the bottom I'm adding a very small highlight, but under the left, right and the top edge I'm adding in little bigger highlighted as compared to the bottom space. Now to make this color blend as well, I'm just dropping in little of the brush and look across the indigo color is to get the blending between the indigo and the dark blue as well perfectly do have a smoother transition as well. Wherever I feel that I need little more vibrancy of the paint, I'm dropping in those color again. Just dropped in a little bit of violet as well. Now again, just tilting my border little and lifting up all the excess paint that is getting collected on the edges of the masking tape. And you can see there is so much of the pain that is extra flowing because we are using the paints, The flowing consistency, make sure you do not keep your board did only in one direction for such a long time. Otherwise, all the paints will match up and blend into each other at one place and you may get a flat color if your paints are in extra fluid consistency. So it's very important to control the direction and the movement of board. As you can see, so much of the paint is lifted out from the edges out. So it's very important otherwise these may begin to ruin of your edges completely. Now I'm just going to pick up little off the white quash. I'm going to splatter in a little of the static effect wet on wet before leaving this galaxy to try, I want to really glowing effect into the galaxy because the pine trees are going to be off the dark color. And then as I told you, we will be adding in the court on top of this. So because of that, I wonder galaxy to have a much better and all you know, loons in it. There you can see I've added in the white splatters to actin as again the growing space. I'm just going to add a little more of the white gouache using ingested tip of my brush because I still feel that the growing space is much less is compared to what I want. So you can see I'm just using the tip of my brush, holding my brush perpendicular and dropping in the paint very quickly, just trying to get them out of the blue in space this time. Now I've just again tilt my board in all the directions so that wherever I added in bigger wounds after whitewash, the colors will blend and bleed easily. Now, I will wait for this entire galaxy to dry completely and then we will add in the further readings into this painting. Let's wait for this to dry completely. Now my galaxy is completely dried and I'm going to begin adding in the further details into this painting. First, I'm going to begin in with the white gouache because I wanted to splatter the stars before I didn't define keys. Otherwise, my staff may get onto my pine trees as Ben. And you can see a beautiful effect of the white sliders that we have got, which we split our wet on wet. So make sure you make use of these techniques to get in that little growing space into your galaxy. Now quickly using in the right watch in a little thicker consistency. I'm just blocking in some stars in the galaxy. I'm done splattering the stars and you can see I've got a perfect blend off the smallest stars and some bigger stars as Ben, which I made on them into the growing styles later on. For now I'm going to begin adding in the teeth using the Payne's gray color. If you do not have the paints Greek alone, you can use in black color as well. Now this time the pine trees, I'm going to add them knitted diagonally. So on the left side it's going to be tilting towards the right and on the right side, I'm going to add them tilting towards the left side. Now under these, I will quickly begin adding in little foil is needed on. For now, I will just add in a few of those. It seems false so that I know of the placement. Also, I'm going to read them in the height as I move either to the left or the right. I'm done adding in all the stems and you can see on the right they're tilting towards the left and on the left ear tilting towards the right. Now, I'm just going to add in a little of the crisscross pine trees as well across these very few of them. Suppose I'm adding in those terms as well, so that I have a perfectly up, then very simply I can add in the foliage to this. You can see I'm adding in a lot of these stems so that I have a full loop of these binaries that we are going to be adding in. Now this time to add the Fridays to the pine trees I'm going to be using in this point John brush. So you can see that they both this brush is so much pointed. I'm going to read directly using this and adding in the foliage to the pine trees together. I'm not going to be adding in the foliage to define G one-by-one using a smallest sized round brush, make it the task easier, going to quickly just using the tip of the brush and keep adding in these. You can use such fine brush for adding in the grass details off our list details to your normal trees as bell. This is the reason why I forced out even all the branches together and then shifted to adding in the foliage because of using in this coil brush for adding in the foliage too quickly and making the past much easier. You can see this while brushes giving much more natural look to the filings of these trees. Now just going to add a little more foliage at the bottom spaces as well, and then move on to the next part of this painting. I'm adding in the foliage and you can see how beautifully we have added in the foliage in just a few minutes quickly. They look much beautiful when added into this spoiled brush, rather than adding them one by one individually through a regular brush. Now next I'm just going to quickly add in some of the glowing star spaces, suggest adding in white patches posts and then using in another damp round brush, I'm going to quickly create the soft edges to this, to actin as the growing space for the staff that I will be adding in later on. By now, I'm sure you would have launched to add in these growing spaces. You can use this. Alloying technique for adding in moon stars and the sun has Bell into your paintings even for certain highlights you can use in this growing space technique. Now I will wait for all of these to dry and then I will begin adding the letters and the stars into the painting. Once all of this is completely dry. Now my painting is completely dried and I have these letters ready. It acknowledged the code you were created to do magical things. I have just written them on a paper of equal size and cut them out like this. Now I'm going to be using in this gold shimmer paint, I'm going to just add in little Shema onto the edges of this cuttings that I have created today. You can go ahead with any other quarter of your choice as well. Also, if you do not have these metallic colors, you can simply use in any other dark color of your choice, or you can leave it blank light itself right now, as Ben suggested very carefully onto the edges using the tip of my brush, I'm adding in little, little highlights, very rough lines so as to give it the perfect crafty lookout dead in, in B, I'm going to quickly add it onto all the four sides of this letter and forgot other two putouts has better. And then I will leave this to dry completely. I'm done adding in the highlights to the edges of this one. Now I will quickly add to the other two. I can wait for all of these to dry completely and then move ahead and add the further readings. So now my letters are completely dry it in and the golden color has also dried completely. Now I'm going to first begin adding in the glowing star. So the growing saas pieces, I've also dried completely. I'm going to pick up the white gouache. I'm just going to add in very small tokens into the center of this growing spaces. And you can see just automatically adding in that center star, the growing spaces become, get that glow naturally and look at the perfect LET stars. Now after this, I will begin tipping down these ports that I have written in. Now at pieces just adding in a few of the biggest stars as well. Now for taping down this code onto the galaxy, I'm going to be using in this glue tape, which will automatically helped me and just laying down the glue onto the Back off. These are paper cuttings. You can use a normal fatalistic or fabric colors by since I have this glue did, this will make my task easier. I'm just going to roll on this steep out. You're onto the court and begin adding it into the galaxy. I'm placing it exactly in the center space of this guy. You can see I'm going to add these in three different layers. So the first one I've added is you will created. Now just in the center of this, I'm going to add in this to-do. And then underneath that I'm going to be adding in the magical things. This is how in each of your paintings you can simply add in beautiful quotes. It can be any type of painting, a simple sunset order galaxy. And you can give them new to your painting as well. Let's remove the masking tape and see your final painting with those clean edges. Make sure your edges are completely dry before you begin to remove the masking. Is our final painting for deep artery of this 30-day watercolor challenge. I'm just going to add in a few of the golden she must ask quickly. I hope you enjoyed this RDD watercolor challenge and love painting in all the galaxies. And by now, I'm sure even you would be in love with painting galaxies. If you love this class, make sure to drop a review so that it can help me reach maximum student. Also, if you have fainted alone, makes sure to drop in your class projects into the project section. I would love to see your creations from this class. Thank you so much once again to each one of you for joining me into this class and supporting me throughout your final painting, you were created to do magical things. Always remember this. I would see if I zoom into my next class. Thank you so much once again for joining me into my classes and supporting me. See you soon.