30 Day Watercolor Challenge - Learn to Paint 30 Nature Landscapes With Watercolor

1. Hello & Welcome Back: Nothing compares to nature's beauty. From springs, hopeful new blooms and false, exquisite array of colors to Windows, magic and some less energy. Each season. A bonds with different types of natural beauty to explore and admire. Hello everyone, Welcome back to another Skillshare class. I'm an artist and an art educator based in India. You can find me on Instagram under the handle, creating from the heart. You can find all my works and Instagram, including my handmade sketchbooks, my ceramic palette, to my other landscapes and works including wash and acrylics. Despite exploring other mediums like gouache and acrylics or watercolors is still my favorite mediums to work with. All my works are inspired by nature and includes different elements of nature. This 30-day watercolor challenge we are going to be exploring in different natural landscapes, which would make any be focusing on different kinds of fields and Florida landscapes. We will be painting different meadows, different sunset views over the coming 30 days. This class I have discussed in detail about the color palette that I'm selecting for this class, discussing the color pigments, how you can choose your colors depending on the pigment number of the tubes and forming your own color palette. The class I will be discussing with you in detail about all the materials that you need for this 30-day challenge so that you can have them ready before beginning the challenge. Also discussing everything about taping down off the paper to how you should be taping it down. In the coming lessons, I have discussed in detail about the layout of this class as to how we would be going ahead painting in the 13 nature landscapes. This class will help you understand much more about watercolor techniques and using the vibrancy of the colors and creating beautiful nature landscapes, including skies, seas, mountains, beaches, meadows. If you are looking to develop a daily habit to practice, and also improve your watercolors skills. Then come join me into this 30-day watercolor challenge and paint beautiful 30 different nature landscape paintings together and explore watercolors and grow together. 2. Materials Required: Before moving ahead in the class, Let's begin with the materials that you will be needing for the class projects coming to the first and the most important material that is the papers. These are 300 GSM, 100% cotton artist grade Ba Hong paper. You can have a look. This is Hong Artist. Cold pressed 300 GSM, 100% cotton paper. When coming to watercolors, I recommend using a 114% 300 GSM cold pressed paper. This is a bigger size paper which has cut into smaller sizes for each of the class to check out your, you can go ahead with any size that you wish to. This is approximately five inch by six inch on which we will be painting our class projects for the coming pet details. Now, other kinds of paper that people usually use for watercolors is this just green paper? You can see the texture of this paper. If you compare both these papers, you can clearly see that aspirin paper has more defects as compared to the cold pressed paper. On the other details are the same that it is artist level, just draft 300% cotton, 300 GSM paper. I do not select commend hot press paper when it comes to watercolors because it does not give that effect. What a little texture paper gives it. So you can see the cold pressed paper works best, but coming to the grass green, it may be difficult if you are a beginner level to let the colors, fluids, zillions of green paper. That is the reason I recommend using a 100% carbon 300 GSM cold press watercolor paper of any brand that you prefer. Next, you will be needing a rough sketch pad or a rough watercolor book for watching the fellows. Before each class project, I had some tetrapod paper, or which is a 100% cotton paper lying with me. I just have needed a simple spiral book using those paper. For each class project, I will be discussing all the colored sheets that you will be using, some basic techniques, some mistakes that usually we have been to do and the other do's and don'ts before each class project. I'm coming to the next material that you would be needing. Your is a jar of other materials that you would be needing. First is a pencil for adding in some pencil sketches in a few of the class project and an eraser as well. Next, you would be needing in a white gel pen knife. You do not have a white gel pen we will be using invite Bosch has been, so it's perfectly okay if you do not have a white gel pen, we can use BY clause with the smallest size brush to add those details. And lastly, it would need a black pen for some details and highlights. Now coming to the brushes that we will be using, I will be using this one inch flat brush for giving in the background water wash and also for the reweighting technique as well. This brush is quite big so it becomes easy to wet the surfaces quickly. Next, I will be using this half inch square brush and a 1 fourth inch square brush. These brushes I will be using while painting whenever we're painting skies in some of the class project where we need to use a flat brush. Coming to the round brush I will be using majorly these two round brushes. This is a size eight and size four silver black velvet round brush. You can see these brushes have a pointed tip and when dipped in water, they will give you fine details because it's a pointed tip. The other round brushes that I will be using are these two, that is Princeton size 321 is the Heritage Series and the other is the well-worth that series. So these two brushes again that I will be using for adding in the detail. And lastly, I will be using this point round brush. Now this brush helps me create magic. So you can see we're giving little texture of the grass using this brush quickly. You're in this class project if you see it. So It's easy to add this bush detail using this coiled round brush quickly and then just adding some detail highlights using in our smallest sized round brush. So that is what I recommend to have. Now next, you can have a Hake brush for using for the rewetting technique, or you can use your largest size flat brush. Now since we are painting on a smallest size paper, even though one inch flat brush works good enough for, you know, the re-weighting technique. But if you see this hake brush is so huge that ingested two strokes, I can rewrite the entire surface. But this brush holds a lot of water, and hence I recommend using. A one inch, two inch flat brush, if you're painting on an A5 size paper till math, because that will often pull the water while we reading as Ben. Now next and the most important one is the colors that we will be using. This is the set of PwC, what the fellows, alright. This is a set of 32 colors that I haven't been using. I will be using a few of the colors from other brands as well, such as Magellan mission and white light fly. They'll be discussing each color or for each class project before we begin. Alright, so before every class project, and we'll have a technique section where we discussed the palette sheets. If you did not have to scholarships which follows You've been used, or how you can form some of the categories like foil rule from your basic palette with the help of Bitcoin. So in the second class project itself, we have used the royal blue color. And if you do not have, we have learned the mixing technique to form this fellow without even having this color completely. Also, we will be discussing more about the color pigment, and in the next lesson, we will be forming our own color palette like this. In the lesson, we will be filling this color palette. I will show you how I have selected my shadows for the color palette and the pigment number that I have selected. So that it's easier for you to understand if you are using any other brand pigment. So these are the colors that I selected in a palette. Apart from that, you can use the colors by squeezing out on the palette. Now the most important thing when it comes to colors is the pigment number. Because across different brands, the Nemo's, the fellows may be seen but the pigment colors, maybe the sprint. I have a swatch book with me where I have watched in all the colors that I own from different grants. So I have the Magellan machine. And now if you see in Magellan mission, the color names happening would be seen. But the pigment number you're in PwC is defined as that in right night. In PwC, the pigment is a segment, single pigment color and then Magellan mission, this pigment is pigment color. Same way your, this is a red brown shade of, and in this set that is a shared known as rounded. Both of these are exactly the same shape and same pigment number, but again differently. In the same V, I have swatches of all the palate sets that I own. This helps me in selecting the color from different brands. Photo class project plus understanding the pigments better. Now coming to some of the other materials that we would need, you would need a mixing palette. You can use a plastic palette, ceramic palette, or any other palette that we use for mixing the colors. Next, you would need two jars of clean water for each class project. Because in some of the class projects we will even be doing the re-weighting technique where you would need clean water for doing the rewetting. Next, you would be needing in masking tape to tape down your paper. I will be taping down my paper on a movable sketch book. This is the sketchbook that I will be using to tape down the paper for each class project. This is a hardbound sketchbook and suits perfectly for the size of paper that I'm using. I recommend you it to tape down your paper on a movable surface. It becomes easier while adding in some of the details and plus for adjusting your hand Angus. Next you would be needing in our tissue paper or a slot for each class project because you would be needing for dabbing your brush for lifting techniques. And lastly, the white gouache. These are all the materials that you would be needing for the coming today. We will be discussing more in detail about the colors in the next lesson. So grab all the materials and see you guys in the next lesson. 3. Class Overview: Before we begin that they one of this 30-day watercolor challenge. Let me give you an overview of how this class will be functioning for every class project before the class project that we have in a technique section wherein we discuss all the colors that we will be using for this class project. Along with that, I will also be discussing the basic technique and you know, some other details which will help you in the class project easily even if you are a big no-no. Like C for this class project seven, which we will be painting on D7, we will be discussing the technique used to be creating this fluffy clouds sky in a very easy manner, using in the basic blue colors and how you need to create this glowing space in the sky. And then depending on the glow in your sky, the effect on the trees, how you need to add the lighter tones and the shadows is what we will be discussing. Then the new begin painting, the final class project, it becomes much easier for you to understand the shadow, the perspectives, and painting the entire class project easily. You are, you can see I've shown how you need to add the trees. Also, we discussed each of the colors in detail, the alternative color options that you can use if you do not have the exact same sheets. And also in case if you want to use in any other color combinations, then how you can incorporate them as well. Now if you see in this class project, there are a lots of colors and a lot of details that we have addict despite the class project looking in so easy. For this class project we will be discussing in the do's and don'ts first need the colors that we will be using. Then how to add the details wet on wet, your buy the wrong method and then the right method learning about water control. We will also be learning about creating in these glowing lights and the flowers, using the colors, mixing it with whitewash. I recommend before every class project to refer the technique section. If not practice alone, then at least have a look. It will help you and give you better guidance while painting the final class project. Because all the do's and don'ts would be in your mind and you would have a rough overview and the layout of the class project, how we will be doing it. Even for this class project here, you can see there are a lot of is wet on wet, which we will be discussing before beginning the final class project. In this class project we will be learning to create these glowy background are and learn how to control the water by creating this bloody yet to glowy background and adding details wet on wet. In one of the class rejects, you would be learning to create this misty mountain loop that techniques required to understand this. If you are a complete beginner joining us in this 30 day challenge and if you are new to watercolors, this technique section before each class project will be very helpful to, for you to understand the color options that we are using, the techniques needed to paint this class project effortlessly discussing the basics about watercolor techniques, and also help you choose your colors accordingly depending on the palette properties and understand the layout of the class project. Also, before each class project, I recommend you swatching your colors so that you understand how the colors look and how they would look on the paper for the class project that you are selecting them. It is quite helpful in your final class projects. We are also going to be learning in defind techniques like the re-weighting technique for one of the class projects. There I will guide you with the do's and don'ts about the riveting technique. The things you need to keep in mind, the colors that react with each other forming in muddy color tones. How to avoid them using different techniques. Again, all of this becomes helpful if you have the color swatches. If you have little understanding about the color properties, I will be uploading all the color swatches and the pigment color information in the Resources section from my swatch book, that it's easier for you to understand which kids I am using this color palette which we will be creating together. In the next lesson, I will show you all the color pigments and for your easy access, I will upload the different color pigments across different grants that I own, the swatches of which I have in my swatch book. I will upload the pictures of that in the resources section so that you can easily refer the pigment number which I am using. Major League, all of my colors are from the brand PWC. I'll see you in the next lesson of this class where we fill our color palette. 4. Curating the Color Palette: In this lesson, we will begin forming in our own color palette. Let me show you the colors that I own already. First is this set of Magellan machine. This is a set of 36 sheets that I have and some of the tubes I have purchased separately as well. I have a habit of swatching out all my colors, writing down the pigment numbers, watching each of them knowing their color pigment number in the same way. The second set that I own is the Shannon professional watercolor series. This is the set of 32 basic colors that I own. Again, these are 15 ML tubes, the medulla machine, but seven ML tubes. So I have watched out all of these colors as well. Now I have written the pigment colors for this as well. If I wanted to compare, I can compare the two colors of the same name with any other brand as well and see whether they are the exact same sheets. And you're looking at the pigment number in the same way. The next set that I own is the 35 pen set of White Nights, which I have added my own customized sheets plus a few of the FaceTime cubes out you all which I have, which I have swatch them as well so that I knew how the color loops. And this helps me in selecting the colors for my class project before beginning onto any project. Then these are some of the other fellows that I own. Some of these are watercolor instead are from the Indian brand. Apart from this, I have some handmade colors as well from an Indian Band. Again. These are again, one more international brands, supervision watercolors, swatches. And the last one, the foot pallet series from Marlboro watercolors, which is again an Indian brand. These are the watercolors that I own. Apart from this, I have some more watercolors which include R22 can be in the basic watercolors, which I haven't swatch because I did not use them now. Now, let's form this color palette out your, I have this palette empty with me since a long time. I have been waiting to fill it along with you all. So into this palette, I'm going to be filling in some of the shades from this. Shannon said that I own. Now this set is often 32 colors set, but these whales are only 80. Now to your eye will be handpicking the colors which should go into palette and which colors I may remove from the tube if needed. At any point of view of the colors will be from different brands as well. So like this compose blue color, but I do not use much of this color. So I will directly be removing this color on my palette whenever needed. For now, major colors are going to go off the brands Chanel. Because for the material mission set, I already have a separate band with all the colors into it and provide nights. It's already a pan set that I own. So I can begin adding in the Shannon colors into this palette. And I will show you how I select my colors, the pigment number. Now let's begin filling in the palette. So I have four shades of yellow. As you can see, all the pigment numbers that it didn't. This is the lightest yellow. Then we move to a little mid yellow and then more of a yellowish orange color. So I'm going to be selecting the colors one-by-one. Depending on the pigment color, we will begin adding the colors into our palette. Plus these two colors you are from the White Nights ban, Indian gold and nipples audience, which I want to consider into my palette. Let's begin picking up the colors. So I do not use much of the lemon color, so I will directly be going to the permanent yellow light color and the permanent yellow deep color. Now these two colors are enough for me because one is a light yellow tone, and second one is a mid yellow tone with a little touch of orange to it. The pigment number for the permanent yellow light is PGY1. That for the permanent yellow deep is p by ADT. Now if you see the permanent yellow deep and the permanent yellow orange color, both have the same pigment p by 83. The only difference in the permanent yellow orange, that is an orange pigment which is P or protein as well. Alright, matter, the color sheets look almost similar. The vermillion you color out, you are in the second line, the second color. Alright, so that is an equivalent to an orange color. So if I'm mixing the vermillion new color and the permanent yellow deep color, I will get a permanent yellow, orange sheet of this almost equal to the same color. That is the reason I do not want to keep or to office almost looking same pigment color or which I can mix in my palette. I prefer adding in pigments with single color pigment so that it's easier to mix other colors as well. So now I can mix in the permanent yellow deep and vermilion you to get the permanent yellow, orange color whenever I want to use in any of my class project. The coding of the pigment colors. P stands for pigment y stands for the shade, and the number stands for the number of the pigment. Now the next color that either be having is this Indian gold color. This is a beautiful orangeish or in yellow, a little brownish color, which is beautiful for painting sunsets. I will be having this in my palette as the third yellow. And for the audience, as I told you, I will be having in the vermillion use so I can mix in the yellow, orange sheets whenever I needed it. These are the four colors. Now from the reds and pinks, I will be selecting which colors to go ahead bit. So coming to the red first, which is going to be the payroll, this is surely going to be in my palette because this is the only red sheet available. The next one almost similar is the Rosemead, our color, which is a little on the maroon site, but I do not use much of this color in my class project. I will be going ahead with the next color that is going to be the Crimson lake color. Now the Rosemead, our color and the queen died color. Both are up in the red family, which I do not want to use. So directly moving to the pink sheet, which is going to be the Crimson lake color, which is pigment. The our ADT for the payroll read the pigment number is 254. That is pigment number 250 for the Crimson make, as I told you is p are 83. Again, this is also a red pigment, but in such a way that it gives you pink tonal value. These are the next two colors in the red and the pink family that go into my palette. Now next, for the brighter, better, there is no replacement and it's a must have in our palette. According to me, at least this is surely going into my palette, the pigment number four, this is VR1. You will not be able to mix in any two pigments to get a brighter, better color. It's a separate color altogether, which I would recommend having into your palette. The next is this permanent violet color, the pigment for which is PV. Now, surely you can mixing blue and red to get in your violet, but I have only one violet which is surely must have violet into your palette. I will go ahead with it, coming it to the shades of green. You can see I have six green color pigments out here. From these, I will be picking up the pigment colors. The first color that has picked up is the cadmium when light, which is P G7 and PY 35. The second color that I picked up is the olive green pea by a D3 P D 8. Third color is the sap green color, which is P D it again. Now the olive green color. If you see the limitations by a D3 and PGA, which is nothing but a mix of the permanent yellow deep color out here, which is PY 83. This ad green color which is PGA. If I mix the sap green and permanent yellow deep color, I will get an olive green color directly. But I absolutely loved this olive green sheet that is directly formed and in this tube form, that is the reason this is making place in my palette along with the greens. Now, you can surely mixing the colors. So you're now, since I gave you the color pigment numbers, if you have a similar PDAs pigment by whatever name in your palate and the permanent yellow deep color that is p by 83, you can simply mixing both of them, The Scholars, and cleared the olive green color coming to this cadmium light green. It is also a mix of a sad, clean, and the yellow color. You can mix that as well and create it. I do not use much of viridian green, not keeping it in my palette. I can squeeze it anytime if I need for any class project. Now next come into the shades of brown. First one that goes into my palette is the yellow ocher for sure, which is pigment p by 42. You need it for your beaches of a simple effect in your landscapes, Greenfield's, etc. Now next we have to select another two colors for the brown sheets. So I will be going ahead with differentiates now, the raw amber and the bond amber, both our pigment, we are 101. The pigment uses seem, but just that it is heated at different level. Even for the nitrate, if you see its pigment b are 101. All these three colors are formed using the same pigment. And even the Van **** brown to out your is with the same pigment VR1. Now you would be thinking one statement still four different sheets. That is because these are pigments and heated at different levels to get the darkness of the color differently levels from the different tonal colors of the same pigment. One color that goes into my palette is the Van **** brown. If you see the CPR color, it is nothing but we are 101 plus the black column mixed in so I can farmers sepia color by mixing in the Van **** brown and the black color. Now the third ground color that I will be picking up is going to be the lighted color. Reason being the Rambo color is a color which I do not use match. So I can show this piece it out anytime. The bond amber color again is just a lighter shade of the light red color. The bond sienna color is a very light color which I found to transparent, and I did not like that color match for the brown next color that I'm selecting, this light red color. Alright, I will be adding this into my palette. This is against the same pigment VR1 01, just heated at a different level, giving in a beautiful red touch to your brow. This is somewhat similar to the bond CNR from the Magellan mission set, which I absolutely love. These are the three browns that goes into my palate. That's the yellow ocher, light red and when they don't. Now coming to the last sheet, that is the blue shades. Alright, so first one is the indigo color. I do not like much the indigo from this set, I like more of the white knight set. The indigo does not go into my palette. The Prussian blue surely makes a place into my palette. This is a dark blue, good for painting in Dhaka skies and other details as well. This is pigment BB 27 that I'm adding in. Now next, if you see the pigment for the city Lynn blue, you and the peacock blue both pigment are seeing PB 15 is true. And if you notice the swatches also, there is no much difference in both the follows. So I will be adding in the city and blue in my palette and not adding in the peacock blue because they are almost the same pigment. Now next coming to the cobalt blue and ultramarine deep color. Again, these pigments are also very close to each other. You can see from the swatches, one is pigment BB 28 and the other is pigment PB 1109. I will be adding the cobalt blue instead of the ultramarine deep color because I use very less of ultramarine color. I will go ahead with the cobalt blue color instead. In the last block, this color has to be there, which is painstaking from right nights. Without this color, my entire palate would be incomplete. Coming to the indigo color again, I use a lot of indigo, but since I do not like the indigo from this set match to be added as an indigo palette. My palette, I will use the indigo color from my right night spanning set if needed or if needed. I can even use from the tube anytime. These are the colors that mic please. This palette which we will be using for the coming 30 days, we will be using some other colors as well, which we will squeeze out fresh whenever needed, like the compose blue, Naples, yellow, indigo, some royal blue colors which will not be used immediately for every class project. These are the medial colors that will make plays into each of the class projects mostly. Now I'm going to begin squeezing out to each of the colors into my palette. The lands pleasing are these colors? Let me give you some additional information. If you are looking which color sheets you should pick up, or if you want to pick up different color sheets across different brands, what you can do is you can note down the color pigment of each of the brand. If you visit any of the brands aside, you will easily get in all the pigment information offers specific color. You can easily get to know which pigment is named as which color by which brand. Across different brands, the name of the column may be seen, say the permanent yellow deep, but the pigment number maybe defense causing the difference in the shade. If I tell you in the Magellan mission set, the permanent yellow deep color consists of pigment device 65, whereas a PWC said that we are squeezing outright now the vomiting, the yellow deep color is off pigment BY making the difference in the shade. As Ben, I recommend you to note down the pigment number across various brands, which will help you in selecting the colors differently. Also, I would recommend to select single color pigment if you are picking up one single tubes from different grants, because that will help in color mixing much easy. Because if a color will already be made up of two to three pigments, then mixing the colors to form differentiates becomes little tricky. By any chance, if you are unable to find in pigment number for any brand, there are many stationary stores as well with specified complete details about the pigment numbers as well. You can visit or international stationary stores such as Jackson, which specify the pigment colors of all the colors that is available on the site. From them has when you can get to know the pigment used in a specific color of a specific brand. But majorly, all international brands have the pigment number and all details about the palace specified on their site. In our list, make sure to understand the pigment number before selecting your colors for the palate. If I could add in a lot more of the colors into this palette, there would be some more colors that would make plays into this palette. But I know those are the colors which I do not use in almost the class project. That is the reason I'm not speaking all of them out here. I'm just squeezing the ones which are the most commonly used in my landscape paintings. The others, as I told you, you can always finish this piece out and little color onto the palette for using for this specific class project. I'm almost done squeezing out all of the colors, just five more colors to go. You can see I have squeezed out very little quantity because I do not want a match of them altogether. Or you can always squeeze out once they get over. So I do not want to remove much of them out. Also, for the first few class project, I will be squeezing out the color onto my palette to help you understand how you can even do directly use the colors from your tubes instead of forming it onto a palette back to me. Using the colors from the palette becomes an easier job because it's much easier to access all the colors together, especially when you're working wet on wet, it becomes much easier to quickly grab the color instead of removing them on the palette. And the second major drawback is on the palette, a lot of color goes BY state. If you have to keep squeezing out the colors again and again. Because maybe for another painting you may not be using in the exact same tunes. That is the reason I prefer having a prefilled palette like this with the most used colors and the other colors, you can simply keep squeezing them out. I've just picked up the fresh tube of the Payne's gray color and I'm going to squeeze out a little of the Payne's gray Colorado TO, I do not prefer using black because Payne's gray looks much better and somehow I like this color more than the black color. Plus mixing it with grounds, I can easily get into CPR color, mixing it with the blues, I can get into indigo color and the darker tones as bed. That is it. I'm ready with my palette. I recommend to each one of you to swatch out your paints. They are very helpful by selecting the colors for your final class project class. It's very helpful while comparing your fellows in different grants because as I told you, the names may be seen, but the pigment and color tone is quite different. So make sure to do this little exercise before each class project. This will help you better. I will see you guys in the next lesson now. 5. Day 1 - Sunny Sky Tulips - Colors & Technique: Welcome to day one of the 30-day watercolor challenge. I will be discussing with you all the colors that we will be using for our class project and some basic techniques as well. Let's begin swatching the colors that I will be using it. For this guy, I will first be using in this color shade, permanent yellow deep. You can go ahead with the yellow, orange color if you do not have the exact same shape. The next color that I will be using is the Carmine color. You can see on the top right side, we will be creating a cloudy effect with these two color combination. That's the permanent yellow deep and the Carmine color for the sky we will be using in the civilian blue color for the rest of the space. So these are the three colors that we will be using in for this guy. Now let us watch the colors that we will be using in for adding in the floral and the leaf details. I will be using in the different color tones of green. The first one is the light green color. You can use a yellow green color. If you did not have a light green color, you can simply mixing a little of your yellow to the sap green to get a lighter green tone. Next, I'm going to be using in the sap green color. Do not worry if you do not have all the different tones of green. Even if you have just one green, you can create a lighter tone of the green by adding in yellow, a cartoon of the green by adding in little of the blue, Payne's gray or brown color, any of the color and creating one darker tone. So these are the 34 colors that we will be using in for the leaves. I will be using this olive green color as well, a little to mark a little distinction between the leaves, the flowers we will be using in the red color. So I will be using in the payroll red color it out. You can go ahead and use the permanent red colors, scarlet color if you do not have the exact same shade of debt. Now, these are the colors that we will be using it. Apart from this, I will be using in a little bit of the burnt amber color as well for adding that and darker tones or darker highlights onto our flowers. These are the colors that we will be using for the class project. Let me show you the final class project is the final class project. We will begin by creating in the sky effect first with the two colors and then adding in the city didn't do color for the rest of the sky, creating in that cloudy look at the bottom, Walter, you can see if we have a little of the yellow and the pink color sky effect, then even begin adding in the leaves one-by-one. If you can see all the leaves are visible, distinguished. We will be adding in a pencil sketch for the leaves and then begin adding in the leaves one-by-one. So we are going to be using in color combinations of different greens onto one leaf to create different color tones and color bleedings and color variations onto one leaf itself. Then for the flowers we will be using in the red color, giving in highlight with the brown color. As you can see, we are painting in very simple two lips, as you can see already. And we will be giving highlights and shadow using in the darker brown color that we have understood the composition. Let me just discuss with you the basic about adding in the leaves. So we will be doing a pencil sketch for the leaves because we need to add the leaves one at a time. We cannot add them altogether, otherwise they will not stand out separately. So I'm first creating a layer of water with a random leaf shape out your first time picking up the light green color and I'm just going to add it at one edge. You can select the top or the bottom edge. It's completely your choice. And then on the other side I will begin adding in the darker green tone. Now, it began adding in the darker green. Out here, you will see both the colors bleed and onto the leaf you get the two tonal leaf effect. So this is how we will be using in different tones of green onto different leaves, creating in different colors for the leaves. And each of the leaf needs to stand out separately and distinctively from the other leaf as well. Now, if onto any of the leaf you want to create lighter effect, you can even lift up the colors while your leaf is still wet. So I just lifted the color from the center because the darker tones seem to have spread a lot. Now again, just picking up the darker color on the brush. I'm just adding little darker tens onto the edges, as you can see in the center, we've maintained the light effect and on the edges we've added in the darker effect. In this way, using in the different color options of green that is available on your palate, you will be adding in the list. So if you see here in the final class project, I have created color combinations of the lighter green and sap green, olive green and light green in some of the it leaves. I've just added one single color. I have made sure that no two adjacent leaves out of the same color so that each of the leaves stands out separately. Now next coming to this lab, we will be adding in the flowers using in this pyrrole red color. We will not be adding in much water. We will be using the color in a good thick consistency so as to get the perfect look of the color and the loop, we are going to the flavor in very simple three to four petal shape and moving the pages are different from each other. Now for mapping in distinction in-between these patterns we are going to be using in little brown to add in little darker effects. So make sure you do not use the brown with a lot of photo. Just use a damp brush and using the brown color, just add little highlights onto the edges variable you want to create little highlighted effect. Let me give you a closer view of the highlighted effect. Now. You can see very little brown that I've added and it creates a little highlight and distinction between the petals. In this way, you can create distinction between the petals also and add the petals one at a time, wait for it to dry, then add the second petal and mark the petals as very distinguished from each other. Now coming to this sky, we're first going to be creating in the yellow and the Carmine color cloud effect. And then in the rest of the space we will be adding in the civilian blue color. Now remember when the yellow and the blue mixed together, they may form in little green tones. Between the yellow and the blues. We will leave in enough whitespace for the colors to bleed in naturally. And then later on we will even be adding little blue effects, but very smoothly. The less pressure on the brush in-between, you can even see we have little lighter cloud effect showing in the white effect of this guy by using in the lighter blue color. This is about all the techniques that you need to understand before beginning in the final class project. You can use the best alternative colors that's available in your palette. And let's begin painting in the first-class project of this 30 day challenge. I will see you guys into the next lesson and begin painting in our final class project together for D1. 6. Day 1 - Sunny Sky Tulips - Part 1 - Painting the Sky: Let's begin the day one class project. I'm going to begin by taping down my paper onto this movable surface using the masking tape. I'm using in the half inch size masking tape. You can go ahead and use any masking that is available at your end. It may not be exactly the same as mine. Now, a few tips by taping down your paper. After taping down on any one side, make it a habit of different down your paper onto the exactly opposite side. This will help in releasing any air bubbles in-between or any space from behind the paper and then help you lay down your paper flat enough. After this, you can take down the rest of the two sides as well. If you'll notice after taping down each, if I run my finger onto the edge of the masking tape to secure it properly. You can do so using a ruler as well, or a scale or any other instrument that you feel right for the purpose. I prefer taping it down with my fingertips up quickly or it helps in releasing any space if it is lifting that the paints do not flow into the edges. So this is again another div which I will recommend you to run your fingers fondly across the masking tape, securing the edges perfectly so that there is no space for the water to pass out anywhere. Now for the class project one, we're going to begin in with the light pencils ich. In the technique section you would have seen we're painting a simple sky with some tulip and leaves. I will begin doing the pencil sketch for the leaves. The leaves, as I told you are going to be standing are distinctively from each other. That is the reason I'm adding independent sketch so that we can paint one leaf at a time, waiting for the other to dry before painting any adjustments leaves, I'm going to head with a bunch of leaves out your you can surely change the placement of these needs and add them more detail if you wish to. I'm going with simple long leaves in-between. I'm adding in the stem for the two lips as well. A tulip flowers as well. So very simply, not even the detailed tulips that we are painting in your, even if you are a big note, you can easily follow this pencil sketch and keep adding in the details. The time we are adding in the pencil sketch, I'm giving you a closer view of the details so that it's visible to you on your screen easily. Now you can see I'm adding in a few of the leaves from behind the stem. The stamp is friend of this leaf that we added on the right side. Now again from behind of this leaf, I'm going to add in few more of the stem and the flower details. Again. This is how, you know you need to create a mix-and-match of different DTUs in your painting. So a few of the leaves can be in the foreground of few of the leaves moving from behind of the other leaves and the flowers as bell. A few of the leaves moving from in front of the stems as well, try to use in a mixed and combination of all of these. Now to this tool departure, you can see I'm adding in a little more petal details as compared to the first one. Now from in-between, I will remove the extra pencil marks because make sure when you add in water layer onto the pencil marks a chocolate tones, a sort of a permanent layer and then depends in maths when not be even to be erased at any cost. So make sure you go in with a very light pencil sketch and delete the unnecessary sketches as well. Now in the remaining spaces, I'm beginning to add in the leaves randomly, a few of them overlapping and moving from phantom behind you or you'll see one of the leaf was from front of the stem, one leaf we added from behind the stem. Now in the same way, I'm going to begin adding in the details on the left side as Ben. On the left side, I will be having more of the leaves and just do small flowers. Now you're to this flower. I'm going to give one of the petals a little separated from the flower to add in little distinction to the slab was that we are adding in. So as I told you, try to be each of your florals as well, and try to read it the shape, size, length of each of your leaves as well. Now in-between your, I'm adding in one more flower popping out from the same stem. I will give a small connection to this as Ben. So again, as I told you, you are placement of leaves and flowers can be completely different than mine. I'm not going ahead with much detail flowers or leaves because I want to keep it simple and light for every one of you to follow along. But believe me, even in this simple flowers, there is so much to learn, so much to understand as well, which will help you in painting in more complicated subjects. Ahead. On the left side you're going to let little off the state-space be visible. So adding in very less needs on the leftmost side. Now we are done with the pencil sketch. Let's begin painting now. I'm going to begin with a clean coat of water onto the entire surface. So I will be adding in a layer of water even onto the leaves and the flowers. For this guy, I will be using in the colors of yellow, crimson, and the setting in blue color. I have discussed on the color sheets in the previous lesson, exact sheets that we are using. You can refer to the previous section. And then these, if you want the exact color codes of the sheets that I'm using, That's the pigment color. You can visit the description section or the resources section where I have uploaded images of the set that I'm using, the color swatches including the pigment number, so that it's easier for you to such a seminar pigment number in whichever brand paints you are using or the DOTs pigment possible. So as I told you for the first few class projects, I will be removing the colors from the tube. So that helps you understand how you can even use the colors directly from the tube. Now let's make an adding in a clean layer of photo. As I was discussing with you, the flowers in the needs are going to be off applied by pink color. And this guy on the other hand, is going to be on a lighter tone. That is the reason I'm going ahead with a layer of water onto the entire people, including the flowers and the leaves and not leaving any white gaps for now. Because I do not want to jumble up with this guy by meeting those gaps and then being very careful to painting. Rather, I will try to add in less of the colors near to the flowers and the leaves spaces. Finally, adding the layer of water, make sure you run your brush multiple times so that your paper with Steve for enough time while you add in all the details, It's wet on wet. Also, make sure you do not have potholes of photo if you feel that is any excess water, if additional handy dab off the excess water from the edges so that it does not sit back into your beam. Now first beginning with the permanent yellow deep color, I will begin creating the sky effect at the top right side. That is the cloud effect in the sky. Very loosely using the round brush, I'm beginning to add the color, leaving little gaps in between as well as you can see in-between we will be adding little effect with the Carmine cholera as well. So with the yellow wall, if all you can see I'm using in the yellow in different consistencies to get little lighter and darker tonal values. At the bottom side also adding middle of the yellow touch, mostly at the bottom space. Now next beginning with the Carmine color, I will just begin adding in little cloud defect in-between the yellow spaces. Make sure you have the perfect Water Control. You can see my carmine color is not spreading and covering the entire yellows piece. It's very important to control the water content. Otherwise, the paint will flow in such a way that it will cover the previous inflows as well. So always make sure if you feel if you have excess water or pigment that will brush onto a two shot before walking wet on wet. Now the rest of the whitespace, I'm going to use the citrulline blue color in this also. I'm going to go in very carefully, not going to add in much of photo. Now new to the yellow color, you can see I'm leaving a very wide gap, a small white gap, and not mixing the blue and the yellow because I do not want green colors to be formed rather very carefully. I'm mixing it near to the pink tones because when mixing with the pink, it will form a little violet color and that will be buffered new. Okay, it will just give a small light touch to your sky. The danger of violent directly. Now I'm just going to pick up little yellow color and drop it at the meeting point of the yellow and the blue is very lightly. You can see little or green color gets formed if you try to blend both of these a lot. So try a Whiting, just drop it very lightly so that they do not form in green color because that will not sued in the sky. Right off at the mixing point, you can use mode of department in color, which will give you a little purple color effect. Now again, using the blue color, I will just drop some darker depths at some certain places out your, so you can see very randomly I'm dropping in some darker depths, but in such a way that I do not cover the entire space. Now just using my brush, I'm just going to add in little cloud effect. You can see using my brush with very less pressure, I'm quickly pulling it in little strokes into the yellow and the Carmine space, creating in that cloud effect. Same, we're going to add a little cloud effect very gently from the right side. For this also makes sure you do not add a lot of pressure. Otherwise, there will be more of the green sheets form which we do not want. Clouds and the sky is ready. We need to wait for this to dry completely before beginning to paint in the flower and the lease details. So before letting this to dry, I will just add little more carmine effect out. You're at the top and a little more of the yellow effect, just little darker effects, not much. And I will blend them perfectly so that they do not stand out too dark as well. Now, this is for the sky that we have painted a very easy one. The entire thing is about the water control for adding in these, because it's very important to while adding in wet on wet. Otherwise the colors will spread and you will be unable to control the cloud and the sky effect. So let's wait for this to dry, and I will see you in the next lesson. 7. Day 1 - Sunny Sky Tulips - Part 2 - Final Details: Now my sky is completely dry it, and we'll begin painting the leaves and the tulips at the bottom. Let's begin picking out the colors onto a palette. The first color that I'm picking up is the light green color. This light green color was pigment p G7 and PY 35. Next time picking up a little of the hookers green color, which is PG. Now you'd need not have the exact same shades of green. You can go ahead with whatever, whichever colors are available in your color palette and alternatively adjust the greens. The next theme that I'm picking up is the olive green color. You can see I'm picking up very little knitted of theta of the greens because you will be mixing them to form different colors of greens again. Now, if I go with this set that is the Shannon said that I'm using the sap green color and the hookers green color. Both are of pigment p g. And that is the reason it shoots the heating that creates the color difference. So I will remove a little of the sap green color as well because it's a little different tone. Now if you do not have the light green color, you can simply mix in the sapling Palo with a little of the yellow pigment because as I told you, it's including pigment p y 35. It is a yellow pigment. You can either use a yellowish green color, greenish yellow color, or a light green color, cadmium light green, or by whatever name it will be on your palette, or even simply mixing yellow and sap green together get light green color. Now, I will begin with this light green color onto the stem of the flower was false. Now if you can see my pencil marks are still visible because this guy was with a very light color, handsome, able to trees and add the stems carefully, understanding if any leaf is in front of the stem, leaving that much space empty. Now if you want to know the exact pigment colors again and unable to catch it up here, I have added all the color-code of this set into the description section. Or you can even find them in the resources section of the class where I've uploaded the images of the, you know, swatching of the colors of this set that I own. Also including the pigment numbers. In case if you want to tally the pigment number with other brands, you can do that as well. I will begin adding in the leaves one-by-one. Now you have to add in such a way that the stems are not attaching to these leaves for now because we need to wait for the stems to dry, otherwise the colors will begin to bleed into each other. Now first I didn't little sap green and then on the other edge I'm adding little of the light when creating in the dual tones into the leaves. So all of these we discussed in the technique section. In case if you haven't visited the technique section yet, I would recommend you to ones have a look at the technique section, which will help you understand all the colors that we're using in the basic techniques for creating in the dual tone leaves. Now onto this leaf as well, I'm just going to add a little more darkness on the right side again so that the lighter side or the left side looks a little lighter. Now next I will pick up the olive green color and begin painting another leaf with the olive green color. Now, as I told you in the beginning, while adding in the pencil sketch, your placement of leaves and flowers can be completely different from mine. The technique that I'm using is depending on my pencil sketch. I'm painting one leaf at a time, leaving the adjustment leave blank because I need to wait for this needs to dry and then paint the adjustment leave. Otherwise, the colors will begin to bleed into each other and they will mix and match and not leave each of the leaves distinctively visible. So it's very important to paint one leaf, leave the adjustment, leave blank, wait for all the leaves to dry, and then begin painting the adjustment leaves so that you get a clear distinction between each of the leaves. Now I will be for the first layer of the leaves to dry in. Till then I will pick up a little of the payroll red color and begin painting petals of the flowers. Because the flowers also we are going to be painting one petal at a time to distinguish them from each other. So I will quickly these out a little of the pale red on my palette. Now if you do not have the payroll red color, you can go ahead and use a permanent red, scarlet, Carmine, any shade of debt that you wish to, it need not be the exact same shade as fine. Just as we follow the process for the leaves, it's going to be the same process that I will be following for these flowers, you can see the petal distinguished from each other using the pencil sketch. I'm going to paint one petal at a time, wait for it to dry and then paint the next petal. But why? A little bit, we will be adding in little darker using in the brown color. So first I will quickly add single petals to all of the flowers that we have added in. And then I will pick up the brown tones and adding the shadow highlights to these petals. One, these are wet already. On to this last flavor out your, you can see there were a lot of petals, so I've painted both the edge petals out your and the center petals I will paint once everything dries. Now I'm going to pick up a little bit of the bond amber color. You can go ahead with bonds sienna, red brown color, if runoff brown that you wish to go ahead and begin picking up this color in a very little quantity and just using the tip of the brush, I will begin adding in the darker depth onto the edges of the petal. You will notice I'm just adding in the dark or depth on the edges of the red side to create a shadow effect and distinguish them from the other petals when we begin painting the rest of the petals. Now before going ahead with the next tone for the petals and the leaves, I will put all of this to GI and then begin adding in the further details. Now, firstly, Europe, the leaves and petals are completely dry. It will begin painting the second set of leaves. Now, now I will begin painting the leaves very randomly. So again, I will try to color distinguish each of the leaves so that the standard separately from each other. So make sure you are leaves are completely dried before you begin painting in these adjustment leaves. Otherwise, the colors will begin to bleed into each other. I normally use a hairdryer to speed up the process for trying, making the process go a little quicker rather than waiting for things to dry attach journey. In certain cases, I do not recommend using a hair dryer because it may affect the drying process. But when you are adding in such detail, you can simply use the hairdryer and we can up the drying process. You can see I'm beginning to paint the leaves off the first set of leaves that we painted. And today, Justin leaves, I'm using in different colors. Then the first leaves in the center you can see one of the larger leaves we painted with the olive green color and the second leaf that I added now, I painted it using in the sap green color. Now onto this leaf I'm adding in little highlights, adding it using in the brown color as well, please again, just a mix and match of different color tones to create different values of colors of green as to distinguish each leaf from each other. Now next I will begin painting about your in-between the flavor. Now if you'll notice the stem of the flower, it is also of this light green color. And if I paint the entire leaf with the light green color, it won't stand out distinctively. In the center of the leaf, I've added a stroke with the light green color. And now on the edge of the leaf I'm using the olive green color and just beginning to adding onto the edges. So you can see now in the center of the knee, you have the light green effect. On the edges. You have the ALU happening effect which separates the leaf from the rest of the other stamp of the flowers, making it standard distinguished. This is how you can use the fellows to your advantage, creating independent effect. If you go and notice a bunch of leaves together, you will find out different shades of green possible in-between a single branch of needs as well. So that is the reason we are building your all our leaves with different color tones of green using in four basic leans on a pallet. Again, as I told you, you need not use the exact same shades of green as mine. You are free to use whichever shades of green are available in your palette. Just try to meet each leaf standard separately from the other one. By reading in the color combinations, are trying to add in some dual tone leaves and some single tone leaves. If you'll notice I have a mix of both. Some of my leaves are dual tone and some of my leaves are single tone creating in the variation into the leaves spot. I'm almost done painting all of the leaves, just one or two left out urine there. And then we will be left to add in the rest of the petals. Make sure before you begin to add in the petals as your first layer of petals is completely dry. That now when you will add the second layer of petals, they will also standard distinguishes me from the first layer of the petals. Watercolors are quite transparent hands. I always recommend to go ahead with a very light pencil sketch. That the pencil marks are not visible because after you begin to apply the layer of water, the water becomes the leader of the pencil, That's the chalk whole month become dominant and then they are not erasable. So it's very important to go ahead with very light pencil sketch. Your rehab been using in the veins in a very dark consistency. Hence, the pencil sketch is get to denote very easily. But still for every class project I recommend to go ahead with very light handed pencil sketch. At times it may even happen that depends on Sketch may not be visible to you on the screen after I added or, you know, lightened it up. But it is still being visible it to me on my paper. Which is more important though I will be giving you a closer view of all the pencil sketches. Now when he randomly, I've just added in a few leaves in the between without the pencil sketch wherever I felt it necessary. Now, I'm going to begin adding in the petals one-by-one. So I'm going to begin painting the adjustment petals and why these patterns are also wet. I will give it a little darker depth using in the burnt umber color that we use for the first set of petals. These also you can see in the center we have middle of the smaller petals as well, which we will paint once these are adjusting second layer of petals dry completely. Now we're going to be for the second set of petals also to dry and then add the final set of petals in-between. The secondary of patterns are also completely dried and I will begin the rest of the petals now in-between the two patterns that we've painted so far, the second set of petals you would have seen, I have not added the brown color depth because it's not necessarily to add in the depth to all of the petals. So we had added in the brown color shadow effect to the first set of petals. And if needed, I will add a little shadow details to the third set of petals that we are adding now. So basically you have to paint one petal at a time, wait for it to dry, then paint there Justin petals so that each of the petals in that you live in standard separately and each of the petals will look distinctively from the other one. Now just using in the red color, I'm going to add in few ortho or picking out two lips in-between the leaves very randomly, depends on schedule, which we haven't added in some very randomly. You can just add in one or two petals randomly trying to show that these flowers are just about to blooming. It'll lead to in-between the leaves. I'm just adding very simple shapes, as you can see using in the dark consistency of the pedal red color. And then I will add in little brown depth in a few of them if needed. You can see just adding in small bud like flowers peeking out in-between the leaves ads and so much more depth to your painting. Make sure these were completely jive. Let me give you a closer view of the flowers that we have added in the brown effect. It may not be visible from far, but when you have a closer view, completely visible, I will just quickly add a little brown depth to these flowers are true or the smallest now was that we added in-between the leaves. If you want using an appointed brush, you can even add in very night outline to the rest of the flowers as well, giving in a distinction to each of the petal. You can see it. I'm using the color in a very nice tone, still, making each of the petals stand out separately. That is it. We are ready with our class project for d1 of the 30-day challenge. Let's remove the masking tape and see our final painting with those clean edges. Make sure you remove the masking tape only once your paper is completely dry. Otherwise, the colors may begin to get lift up if the edges are still wet. And always remove the masking tape against your paper so that you do not turn off the edges and the paper does not feel along with the masking tape. Is our painting for day one. A beautiful sky with the tulip flowers. You can see such simple techniques can create such beautiful paintings using in the watercolors. I hope you enjoyed painting this day, one painting with me. I will see you into the D2 soon. Thank you so much for choosing to join me into this 30-day watercolor challenge. 8. Day 2 - Perennial Meadow - Colors & Technique: Hello everyone, Welcome back to D2 of the 30-day watercolor challenge. Let's begin by swatching out the colors that we need for the D2 class project. Today we're going to be painting a simple middle around the Sea area. So the first color that you'll need for this guy is this permanent yellow deep. The next color that we will be using is the permanent orange color. Now if you do not have the permanent yellow, orange color, you can simply mix in a little bit of your vermilion or orange to your yellow color. The next color that we need for the sky is blue color. Now if you do not have pushing blue, you can just pick up any darker blue color. We are going to be painting in a pretty sunset sky using in the shades of blue, yellow, and the orange sheets. These are the three colors that we will be using for this guy out here you can see in which he will be leaving little whitespace for not making the colors blend and create different colors. If the yellow and the blue will meet together, they may form a green color. That is the reason we will be living in those whitespaces. Next for the mountain range we will be using in this shade of burnt umber. Now, do not worry if you do not have the exact same shades of brown, you can simply use in any other shade of brown. Also in case if you want to know the pigment number of this bond amber color, you can visit the resources section. I have uploaded in the color pigment of all the colors from this branch in and I have uploaded all the pigment numbers with the color swatches so you can find a similar color in any other palette. The next round that I have swatches the sepia color, and lastly, the Payne's gray color. So these are the three colors we will be using for the mountain, as you can see. Firstly up with the light brown color getting darker depths with sepia and then the dry brush with the Payne's gray color. Now next, watching the colors for the field area that is going to be the shades of green. So first one is the cadmium light green color. You can pick up a yellow green color or mixing yellow and sap green to get a cadmium light green color, or any lighter green that is available in your palette. The next one is the sap green color. All right, for this see, I forgot to tell you for the CVI going to be using the same colors that we used of other Skype. Lastly, for the field area I'm going to be using in this vendor green from Magellan machine, which is a darker green color. All right, now, do not worry again, if you do not have the exact same color by the name vendor green, you can simply mixing sap green plus either brown or Payne's gray to get a darker green color. Or you can even directly use any other darker green color that is available in your palette. Now next, I'm just going to quickly write down the names of these colors and the color mixes that you can use. So as I told you for the vendor green, you can mix in the sap green plus brown or Payne's gray. Now, do not worry if you do not have the same sheets from the same brand as I told you, you can begin with whichever color palette or whichever brand palette you haven't already with you. Now quickly for your better reference, I will note down all the colonies so that it's easier for you to refer to. The first one was the permanent yellow deep color. The second is the permanent orange color. The third one is the pollution blue color. Then for the mountain range, as I told you, we are going to be using in the bond amber color, sepia color and the paints gray color. Now the paint is gonna color that I'm using is from the brand white tight and not from the Chanel art PwC set. This set does not have a Payne's gray color. And I like this Payne's gray from the rand white light. I'll let, these are the colors for the mountain range and lastly for the field, as I told you, it's a light green color and then the sap green color for this guy in any other colors are going to be the same. The CATI is going to be a reflection of this guy giving in the same sense that effect to the sea area as well. And now we have to look at the colors for the perineal flowers that we will be adding. These are very simple flowers, just using the dabbing technique for the flowers I'm going to be using in this royal blue color from the brand White Nights. Now, many of you may not have the exact same color, so do not worry, we will be mixing in the color, right? You're forming in the exact same shape with the basic colors in our palette. So fast I'm swatching out the basic royal blue color, which is from the White Nights Tube. Alright, now if you notice the Palo It's a mix of violet and blue color, which is forming a royal blue color. It's not exactly a pasted blue. This has a little touch of violet to it. Let's mix in hand former own color. And, you know, try to get an almost equivalent sheet to this royal blue color. If I directly look for the pigment on the tube of white nights, this pigment of royal blue color is Pb 29 and PWC, which means it is a pigment of blue and pigment of white fur, the white we will be using gouache. Now, PB 29 is an ultramarine blue color pigment, usually in all brands. All went to the white pipes brand. The pigment number of BB 29 is for the ultramarine blue color. Now the ultramarine blue color, if you see, is actually or violet blue color. So if you directly have an ultramarine blue color with pigment PB 29, you can directly use ultramarine blue mixed in with little white gouache. And you can swatch and see if that gives you the royal blue color. On my palette. I have picked up on of the ultramarine blue color. To that, I've added a very little tinge of the civilian blue color. And now to this I'm going to add in white gouache and see if we get the desired color or we need to adjust any of the colors photo. So again, getting in the right column is made require a little trial and error depending on the portions of the paints or the ratio of the pain status to be used in. All right, so now if I can see if you can see actually though pigment is almost same, but just it's on a little lighter side. So I've just added a little tinge of the ultramarine color again. Now as I told you, if you do not have ultramarine color, you can try mixing in a little bit if you're violet to your blue and white and try to get this tone, Let's watch this color out you are and see first. Now you can see it's 99% the same color mix that we have formed using our basic colors. That's the ultramarine blue, the civilian blue, and a little pinch of white. This is how you can form your own fallows. You did not have the exact same sheets always. You can simply mix in your basic colors, getting pasted tones, getting different tones, which are not usually available in a basic palette. I will quickly note down the color mix that I have followed so that it's easier for you to get naught later on. Before that, I will this watch the other color that's the Carmine color. Carmine mixed in with a little bit of whitewash. We are going to add in little highlighted flowers out here in the center. As you can see, very little of it, not much. And we will be adding some lighter highlights by mixing in more white to the royal blue color to get a further lighter blue color order to this is how we are going to be painting the flowers. Now I will quickly note down the fellows for you, this royal blue directly from the White Nights, which is pigment PB 29 and PWC be B29 is an ultramarine pigment. So for this we have mixed in the ultramarine blue with a little touch of the civilian blue color and just added in whitewash to get this royal blue color. Now one important technique when coming to the mountain is the dry brush technique. So I will quickly discuss the dry brush technique with you. The rest of this guy is very easy, very simple layouts for the sky to tone sky that we will be painting. And even for the CA, yeah, it's a very simple wet on wet seascape. So I don't need to discuss much about it, but let's quickly discuss the dry brush technique. Further dry brush we are going to be using in the Payne's gray color. Every time you pick up the color, makes sure you dab it onto a rasp toggle order tissue. You can see if there will be excess pigment, you will begin to get patches instead of the dry brush technique out. You're, so it's very important to dab off all the excess paint and water completely. And then you can see automatically you'll begin to get into dry brush stroke instead of the patches. It's very important while following the dry brush technique for any BDS, We will be using the dry brush technique for adding in leaves in the coming for Jack and for mountain ranges as well. One important thing to keep in mind out here is your brush should not have any water, not excessive pigment. So after picking up the color or water always dab off your brush onto a Rostow will audit tissue that will absorb all the excess water and pigment, leaving your brush with very little pigment, which will automatically give you the drivers to the final class project as I'm using in a cold press paper which has a little texture. You are, you can see the texture of the paper also helps in getting the dry brush easily. Uh, since your paper is already a little texture and little rough, the brush also gives you the dry brush troops easily rather than having struggled to get those troops. This is a class project has been planned and accordingly, we will begin painting the sky first using the shades of blue, yellow, and the orange, these three colors out your. And then we will paint the sea area showing in the reflection. And then we will move to the mountains and the middle spaces in the sea. Also, we will be adding the deflection of the sky, giving in the little sunset effect there as well. It's a very simple, easy class project. Any one of you can paint along easily the basic colors we've discussed all the color alternatives that you can use or forming your own colors. Now let's quickly begin in a class project for D2 and paint this beautiful perineal middle together in the next lesson, hope to see you all join me into the next lesson and begin painting a class project for D2. 9. Day 2 - Perennial Meadow - Base Layer: Now let's begin by taping down your paper first and then begin painting a class project for D2. I will pick in taping down my paper I'm using in this half-inch masking tape. You can use any other masking tape, whichever you are comfortable with. As far as the taping down is recommended, I would recommend you to use or, you know, taping down your paper onto a movable surface so that it's easier for you to adjust the angles at, at certain places whenever you need to while painting. Plus inserting our paintings, you may need to keep your paper tilted. It has to get the slow right. So in those cases, I always recommend to tape down your paper on moveable surfaces so that you can get the angle correct. I'm almost done taping down my paper just one more slide you can see onto every side I'm making sure that the tape is taped down perfectly and there are no loopholes or gaps left in between for the water to see through. So it's very important to run your fingers firmly on each side of the masking tape. If you want, you can make the use of a ruler or any stiff objects so as to get the taping done perfectly entitled, taping down my paper. Now we will quickly begin with a very light pencil sketch and then begin painting the details one by one. Suggest a little about the center line. I have marked the horizon line, and on the right side I'm marking out the mountain range that we will be adding in, giving you a very rough shape to the mountain. And at the bottom you can see I've given it a separate ending as well, at the top, creating the space of the top area of this mountain. And at the bottom out here we are going to have in the field space, just giving a very rough pencil sketch because these details we will be painting with the green colors for the base layer. All right, so you can see on the right side the field area is connected to the mountain range completely. That is it for the pencil sketch, make sure you have a very light pencil sketch so that no pencil marks are visible because we are going to play with a very light constancy of the colors. Now first beginning to add in a layer of water onto my entire sky space, make sure you have an even noon of bottles and new brush multiple times so that your paper stays wet for enough time. In this, you are using a twenty-five percent cotton paper. You can run your brush multiple times when the paper wait for it to dry halfway and then D wet the paper and use it in that way it will make your papers, David, for much more, longer time. So I haven't added much of the water on the mountain range. But even if little of the water goes on the mountain range, it's perfectly okay. Because the mountain range zone is going to be of a darker color. I have the permanent yellow deep color on my palette already. I have removed a little of the permanent yellow, orange. Now the bushing blue color as well. Then we will begin painting this guy. This guy is in near to the horizon line, that's going to be off the yellow, orange shade. And at the top it's going to be off the blue sheet, creating the perfect sunset sky. This time I'm using the smallest size flat brush for painting in the sky. First time beginning in with the yellow, orange color closer to the horizon line. You can see I'm just using a medium tone of the color and near to the horizon line makes sure you have given the perfect line, distinguishing the area do not run out of proportion. This giving him little orange highlights to act in as the sunset highlights closer to the horizon line. Now picking up the tuition blue color, I will begin adding it from the top of this guy. In-between the Persian blue and the yellow color, I will leave a little space and just be using a damp brush to make the colors blending. That I do not have any green sheets forming. In-between you can see there is a wide gap where I'm just using a damp brush for blend links. So I just dip my brush in water. And now you can see I'm this time to blend both of these colors very simply using in water. So automatically you get a very lighter tone of the blue and light the dawn of the yellow without forming or green color when you use a damp brush for blending the colors. So that is it for the sky. Now, we will begin adding some darker details. We are done with the base layer. I'm going to pick up the blue color and I'm going to begin adding in darker depths of the sky. Now make sure when you're walking wet on wet for adding in the darker details, you do not have excess water on your brush. You can either keep a tissue on the rough clot handy for dabbing off the excess water. Now using the same flat brush, I'm just adding some darker or cloud effects you can see from the edges to the little center space. Now when you add these darker depth on the yellow color be a little gender so that you do not form any green sheets. So you got to be a little quick as well as a little soft candidate so that the colors do not blend and forming the green tones. Now using in the yellow, orange color, I'm just going to add in logit of the darker cloud effects you can see using the smallest size flat brush, I'm just using the tip of the brush for adding in these clouds strokes in-between the sky. Now make sure when the orange and the blue will mixed together, they may also form monotone. So you have to go in very soft candidly while adding in these Cloud details. That is it for a pretty simple sunset sky. Now we will wait for this to dry completely and then begin adding in the same colors into the area out here. Let's meet for this guy to dry completely and then move to the further details of the painting one-by-one. Now my sky is completely dried and we will begin painting in the sea area now for the CAD also, as I told you, we are going to be going with the same sky colors. So I will first begin with a layer of water into the CSPs as Ben. When you're adding the layer of water in the sea area closer to the horizon line. Be a little careful so that you do not run into this guy space. Also, I'm trying not to run into the mountains space as well. And just painting the z-space. As you can see. If you go little into the middle space, it's perfectly okay with this There we are willing to be having in the bean depths coming in just closer to the horizon line. You have to be careful so that you do not lose the distinction between the sky and the z-space. Now I'm again going to shift into the smallest size flat brush. This is a 1 fourth inch flat brush that I'm using. You can go ahead with any smallest size flat brush that you have. First time beginning to add in the highlights of the yellow, orange color and the orange color to depict the sunset is fed onto the sea area as well. Then of the gaps that is there, we will be adding it with the Persian blue color directly, then adding in the highlights with a yellow, orange color. Now I'm going to quickly add in a little highlight using in the yellow orange color as well. Now with the yellow orange color again, I have to be very careful about not adding in much of the water. Make sure you do not pick up the pigment with a lot of water. Pick it up with very less water. And you got to go in very softly so that the colors do not spread much. Now lastly, shifting to the Prussian blue color to begin adding in the details in the rest of the whitespaces. Now, I'm going to just keep adding in the pollution blue color. Again, whenever the blue and the yellow will mix together, they may begin to form in the green tones. So you have to go in little carefully while blending in stuffs. Now closer to the horizon line, you can see I've run in very carefully given an above the line using in the Persian blue color. And still we will be adding little more darker depths. Now, very quickly in the rest of these pieces using in the same flat brush, I'm just going to drop in the blue color and blend it very carefully without forming in much of the prominent green color. I'm done adding in a bass note off the fusion blue collar on the entire space. Now using a damp brush, I'm just going to blend these yellow and the blue reading points so that there is a soft blending between these colors. At the moment is you would have noticed that blending loop very uneven. In the damp brush and just turning it around the edges, you can get the blending without forming in March of the dual tones, which gets fun because of the primary pigments. Now I'm just going to pick up, lifted more of the blue tone, losing in a smallest sized round brush and given little VB fact wet on wet. So why don't I see ADI is still wet. I'm just going to begin giving in some darker depths. So closer to the horizon line, again, defining the horizon line using in the darker than the rest of the space is just going to give in SimpleCV with now this is called wet on wet technique. Again, your new has to be careful about one thing. You shouldn't have excess water on your brush because you are working wet on wet. If you have excess water on your brush, the paint will begin to spread a lot and you will not be able to achieve in the VIV effect. So to achieve that soft look, Dave, is that it's very important to control the water content on your brush. Also, you can learn a lot more about the seascape. V8 is the water control in my previous class, that is 21 days Watercolor Challenge wearing these painted 21 defenses keeps learning in different ways of adding in the wave effect wet on wet, wet on dry. You can even visit just the technique section of that class for getting much more clear understanding about the wet on wet leaves out here. Now next, I'm just going to pick up little orange color. I'm just going to add in little audience leaves effect as well. Now the C is still wet. I'm quickly going to pick up a little of the sepia color and we're going to add in the darker depth around the mountain date so as to make the shadow of the mountain in the sea area. So I'm going to quickly pick up a little of the sepia color knife. You do not have the sepia color. You can simply pick up things green mixing with a little bit of brown or any darker brown color, maybe Van **** brown or any darker brown that is available in your palate or simply mixing your light brown with a little bit of the Payne's gray color. I'm going to be using in the sepia color out and using the sepia color and the smallest size down, gosh, I'm just going to begin adding in very little highlight in this area closer to the mountain range edge. This is again wet on wet might see ADI is still wet onto which I'm adding in this little reflection effects for the mountain gene. This will basically give a natural view to your painting because you're trying to show in the deflection effect for the mountains as well. We will be painting the mountain range once everything dries completely. This is just a reflection of it in the sea area. Again, since this is also wet on wet, you need to understand the water control. Do not pick up a lot of water along with this color. You can see I am picking up the pigment with very less water. That is the reason the pigments are not spreading much on their own in the area. Rather the water is control. And that is the reason they are still having the soft edge but yet not spreading a lot. So it's very important to understand wet on wet technique and understand the water control while working with wet on wet details. Now, the area dries till the 50%. We are going to keep the green colors ready in a palette so as to paint the base layer for the middle area, I am going to quickly remove in the gene color sheets. So I'm going to be having in the light green color, That's the cadmium light green. Now you can go ahead with a yellow green color on mixing yellow with your sap green to get the light green color. And next time we're going to be using in little sap green, an olive green as Ben. For the base layer of the middle. I'm going to go in with a very simple format. So first I'm going to begin in with the yellow green color or the light green color in the complete space. Now, do not worry if you see ADI is not dried completely. That's perfectly okay. Because we want a little soft edge between the C and the middle space. Because those details. It will get covered up when we begin adding in the flower details onto this middle space. Farther BCE New York, I'm adding in the layer off the yellow green color completely. I haven't added a layer of water because we do not have much details to add in the other on this weirdly or off the light green color, we're just going to begin adding in the details with the darker green color. Now next time picking up this app green color and I'm just going to begin dropping the sap green on the light green. It's not going to be completely on the entire light green color. Rather, it will be randomly covering a little of the light green spaces in such a way that little light green color is still visible. Now closer to the sea line you can see I'm giving it a little spiky look detail creating in the gas and the leaf details out there. Now you can see I've added in the sap green color in such a way that not all of the 19 is covered completely. Now next I'm going to pick up the vendor green color from the Magellan machine. Say, Nice, You do not have the vendor green color. You can simply mixing a little bit of the Payne's gray to your sap green to get a darker green color. I'm going to use the vendor green, which is directly available in my Magellan mission set. And using the vendor gene color, I will begin adding in more darker depths into the field space. While this is still wet. I will quickly squeeze out a little of the vendor green into my palette. Now, make sure you use any, the theme which is available in your palate. It may not be exactly the same sheet because again, we are just creating in the background for the leaf space or the afield area. I'm going to begin adding in the dark depths with the vendor. Just as I did with the sap green color. You can see I'm going in very loosely out here. And then later on we will give a little or leave detail at the top space. You can see how loosely I've added the Van de Jean color in such a way that the lighter green and the Supreme is still visible. Now I will just pick up the sepia color which is out on my palette and just add some darker debt says bandwidth, the sepia color, very little majorly at the bottom side where I will be adding in the dark or debt. What this darker depth will represent is the shadow of the above vein details that we are having in it's very important to add in the darker depths as well so as to get in the shadows and the reflection effects right. Now. Lastly, just using in a little bit of the darker green color at the top space, I'm just going to give in very random these details or the bush area details. You can see just using the tip of the brush. I'm dabbing it off in such a way so as to give that little bushy area obedience at the top space, you can see very randomly just using the tip you can that and create that bushy fit. So automatically know all of you. It looks blended and perfect. And, uh, you know, it looks like a perfect bushy area in front of the CSPs. You can do so using a smallest size round brushes or any other pointed tip brush. Now next I'm going to paint the base area for the mountain range as well. So for that I'm using in the brown red color out here. And I'm going to add this layer of the color on the entire mountain D. And then once this dries, we will add in the dry brush details as well. Now, very carefully you can see I'm filling in this entire mountain range using in this brown red color. Now you can use any lighter tone of brown. It can be burnt sienna, brown, red, light red, or any other tone of brown that is available in your palette. But go ahead with a lighter tone for the first layer. Onto this, we are going to add in little darker depth wet on wet right now using the sepia color, I'm going to quickly pick up a little of the sepia color. Now whenever you are adding details, wet on wet, I'm the painting again, make sure you do not have a lot of water on your brush. So I'm just going to begin adding in the darker depth from the edges very lightly that it does not completely covered the lighter space. You can see I always have a Ras cloth or tissue in my hand so as to dab off excess paint or excess water whenever I'm working with wet-on-wet details. You can see majorly on the edges I've added in the DACA depths. And now very lightly using the tip of the brush, I'm adding in further darker debts at the top of the mountain range. This is not the complete dry brush detail. We are going to add the dry brush with the paint screen once everything dries in the bottom edge of the mountain, as you can see, I've added in a darker line using in this color. Now to stop video of the mountain, I'm going to fill it completely with the sepia color. We are done with the base year for our painting. Now we're left to add in the middle details and the mountain details. We will begin adding in the next lesson. Once all of this is completely dried it. So let's wait for the middle mountains to completely dry and then begin adding in the final details into the painting. 10. Day 2 - Perennial Meadow - Final Details: Now my painting is completely dried and we will begin adding in the further details. False. We will begin adding in the flower details into the middle, that is the perineal flowers. So for that I'm going to be directly using in the royal blue color from the brand White Nights. Now in case if you do not have the royal blue color, then in the technique section we have discussed the exact color mix for me in the exact same shade as the dark blue color. You can mix in ultramarine and white and see if you'll get an exact same shape. Because the pigments of the royal blue color is Pb 29 and PWC, which is ultramarine mixed with white. Also, you can mix in a little patch of city in, in blue if the ultramarine directly does not give you the exact same sheet. In the technique section I had shown you the mix of the PO, ultramarine blue, a little touch of blue and white gouache to get in the royal blue color. Now first I'm going to be using in the royal blue color directly without adding in any white to it. And I will just begin adding in very simple perineal flowers. Some type of the perineum flowers that you can find in the Midwest. We are going to be painting in very simple kind of these flowers. So I'm just going to use a very simple technique. That is I'm using a round brush and using the tip of the round brush, I'm just going to begin dabbing in this royal blue color to create little flag was out there. Now, when we move ahead, Armando will be completely filled in with these in flowers with some lighter tones of the royal blue color. And the leptin highlight with the Carmine column mixed in with white gouache. First leaving in spaces I'm adding in simple flower with the royal blue color directly. You will notice I'm just using the tip of my brush and forming a very small sheets out, a little oval shape with a pointed tip at the top space. At some places I'm going to add two to three flowers closer to each other. Also, if you want, you can go ahead with the different colors of the flower. These flowers can be of violet color as well as pink colors as well. So it's completely your choice to change the color tones of the flowers. In fact, why does the flowers, if you want, you can even change the color tones of this guy and accordingly, the sea area as well. It's important to understand the technique and then you can follow your own color tones that you wish to go ahead with what each class project in color tones or the palate Theory need not exactly be the same as mine. But it's important to understand as to which color complements with which color and which two colors may give you muddy tones and may not set well into your composition. You can always try a thumbnail sketch of your color combination that you wish to go ahead with before beginning the final painting. You can see now, I'm very quickly adding in these loose flowers leaving in the spaces. Now whichever color you are using for the flower, it's important to understand that we are working with watercolors. So to get an opaque look off the flowers onto the dark green color background, it's important that you need to add invite gouache only then the flowers will stand out separately. Otherwise they may have a very dilute one striding. Now, this up is still blue color. That is the royal blue color that I'm using already has a white pigment in it. That is the reason the pigment number was PB 29 and P W6, which was pigment white number six. So that is the reason these pastel colors are more like a creamy color, which are opaque in nature rather than transparent watercolors. So I recommend you to either mix in white gouache or a very thick consistency of white watercolor. You are be Scholar if you are going ahead with a different color flower. Only then you will get in the opaque look of the flowers. I'm almost done adding in the first layer of the flowers using in the royal blue color. You can see I've left a lot of gap in-between because there I will be adding in the lighter highlighted flowers. I'm a little dodgy of the pink as well. Make sure you do not overdo any one color of the flower completely. Otherwise, you may just get a very flat look of the middle space. Now in-between, I'm just using the tip of the brush and dropping in some smaller details, trying to show somebody's small flowers which is just about to bloom in. Now as we already have the background green color, you can see that's already beginning to actin as the glass piece from which these flowers are popping up. So that is the reason adding in that loose Greenfield area at the diagram helps in creating the middle effect much more easily. I'm done with the first layer of the flowers. You can see the small gaps in between I've filled in with those small flower gaps. Now this is the false clear of the flowers dry in. I'm going to pick up a little of the Payne's gray color and begin adding in the details on the mountain gene. And then we will again move to the middle space. I'm going to pick up the paints gray color and add the dry brush stroke. Now in case if you do not have the Payne's gray color, you can simply use in the black color as bell for adding in the dry brush detail. Now before moving to the mountain, I'm going to quickly use a little of the Payne's gray color and just add in small stem to these flowers that we have added in. All of these can try to grow up quickly. So for that I'm going to use the smallest sized round brush and just the Payne's gray color without adding in much of photo, simply just going to give them little stem detail, too few of the flowers. Now if you notice two to three of the flowers I've added close to each other trying to show them as a bunch together. All of those stems, I'm going to keep them connected together. So this is very little detail that I'm adding it. You need not go much in detail about adding in these stem details, just little details too, up to the middle effect. Now at random places I'm just going to give him little branches popping out as well. So you can see taking in those fine lines moving till the CAD are trying to show little off the grass and cons effect as well, moving in-between the middle space. By now adding in these Town details, you have to go in very loosely. You can see I'm going with a very rough and loose hand just starting in simple lines in-between to act as the branches and the grass details moving out as well. So you have to go in very loosely and very rough. As you can see, there's no specific format or shaped to be followed. It's just going to be a loose detail to add in quickly. Now moving to the mountain, Let's begin adding in the dry brush detail. I picked up the Payne's gray color and you saw I adapt my brush onto a rough towel so that there is no excess paint left on my brush. And now using the Payne's gray color, I'm just going to begin adding in the dry brush detail at the top space. You have to go in very loosely. Make sure you do not add a lot of pressure. The most important thing while coming to dry brushes, you shouldn't have any excess water or pigment on your brush. As I told you, since my paper is a rough green paper a little because of the texture. So it's making it more easy for me to add in the dry brush detailed quickly. I'm not adding in the dry brush detail as you can see now, I'm just going to add in some darker lines on the edges, giving him more depth to the mountain, basically more at the bottom space to actin as the shadows perfectly. Now next I'm going to add in little wet-on-dry details of the weaves into a CAD. So far that I have picked up the cruciate blue color. And first I'm going to add in a very dark layer of the ocean blue color on my horizon line, defining my horizon line. Well, make sure you give in a good layer of a dark Prussian blue color to distinguish the sky and the CAT up perfectly. Then very loosely, I'm just going to add in some wet on dry with details using it, inclusion blue color that I'm using in my smallest sized round brush. And you can see very loose handedly, I'm just adding in very simple leaves effect. You can see how quickly, just loosely adding in some wave effect you get in so much more depth to your C area. So far I didn't in the waves you can see I'm just using simple strokes, running from left to right, leaving spaces in between as well. And moving the exact adding in that wave effect. That is just little wet-on-dry details that we wanted to add it. Now using the Payne's gray color, I'm just going to add in around three to four birds into my sky area flying into the sky. Then Amedeo below also be dried completely and then we will add in the lighter flower effects as well. And then we will, we're done with our class project for DEI too. Much of learning in such simple or paintings as well. This class was more focused on understanding the dry brush tool and forming in your own colors as well. Also learning to use the white gouache for adding in the opaque details in your watercolor painting by using any basically your watercolor makes to it. Then I'm done adding into the three of these in billboards. And at the top, you can see about it. Very small teeny weeny buds as bell suggest, one big board in focus and the smaller ones to balance the sky. Now, my middle ear is completely dried and I'm going to quickly begin adding in the lighter tone of the flowers that I'm mixing in a little bit of the white gouache with the same royal blue color creating in a lighter tone of the royal blue color. With this color, I'm just going to begin adding in same flowers, a little highlighted effect. All right, I'm going to use this lighter tone color. I didn't little of the same flowers creating the highlights. Now the flowers with the lighter color will be quite less as compared to what we have added with the main royal blue color. This is going to be very limited just to act as the highlight and give it a little color attach and color effect into our middle space. If you want, you can skip this step and just let the flowers B of one color. But adding in the flower effect with a little lighter tone exist add to the beauty of the middle. You can see how quickly I've added in the little lighter effect details, just leaving in so much gaps, It's very less as compared to the main flowers. Now, I'm adding in little dabbing effect with this color as well to get a balance into the rest of the middle space as well. Now lastly, I'm just going to pick up a little of the Carmine color and mix it to this mix out here and get a little pinkish tone. And just going to add a little highlight with this pinkish color as well. So for this highlight, you can just use in those little blooming flower effect, or you can simply just adding little off very one or two flowers to just act as the highlight. We're almost ready without painting for D2 as well. So now let's remove the masking tape and see your final painting with those clean edges. Make sure your edges are completely dried so that you do not lay your hand onto the wet flowers and then your edges also gets pointing. Always remember to remove your masking tape against your papers so that you do not tear off the edges of your paper. Your final painting for D2 of the 30-day watercolor challenge of painting in the natural landscapes. I hope you enjoyed painting this simple perineal flower meadow today by the seaside. It was a very simple class project focusing on blending the colors using in a **** brush, the dry brush strokes and then adding in the middle using in the opaque consistency of the colors. I hope you enjoyed painting this with me today. I will see you guys soon into the D3 class project. 11. Day 3 - Galaxy Meadow - Colors & Technique: Hello everyone. Welcome back to day three of the 30-day watercolor challenge. Today we are going to be painting this beautiful galaxy mitosis. First, let's begin by noting down the colors that we will be needing for painting the galaxy. If we do. So first, beginning with the Galaxy sky, I will begin by noting down the colors first and then swatching them out for all of you. The first color is the indigo color at the top you can see we have a darker depth. Next we will be using in Payne's gray as well further to give him much more darker depth at the top space. The next color in the sky goes is the Prussian blue color. You can see at the top. Just below the pollution loop, we are going to have in the violet and blue, the violet we will be having in the car my in Congo. And lastly, closer to the horizon line, we will be having the Naples yellow hello. Now next coming to the field details for the theorem we are going to use in the differentiates a green. So the first thing is the olivine column. Next is the light green color. That's the cadmium light came from this set. And then next one will be the sap green or VDD and v and you can use in or MDL, whichever claims are available in your palate. You will see that closer to the horizon line, I have maintained the little light effect. And at the bottom we've given in the darker depth into the field because closer to the horizon line, I want to give him the effect of the sons of the bright yellow color, light falling onto the field area as well. The colors. And for the flowers we will again be using in Naples yellow or you can mixing yellow with white. I'm going to quickly begin swatching out all the colors. I already have a little of the indigo color on my palette. Now if you do not have the indigo color, you can mix intuition, blue and paint screen. You can directly use in pain screen by adding in a layer of Persian blue underneath. Next is the Payne's gray color. This Payne's gray is from the brand White Nights list. All of the colors are from Shannon at PwC, except for Naples yellow, which is from Magellan mission. Now the reason for using the Carmine color in our galaxy is because when the yellow and violet can get mixed together, they may begin to form in muddy tones into our galaxy, which we do not want. That is the reason along with yellow, I am using in a little Carmine color and then shifting to the violet color so that we do not have any muddy tones formed in between. This Naples yellow, as I told you, is from the brand Magellan mission, nine cases you do not have Naples yellow, I have told you it's a mixed of pigment, yellow and white. So you can mix in your permanent yellow deep it a little bit of white and get this Naples yellow color. You are is the pigment number p by 154 and p by 65 mixed in with PWC, which means there are two pigments of the yellow color and one pigment of white, making it a pastel yellow solid color. You can use a light yellow color. We will try and mixing the color and form this Naples yellow color. First picked up the permanent yellow light color. And do this, I'm going to add in the white girls to get the little pasted touch. Now again, forming any colored on requires a little in Italy, because the color tones will really depending on the proportion of the two colors that you mix in. So at times it may be that the yellow maybe a little more because of fish, the colony VD. Or at times it may be that the white is a little more because of fish, the economy vary. Your refuse. See the color is a little more on the yellow side, whereas we need a little more on the white side. I'm just going to add a little white quash our tour. Now you can see the palette is almost equal to the Naples yellow color. I have used the permanent yellow light from the Shannon artsy mixed in with white, worst-performing the Naples yellow color. You can mix in any lighter tone of yellow and white if you do not get in the exact same. You can also mix in this color by mixing in the permanent yellow deep with a little bit of the white quash your AMS watching the mics off the permanent yellow deep mixing with whitewash. And you can see this is also almost equal to the Naples yellow color. So you can see just because of the two different yellow tones, the colors video little, but you get an almost equivalent color to the Naples yellow color. So I'll just note down the palace for you to mix it. So this is permanent yellow light mixed in with white gouache. And at the bottom it is permanent yellow deep mixed in with whitewash. Whichever color is available in your palate accordingly, you can mix that follow and get an equivalent color to the Naples yellow color. Next, let's begin swatching in the colors for the field area. So the first one is the olive green color. Nine keys. If you do not have an olive green color, do not worry. You've been just mixing sap green and a little bit of brown or raw amber to get an almost equal to sap green color or a little muddy green follow. Next is the light green color. And lastly, the viridian green color. I already had the village in being out. You're on my palette in the field area if you see closer to the horizon line as I told you to show the light effect of the galaxy, I have the lighter tone. And then we will be using an indigo as well to give them darker depths with the green column mixed in with the olive. And closer to the horizon, it's the light green color that we've used. And at the bottom billion in mixed with indigo and olivine. Very rough sketch, just DDL that we will be filling in, giving in the darker. Then for adding in the grass details, we will be mixing invite, wash with our greens, and then using a smallest sized round brush, we will be adding in those graphs, troops and photos, little tiny mini flowers in either using Naples, yellow or yellow mixed in with white gouache to get into opaque look to your flowers. Now let's understand how we will be painting the galaxy for our final class project. So I'm just going to show you a rough way of how we will be going ahead with the Galaxy colors. Now further galaxy, we are going to go ahead with the wet-on-wet technique. The colors will seamlessly flow into each other because of the wet paints that we will be dropping in. First, I will begin in with a wet layer of water creating our chore of block, and then onto this wet bag. Now, we will begin adding in the colors one-by-one. I've added a thin layer of water onto this small space. I've been showing you how we will be adding the colors for the Galaxy. First, I will begin with the Naples yellow color at the bottom space, and then move on to the other colors in the galaxy. So closer to the horizon line, it's going to be the Naples yellow color, as you can see. Now because the Naples yellow and violet mixed together metformin magnitudes, that is the reason we will be using carmine in-between striving next, shift to the violet color first, leaving space in-between the violet and the yellow color. And then add the Carmine color. Next, I'm going to add in the bush and new color at the top space. Now, all of these colors you can see I'm adding it in a very liquidy consistency and we're going to play with the throat in consistency of the paint, making the paints flow into each other. Unclear that look into the galaxy. Make sure your BCR is wet enough and also your colors and innovate consistency to drop them. Now in-between the violet and the yellow color, I'm dropping in the Carmine color. And now I am just going to make these colors float and flow into each other by moving my book in all different directions. I was adding in the blue color. I have kept my book tilted towards the top site because I did not want the violet color to flow into the yellow Karnak. Now when I've added the Carmine color, I'm going to let each of the colors flow into each other. When you feel the colors are not flowing easily into each other, you can again, the color in a little liquidy consistency, drop it again and let it flow. In this way, we are going to paint a galaxy by moving our people in all directions. So make sure you tape down your paper on a movable surface specifically for this class project to paint the beautiful galaxy, to get the blends between the colors smoothly. You're also, you can see how I'm pulling my book in all directions despite being such a small space. I'll write in this way, you will see that the blue color from the top male to see to the yellow color in-between. Just as in our final class project, if you would notice that blue color from the top CPT towards the center to the horizon. I'm sure. You already, you can see how the blue color has seeped in the center space, but you have to be a little careful that it does not cover the entire file mine and the yellow color. Otherwise it will make no point adding in those colors, we need the little yellow highlight closer to the horizon line. Then we will be adding little highlights with the white gouache as when using it in a little liquidy consistency. So just picking up the white color while you are galaxies still wet, we will just be dropping in the white color like this. This is how we are going to be painting the galaxy. The rest of the area is quite an easy one from the horizon line using in the darker color either Payne's gray and indigo. And the field here is going to be a green color field with lighter Ghana closer to the horizon like to give him the effect of the glowing sky. And then adding in the grass and the flower details. Get your color palette ready for this class project. And I will see you guys in the next lesson and paint this class project together and create this beautiful galaxy middle for d3 of this copy day challenge. 12. Day 3 - Galaxy Meadow - Painting the Galaxy: Let's begin with our D3 for the 30-day watercolor challenge. I have my paper taped down already. And we've discussed in the last two class project about keeping down the papers, securing the edges tightly so that there are no loopholes left for the water to seep in any way. Beginning with the pencil sketch, I'm just going to mark out the horizon line for distinguishing the galaxy and the middle space. So the top area is going to be the galaxy space. It's more of the space that goes into the galaxy. And the bottom space is going to be the middle area. Now I will first begin with the clean data into an entire galaxy space. As discussed in the technique section, our galaxy is going to be off beautiful, bright vibrant colors with some gluings piece closer to the horizon line using in the Naples yellow color. Make sure you have a good evenly or of water H2O and rather low people should be a little. I'm struggling because as I told you, we will be playing along with the floating consistency of the paint. We are going to use the watercolors in a liquidy consistency though, trying to maintain the vibrancy as well, and then make the colors float and flow into each other. I'm done adding in a layer of clean water. You can see I've run my brush multiple times so that my paper stays wet for enough time. Now I'm going to begin painting in the galaxy. So I will begin picking out the colors one-by-one onto a palette. The first color that I'm picking up is the indigo color. The brushing new carmine, violet Payne's gray color are all onto my palette. So I will just remove the integral and the Naples yellow color out your separate view on my palette as the advent onto my current palette that we've formed in this class. These two colors I will use separately out on my palette. First, let's begin with the Naples yellow color closer to the horizon line. So in the technique section, we've already learned the color mix for the Naples yellow color. If you do not have to detect same shade in your palette, you can mix in the followers with the help of white gouache and form your own color tone. Now, make sure you do not run into the middle space. And I'm just moving this color towards the top space. As you can see. I'm done adding the Naples yellow color for the first layer. Now next I will shift into the violet color and leave a little space between the yellow and the violet. Begin adding in the violet at the top video of this guy and then need to run, I will add the path mine in-between them after the violet or two settings in a bit. Now you can see we are playing along with the floating consistency of the colors. I'm picking up the colors in a good piping consistency, but at the same time, I'm adding in a little extra water so that the themes will flow when we begin trying to merge them into each other. Now next in-between the space I'm picking up the Carmine color. For now, you will notice that the colors are not blended and softly moving into a shadow. All of that will begin to happen once we begin to move up paper in all directions, trying to get in the plains in-between the paints. And also trying to get those smooth flow of the palace between each other. Now at the top space, I'm beginning to add in the Persian blue color. Now just about the Prussian blue color, I'm going to begin adding in the darker depth using the indigo color and a little of the Payne's gray color. Now if you see the colors are in that violent in the first layer. So I'm going to begin with the second layer off the same colors. In this way, what will happen is since your layer is already read and then on that you added in a first, earlier wet and onto this. Now you're adding in the third layer of the vibe in Carlo's. In this way, the colors will act more vibrant. Plus the paper will stay wet for a longer time for you to make the colors will blend into each other. So for each of the colors you will see I'm going to hit with a second layer to increase the vibrancy of the fellows that we have added it. To get survived and look into a galaxy. Now lastly, at the bottom you are as well adding in the dead of the Naples yellow color. And then I will begin with the first year of blending between the colors. And then after that either still be adding in more darker. So for the first layer now, I'm just going to begin tilting my paper slowly into all the directions. Do not keep your paper tilted in one direction for an extra long time. Otherwise epidemic in to cover up basically your colors completely. The first step of blending, you can see the followers have a soft edge between each other now and now at the top space, I'm going to add in further darker there. So I have mixed in a little bit of the Payne's gray to the Indigo as well to give him much more darker depth at the top space and even the pollution low-calorie if you see it is a little light, so I'm just going to add in a little more darker depth. We are still working wet on wet from the first layer itself. And we haven't let the paper dry it in yet because we are working with layers on layers us, the paper stays wet automatically for a much longer time. Now again, I'm making the darker colors flow downwards. Now in the center you can see the Carmine pallor is automatically bleeding towards the yellow color till the horizon line. And that's perfectly okay. You just need to make sure that on both of the sides you have little glowing space of the yellow color into the galaxy, which is most important to show the glowing effect on the middle spaces fail the test if the colors lower and create a beautiful blend, let the colors flow and do its magic. Now, I'm adding in just more darker tones at the top space because I'm still not quite satisfied with the darkness at the top area of the galaxy. Now, you can notice after every layer of color that I'm adding in, I'm trying to blend and meet the followers, bleed through and getting perfect blend at every step so that there are soft edges and the galaxy looks perfectly blended between all the color codes. Also you can see between the yellow and violet, since we have the karma in color, there are no muddy color being formed. Now make sure you keep a tissue order of clot handy to lift up the excess paint or water that seep through edges. Because we are playing along with alerts, floating consistency of the colors. So there will be excess pins which will get the, uh, you know, moved towards the edges. And it's always better to lift it up using a tissue ordered order so that the colors do not see back into the painting once you let them to dry. Now I'm going to pick up little of the whitewash and adding in little extra water into this. I'm this one we'll add in little glowing spaces as well. So just using the tip of the brush you can see I'm dropping on the white color out. You're closer to the violet and the Carmine color pleading in a little growing space in the center of the galaxy. To this also, I'm still going to blend it into the background because right now if you'll see it looks like an uneven patches of white which we have added in. Now for the blending of this, if you need, you can add in little of the violet color around the white color again, depending with the bright colors. If you're white colored is more on the karma inside, you can use the Carmine colorful blending. And if you're white color is more on the blue side, you can use the patient blue color for blending The depending on the base Leo color which is dead, you need to use the color for blending in the false beard. I'm just trying to move in the white pain getting in a soft page to this as well. Now again, you can see I hardly let the paper be in one state for a few seconds only, so that not one color flows completely towards one end, which is exactly not what we want. I am picking up a little of the violet color and just adding it around the white edges to get stuck with blends. Right? Now, I've taught in places of 15 that the widest too much, you can even cover it up a little using in the base year. This adding in little more water out here so as to get the white color or a little done. So you can see it was extra bright white patch that was there. Suggest using in water, I tried blending it with the violet color in the BCL, getting in that color light. And now you can see the glowing space in the center area. Now I will wait for all of these to dry completely and then we will begin painting in the middle space. Now, make sure that you let your paper dry in a flat state. If you do not keep it tilted otherwise the fellows will flow from one edge completely this way and we'll add in a bit more darker debt at the top STI because I still find it a little more light as compared to the rest of the vibrancy of the galaxy. The top as well, just adding in little more of the Payne's gray color to give them very dark effect at the top space. Now I'm just going to add a little more caution blue. And again, I will just gently blend all of these colors into each other and then let it for drying. So again, remember after is renewed of color that you added and try to get the blend smoothly. If at any place you've seen the colors are not flowing easily. You can use in water to make the fellows slow and float into each other to get in those soft blend between the colors. Now at the moment is you'll see my blue is only at the top space, but when I will leave it to dry, little colors may flow till the center space closer to the horizon line. The only thing I have to be careful about is that they shouldn't cover the entire yellow on the edges. So I will have a look at it while this is drying in, and I will let this dry still flag. I will see you in the next lesson where we begin adding in the further details after this dries. 13. Day 3 - Galaxy Meadow - Painting the Meadow: Now my galaxy is completely dried and you can see how beautifully the colors have blended and bleed into each other while drying, I made sure that I still tried to resolve the two yellow spaces on both left and the light stripes side closer to the horizon line. Because I want that little glowing space effect, which we will be giving onto a middle space as bad. Now before beginning to paint in the middle, I'm going to quickly add in a little of the star effect using the white quash. Suspect that the right question a good thick consistency and I'm just going to splatter the stars into the galaxy. Imagining I'm going to splatter the stars only at the top area of the galaxy, very little closer to the horizon line. Because then you're still going to be adding in more Rostow are three kinds of an effect. And then closer to the middle, I do not want much of this time because we're giving an applied look of the galaxy already. I'm done adding in this task and now we will begin painting our middle space. So far, the middle we are going to be going in with the colors of greens. First, beginning with the olive green color, I will begin adding it close to the horizon line on the left side. On the right side, I'm going to add in the lighter green color there to create the light effect into the middle space has been further middle ADR. I'm going to head with the wet-on-dry technique because there is not much detail to add onto the green color. That is the reason I'm not worried about, you know, having a layer of photo because this is just basically on which we are trying to add in and it's a quick detail to add in. Now, you can see first with the olive green color as well, I'm creating in a very light effect. We will use the cadmium green color and create for the nitrate effect it to the right side of the horizon line. Now next I'm going to quickly pick up a little bit of the viridian green color and begin adding it along with the olivine. As we move towards the bottom side, I already have a little of the indigo color on my palette. And you can use Payne's gray or black if you do not have an indigo color. Now, the next shift to the viridian green color and begin adding it just below the olive green color. And blend both of these together will now make sure you have all the colors radio on your palette because we are going ahead with the wet on dry. We want all the colors to blend into each other well. Or you can even add a layer of water previously and then begin with the greens that you're blending is truth between all of the greens as well. Then adding in a completely out of the greens at the horizon line, you can see it's a very light layer of the olive green color. And at the bottom it's a darker depth of the viridian green color. Now for this, I'm going to keep adding in much more darker deaths. So I'm going to begin adding in the darker depth using in either the indigo color or the, the color, whichever it is available in your palate. I'm going to squeeze out a little of the indigo color quickly and I'm going to use the indigo color for adding in the darker depth. Now make sure all of this is still wet on wet. That is my bottom layer of the middle is still wet. That is a green color layers onto this green, I'm going to begin adding in the darker using in the indigo color. So just picking up little indigo color, I'm going to begin adding it onto the greens. Now closer to the horizon line at the right side, I'm going to keep the space light only. So there you can see I have not added in the darker debt using the indigo color. In-between us picked up the cadmium light green color in a very thick consistency and I'm just going to add it out Your where I want for the lighter space creating in the lighter death. Now you can see when the colors are blending into each other, It's automatically be eating a very unusual blend that is in-between. You have little strokes of difficulty in being formed because of the indigo color, roundy, and then you have the lighter growing space because it's the Cadmium Green Light. Now as I'm moving towards the bottom space, you can see I'm just using the indigo and the viridian green color alternatively and blending them, creating in Dhaka debts, giving indistinct sheets of green to the field space. More towards the bottom side and towards the edges. I'm going to keep adding in the darker depth to create the dark sky is falling onto the middle space has been. If you'll notice in as Skype closer to the horizon line, it's a lighter effect. That is the reason in the center, we've created the light effect using in the cadmium green color. Of the galaxy, It's a very dark color for that, we have created a darker depth at the bottom space using in the VDD and Vin and the indigo palette, alternatively, giving installs to clear that darker debt. Now moving ahead till the layer of the middle guys and I'm going to quickly add a little spiky teeth effect onto the horizon line, just using a smaller sized round brush and the indigo color. I'm just going to keep adding in simple sheet lines closer to other in this seat heights creating in that outside of D effect onto the horizon line. Now when you begin to add in this detail using the indigo color, make sure that you do not add such because this D effect that the entire yellow color glowing effect gets hidden completely based only on the left and the right. You've got to go in a little carefully with the height so as to make sure that the yellow palette is still visible from behind these spiky trees creating the glowing effect. Now, as I told you, taping down your paper on a movable surface is also really helpful. And you know, it, it's very easy to just tilt your paper to adjust your hand angles and your hand immigrants. Since my green layer is completely wet, I've just tilted my paper that I do not lay my hand onto the wet clean surface and I'm still able to add in these spiky GI effect. Now closer to the horizon line, you also know that the area is still wet. This blue color, the indigo color that we're using for adding in those spiky details may seep a little into the middle area, but that's perfectly okay. If it has a little soft edge, it will rise up given a beautiful blended loop. So do not worry about that. You can see for adding in this direction, I'm going in very slowly not crashing in because I'd only want this piece to come out beautifully. Now you can also notice throughout this piece I'm trying to really the height of this bush that we are trying to add it. And just using simple Street strokes for adding in the detail. Nothing much or desiccant or a DT and technique or anything, just simple strokes closer to each other, reading in heights to up, waiting in that bushy area onto the horizon line. Like this, even you can give in a thick line first defining your horizon line and drop off or pull out these strokes in the center space. You can see I've taken this book is a little taller because as it is, we have the dashpot bones in the center area. But on the left and the right side, I've tried to maintain the height accordingly so as to make sure that the yellow glowing effect still these visible. I'm almost reaching the end of the horizon line for adding in this detail. Now on the right side, if you notice my yellow space is a little bigger, so I'm taking a little longer strokes out. You're asked to balance the height of the bush area that we are adding in. Now again, your Bush effect may be depending on your yellow growing species because if the flow of the colors, it will not exactly be the same as mine and not the same as anyone else painting in a similar painting. So do not worry if the details are a little different. It's more important to understand the technique and the flow of colors instead of getting the exact same diseases is I always see it's the process and technique that's important to be understood rather than having the exact same outcome like anyone else. Now this closer to the horizon line, I will just give one decline of the indigo colored again defining in the bottom of the bush area perfectly. Now my Greenfield area has also completely dried by the time I was painting this bush effect. So now I can begin adding in the grass details as well onto the field space. So in this, if your field area has not dried completely, make sure you wait for it to dry before you begin adding in the grass detail. Also closer to the horizon line on the right side you can see the thick consistency of the yellow-green color that we use has created such a glowing effect into the middle space. So now for the grass detail, I'm going to mix in the white gouache with a little of the viridian green color, and then maybe a little bit lighter green color or sap green color as well. I'll just add little sap green right now it says into this in the palette technique section, I may not have mentioned in the sap green color, but you can use any other beam need not be exactly a sap green from mixing in photographs. In this first I'm mixing in white gouache Sapien, analytic of the viridian green color. I'm using a size two round brush which has a pointed tip. And I'm just going to begin adding in finding grass strokes from the water, moving almost closer to the horizon line but still leaving a little space. Now, let's simply begin adding in. The grass effect suggest using my brush perpendicular. I'm going to add in very thin stood tilted towards the right side. This time, I'm going to add in all the tools moving towards the right side. Now in case depending on your VCO2 clean fellow is the green color of the glass that is created using the whiteboard is in standing are bright enough, then you can simply mixing a little more whitewash to make it go a little more lighter. First one do I didn't often move the grass groups with a little darker. Then I even lighting the color by adding in the white gouache and creating a one-point lighter for admin login highlighted glass effects. You can see all of my glass tubes are moving towards the right side. I'm beginning from the bottom and moving till almost the horizon line, but approximately a one centimeter gap is what I have in-between the task books and the horizon line. Also in-between you will notice that the grass strokes out of the same height. The lightest space that we have created closer to the horizon, it using the cadmium like Jean color. We're going to add a little more lighter effect using in the yellow and the white course mixed in with the yellow, creating a little fallen pedal effects out there. First weekly adding all the grass details. Then we will add in little flower details, then moving to the lighter details. Then finally moving to adding in the moon and completing the class project for D3 as Ben, going very patiently adding in each glass to creating in the perfect middle lookout. Now I'm going to further create in some highlighted strokes as I told you. So for that I'm going to add in more whitewash as Ben and create a lighter color for adding in the effect. But before that, I will quickly add in the rest of the strokes out you're on the right side. Now quickly, I will just add little highlighted strokes. You can see it's lighter than the first player. Now, depending on your Vizio green color, these highlights will vary depending on what genes you have used in or what darker tones you've used. And you can completely Beidi the layout of these grass tubes and the color options for the grass strokes as well. Now, I'm directly going to use in the Naples yellow for adding in the gravity effect. Because the Naples yellow already has enough white of this along with it in the pigment. It already acts are being used in a thick consistency. But in any case, if you feel that the defense yellow is not doing enough opaque justice to your layout, then you can add any white gouache to your yellow and use that to get in the opaque look. First on this lighter space, our tour, I'm just adding simple or dabbing of the brush technique to create little falling pattern looks out you. Now next under the grass strokes, I'm just going to add in simple or patches of this yellow color to actin as the flowers. You can see very randomly, I'm adding in VDD, mini DDS lot creating much more focused on to the flowers. The letting the focus be onto the grass groups we are going to use in the same Naples yellow and just went to splatter little of the yellow as well to give a little more tiny flower details. Now just picking up the color, the same Naples yellow color, I'm going to splatter legend at the bottom spaces. Make sure if you feel that you are unable to control the splatters you up the galaxy space so that these plateaus do not go into the galaxy and the bush area. You can see very simply using in the yellow color in a little medium consistency so that it splatters easily. I've just added in little splatters at the bottom space creating quick flower detail. Tiny mini closer to the grass area. Now next, using in the white brush as I told you on this lighter space just below the yellow color, if we do dab in little white details as well, quickly, suggest using the tip of the brush, creating some fallen Flower DIY DNS out your, you can consider it as a flower field space closer to the horizon line as well. We're done with all the details of the Midwest. Now next I'm going to begin adding in a moon into our galaxy. So for that, I'm first going to use in the white gouache and closer to the darker space, near to the pollution grew and the Payne's gray color that we've added in, I'm going to add a very small white patch and using a damp brush, I'm going to quickly blend this into the background, creating a glowing space. If you have attended my thirties watercolor challenge of creating in the glowing skies and the galaxy skies and the night skies class, you would absolutely know about how we create this glowing space and how you can use this for adding in glowing stars as well into your galaxies. In case if you haven't, I would recommend you to check out that class as well, to paint 30 different beautiful galaxies and night skies. Now in the center of this space, I'm just going to quickly add in a very small white mood. So the space around this now access the growing space of the moon, which we can eat it in by blending in the whitewash into the background. And in the center just added a perfect looking moon out there. Now let's remove the masking tape and see our final painting for D3 are beautiful middle under the galaxy, very simple database, yet such a pretty looking galaxy. So make sure your agents are completely dry before you begin your moving into masking tape so that you do not take it off the edges. Also always remove the masking tape against your paper so that you do not get off the edges. Otherwise, the colors may also get lifted annual paper McDade off completely. Your final painting for d3 of the 3D watercolor challenge painting for the different major landscapes. I hope you enjoyed painting this beautiful galaxy creating in that flow with loose consistency of watercolors. I'm creating that simple middle look using in this flattering technique for the flowers. As Ben, I will see you guys into the day for class project soon. Till then. Thank you so much to each one of you for joining me into this 30-day challenge and painting along with me. 14. Day 4 - Sunset Field - Colors & Technique: Hello everyone. Welcome back to day four of the 30-day watercolor challenge. Today we are going to be painting a beautiful sunset field by creating in a blurry back down. This is a class project for the poor. We will be learning to create that blowing space for the sunset sky. And also creating in the blurry details and then adding in the final details in the foreground. I'll first begin with swatching down off the colors that we are going to be using. So the first color for the sky that I'm going to use is this composed blue color from the brand Magellan mission. I will just watch a little of this color directly out from the tube for you. Now, do not worry if you do not have the compose blue color, you can go ahead and use in a city million new mixed in with the taco is blue color. You can even directly using auto boys blue color, which is 99% similar to all composed blue color. If you want, you can even use a peacock blue color or simply using serine, the little indigo as well. So depending on the colors that are available at your end, you can adjust the color options. Next, along with the composed blue I'm even going to be using in the city Linda Lou color a little too given highlights in the sky area. So if you notice this guy space, it is not completely or just one composed blue color. It has highlights with darker tones as well. So forth attacker things you can then either use an indigo or paints three along with the sediment, blue to create the davka highlights in our sky space at the top, if you notice, we have major, neither blues it out. You're at the top area where we will be leaving in whitespaces by creating in that cloudy effect as well. And then as you move towards the bottom, it's going to be the growing space creating in the sunset effect that the colors that we are going to be using in now are going to be the shades of yellow, orange, and brown. I will be using the permanent yellow deep color for creating in that sunset effect. Now you can use a yellowish orange color or a deep yellow color for this color. Next to given little highlights, I will be using this 4 million new color as well to create that sunset effect. As you can see closer to the brown space that we are going to add in the field area. These are the colors that we will be using for this guy. You can see the vermilion color highlights that we have added. And also creating that blowing space for the sunset, which we will learn in a little while. Now the next colors that we have to look is for the bloody field effect in the background. I'll check at the bottom space you can see we have the blurry background. So for that I'm going to use in the sheets, the brown paint scree. The brown color that I will be using is the sepia color. This is adapted from column with a pigment black as well. This is PR 101 and P became 11. So it's, it has one segment of black and one pigment as well. If you do not have a CPR color, you can mix in your brown with a little of Payne's gray to get a darker tint type out. You're like this. Next to add in the darker things I'm going to be using in the paints, gray color at the bottom space, you can see that is much darker in the bag now. So for that, we will be using the Payne's gray color also on the left edge of the sky. If you see we have a little a blurry effect for the leaves as well for that also, we will be using Payne's Gray wet on wet while your sky background is still going to be red. Now before moving to the next part, I will quickly write down all the column names out here for you so that you can quickly find the colors or get the nearest color sheets. Or if you wish to go ahead with different color combination, then select your color composition accordingly. So the first one out here is the compose blue color. Next, you can either use city Lynn blue or peacock blue for adding in little highlights. Plus we will be using little payne's gray for giving him little darker effect. Or you can use in the indigo color. Father sensitive effect, the colors that we are using is the 1 million new color. You can either use 1 million new orange or any shade of Scarlet, which is more towards the orange site. And further, second color, we are going to use the permanent yellow deep color. And for the bottom background details we are going to use in CPR and Payne's gray. Even for the for gown details of the field, we will be using the CPR and the Payne's gray color. We'll leave. These are all the colors, only six colors that you need for creating in this beautiful sunset field effect. Let's understand the technique now of creating in that blurry effect and then moving ahead photo. This will last thing. I will quickly swatch out the dope boys blue color as well for you to show you how to simulate this to the composer in color. So you can see if you use the turquoise blue in a little lighter consistency, you can get it equal to a composed blue color. So as I told you, if you do not have a composed blue, you can use turquoise blue as well. Or you can mix in a little of your green or blue to get a little turquoise, blue color. But you have to use it in a little lighter consistency to get it equivalent to the composed blue color. Now for our class project, you can see we are having a lot of glowing spaces near to the sunset effect as well as in the sky overhead. All right, we're going to first begin with the blue colors In shift to the sunset colors, and then add in the background blurry field effect. And then after everything dries, we will begin adding in the foreground details. I will quickly show you and run you through the technique that we will be using in we are going to beginning with a clean layer of water. We will be working wet on wet while creating the blurry background will be working a lot with the wet-on-wet technique for adding in the details to get in all the effects of sunset and the bloody field effect. So for this, you have to be very careful and have a proper water control on your brush. First time, beginning in with the civilian blue color itself. And I will just begin with this color at the top space. Now in this technique section, I just want to show you and meet you understand how you need to get the color blending right? Lastly, it did not going spaces. This space, I have the blue color now I will shift to the sunset colors. Now again, you know that the yellow and the blue mixed together may give you a green tones. You will see, I'm leaving a very thin white line gap between the yellow and the blue, letting them to manage on their own the sunset space, since I want a little growing space in the center. So again, you can see I'm leaving that space planning and then just adding little orange highlights. This is how you're going to work wet on wet creating in the highlights for the sunset area as Ben. Now next I'm going to harden the bottom layer uploaded retailers while using in the sepia color. But before that, I will quickly just dab my brush onto a rough cowbell and quickly run my damp brush on the blending point of the yellow and the blue, that there is perfect blending between them without forming in the green color like this using a damp brush even you can create that glowing space and getting the blends right it, so this is how you are going to be painting the sunset sky, creating in that light space. Now if you've seen that the colors are spreading a lot, you can quickly lift them up as well, using in a damp brush and dabbing it off on a tissue. So after every stroke that you pick up, it's very important to dab it on to the facial because you can see so much of the color gets the fifth. And if you do not clean your brush, it will get laid again onto the paper and you will not get that growing space then. Now my bottom layer is still wet and onto that I'm going to begin in with the shades of brown. This thickening in with this shade of grandma here on my palette already. And you're just going to begin adding in ground till the yellow orange line and creating that background blurry effect for the beam area. You can see I'm just running the brown color from the bottom till the top closer to the yellow line creating in that sunset effect. Now all of this is wet on wet. You can see all of these has such soft details. Now make sure you do not cover the growing space of the sensor defects that we have created. If you just need to pick your brush until the yellow, orange lines, that they all have a soft edge altogether. This is how we are going to be painting in the background. Now in the background on the left edge, as I told you, we are going to have in some body leaves us then that also has to be added wet on wet or leave. In the same way we're even going to add in the wet on wet mediums in the bottom sp3 eating in the darker depth. So as I will do at the bottom of the film, It's going to be more darker space. Now while painting these blurry backgrounds and creating in these details, the most important thing your CMS is the water control. If you will have excess water on your paints, the paint will spread a lot and we'll create a messy single color loop instead of giving you the perfect blended effect. So it's very important for you to see your look and see when I added the color with a lot of water, the brown is spreading so much. This was to show you that water control is very important. Whereas on the left side you see the paints having spreaded in much. Whenever you are working wet on wet, adding in the details to create the detailing effect wet on wet. It's very important for you to control the water as well as a still have the right amount of photo. Now my sky is still wet and as I told you, we're going to add in the leaves as well, wet on wet on the left side. Why is the sky is still wet? It has to be like around 50% dry so that the paint three does not spread much, but still has a soft edge. So you can see we will be adding little blurry leaves effect as well. Then once this dries on top of it, we will even be adding in the draft, please effect using in the wet-on-dry method. Now on the right side you're looking and see how much the ground color is still spreading if the excess water. So as I have kept repeating, the most important thing working wet on wet is your water control on the brush made with creating in the growing space, blending two colors or adding details, wet on wet. Everything will fall in place once you have the forfeit water control and understand it when your paper is wet enough for the details to be added in. That is all about the technique for this class project. I recommend all of you to try this water control on a rough paper first, understanding how much water should be there while working with wet-on-wet techniques. And move ahead with the class projects so that you get the body, the Dean of the field space perfectly and do not mess up like this as I showed you, you're on the right side where the brown is still spreading covering the entire yellow space. As you can see, the most important technique to learn in this class project is the water control while working wet on wet. I will see you guys in the next lesson where we begin painting our final class project for D4 and create this beautiful sunset field effect. 15. Day 4 - Sunset Field - Painting the Sky: Let's begin our class project for day four. I have my paper taped down and we will begin by just pleasing out the colors quickly. The first color that I'm going to be using is this composed blue color. So I will quickly move on to love this color out, you are on my palette. Next you can use either settle in blue color or the peacock blue color or any other blue if you wish to go ahead with. Now next for the yellow and the orange sheets, I will quickly remove the permanent yellow deep and the 1 million new color and also a little of the CPR fallow because all of these colors you would be needing wet on wet, and also paints gray color. So these are the six colors. And if you want, you can even use a lighter shade of brown, either born tambour or Van **** brown, or any other light tone of brown that is available in your palette. You can quickly remove those and keep them ready. All of these colors you would be needing in the first layer, wet on wet background. So it's very important to have all the colors in your palette so that you do not waste time removing the fallows. Otherwise, you will lose the wet-on-wet effect because your paper will dry out quickly. Now I will begin with a thin layer of photo onto the entire paper as we are going to paint the entire space wet on wet first meeting in the blurry background and the sky effect. Make sure you run your brush multiple times so that your paper stays wet for enough time until you are working wet on wet. In peace, if you're using a twenty-five percent cotton paper, then I recommend you to wet your entire paper. Wait for it to dry halfway. Then we wet your paper in this video or twenty-five percent cotton paper stays wet enough longer time and helps you walk wet on wet while you add in all the details step-by-step, I'm done adding in the layer of water completely. You can see I've run my brush multiple times. Also, if you have any excess water onto the edges, make sure you dab it off with the help of a tissue audit up claw. Now, I've been first begin with the composed blue color, as I call you closer to the top area of this pi, approximately half of the sky, as I told you, will be able to do color very beautiful sunset effect at the bottom space and at the bottom most pays the blurry field effect. Now when I'm beginning to add in the blue color, you can see I'm purposely leaving in gaps in-between the period, the cloudy. It's very important that even in the blue top scoring in ADR, you keep adding in the little spaces to create those cloudy effect while giving in the fellows to the sky. So I'm just going to keep adding in the blue color in-between. You can see I'm picking the same blue in a little darker consistency, adding in the daffodil password into the sky. Now using a damp brush, I'm just lightening the color till the little bottom space because alpha quantile, we're going to blend this color with the yellow fallow and white lending. I do not want any green colors to be formed. That is the reason I'm keeping the blue tone a little on the lighter side so that it's easier to avoid any in color being formed in half of the big boys covered with a blue color. Now I will shift into the permanent yellow deep color and add in the sunset effect. Now you're working wet on wet, make sure you remove the excess water and pigment from your brush so that it does not spread into the blue color, creating in the muddy tone. Now you can see while creating in this sunset effect out your, I'm leaving that white space in between to create the glowing sun effect. So make sure even you'll need that little space right out there to create that growing space off the sunset effect. Now using the vermilion color, I'm just going to begin adding in the highlights into a skyscraper. Made sure where again, you're working wet on wet so you have to control the water content in the home million color. Otherwise, the vermilion color will spread a lot covered, covering up the entire yellow color space, which we do not want. Also remember when the war million and the blue mixed together, they form a muddy tone and not a green color. So you have to even be careful that these two colors do not match into each other. Otherwise, you may get in muddy tones there as Ben. You can see I'm just using the tip of my smallest size brush for adding in these highlight all your I was adding in the tones with a size eight brush. And for adding in just limited small highlights strokes, I have to fit to the smaller brush so that I have moved better control over the water and the pigment while I add them into my painting. Now to adding the highlights into the Cloud space at the top area of the sky. I am just mixing in a little bit of the Payne's gray color to the composer in color. And I'm just going to begin adding in the darker highlights into the sky. You can see how you've been just mix in some darker things color and create highlights into your sky, forgiving in the Cloud. So this is again wet on wet, you can see again there is so much water control that is there because the fish, the paints are not spreading a lot. The lightest places are still visible. The cloud effect that I'm adding now has a soft edge, but still it is letting the lighter color tones be visible, not spreading completely covering up the lighter tones. Now if you see the growing space at the yellow area is completely got covered up because of some excess water or paint. As I told you, you can mess up the water control technique out here. I'm going to quickly use a tissue paper and DevOps, I'm excess paint and create little cloud effects as well. And the growing space. This will help in creating the growing space. So you can see just using the tissue, how quickly the pollen has got lifted up from these pieces, creating in that white blowing space. For doing this technique, it's very important for you to understand whether your pigments, you know, staining pigment or non staining pigment. Staining pigments are one which after being laid on paper, if you try to lift it up, they will not get lifted completely. Delivers team behind. And non-sustaining pigments are one that despite being on the paper, if you lift it up with a wet brush or a tissue, they do not leaving any space. Now just using a damp brush, I blended the lighter spaces again because I did not want the rough edge to the Cloud or the blowing spaces. This is how, these are small little tricks and tips that you can use for creating in deploying spaces. Just as you know, at times, the water content makes the paint it a lot. And you've been used these techniques for creating that glowing space again and then blending the spaces again using the damp brush. Now next, at the bottom space I'm using in the CPR Carlo for giving in the field details. First, I painted the entire bottom space of with the sepia color. Now just, I'm going to add in little detail at the top of this field area as I showed you a technique section, by giving you a little spiky and uneven look at the top area. Because as I told you, this is the field space. So we want that little blurry and you know, the field grassy kind of loop. Notice cheat blend loop of a mountain range sort of a thing. Now using the smallest size brush, I'm just pulling out those gas strokes as well. Wet on wet. I'm using it seems CPR Carlo. And you can see simply just pulling out simple grasp looks creating that effect that we need. Or bloody field effect. So it's very important to use these techniques for creating in your details into the paintings. I'm just going to keep adding in these grass strokes for the blurry background effect. Now again, by adding in these details as well, It's very important to have the water control. If you are brown color for adding in these graphs will be too wet, then all of the grass strokes will spread completely and will not have in the blurry effect. Rather, you will just get one pallet look into the background instead of getting into a gas stove Blue. Every time I have kept repeating the importance of water control while adding in these wet on wet details. Now using the Payne's gray color, I'm just beginning to add in the simple details out your, you can see simple branches. And from that I'm going to pull out simple leaves true for adding in the details. Wet on wet. Now my sky, It's not completely wet and not completely dried. So you will see that these are Payne's gray colors. Troops have a very soft look to it, but since they're not spreading completely, because it is not completely wet. Also, all of these we are still working wet on wet from our false mirror itself. So I haven't let my paper dried completely from the first-place, nor have we all live at it, a paper or anything. So make sure you are adding in all of these details wet on wet. Now after this we will be it for all of these wet on wet to dry out completely and then begin adding in the foreground pill detail. For now you can see how beautifully the background field effect is coming to life. I'm just adding in little more wet on wet details for the key space, creating a more detailed look to the field area that we are painting in. Now. That is it for the background details. So after this we will be it for all of this to dry completely. And then in the next in lesson, we will begin adding in the foreground details. Let's put all of this to dry completely. Make sure you do not overdo the background details for the Bloody of field that we are trying to create it. 16. Day 4 - Sunset Field - Field Details: Now my base layer is completely dry it and you can see how beautifully all the colors have tried in also the space where we lifted the colors with the help of a tissue and then blend it in using a damp brush. You can see how beautifully that blowing spaces also created. Now I'm going to be using my smallest sized round brush. This is a size four round brush that I'm using, which has a pointed tip. And using the round brush and the sepia color, I'm going to begin adding in the foreground detail for the field alien. I'm going to use sepia and the Payne's gray color for adding in the darker effects as well. Now for the main details, we are going to use the sepia color in a good thick consistency so that the details that you add in for the field area are prominent enough and have enough big glue. So make sure you do not add a lot of water because we want to use the colors in a boutique consistency. Now using the pointed tip you can see I'll just begin to add in the details. Now we are going to show it more like a wheat field kind of a detail. So the details for the grass that we are going to add in are going to look more like a weed in detail. But since we are adding it in that blurry background, it's going to be more of a silhouette kind of a field that will come out rather than going ahead with the strong colors of the wheat field colours. Randomly, you will see I'm just beginning to add in the details one by one. So in the first one, if you notice, I have added the leaf details in, In one. I'm just dabbing the paper with my brush for creating in the grass field DDL out there. You can use a mix and match of all the different techniques for adding in these details. Now very simply, I'm just going to keep adding in these details crisscross to each other. And even though I didn't, simple grass strokes just crisscross to each other, trying to create that field. Going very slowly. Adding in these details one by one do not rush because if you overdo any one kind of detail, doing in the detail at one specific please, then it will be very difficult to undo or, you know, trying to get the details done correctly again, because with watercolors, that is most cocoa production until and unless you have a darker color to use on it and covered it up. But since we are painting the main field now there is no further Election. Either it goes everything right, or the entire paintings both for the doors. It's very important and I always see whenever you are working on to adding in the details in your painting, going slowly step-by-step, adding little details on the entire space that you have to cover up. You can see I'm going to head with the details very slowly, not rushing with the details at any space. Now you can see some of the details that it a little closer till the top area of the sky and also overlapping the front field leaders that we already added. In-between. You are going to see that I'm just going to even use simple grass strokes and not adding any further details to them. That all details I will add once I add in these mean field of details to give it the V3 look onto the left side where we've created though blurry effect using the paint scree. We are going to even give that a little detailed look out you're using in the Payne's gray color later on. Now you can see some of the leaves or you can see the grass dBm that I'm adding in using in the dark consistency of the sepia color. I'm just beginning in and adding in a tenor branch and then pressing the belly of my brush giving you that elongated leaf detail you can see. And then I lift it up and give it a pointed edge. So in this, I'm going to add these leaves details at multiple places creating this intersect to the fields out here. First, I began adding in the details wherein I just began with the branch and added those Grass Lake goes strokes at the top of the branches. Now we're adding in the leaf detail wherein I begin with the financial, press the value of my brush and adding that elongated leaf, trying to show in the wheat field detail. Now randomly in-between, I'm just going to add a simple glass trucks as well without adding any further details, suggest it branches and popping out smaller branches from them as well. You can see how easy this for adding in the details into the field area creating in the DTA Look to the field. You just have to strike a balance between different kinds of details that you can add in the field to give it a more natural looking loop. So you can see I'm not overdoing any one kind of specific details. I am adding every kind of D1 little by little. Then accordingly, the need that I seen for adding in a specific kind of grass leaves or branches. I just keep adding them so as to make the field area look perfectly filled up. Now I'm just adding in a few more of the DBI looking or VCL effect as you can see. Now the two important things left to be done is one that we have to add in little Payne's gray detail on the left side. And second at the bottom of the field, I'm going to use in my round brush and just going to give in little detail using in that brush. Now for adding in the remaining details, I'm going to shift into my spoilt round brush. I'm not going to predict that dash into water that I'm going to directly pick up that brush and using the Payne's gray color in a good thick consistency, I will begin adding in the detail. Made sure if you are using in his file drawn rash, you do not dip the brush in water. Otherwise, with watercolors, it will not give you that rough look that we need for the grass and the bush details. I'm just directly add picking up the color on the tip and holding my brush perpendicular and just going to begin dropping in the details on the left side here as well. Now in case if you do not have as pointed round brush, you can simply use in your normal round brush without dipping it in water and very roughly dipping it in the paint. Get picking up the paint in a good thick consistency and just beginning to dab it at the place that you needed. Now, since I dip my brush in water, you can see I'm removing all the excess paint and water onto our tissue before moving on to the final painting. Because I do not want factors of the Payne's gray color that I want the bush effects with the brush. That is the reason it's very important to get rid of the palate and excess paint. And also this is kind of a dry brush technique that you use in your water control is very important. Plus the pigment amount also. I'm almost done adding the little detail out you are at the bottom space creating in the darker data as you can see, in case if you have created enough backward debt while painting the background that is uploaded detail than this detail, you can decide in very little. Since my darker depth is not visible much that is the reason to adding the darker depth. I'm using this of creating the bush. Alright, so that is it I'm done creating in all the details. I will just quickly add little more of this detail, losing the Payne's gray color. And then we will remove the masking tape and see our final painting. Let's remove the masking tape and CFI new painting with those clean edges. Make sure your bottom layer brown color or Payne's gray color boost details are completely dried before you begin to remove the masking tape. Or as the Payne's gray color may spread to the clean edges that you have created with the help of the masking tape. Always remember to remove the masking tape against the paper so that you do not tear off the edges is our final painting for day four of the 30-day watercolor challenge, a beautiful sunset that we have created using very simple techniques, learning in details for creating in the glowing space and the blurry background. I hope you enjoyed painting this painting with me today and learned and created this glowing space. I will see you guys into the next class project on the fine. Thank you so much to each one of you for joining me into this 30-day watercolor challenge and painting along with me in the coming days as well. Thank you once again for joining me and being you're with green. 17. Day 5 - Blurry Field - Colors & Technique: Hello everyone. Welcome back to day five of the 30-day watercolor challenge. Today we are going to paint and create a beautiful blurry background field with some flowers in the foreground. This is a class project for today. Well didn't we will be working wet on wet to create that blurry background and then add in the foreground details in the field. Let me quickly guide you with the colors that we'll be using for creating this class project. So fast for the background we are going to be using in the shades of green for creating in that blurry effect. And the little brown, if you notice at the bottom we have the darker brown sheets as well. So that means that I will be using from my palette are the cadmium light green color, sap green color and olive green color. These are the things that had made into my palate. If you have missed this, you can go ahead and visit though, curating the palette lesson class of this class and see how we selected the colors for my palette. Now in cases, if you want to know the pigment number of each of these, I have uploaded the pigment number details in the resources section for each of the pigment of this, say this is the PWC shin and add watercolor set. Now in the background, if you see we even have some yellow flowers. We are going to be using in the cadmium yellow light column, you can use any lighter colors. Yellow may not be exactly the same sheets. Even coming to the VT, you can use any greens that are available in your palette because we are not going with any specific color combination which is going to be a mixes clean, that blurry field. Look. For the foreground flowers. I will be mixing in yellow and the woman in new color to make those flowers standard from the background flowers. Now in the background flowers, I'm even going to be adding in little flowers using in the Carmine color at the top. You can see I've given the tilt of the blurry soft detail. For this, you can use in any tone of red, pink, or whichever you wish to go ahead with. Or you can even add those with orient itself if you do not want to add in the pink color. Now come into the ground and the dark tones you can see at the bottom in the back. And I've given that muddy effect using the brown tone. So I'm going to use this brown on my palette, which is bended ground. You can use any darker tone of brown, maybe burnt umber, CPR, whichever color you want. You can see we've just given little highlight at the bottom space. And lastly, you will be needing in the Payne's gray color for creating in the darker highlights. Plus I will be reaching into veins, leave with my sap green to create darker means for the foreground leaves detail as well. And lastly, you will be needing invite gouache as for adding the highlights and adding in that little bud details in off-label. Then we begin painting our folder. You can see I've added little details with the Whiteboard meeting in those little foreground details and even highlights onto the stems as well. Put all these purpose you will be needing in the white gloves on, you can use a white gel pen. These are all the fellows that we will be needing. I just read for a minute or two for it to dry completely. And then name the colors for you quickly. Write down the following name so that you can find the similar sheet names out a pigment numbers. The first one is the cadmium light gene color. The next one is the sap green color, and the third one is the olive green color. Now again, if you want to defer the exact pigment numbers of the PWC sheets, you can go to the Resources section of this class. And I've uploaded three images of all the swatches as well as the pigment number of this brand. The next is the Carmine color, vermilion new color, and the permanent yellow light color which we will be using for painting in the Flores in our painting. The last two sheets are the Van **** brown and the paints gray color. Now if you do not have the paints gray color, you can even use the black color for creating in the darker green tone and adding in some darker highlights. These are all the sheets that you would be needing for this class project. You can either grab the same sheets or equivalent looking sheets or any other color combination that you wish to go ahead with. Now, I will quickly give you an overview about creating in that blurry background. I will first begin in with the clean layer of water for the background, and then begin adding in the colors. Notice the painting. We even have white patches in the center while creating in that blurry background. So we have to leave those pieces by. So after adding in a layer of clean water, I'm going to begin adding in the light green color vary in idleness, these GATS which we have to show invite. Also in the final painting we will already be having in the pencil sketch for the flowers as Ben and those spaces, we will be leaving it without adding in any paints out there because we want an opaque look to our flowers. The randomly I'm leaving in whitespaces in-between. Majorly, it's going to be closer to the flowers that we will be adding it in the final composition. Since you will have a pencil sketch, you would know where the flowers are and where you need to create the light spaces. So we're going to begin with the lighter green. And while this is still going to be where we are just going to begin with the darker green color on top of me in such a way that the lighter green is also visible at places for creating this blurry background you are going to be using in the greens analytical liquidy consistency to get the soft edge and blending between the colors. You will notice for the first layer of the background, we are just going to go into very simple green blending or wet on wet. Now next in the background you can see we have little of the blood is traveling effect using the yellow color and the Padma in color. Now for both of these, we have to add them while the background is still wet and even certain leave effect. So all of this has to be wireless, background is still wet. Now again, the most important thing that comes into picture is the water control and the pigment control. So I've just due to a smallest size brush for adding in these details. Now if I will add a lot of water to the Carmine color and begin adding it. It will spread a lot and create a blood, the pink color, instead of giving in that giant soft flower look out there in the background. So it's very important to have the water control. Also. The second important thing is that your papers should be wet enough so that these patches do not dry out draft, they should have a soft edge. So you need to work quickly. So certain tips that you can keep in mind is you can either use the debiting technique for adding this. If you feel that your paper dries quickly, you are. Let me show you if you add in the pink color with a lot of water, you can see how the pink color blooms completely included, creates a patch of the pink color. And when I add it with very less water, you can see it retains the shape of the flower. It has a soft edge. It goes for the yellow color as well. If I will add the yellow color with a lot of water, it will spread a lot, mixing with the green color and create a lighter skin tone. Instead of letting the yellow flower look be there, It's very important to understand that you need to have Perfect Water Control while painting in the background details to forgetting in that blurry effect into a painting. This is how we are going to create the entire blurry background. Now let me show you your when I dropped the yellow color as well with a lot of water, you can see the paint is balloons and create and mixes with the green color and you do not obtain the yellow loop in the same way for the background leaves as well, we are going to use in a darker tint of the green color. You can either mix a little bit of Payne's gray as well. And while this is all still wet, we're just going to add in some nice effect like this. Now in this technique, I have not added the ground and the darker greens for now because this is just to show you the technique that we are going to be using it. The entire background is going to be wet on wet walking with water controller lot so as to get the details in the blurry background perfectly. So make sure you practice the water control part of this so that you get the background details right and not mess up with a plain, flat color background. After creating the entire blurry background, we are going to paint the foreground flowers and the leaves and those highlights. This is how our process for this painting is going to be. It's a very easy painting, but entire thing and entire outcome depends on your water control and pile painting and the wetness of your paper. What you do is you can, if you are using a twenty-five percent cotton paper, you can wet your paper, wait for it to dry a little and then dv at it completely that way it will steve it for a longer time for you to create the entire blurry background detail. Or else you can even use the rebooting technique if your paper tends to dry in-between, but probably shouldn't drive, you're using a 100% cotton paper because it just going to be the greens and the flower details. So you need to be a little quick wipe needing this background. I will see you guys in the next lesson where we paint a finance class project together for the five of this challenge. 18. Day 5 - Blurry Field - Painting the Blurry Background: Let's begin with a class project for the site. I have my paper taped down. Make sure your paper is taped on wet enough so that there is no locals left for the water to see if anywhere. I've been first begin with the pencil sketch. So we're going to mark out the flowers that we are going to be adding in the foreground. The background flowers that we are going to be adding in with the yellow color. You can even have a light pencil sketch for that if you want to know the placement. But I would recommend going ahead without a pencil sketch for those who do not have any pencil marks or else with the yellow color being a light color. They will do a lot of pencil marks that will be visible in the background. If you add a very dark pencil sketch, I'm just beginning to add in the flowers one-by-one, which are going to be in the foreground. These pieces, I will try to keep them empty with the first layer of water as well. So I'm trying to add the flowers in different angles so you can see some of the flowers are completely in the blooming and some of them will be just stilted and smaller ones. I'm just going to have make around five to six of these flowers around, you're in the main foreground space. So these are the flowers. Now when I begin adding in a layer of water, I won't be adding in water onto this. What you can do is there are two ways you can cut smaller masking tape and flower shapes and stick them. Or you can even use a masking fluid orders as I'm going ahead by leaving those pieces plant without adding in water, you can do that as well. Or the fourth week, if you short about having that much control on your brush and paint, that you can add a little water. And I wanted to this by the right and adding the colors, you have to make sure that onto these pieces you will not add the watery paint. That is another way as well, wherein you can add the layer of water and then quickly using a tissue, you can just dab off the water from these flowers pieces. So you can use the edge of our tissue paper rounded up or use your book. And just, you know, that the water from these flowers pieces, there are multiple ways how you can lead these bases be white. So I'm going to go ahead with the easiest one that is while adding in the layer of water, I'm going to leave these spaces blank. You can see I'm running very carefully around the flowers. Make sure your papers will. Husband Steve enough time as well. So you can even begin by adding the waterfalls closer to the flowers and then running into the remaining spaces. In the remaining spaces, I'm going to quickly run another layer of water so that I know my paper stays wet for enough time for me to paint the entire background layer. Now, as you already have the pencil sketch off the flowers and you know the placement of the flowers in the foreground made sure around these flowers as when you hit the species a little lighter in tone. So I'm going to make sure by lighting the colors that I add in very little of the background colors out there. So I'm going to first begin with the light pink color. I will quickly pick up a little of the palette on my palette, incomplete, the blurry background. So for that, we are going to play along with a little liquidy consistency of the watercolors creating in the floor blend. And the soft clue began with the right green color at the top space. You can see I'm going in very slowly. Now, next thing I wanted to pick up a little of the permanent yellow light color. I'm going to add in little yellow as well closer to the green color so as to give him little lighter effect. Now when I'm adding the colors, you can see I'm purposely leaving white gaps in-between and not laying down the colors just closer and sticking onto each other because you need those white backgrounds to, given that blurry effect to your image. Now close it. These flowers you can see I'm adding the color very carefully, leaving major spaces bite. Almost. I'm done adding in the lighter green color. I'm just left to add a little. In effect at the bottom as well. Now at the bottom, you know, the effect is going to be quite a darker one. I'm going to add in this lighter green color as well in a little darker consistency. Because as it is, we're going to add in little fountains and archiving things at the bottom to create more of the grass loop. The top media is majorly the blurry effect that we want to as a sky or euro, as a penny body fat or effect. Now next I'm going to pick up the sap green color. I'm going to again pick up the subpoenas. Valid little liquidy consistency. I'm going to just begin dropping in the sap green color to create blooms. Now, you can use the booming technique of watercolors by just dropping it and letting it spread and blend with the lighter green color. When we begin adding the flowers, we have to be careful. Even the background flowers that we will be adding that time we have to be careful about not adding the veins in our board liquidy consistency for now until you are adding in the greens, you can use the watercolor in a liquidy consistency so that there are smooth blends between the colors and giving him the perfect gory effect background. Now I'm going to pick up a little of the Van **** brown color. I'm going to begin adding in the darker depths at the bottom of the paper. Now if your paper is the one which may dry quickly, you can keep all the colors ready in your palette. We already discussed all the colors that you need for the background in the previous lesson. So you can keep all of them ready so that you can add them quickly and your paper doesn't dry as well. So you can see I'm beginning to add the brown color very little only at the bottom space. Again, all of this is wet on wet and you can see the color is spreading and blending well with the greens and not having a rough finish. Now just mixing in a little bit of the Payne's gray to the sap green color to get a little darker green tint, you can even use a darker green color or Wendy gene color or any other green which is darker in tone and begin adding in little darker. Now you can see with the API color that I'm beginning to add in as Nios onto this. Lessening the quantity that is the darker Leo will be very less color and not much as compared to the BCL color. Also, if you notice my strokes, they are very rough random strokes in different directions to create that net neutral look into the background that we want. At the bottom you are with the brown. You can see I've blended in a little of this darker green as well. Now I'm going to add a little more darker be in effect at the top space. Now you can see with the BCL fellows that we began slowly how we achieved the lighter parts in the center there we will be having more of the flag or effect and on the edges, darker tints. And at the bottom we have the darker tins. Now I'm just going to pick up a little of the permanent yellow color. And I'm going to add in the background Legos, wet on wet. While I add this, I'm not going to add in a lot of water, otherwise the yellow color will spread a lot. So you have to be sure that you do not add a lot of water while adding in these flowers. You can use any color that you wish to go ahead with. It can be a yellow color, orange color, red color, depending on the color compositions that you wish to choose. Very roughly. You can see I'm adding in three to four of the background flowers with this yellow color in a good thick consistency, but all of it is wet on wet. That is the reason you can see the yellow Palo has a soft edge and it does not have a harsh edge. Around seven to eight of these flowers that I've added. You can see the water control was perfect. That is the reason the yellow color has a soft edge, but it has not spread much of beyond a limit. Though. Without, it looks like as if just a patch of color or blue moths color. Now quickly I'm going to pick up the Carmine color and begin adding the effect with the Carmine color. Before that, I will just pick up a little bit disappearing and the Payne's gray color and create a darker green color. And this one to add in little grass effect as very wet on wet. Because my top area of the paper where I asked to add the car main color is still little extra wet. Where did I know the Carmine color is added right now, we'll begin to spread a lot. Now you can see very randomly, I'm just beginning to given some grass details. All of this is wet on wet. So you can see how the green color strokes that I'm adding in is having in the soft edge. Also, you can notice I'm giving in these timely bills from each of the background flowers as well that we have added to show the stem for these flowers as well. Now at the top here where I'm going to add in little of the Carmine flavor effect, the order I'm just adding in a bunch of leaves out. You're popping out from this one big branch. So I love this is also wet on wet while this will settle in until after that I will add in the Carmine color. My paper is still wet. I can still walk a lot onto this wet lay audit cell. I'm going on very slowly, but in case if your paper is the one which is about to dry quickly, you can do two things. Wait for it to dry completely or be a little vague. Or you can wait for it to dry completely and then rewrite the paper and use the re-weighting technique for adding in the blurry background details. Now, I've picked up the car main color and just using the tip of my brush, I'm using a size two round brush. I'm just going to drop in some flowers out. You're trying to show it more like the cherry blossom kind of field. You can see the Carmine color is also not spreading much. It is having a soft edge but still showing in the round shapes in which I'm adding in. Because I have the perfect water control. I have not added much water to my carmine color. That is the reason it's not spreading much. So again, when you walk wet on wet, everything is about water control and the wetness of your paper. I'm just adding in a little more of the grass detail at the bottom spaces wet on wet. So you can see very simple strokes to showing us the leaves, branches and the stem effect using in the darker green color which are formed using the sap green and the Payne's gray color. Now I'm just using the sampling, the military darker consistency and just adding in little bended grass strokes as well as you can see, some darker strokes as well. A smaller, thicker strokes to give them more details into the background. Now I'm going to quickly mix in a little more of the Payne's gray colors. So this time it's going to be much more of the Payne's gray and very less of green. And using this darker color, I will just quickly added few more darker strokes while this is still wet. And then we will wait for all of these to dry completely and then add the foreground details. Now we're only, I'm left with adding in the main foreground flowers, which we are going to add in a little detail view and then the grass drugs and the highlights using in the white brush. You can see how slowly in the details wet on wet into the blurry space as well. You have to coin very slowly and not rush with the details to some of the biggest. And you can see I've added in the smallest stems as well. So that is it. I have those white gaps for the main folder on flowers. Now I'm going to quickly do it for all of these to dry completely. And then we will begin adding in the details in the foreground and complete this painting for day five. Now before letting this to dry, I'm going to quickly pick up a little of this darker tint. I'm just going to add in a little more darker effect or giving in some smaller details. Just creating some smaller buds as when using the darker tint into the background. Now let's wait for all of these to dry completely. Made sure that all of the background layer dries completely before you beginning the foreground layer so that you have the perfect details. 19. Day 5 - Blurry Field - Foreground Details: Now my background is completely dried and you can see how beautifully the blurry effect is coming in. Also, you can see the effect of the yellow flowers and the Carmine flowers that we've added wet on wet. I'm first going to begin in painting in the flavors in the rest of these spaces which we've left to blend. That is the foreground flowers that I'm going to first begin with the permanent yellow light color. Then I'm going to add in highlights using in the war million new color. So beginning in with the yellow color and a good thick consistency because we need an opaque look to our flowers. I'm going to begin painting them one-by-one. So remember four to five of those bits we have added in. And then once these giant Latina, I will begin adding in highlights using in the vomiting new color, creating in the petal effect into these flowers. I will just pick up a little of the wall million new color you're ready near to the yellow color and keep adding it along with the yellow color to create highlights wet on wet. Now when you begin adding in the details with the volume in new color, make sure that you do not use a lot of water. You have to go in wet on wet. But again will depend tool is important. You just need to give in soft edges and define each petal separately. You can even add these petal detail once your yellow color has dried completely if you want to stand out the different d1 fy of patterns. Now in the same way, I'm beginning with the second clavicle. You can see automatically almost around each of the foreground flowers. We have a good it whitespace coming into the picture because of the background effect, how we added it leaving in the space around these flowers quite wide enough. So now this flower, I will wait for it to settle in and then begin adding in the details with the orange color. You can use orange vermilion or any other color that you wish to. I will just give little details. Wet on wet as well so as to get that little orange touch to the petals. But mainly details I will add in once everything dries completely. Also the base near yellow color that I'm using in is very OB, without much of water just diluted in the perfect consistency. Now in the same way into the rest of the foreground flowers, I'm going to quickly add in the BCL yellow color. You can see I have the shapes detain perfectly. Make sure you do not add all the flowers in the same typical ship. Try to vary the shape of the flowers as Ben. Now in this last one, you are going to directly add in double million new color and give it more of the orange statue instead of giving him the yellow touch. Now while the first year of the flowers die in, I'm going to begin adding in the details into the foreground for the leaves as well. I'm going to begin with the olive green sap, green color. You can see my greens are all mixed together. There's no specific color or a color tone that you need to use it in using mix of other greens or retrieval greens are available in your palette. I am picking up more of the olive green color now to begin adding in the foreground details. This tells me I did the leaf effect into the background, the same details we're going to add an into the foreground as Ben. So first I'm going to begin adding in the branches or the stem to each of the foreground flowers that we've added it. Make sure you use the smallest size brush. Try to Tilton the branches or the stem of these flowers as well to give it the natural loop, you can see this flower, I have shown it tilted towards the right side. I have added the stem effect also tilted in such a way. Now from the biggest stems, I'm just pulling out little smaller thans. I'm going to remove in small space for a bad as Bell. I'm creating the bottom part of the body using the black color and the top td to the board, we will add in later on using in the white brush. And I'm adding the foreground branches. You can see I'm overlapping the background of blurry flowers as well. You can perfectly go ahead and add branches which are overlapping onto the background. Flowers. That is the beauty of creating a blurry background painting. Do not hesitate or body of overlapping onto these flowers are taking these branches or the Bot details over the flowers. It's perfectly right and that will add to the natural beauty and make it look more like an actual painting. Going very slowly. Make sure you do not overdo the branches in the foreground as well. Because, you know, anything done now cannot be undone or you cannot lead to any of it. So it's very important to have a balance between how many details you wish to add. This you want to increase more of the foreground flowers. You can use a darker color or you can use in gouache colors if you get in the opaque. Look. Now using the same green, I'm beginning to add in some tickle leave effect as well. You can see how I add the leaves in such a simple one stoke method. I press the belly of the brush, take it till the length of the list that I want and then simply lift it up and get a pointed edge. In the same way, I'm going to quickly keep adding more of the leaves in the bottom space. We are going to add in the darker details as when using it more of a mainstream extend with green stem. Let's do add in some darker branches, darker leaves as Ben. So that is the reason I told you go in with any D1 limited COVID the darker tones as well. According to the need of being big, you can further adding more of the details with whichever color you want in the foreground. At the bottom you can see I'm just pulling out some smaller grassroots using in the pointed tip of the brush. Now the first year of the flowers have dried completely, so I'm just going to pick up the 1 million new color and begin defining the petals. You can have a closer view your, and you can see how I'm just defining the edges of the petals and telling them in, we are still left to adding the details to the flowers as well. I'm going to quickly define the petal details for each of the flower. You can use a darker brown color or a Payne's gray color for adding in the bud detail. I'm going to use in the Van **** brown for adding in the body deals with the petals. Just using the Van **** brown tick kansas, since you have added the bud detail to each of the flowers, I'm still left to define in the petal details to the other flowers. So I just added the buck because I had the brown color on the brush altogether. Now again, picking up the vermillion new color, I'm just going to begin defining independence. You can see simply using a darker consistency, how easily by just adding in edges, defining in certain petals of the flower begins to get in such more lively look. Now at the background we had more of the yellow flowers. So now you're when you have a mix of a yellowish orange flower, it stands out more bright. And in submitting palate arch again to your painting. Now you can see the petals of this flower. I have defined it quite different as compared to the previous one. Now in the last flower out you're closer to this. I'm going to add an overview of the patent itself using in this audience color. You can see as of now I had just painted three petals of this flower. Now using in the darker color I'm going to add in petals in-between the eating in the transparent petal loop. Now till the time this dries in, I'm going to begin picking up a little of the white gouache and begin feeding into further details into this painting. We're left to add in some darker strokes and some details or with the right brush creating in some highlights, some buds as well. I'm first going to begin adding in the buds wherever we've created those little small black dots for the buds to be added at top of it. Now just at top of it, I'm going to add in a small doodle kind of a sheet to make it look like BARDA, which is about two blue, white color will not be visible at all places because of the whitespaces in the background. I've just mixed in a little touch of the yellow color to the white gouache. I'm just going to add a little more yellow color out here so you can see it's more of a pastel yellow color. Now using this, I'm going to add in the buds variable. We have the white background species into the blurry background that we created. Now very randomly into the rest of the spaces as well. I'm just creating little details at certain places. I will add the branch and the stem and that little or small black dot details to all of it when I shift into the paints gray color. But now since I'm on to the white gouache, I will add the details randomly at other places and keep them ready. Now since I'm going to divide course using in the right brush, I'm just going to add in the highlights to the leaves as well. Suggest using the tip of the brush, I'm going to add in very fine line onto the darker foreground leaves that we've added and the stems, If you off the leaves understands, I'm just going to add in this white fine line to create highlights. You can see by just adding in this little fine white color, much more depth is created into the painting. And so much more effect comes to the foreground details just by creating these little highlights. Now in case if you have a white gel pen, you can even create these details using in a white gel pen. You need not use a white gouache itself, but white gouache tends to stand out more opaque and you may feel a little difficulty using in a white gel pen on a rough paper or cold press paper for adding in these highlight details. Now my rest of the flower will have dried as bends. I'm just going to pick up the 1 million new color. I'm going to define the petals of this flower as well. And then we're almost done with this painting with very little leaf detail left to add in at the bottom space. Now using the Van **** brown color, I'm just going to add in the bud detail as well. So you can see the body has provided a lot because the vendor ground color had a lot of photo. I'm going to quickly in a damp brush and lift up the colors so that the orange doesn't spread, sorry, the brown doesn't spread a lot and cover the flower completely. This is how, if you add in a lot of wet painting, you know, you may just get in a patch of that entire color onto the detail so you can quickly lift up the color or dabbled tissue will lift that color up. So I'm just going to pick up little of the brown color again. I'm going to add it in a thick consistency in such a way that it does not spread again. Now I will just create little more highlights onto this flower because it looked a little Delta. I'm just giving it a little off the blooming petal effect out here. Now, after this, I'll give you a closer view of the painting before moving ahead further. Let me show you a painting so far. Now the only detail left to add into this is more of the leaf detail in the foreground. You can see how beautiful the blurry background is looking. And beautifully all the colors are popping out, having the perfect detailed look as well. Now, using the green color, I'm just going to add it to one of the leaf and the branch details because in the foreground of leaves and the stem details look a little less as compared to watch it actually be there. Now I'm just going to mix a little of Payne's gray to the dream to get in a darker green color and begin adding in the details using in the darker green. Now in this column mix you can see it's more of paints gray and very less of the green color that I haven't. And I'm just beginning to add in a mix of some stem and some leaves as Ben. So you just have to add in some darker strokes to get the balance into the foreground detail. Basically, a field does not have one specific green color flower or a leaf. It has a mix of some different shades of green. That is what I'm trying to create into the foreground as well by using independence of the pink color before started, some with the lighter tones in the background, wet on wet D1. Then we move to the little darker tone with the olive green color. Now lastly, the darker ones using in the paint scree, but make sure each of the highlight is less as compared to the previously you, so that you do not cover the previously are completely. So that is a, we are ready with our class project for the five of this 30-day challenge. Let's quickly remove the masking tape and see your final painting with those clean edges. I hope you guys enjoyed painting this beautiful blurry background and learned about getting the water control for adding in smaller details by creating in the blurry background such as flowers, leaves, and other DTS, and also creating in that blowing space, make sure you remove the masking tape against the paper so that you do not tear off the edges. You'll also find a painting with the beautiful clean white edges which makes the glue off the painting go to a different level. I completely enjoyed creating this and especially the white highlights you can see it gives a beautiful different touch to your final painting. I hope you guys, It's enjoyed painting with me today. I will see you guys soon into the D6 class project of this strategy watercolor challenge. Thank you so much to each one of you for joining me into this class and painting along with me. If you are liking this class so far, make sure to drop a review so that it can help me reach of either range of students. Thank you so much once again for joining me into the class. 20. Day 6 - Country Side - Colors & Rewetting Technique: Hello everyone, Welcome back to D6. Off the 30-day watercolor challenge. Today we are going to be painting this beautiful countryside field. And in this class project we are going to learn in depth about the rebooting technique. You can see it's a very colorful cloud that we are going to be creating in a beautiful countryside evening sky loop. So let's begin with the colors first and then move ahead step-by-step with the techniques that you would need for this class project. First note down the name of the colors for you out to her and then we will swatch the colors that I do not have to wait for the colors to dry info, swatching them out. The first color for the sky, you can see there are layers of colors that we will be using it. First, it's a set of nipples, yellow vermilion new and the Padma in color. Palette, little wooden house we are going to be using in the payroll red color, Van **** brown color, and it'll paints gray color later on. Next for the field lady, I am going to be using in the permanent yellow deep color, sap green color. And then it will offer DACA being tent as well. For the darker green color, I'm going to mix in Payne's gray with my sap green and create my own DACA. Now if you want, as I told you, you can always use the colors of your choice and we may not be exactly the same as mine, but you just need to know your palette properties well so that you do not mess up or get any muddy tones. I will also be using a little light kinda given little lighter details in the field. Now apart from this in the sky, you can see we have shades of blue and violet as well. So follow changes, blue and violet I'm going to use in the city. And the violet color, these are all the color sheets that you need for the sky. The first nine and the last row colors, the second rook colors for the heart under total calories for creating in the field space. I'm going to quickly swap out the colors. Now. I'm going to use the Naples yellow from the brand Magellan mission. Now in one of the previous class projects I had shown you the column exponentials, yellow. If you do not have a direct Naples yellow color, you can either mix in your permanent yellow light or permanent yellow deep with white gouache and you will get a little pasty yellow color, which is almost equal to this permanent nipples. Yellow color out to now Naples, yellow color pigments is UCI, you know, it has a white pigment. That is the reason we mix it with white gouache and you get a similar color. Next is the 1 million new color. If you do not have the vermillion, you, you can simply pick up any shade of orange or yellowish orange color. Next is the Carmine color. If you do not have the cadmium color, you can go ahead and use the scarlet color as well, or any other shade of pink. These are the three colors that we will be using, suffocating in the clouds, in the false layer, and then use the re-weighting technique and create the rest of the cloud space. For the rest of the sky. I'm going to use the city Lynn blue and violet color in a very light consistency using in the re-weighting technique, we will discuss in detail about the re-weighting technique quickly after swatching out all the colors. You already, you can see the strokes of blue and violet that we will add some labels on. These are the five colors for the sky. Now, moving ahead to this hat out for the colors which we will be using is the fetal red color and the vendor ground color. You can use a permanent shade or any bright red color, whichever it is available in your palate. And as far as it's all brown colored is concerned, you can go ahead and use any darker brown thin or you can even use in the black colleagues do not want to go ahead with a brown colored. These other Googlers for creating that cottage look into the field area. Now next in the field space you can see it's a very simple field that we will be painting with very little grass details at the bottom space and adding in some yellow flowers sprinkles. So for that we will be using in the permanent yellow, deep light green, sap green and creating in the dark been using in the sap green and Payne's gray color. These are the four colors that we will be using for the field. You can see, you can have a closer look and see how we've used in all the sheets to be a simple periwinkle. Fulfill that we will be painting in this class project. We're done to watching all the color sheets and you can see the colors, how they look, and how we'll be using them out here. Now for this guy, as I told you, we're going to go ahead with the re-weighting technique. I'll guide you with the re-weighting technique as to how we will be going ahead in the final class project. Now I already have a very specific in detail class discussing everything about the re-weighting technique. So in case if you want to study a much more in detail about the riveting technique, you can surely visit my class and getting more detail about the re-weighting technique. For now, I will show you simply how we are going to do the debating it for this specific class project. First, we are going to begin in with a layer of photo for creating in the clouds. I'm going to go ahead and first create the clouds effect using in the lighter tones, that is the shades of yellow, orange, and pink. You can go the other way around that is you can false beginning with DOT or, you know, a cloud effect of the yellow and the violet color and then move to the yellows and the pink color. So that depends on you as to how you wish to go ahead. I'm thickening in with the yellow color. You can see the water control is perfect out your that is, the paints are not spreading much beyond the control limit. Whenever you have to add in details or using either liberating technique or when you do not want the paint to spread much, you need to have perfect water control in your paints so that they do not spread out of proportion. Now, you can see very randomly, I'm just adding in simple clouds creating in that cloudy effect of this guy out here. Then we will wait for this to dry completely and give it the entire face and add the rest of the details with the blue and violet color points. For now you can see majorly closer at the bottom space, I'm giving him more of the details with the scarlet color or the carmine gallo, whichever you wish to use it. I'm done creating in the layer of clouds you can see I've left in white gaps enough because then we are going to use in the riveting technique and then V8 the further details. So for that we have to wait for this to dry completely only then we can go ahead leading into further details. Now you can see my sky is completely dried. All the clouds have tried incompletely. I quickly use the hairdryer to speed up the process. Even you can do so in mostly all of your projects, just in certain cases, it's much easier to let the painting dry naturally because it's the effects of the textures that we've tried to achieve it. Now very carefully I'm using because I is flat brushes you can see and just using in fresh clean water, I'm trying to leave it this entire time is you can see how easily without adding in any pressure, I'm going to leave it the entire surface. Very important thing whenever by doing in the re-weighting technique is that you need to have the proper control onto your water content. Otherwise, if you will have excess water, the base of your colors will begin to get reactivated and they may spread a lot to get the balance right. Again, it's all about the water control. Now beginning with the smallest size brush, I'm just beginning to add in the blue color tones into the whitespaces. Now they may blend a little with the orange, yellow, but they will not create muddy tones or much of the green colors because the VCO color has already dried and you've reactivated it, but it will not create those tones which are formed by mixing two primary colors or two, any two color tones. You can see how easily onto the entire remaining whitespaces I've added the blue color. The color hasn't even spread it match. Plus, you know, it hasn't formed muddy tones and you'll get the perfect balance in your Skype, the aiding in the beautiful blends as well. So this is how you can use the rebutting technique for creating clouds with clouds or skies or any other detail with colors which you know, if usually added in one meal, may form in muddy points. If I would've added the blue color while adding in the fossil record itself, it would add cost a lot of monotone details because the blue and the orange mixed together leads my detune. Violet and orange mixed together periods Maddie tone. But now when you see when the blue and the audio engender violet mixing together, it's not forming the magnitudes because it's deliberate In technique. Try learnings small techniques like these, which can help you in minimizing or mixing of the colors plus creating in those of muddy tones are rough mixes in-between. This is how we will be painting the sky using in the re-weighting technique, creating in the cloud effect as well with the lighter tones and giving you the perfect sunset, colorful sky near the countryside. Let's begin our final class project and begin painting this beautiful countryside painting with me today. Just before we move on to the next lesson. Let me show you the pressure, if you will, a lot of pressure on your brush, the BCL colors will begin to get activated. So it's very important to understand this that the pressure on your brush should be very light. Whenever you are using the deviating technique, you have to go in with a very light hand. Alright, so that the BCR colors don't get activated and you just get a clean layer of photo. Now you can either use the smallest size flat glass, or you can even use a Hake brush for doing in the rebooting technique. Let me show you how the hake brush looks like. My heat flashes approximately 2.5 inches wide, so you can see how thick this brush is. Now if I use this brush, you can see in just two strokes, my entire painting would be completely wet. There is a reason why I'm not using in this hake brush because this brush holds a lot of water. You can see the thickness of this brush as well. So these brushes suitable for larger size paintings, you can use the smallest size eight brush, which we will little less waterfall effect for small paintings like this. This is another way how you can be using in a vehicle crashes. Well, in one of the previous classes when we painted pasting skies, there, I use this bigger size, he crashed because those paintings would've larger size and helpful for Revit. So let's begin today's class project now and paint our final painting together in the next lesson. So see you into the next lesson of this class. 21. Day 6 - Country Side - Painting the Sky: Let's begin with our class project for the six. I have my paper deep down and before moving the head painting, Let's begin with a little pencil sketch for this class project. I will begin marking or the horizon line. So my horizon line is going to be a little below the center line. The bottom space is going to be the field area and the top area is going to be the Skype space. On the right side, I will quickly add in a small cottage. You can go ahead and change the silhouette of the page if you wish to. This Cartesian, I'm going to add it in such a way that on the right side I'm going to show a little of the back side. Got it space as well, wherein we will only showing open space. So that is how my cottage is going to be out. You're now in the shortage in the friend side. We are going to have in the details. So you can see I'm getting into leading pencil sketch as well because rest of the front area is going to be right. Only those fine lines are the borders you that you can call them is going to be of the darker brown color giving him those edges at the backside, as I told you, I love this piece. I'm going to keep it open area so you can see how I've added the bottom side of the Cartesian required insight because I had the bat. This window showing broad and an open sitting space for you. So the details to this open seating will be visible only when we painted with the colors. Now in this one space out your, it's going to be the same field colors or neon, the borders, we are going to give them the color details using in the brown color. Now that is it for the pencil sketch, we are going to directly beginning adding in the sky for us because for this guy, we have to go ahead with the re-weighting technique. I'm just beginning in with the clean layer of photo only onto the Skype knife you run a little into the roof of the parties. That's perfectly okay because the cartridge drop is going to be off a very darker color as you've already seen. But as far as possible, try avoiding any color as far as possible. So I'm not going to add an even the water layer onto this because I'm going to keep it blank in the rest of the sky area. I'm just going to begin in with a clean layer of photo. Make sure the water is not exist otherwise the paint will begin to flow and we have to add the paint in a controlled manner because we are going to create the re-weighting technique look, adding in those Cloud details separately. When applying the clean layer of water, you can see my brush multiple times so that might be stays wet for enough time until I add in all the Cloud details out. You're now let us begin adding in the cloud colors. I'm going to begin in with the permanent yellow light color first and move on to the audience. And then the Carmine color creating in the clouds into the sky. Now, the colors I'm going to use up in a little medium consistency, not too thick and not to watch it. Reason being if you will add it Tuesday, it will not spread and blend with the other fellow. And if you added in an extra liquidy consistency, the paint will spread a lot and you will not be able to achieve in the whitespaces. For every watercolor painting, the important thing that becomes is the watercolor. By adding the details using the Naples yellow color posts. You can see I'm just creating it. The yellow cloud effect, I guess in the beginning I told the color shade drug, it's the Naples yellow color, not the permanent yellow light. But in case if you do not have the Naples yellow, you can use the permanent yellow light color as well. So you can see I'm leaving so much spaces and just adding smaller clouds using in the yellow color as well. Now Next time we're going to shift into the vomiting new Palo, which I already have on my palette. This color, okay, I'm going to use in a little medium consistency makes a little of the vermilion color to the yellow color in my palette to get a little yellowish orange tone, you can even directly use a yellowish orange color, would not want to mix the tool, but I'm going to use the 1 million new color as well for adding the darker death. It just mixing the colors as they were already on my palette, rather than picking up the yellow, orange color directly. You can see the details I'm adding this darker tone are in such a way that the lighter color tones that we added are also visible. Whenever you add in any detail wet on wet, you have to make sure that the previous CEO details do not get hidden completely. That is, the lighter tones shouldn't get hidden up completely. Then only then you will be able to, you know, get the value and the DDL effect of each of the colors that you are trying to add in. Now next beginning to add in the cloud effect with the Carmine color, you can see the Carmine color is much more or less as compared to the yellow and the orange because I want the yellow and orange clouds also to be visible. For now, we're just creating a simple Cloud effect, alright, and then rest of the sky with the violet and the blue color we will be adding. Once this dries completely using in the re-weighting technique. You can see I'm just trying to get the blend between the yellow, orange and the paint smoother because I do not want each of the colors to stand out separately between these three. I want the soft blend between them. So that is the reason I'm adding in the colors very lightly. You can see my hand is going in very lightly. I'm not having a lot of pressure using a damp brush. I'm simply blending them together to get in the soft blends. That is it for my Cloud space. Now let's wait for this to dry completely then do the liberating technique and add the rest of the sky area. Now my clouds have dried completely and you can see how beautifully the dry. Now I'm going to quickly begin ahead with the re-weighting technique. As I told you, I'm going to use in my flat brush itself for going ahead with the rebooting technique. I'm going to go in with a very gentle hand without adding in a lot of pressure in such a way so that the base new colors do not get the activated because of this Yoda of water. Also, if you want, as I told you, you can use the smallest size hake brush as well and do the rebooting technique or any flat brush is good enough for this book. It all depends onto how you practice and what suits you the best. Remember, whenever you are doing the re-weighting technique, make sure your brush has enough water to cover one layer completely. Secondly, do not run your brush multiple times during the reverting thick deep. Otherwise, the BCR colors may begin to get activated. Now in our sky area, wherever we have the bite line spaces, we are going to go ahead with the shades of blue and violet. I'm going to use the civilian blue color in a very light consistency. I'm not going to go ahead with much of the darker tones for the blue color and the violet color. So make sure you use them in a good diluted consistency. You can see it's still, I find the tonal little darker, so I'm going to quickly lift up a little more of the color using enough damped brush. So whenever you find that the color that you've dropped this a little more darker or you want it to be for the lighter, you can quickly lift it up using a damp brush. Now with a very gentle hand, I'm adding in the colors in-between. In the rest of the cloud space. You can see how just using the tip off or smallest size brush, I'm just dropping a very likelihood of the blue color filling in all the whitespaces in-between. Now, wherever you see that the color getting lead onto little of the blue or yellow and the orange tones, the blue color tones a little darker because of the base shadow color obviously. But that adds to the beauty of the Cloud. So that is the reason I'm purpose The adding a little of it onto the yellows and the pinks has been. Also, if at any specific point you wish that you want to add a little of the BCR colors again in the second layer as well. Then if you do that, it's not specific or compulsory that you cannot use the BCR scholars again, in the second layer, the base year color was to create that cloudy effect. So even am going to use in a little of the Carmine color and just closer to the blue at certain places, I'm going to give him for the darker they're using in the Carmine color to give it more of the evening view. This also helps in getting the blends much more smooth off between the second layer color and the false beard colors. Now next time running with the violet color, the violet color also you can see I'm using in a very diluted consistency, very light tint that I want to add into my skies piece. Make sure again, you're as Ben. You do not use much darker tones, otherwise, your sky will turn motor what the night sky rather than being an evening of sky kind of loop. Now you are, you can see when I'm adding the violet even onto the orange color, the muddy tone is not getting formed, otherwise engender, if you would have added the orange and the browns together into one layer, you will know that there will be so much of the muddy color that would have got form. This is how leave it in technique helps in creating or heads in stopping of the creation of these body tones whenever you wish to go ahead with these colors in the same painting. Now at certain places, I'm just giving it a little darker depth using the blue color as well. So very lightly. Again, you're important thing is the water control. If you see my brushes does not have a lot of water. I'm dabbing my brush onto a tissue tavern every time that I pick up paint so that I do not have excess water or paint. Otherwise, it will begin to bloom a lot onto the paper and you will not be able to control the movement of the beans then and also maintain the cloud effect it out there because of the access portal. Now I'm just going to add in little off the yellow color closer to the cloud effect wherever I wanted it to, I'm picking up the yellow and of good thick consistency. You can see it's not spreading much introduced having a soft edge, all this app done while my second day of paper was still wet. So that is it. We are almost ready with us sky for the David six of the 30 day challenge. Now we have to wait for this guy to dry completely before moving ahead to painting in the bottom space. So I'm just going to finish it by adding little more of the blue strokes at the bottom space. I feel this is a little extra dark, so I'm just lighten it a little, picking up the colors using a damp brush. Now let's wait for this guy to dry completely. Then we will move ahead and paint the rest of the scene details for this countryside Bu, so see you in the next lesson. 22. Day 6 - Country Side - Painting the Field: Now let's begin adding in the further details. My sky is completely dry it and you can see how pretty this guy is looking with all the colors visible clearly. I'm going to begin with the field area. Now for the field space, as I told you, we are going to be using in the shades of yellow and green. So first I'll begin in with the clean layer of photo. Now make sure you do not add the water and the colors into the Cortex space because the cartridge area is going to be majorly red, white, and brown tones. So we do not want the yellow and the greens to go in there. That is the reason I've shifted to a smaller size flat brush for adding in a layer of photo so that I do not run into the cottage space. I'm done adding in a layer of photo. Now I will first begin with the permanent yellow light color. I'm going to use the color in a good little medium consistency not to take and not to watch. And I'm going to begin with this color falls closer to the horizon line. In-between, I will be adding in little green and academic using in the darker tones. Next time picking up the sap green color and I'm going to begin adding it closer to the yellow color and blended both together. Now in this kind of detail that we're adding in, I'm trying to show in a very exact kind of facility, we won't be adding in the concrete slab more detail or complete grass details. Rather, it's all going to be soft, loose details that we are painting in this class project. Closer to the horizon line. First, I'm creating in a little green effect to separate the sky and the field space in-between the yellow and the sky. I added that darker green layer. Now I'm going to add in again the yellow color just below the green color. In this way basically seems the yellow part. They fix the flower parts of the field and the green part depicts the grass area, which is, it is visible in-between the flowers that we are adding it. Later on we will just add in little spring clothes of the flowers and the grass details to make it look like the field effect as well again, on the right side as well, just using the green color separating the horizon line completely. Now again below this yellow line and beginning in with the green color. So you can see how slowly you can add in the details creating in that soft loose field effect. At the bottom, I'm going to have in mode of the data sheets because at the bottom we are even going to be adding in the grass details using in the class tools, mixing in, all listed on the pin three white gouache and the green colors creating indifferent tones of greens. Now first at the bottom, I'm adding in more of the light paint palette out to create more of the grass piece at the bottom area. Now on top of this, I'm going to use in this app in color and begin adding in the sap green color. Just undo the lighter green color more at the bottom space as I told you to create the darker depths. You can see already we can see a loose feel detail coming to life, but just so much little details yet. So at the bottom onto the light green color, you can see I've given in the darker debt, I had a little Payne's gray as well mixed in our tour. Now I'm going to use in the permanent yellow deep color. I may have missed to mention this color in the color section of the class. To this, I'm adding in a little of the 4 million US. You can even mix in your permanent yellow light and the woman in new color and get a little medium light yellowish orange tool. I'm going to just mix these colors and using this yellowish orange color, I'm going to begin adding in darker depth into the yellow color. Now, when I'm adding the darker death, you will see I'm just dabbing the tip of my brush onto the yellow color. So all of this is still wet. The yellow color, the green colored, everything is big. So until this to add in the flower details and the soft looking details, I'm just using the tip of my brush and dropping in these darker tint of the yellow, orange color. I'm not dropping this darker green color. It's mentioned you that I'm dropping on the yellow color and you can see the flower effect beginning to blooming in the soft look. Now again loosely using a little of the yellow, I'm just dropping it at the bottom space in-between the greens to give it a little more Flavel effect there as well. At the bottom, we are going to give them more of the flower details by using in the splattering technique of the yellow mixed in with white flashes. Now till this field area settles in a little, I'm going to mix in a little of the Sapien and the Payne's gray color. And I'm going to begin adding in little bush effect on the horizon line at the left side out there at the bottom you can see there was a big cloud space, the Carmine color. Most of it will get covered up with this bush effect that we will be adding in your, I'm going to add in the bush effect very loosely at the top. I'm going to give him the dabbing details and creating little bush effect. And at the bottom till the horizon line, I'm just going to fill it completely with the green color. Now my horizon line details, that is the field details is still wet. This green will blend with the field perfectly and create a soft edge between it, showing that this bush is a part of the field area itself. So do not worry even if it is dry it out and if it looks separate, that will also be Okey. And if it blends as well, it will be perfectly okay. Out here closer to the house aide. Yeah, I've used a little lighter green to show a little effect of that cloudy sky, that sunset effect onto this green space as well. So you can see how easily on the left side we've created this bush effect moving into the sky area and blended well into the field spaces then to show that it is a part of the feed. Now one thing I forgot that that little background piece of the party GDI is also the field areas. I'm going to quickly paint that as well with the shades of yellow and greens to cover it up and make it look as a part of the field because this is a backspace or wherein we will be adding details with the brown color directly later on. I will just add little green details there as well. And then we will be it for the field area to dry completely. After that, we will paint the footage and the rest of the foreground detail. Let's wait for all of this to dry completely now and then begin a hand adding in the further details. Now, my appeal is completely dried and I will begin adding in the details into the cottage so that the cartridge will try and till then we will move to the full-blown field videos as well. And then for the rest of the details in the cartilage, the first color that I'm picking up for the cottage is the payroll red color. As I told you, you can pick up Scarlett permanent jet color, brighter color, or any other color that we wish to go ahead for your cottage details. I'm using this bright red color. This is the payroll red color from the PWC set. And I'm just going to begin adding in the details into the cottage ADR. Now in the friend space that is the opening of the cartilage that I'm painting right now. I'm going to leave the center space white for the door effect. And the rest of the details, I will fill it with the red color. You can see I've created the corporate space and now on the left side you are at the bottom, just below the roof, the entire space. I'm going to paint it with the payroll red color. I'm using a size two round brush so that I do not run out of proportions and adding the details, filling in one-by-one. I'm done adding in the cottage color. That is the payroll red color for the roof we will be using in the brown color, but we need to wait for the bottom layer of the cortex to dry before moving into the red color. Then I'm going to begin adding in the details into the foreground fee. For that, I'm going to mix in a little bit of whitewash and the glean and get an opaque green color for adding in the grass DPs. You can use either a very dark green color directly without adding invite wash for adding in the glass T-bills. Or you can mix invite with the greens to get an opaque detail if you want to use different and lighter green stone as well for adding in the grass detail. I'm going to use a mix of both. I'm even going to add in some darker green strokes using in a darker green color directly from the palette. And adding in some lighter green grass strokes using in the white quash mixed in with the green color. This mix of green is not visible March onto the fetus spacetime further going to lighten it up by adding in lighter green mix it with white gouache onto a separate palette. I've quickly picked up a little of the cadmium light chain follow and do this. I'm going to add in the white gouache, and I'm going to use this much lighter tone of green so that it stands out right onto the details that we've already added. Now you can see how this slider Venus popping out onto this dark background that we've already created. So I'm just going to add in the glass details medially at the bottom side feel only in-between. You can add in a few of the bigger gas trucks moving till the center of the field or the corporate space. But I'm going to keep me out of it low-lying only because I want all of the details. It would be their only at the bottom of the field and the shortage is already there. And still we will be sprinkling in the elaborate effect as well as I told you. I'm almost done adding in a layer of classes using in the light color to this, I'm going to mix in other tones of green and add in more grass detail. Because Batman Actually, no field has just one specific color of grass. It has various different tones. So to get that natural look into our painting as well, I'm going to go ahead with different tones of greens out here. Now Father, darker strokes, I'm just mixing in Payne's gray into this whitewash and the darker green color that I already had. So it's more of paints gray and Sapien and very middle of the white brush. And using this darker green, I'm going to add in little of the glass groups just over onto the lighter strokes itself. Basically neither darker strokes is going to be a little less as compared to the lighter strokes that we added because I do not want the entire lighter strokes also to be covered up completely. Now you can see some of my darker strokes are quite big as compared to the lightest troops and moving in very differently to try to make it all look as much nationalist possible. Then adding in the grass detail, now I'm going to quickly pick up a rough paper and I'm going to cover the top space. In my painting so that I can splatter this novel details. Basically tell the court that space. I'm going to keep it covered for now. Now using in the permanent yellow color, I'm going to pick it up in a very thick consistency and I'm just going to begin snatching this color. Now if you want, you can mix in yellow and whitewash. If you are yellow is not standing out opaque onto the painting. It all depends on your base, Leo colors, how they have acted, and how vibrant the odd. I'm going to mix in a little of the white gouache itself because in my base layer, I have used more of the permanent yellow color. I knew it will not stand out that bright. So I'm adding little white gouache and using the scholar, the LinkedIn medium consistency. And I'm going to splatter this and creating the flower effect into this countryside. Now this flattering technique may surely get messy and you know, your table side may also get to it. If you want, you can either leave or Ross Clark altered tissue underneath your paper. And when you splatter, it goes on to them and it does not mess it on your table while painting. You can see how beautifully the yellow color is beginning to give him the flag field look. Now I've moved the paper towards the right side covering in the cortex space, make sure these platters do not go into the sky area. You can even cover the sky with another sheet of paper. I'm going to quickly keep a small piece so that I can split it a little on the left side feels pieces. Well, you can see how beautifully these little splatters are creating in the rough, loose feel detail that we want trying to show in a little periwinkle kind of fulfil. It's a very loose feel that we are painting today. I'm done adding in this flattering effect as well. Now next, using in this same yellow and the white mix, I'm just going to add in little of the bigger flowers as well to give it a, you know, the natural loop just onto the grass area details where we added the grass troops. On top of that, I'm adding in some loose flower details, using in the round brush and simply just dabbing it. No specific sheep or detail to the flower, just simple dabbing in. Now, my cottage is also dried completely, so I'm going to go ahead with the brown color and paint to the roof of the cottage. I'm going to use the Van **** brown following. You can go ahead and use sepia color or any other darker brown that is available in your palette. Or you can even mix in brown and Payne's gray or brown and black to get a darker brown tone. But make sure to go ahead with a little darker color so that it stands out of white, Brent and gives him that cottage loop at the top of the red color. I'm going to even add in the brown details out here. And even in the red details, we are going to give him little brown outlines to define the cottage a little more in far I think in these small details, we are going ahead with the wet-on-dry technique. That is, we do not have a beautiful photo underneath. We are directly going ahead with wet paint onto a dry paper. And I'm just adding in the details very carefully. You can see the brushes slipped in and I could quickly just get rid of the color because I instantly, you know, dabbed it with my fingertip. But that is the reason it's very important to go in very slowly with these details because if the brush would've slipped into the sky space, I would not have been able to get rid of the brown colored expect, when important to go in slowly, uses smallest size brush depending on the size of your painting so that you have full control over the details that we are trying to add in. Now using the same Van **** brown color, I'm just going to begin adding in the details at the bottom space of the cottages spin. So I'm just going to define the edges. Now I've added a line off the Van **** brown color and quickly using an a damp brush, I'm going to blend it with the red color, giving it a soft edge loop. You could have done this while the red color was still wet. That is around 60% dry and 40% of it at that point, you could have added the deathless cheats losing in the Van **** brown color. Or now as we are adding after it is guided, look and add the stalks use a damp brush and quickly blended with the red so that it does not stand like a complete outline. Rather, it has that soft blended loop. Now using the same bended gunk color, I'm going to define the backside details as I told you, it's a small sitting space, so I'm just going to give it a wooden flooring kind of fur detail and wooden rods out there. I'll let go. You can see just adding in little detail. It's having a look kind of cool. As I told you, the back goes sitting area that we have in the quartet space. At the bottom, I've created a bigger floor space, giving in that brown color. Now using the brown color we're even going to add in or windows into the cartridge space. Once the blending is dried completely. After that, I will add in the further details. Now I will wait for all of these details to GI in and then we will add final details into this painting. Now everything is completely dried. My cottage, my field, everything has dried completely and bell. So we're just going to begin adding in some final details into the painting and then we will be ready with our class project for D6. It was a little big class project because it's the reweighting technique and plus the minor details that we are adding into the cortex and the field area. Now using the Payne's gray color, I'm just going to add in little detail onto the roof of the parties as well. So at the cartridge or be added using in the Van **** brown color on the red. Now on the roof we are using in the Payne's gray color onto the brown color that we've added. I'm just going to give in simple line to define the dual of the roof. Excuses. You can see I'm going in quite slowly adding in the lines a little diagnosed self onto the roof space. Make sure you use the smallest size brush nine days if you want, you can add these lines using in a permanent marker or watercolor proof black pen as well. Starting waterproof black pen, not watercolor proof. Waterproof black pen of WIC does not split in two. And you can add these lines using in that pen as Ben. Now on to the rest of the details, I'm just adding little highlights using the Payne's gray color. The brown color is not completely covered up with the Payne's gray color. It's just a little highlight either on the left or the right side of the brown details that we have already added in. Now at the backstage. I'm just giving you a little more detail of the wooden details that we literally have into a cottage space. And even understand space at the dual details, just giving it a little more details using the Payne's gray color. Now next, using the Payne's gray color, I'm going to create little windows onto this cottage you want. You can use the darker brown color or you can use the paints gray color depending on your choice and your color composition. I'm done adding in the windows as well. Now using the green color, I'm just going to add in little grass detail closer to this quartet space at the facts, I just mixed in a little bit of the brown to my green to get a little darker green color. So we are almost done with all of the details. Just last final details lesson before we remove the masking tape of our painting for day six. Just simple grass trucks closer to the cottage space to show in the grass, you know, coming out closer to the cottage area, giving it more of the lively view. Now, I'm just going to add in little more darker grass strokes at the bottom media as been using in this mix off the green and the brown color. That is it. We are ready with our class project for D6. Let's remove the masking tape and see your final painting with those clean edges. Make sure you remove the masking tape only once everything is completely dried. Otherwise, you may lay your hands onto the wet spaces. And then those are colors may get lifted and lead onto the edges which was piling up clean edge. Also always remove the masking tape against your paper so that you do not take it off the edges. I've just missed to add in little highlights using the white gel pen onto the cottage space. I'm just adding in little highlights. You can add it using the whitewash if you do not have a gel pen or losing white watercolor in a very thick consistency so that it stands out to pick onto these darker tones on the roof as well. You can see I'm just giving you a very simple lines to actin as the highlight. And even at the bottom we just added in little highlights. You also closer view onto the field space how the details of the yellow color splatters are looking. You can see by adding in the white gouache, the color is standing out so obeyed and beautiful loose field detail. I hope you guys enjoyed painting this beautiful countryside filled with the re-weighting technique and this beautiful sky that we've created. Thank you so much for joining me into this class. 23. Day 7 - Storm Sky - Colors & Technique: Hello everyone, Welcome back to D7 of the 30-day watercolor challenge. We are going to be painting a beautiful countryside landscape again today, but it's going to be quite a different one. We are going to paint a stormy sky along with a beautiful lush yellow field. Let's have a look at the colors that you need for this class project. I will first begin noting down all the color names so that it's easier for us to swatch them. For this guy, you would be needing an indigo, Prussian blue, a little of citrulline glue or cobalt blue. And if you do not have in the code and you can use Payne's gray mixed in with motion boot. So these are the three colors for the sky. Now, next coming to the field area, you would need shades of yellow and bones. I will be using in the yellow light color, yellow deep color, yellow ocher color. For the brands, I will be using the brown, red color, the CPR color. And if you want, you can use either bond amber or you can go ahead with burnt sienna as well. And also I will be using a little bit of the Van **** brown. If you do not want to use in a CPR color, even you can use in the Van **** brown color. Now lastly, for the trees, you would be needing in the shade of light green sap green, olive green, or whichever three to four different greens are available in your palette, I will be making a dark green color mixing in the Sapien with the Payne's gray color. That is how I will be forming my dark green. But here you can see the flowers that we've had it that is again going to be just yellow mixed in with whitewash to get in, in the opaque loop. Now coming to the area, It's important to have around three to four of the green so as to get into differentiates and the light and the shadow effect. Now I can quickly swatch out these colors. Now in case if you want to know the exact pigment number of these color tones, then you can visit the reference section wherever uploaded all the pigment number of this brand that I'm using, it went too quickly swatch out all of these colors for you out here. So first one is the indigo color. And using the indigo from this set itself, you can see how dark and vibrant this pigment is, but we are going to be using it in a little medium. Tone consistency, not this dark as you can see as chi is going to be quite a subtle looking sky. Next I'm going to, I'm using in the Persian blue color in the sky. We are going to play along with the wet-on-wet technique and create this glowing sky by adding in the paints in a very liquidy flowing consistency. Then moving our paper in different angles to get the blends between the colors. Then we will be adding in little highlights using in the cobalt blue color in the sky area itself. You can use it even do a cobalt blue or you can simply even just using though are pushing Luke Alina very light, strong consistency. So these are the colors that we will be using in for this guy. Now next, let's move on to the colors that we will be using for the field area. Firstly, closer to the horizon line, you can see there is a lighter yellow color for which we will be using in the light yellow color. Then we will move on to the yellow deep color creating in the depth into the field, giving in the different tones. And then they even move to the yellow ocher color. From the right side you can see we have the lighter tones then moving towards the left side and bottom spaces, the colors begin to deepen in depth. Alright, so beginning with the light yellow color, then moving downwards like this, towards the left side, going to the darker tones, That's a yellow ocher underground sheets. Now next coming to the brown tones, cost is going to be the brown red color which you add the bottom side, you can see we've given the brown depth into the field space. Next is going to be the vendor ground. Now if you do not have the Van **** brown color, you can mix in your ground with Payne's gray or black to get a darker brown or simply using any darker brown if it's already available in your palette. Payne's gray color will immediately be used for mixing in with browns. And your, you can see closer to the horizon line to give in the shadow of the tree area as well. I have used in the Payne's gray color. Lastly, for the tree area, I'm going to use in the light green color, olive green color. And for the darker death, I will mixing paint scree and the olive green color to get a very dark effect as well. So these are the sheets that we will be using for this predict class project. This is by far my most favorite class project. Because of the ease with which you can create the project. And yet kids, such a beautiful view. Let me discuss with you some more techniques before we move ahead and begin our final class project. Now before we move ahead, I will just discuss a little more about these colors. So these are two differentiates. That's the light jet and the brown red from the same set, that is the PWC professional watercolors. Now if you see the pigment number of both of these, this is PR 101 and even the light red is PR 101. So basically the pigment of both of these is the same. The only difference is the heat 11 of the pigment, which creates the difference in sheets. So you can use any similar sheet. It may not be with the exact same name in your palette, or rather it can be off a little different pigment number as well. But you may get a similar effect. It can be the light chain or brown, gray. I guess I have used the light red color here instead of the bounded color. So I'm just writing down the correct name. The brown red color is a little more darker tint. It is again, a reddish tint of ground. But in a little darker tone is compared to the light trip. Url. Swatch it out for you so that you can see, you can see your, it's just a little more darker tint moving towards the brown side. Whereas the first thing is more towards the red side. That's the light red color. That was a little more about the pigment and the color tones. Now let's begin understanding how we are going to be painting in this beautiful, gorgeous Skype for our today's class project. I'm going to begin in with a layer of water forced onto our paper. We are going to be playing along with the wet on wet technique to create this beautiful sky loop. Now make sure this time whenever you add in the layer of water, you go ahead a good layer of water such that your paper stays wet for enough time. Or as I can see, go ahead and with a little excess water than the normal or what any of that we go ahead in our paintings because of we are going to play along with the floating Kansas and z. I'm going to tilt the paper in directions to get the blends between the colors. You can see I'm adding extra water into this block so that it's extra wet so that the paints can slow and spread on its own. So I'm almost done adding in a layer of water. Now in case if you're using a twenty-five percent cotton paper, make sure you run your brush multiple times and you can even use the video paper once, the peripheral GI halfway, then rewet it and then go ahead and painting in that way or people will steal it for much longer time and help you add in the details and get the blends into the sky. First beginning with effusion blue color, you can see I'm just beginning to drop this color using the tip of my brush very randomly leaving in whitespaces. Now, major Nina, final painting is, you'll notice on the right side we have a very new space or a cloud effect living in the white gap. So that is how we will be creating that gap has been by dropping in the paint, leaving in those whitespaces. Now next time just dropping in little of the cobalt blue color along with the blue color again. And you can see I've left in a lot of white gaps majorly underwrite and the center site. Very carefully. You can see I'm just using the tip of the brush and beginning to add in the darker depth into the sea as well. To create the depth into your sky, you have to keep adding in the color in Laos and not go ahead with one darker tint altogether at one cool, It's very important to build the layers so that you get the lighter and the darker tonal values. Now I've just picked up the indigo color and you can see I'll just begin to drop the indigo color as well from the edges. Now you can see the paint's already have a soft edge because if the excess water that we had added in the base layer, you can see how beautifully the cobalt blue and the pollution Lu have mixed into ghetto. Now I'm just going to begin dropping in. It'll polarize. At the top. I guess the indigo color was a little extra dark tones. I've just lifted the paint again and trying to split it. So this is again, how you can lift up if the tones going extra dark than what is needed. Again, beginning to add in the indigo color as well from the edges as you can see, to just dropping them from the edges to create that light glowing space in the center of the paper. This is how you're going to be painting in the sky area for this class project. It's very important to understand two things. One is water control again, because if you will not have water control by adding the paint, you will not be able to achieve. The growing space. Important thing. The second important thing that is, while dropping the paints, you have to build layers on layers and not go ahead with one darker color at the time. After dropping the indigo, I call the drop in prostitution blue. Now again, shifting to win big. In this way you will have to go in there by Leo. And now to blend all of these, I'm going to begin simply tilting my paper a little slowly, slowly in each of the directions so as to get the blends between them right? So you can see how slowly the colors are mixing and blending into each other while maintaining in that whitespace. And also you can see the colors have a soft edge. It blended Belinda each other and the growing space maintain very important things to understand to get into these details. In this way, we are going to create this beautiful sky. You can see both of these guys look so pretty the final class project and the one that we painted out your, the same technique but just the layout being little different, you'll get little different effect. Now in this slide, you can see the light effect falling onto the trees out your, that is the reason. Or at the top video of the trees we've given in that light effect to show the light of the sky falling onto the cheese and the left side of the trees. We've done them darker to show the shadow. Also on the right side because of the light space, we have the light-speed effect in the field as well, and the rest of the field being of the darker color. Now I will quickly show you how we are going to be creating those beautiful trees of dual tools using in the tones of green and darker greens and the gray color. I will begin in with the light green color for the trees. We are going to go ahead with the wet-on-dry technique because it's quite small spaces while painting the sky, even believing in the tree spaces blank. Or you can add in the palette of this guy because this is going to be off a very opaque layer. The green color you can see. Now closer to the light green color I just used after olive green color and added a tree shape around. If you can see, the top of the G is formed. Now I'm just going to pick up little more of the lighter in color blended well with the olive green color. So that again, you need smooth up lens so you'd be automatically this helps in getting in the smoother blends. Now just add the edges, giving in rough edge to showing us the tree branches and leaves popping out. This is one tree that we added. Now every GB have to paint once the post TGIs and only then you can paint the adjusting entry. We will be painting the first leftmost tree falls, then moving to the third tree and then coming back to it suggests in the same baby will be leaving in the gap out your and then painting the next G out. You're basically, we will be not painting in what the adjusting entries together. Otherwise the colors will mix and move into each other and you will not be able to achieve in that door distinguished look between the trees vision. The final painting you can see each G is standing out separately from the previous one, having in the shop distinctive edge. That does it for the techniques and details of this class. West of the techniques and details are the same and quite easy to follow along, which we will keep painting and discussing as we paint our final class project. I will see you guys into the next lesson where we begin painting this beautiful themes together. So see you in the next class project, and we even have a light pencil sketch as bell to guide you more. 24. Day 7 - Storm Sky - Painting the Base Layer: Let's begin with a final class project for these seven PFOS trying to begin in with the pencil sketch. So as you would have seen in the final painting, we have small houses out in Medial. I'm going to give it a pencil sketch for those as well as the trees and little details in the field space. So that while adding in the colors, we know where we need to add in the depth shadows and reflection effects. Beginning with the horizon line false, it's going to be a little below the center line. Now on the right side, you're going to have in to small houses, the roof of which will be moving in the sky space, and to the left of which will be the delivery space. Again. You can see I did very little or small in size, greenery in the center of the horizon line. And now on the right side, I'm deciding to small houses or which are just flows into each other. Now these houses are going to be off the white color itself, only in the roof. We will be adding in colors and giving in details. I'm going to leave this white while painting the sky and the sea less well and only given the field area effect nearby. Now in centers this house I'm adding in another smaller house or to distribute, going ahead with the light pencil sketch to this, then I will erase all the extra line from this house area because as I told you, it's majorly going to be off the white color. Suggested raising of the extra lines. So you can see we have a very small housing front of the bigger house that we added in. If you want, you can change the placement of the houses are go ahead with a little different cottage look as well. It's completely your choice. It need not be exactly the same. But I'll go ahead with two small houses this time because in the previous painting, we went ahead with one small cottage. This time we will go ahead with two and that two leaving them white and only adding in details using in the bound color later on. Now next, moving from the bottom left side till the house, there's going to be a small fence area. So I'm just giving in a rough pencil sketch for this area as well because this line we have to give in our darker debt with the brown color and also adding these fence details using the Payne's gray or brown color later on. So as we move mostly to the house, defense becomes definition because we are viewing this from the point of the left end. So the left end is closest visible to you. And as you move towards the house, the size of, of friends will look diminishing to us. Now TO on the left side of the horizon line m. This wouldn't go adding the four to three genes that we are going to be painting in. The tweezers where you can see are all touching each other. Some of them are overlapping as well. By the wind painting, we will separate each of them and make sure that each of them stands out separately. This case, Walzer, I'm going to leave invite while painting this tie and the field. So now we have our pencil sketch ready beautifully know all the placements. It has to give in darker depth to give him the shadow effects. At the bottom most city of the field on the right side, we have to give him little darker effect and close to the horizon line, rest of the field is going to be after the fellow. False. We will begin with a clean pot of water only onto our sky. Now, make sure your masking deepest tape don't drop Lee so that there is more of a portrait left for water to flow by. I'm going to leave the houses roof plan not adding in water, and even the tree spaces. I'm not going to be adding in the water depth because I want the green colors to stand out well enough and do not want to let the blue colors go in there. As I told you in the technique section, made sure that this thing is chi, has a little excess water than what it would have been for a regular painting. Because we are going to play along with the loose and plotted consistency of watercolors and going to create in the soft panda sky loop using it. The liquid consistency and alternate exist. We're done with which we will be playing, creating in the flow and the blends desktop multiple times and made sure that my paper is wet enough for the colors too slow and slow. Now I'm going to begin adding in the colors one-by-one, true or false. I will just pick up a little aesthetic and keep it ready on my palette so that I do not have to wait while adding the colors. Now I'm shifting to my size two round brush you can use sites then it takes depending on the size of your paper or your comfortability. I'm going to begin in with the indigo color in a very light and watery consistency. You can see it's more of water, very less of pigment, and I'm just going to begin adding it onto the edges. And let's float into the center with the help of the water on the paper already. You can see even in the center of the sky, I've tried to maintain that growing space by not adding, adding in the indigo color there as the first year of the indigo color, you can see it's very light diluted with water. Next beginning with the Prussian blue color. And I'm going to mix it with the indigo color. And I'm going to begin adding this color, altering a little liquidy consistency because if wonder a sky to have that thunder psi loop for which we want the veins to float and flow in a very uneven and after blends very naturally coming in. So you can see how liquid is the watercolor that I'm adding it. Now I'm just wanted to begin dropping in these darker. Now in-between, I've just picked up a little more of the fusion blue color without mixing in the indigo palette as well. We will still be picking up a little of the cobalt, a new color. Now around the tree space you can see I'm going in very carefully making sure that I do not run into the area. Now, one thing, since our people is already Extra where we don't have to rush because we already have excess water. Plus second media are already adding the paint as well in extra watery consistency, which will make the paper Steve it for more, longer time. Now I'm adding in little off the cobalt blue color as you can see it to the tree and onto the right side as well. After adding in the second layer of the blue tones, you can see I've tried to maintain that glowing space in the center area. That one thing you have to be careful about that if the paint will be in extra liquidy consistency, they will flow and float into the center area as well. Now below the tree, there is a little sky space which I'm quickly just adding in using the tip of the brush. Now, shifting to the Indigo again, I will begin adding in the dark or depths. Now you can see this indigo color again is a little extra dark as compared to what needed. So I quickly lifted it up and just try to spread it across. Now I'm just keeping my paper a little tilted for the colors to flow and blend. You can see how smoothly the indigo palette is floating because the paper is extra wet and even the indigo color is in a floating consistency. Now I will quickly dab and pick up the excess water from the edges so that it is not C back into the painting. Now, if you are testing your paper, make sure you do not keep it tilted in one direction for an extra time. Try to attempt it in different angles so that the flow happens naturally in all directions. Otherwise, it will see if you keep it held up, right. You know, all the paints will only flow towards the top side, making the bottom side very light, which we do not want to try to keep them eating it in all directions so as to get the plane strike. Now using in the Prussian blue color, I just, I didn't little more darker there. Now just using a damp brush, I'm going to quickly blend. This has been varied, but I think that the paints and not flowing in easily, just using a little extra bit rasters going to make the floor and the blends happen. Now in this endpoint you can see a little color has seeped in, so I'm just quickly lifting up the color while the paint's still bear. The listing of the color may vary depending on your pigments as well. Because if your pigment is a steaming pigment, then it may not get lifted up easily. But since my pigment was not staining enough, it got lifted easily. You can see how on the left side we have the darker sky farm. And on the right side we have to light the sky. Now using in droplets of water, I'm trying to create some blooms and textures as well into the sky. Another easy technique, how using in the water blooms you can create the growing space. You can see how slowly emptying that blowing soft space at the right side. You can also use a tissue to create in space, I will just quickly lift up little color and given a little shift with the hypoxic tissue and then using a damp brush, I will again play this because I do not want these sharp white lines or because of the facial maths. So creating this guy you can see it with such an easy process, just using the blues and playing along with the floating consistency of watercolors creating in the blend. It's now I'm just adding some smaller blooms at the left side of this guy as well. And I will add a little more depth using the indigo color as well. Suggestions I've been dropping water in the same way on this, dropping the indigo color to create the blooming effect and given some darker death. So that is it for my sky now, that is how AT understand loops and when this dries, it will give you both view and the perfect tender looking sky. Now, next, we can paint the bottom area of the field because there is a slight, if you see the difference between the field and the sky area because there is a small green line that we have. So we will not paint the green parts for now. We will just begin painting in the base layer for the field. I'm going to begin in with a clean layer of water only in the field space. Make sure in-between the sky and the field, you have that greenery line completely. Only then you can paint the field now. Otherwise, the colors from the sky will begin to flow into the field area. And I'm just going to make sure that I do not add the water into the houses as well because as I told you that they're going to be of the right color directly while adding in the yellows, I will show you how you have to create the shape of the bush coming in front of the house as well. I'm not going to go ahead with that extra consistency of water because it's going to be a simple blending of the yellows and the browns that we are going to do it. Beginning in with the permanent, a light color, I've shifted to a smallest size brush because we have to go ahead with very little colors. Now very carefully, I will define the edges of the house. Now in the fan side of the house, I'm just going to give him little bush effect with the yellow color. Suggest at the top of this you can see I'm just giving in little dabbing details using the yellow color. And that is it for the effect that we need near to the house. You do not want a straight white line for the house. Rather, you need little bushy effect with the yellow column moving on, the house falls. Now next time shifting to the permanent yellow deep color, disclose it to the permanent yellow light, and beginning to blend it with this color. Now, after this, we will shift into the ako fellow, then move to the grounds giving it the darker depth. Now after the yellow deep color, I'm just adding one more line of the permanent yellow light color because I want a little lighter space and that there is space for blending as well with the darker tones. Now next, picking up the yellow ocher color and I will begin adding just below this yellow light color that we added in. This time, you can see the colors that we are adding is diagonally moving from the right point to the bottom left. Now you can see by adding the yellow ocher color, how very naturally I'm just taking some strokes and do the yellow color and trying to make this blend and the different color tones happen into the field space. My steel is still wet and we're still working wet on wet. So that is the reason why I had expanded the yellow region because they knew we will be adding in these torques moving till the yellow color, creating in the strokes into the field area and giving those color highlights for the bottom space now filled in with the yellow apollo. And now on top of this, people begin adding in the blank DVDs, beginning with the lighter color at the bottom space, false. Now if you do not have the light red color, you can go ahead and use a bond cnf fellow, brighter color, red, brown color, whichever color option available in your palette. Now using this color, I'm just reading in the status as well. Now, make sure if you are unable to add these platters in a controlled way, you cover the sky and the house area so that you do not meet these splatters go out there because then it will be very difficult to lift up. There's very little lighter color detail that I've added in. Now next, moving to the vendor Chrome color. And first closer to this fence line, I'm going to give him the line detail using in the Van **** brown color. Now again, this is going to be a very vast, muddy area, details that we are going to show it. So I'm just adding across that line. And as we move closer to the house, the line becomes for those thin as you can see, in the same way closer to the houses where I'm just going to add in little brown didn't. Now onto this pathway there the fence is, I'm just adding in the brown detail or broadening validity of this pathway. But you can again see as we move closer to the house, I diminish the thickness of this pathway as well. Now on the horizon line out here, we're going to add in detail with the Payne's gray color later on for now just added little brown patch as well. Now using the, the ground palette, I'm just beginning to adding the darker at the bottom right side of the field as well. Now at any point where you see the fellows and not blending and easily, you can use the BCR color. I've just picked up the yellow ocher color again and a good tip consistency and added a little bit of the yellow ocher color again. Now next I'm going to pick up the paints gray color and we're going to add in for the darker depth using the Payne's gray In our first closer to the horizon line, as I told you, we have to add in the shadow to the T's so we can add this shadow while our field area is still wet. Suggest adding it till the tree line and then a very fine line to given the detail for the grass area as well. Now again, you're old school, you can see the Payne's gray color is not blending easily because it's beginning to die in. I quickly picked up a little of the yellow ocher color again and blended into the base nail, trying to reactivate the base layer and make the veins and the color goes Moodle. So this is how if you feel that any specific space is beginning to dry in, you can again pick up the BSP of color and add in there to keep that color space activated. Now near to the house as well, I'm just picking up a little yellow ocher palette, giving in a little more bush detail onto the walls of the houses. Rest of the house, as I told you, is going to be white only the roof details we will be giving in with the brown. Also in the center part, closer to the fence area, just adding in the darker depth using the Payne's gray color. But in such a way that I do not cover the browns completely. Now below this darker death, I'm just going to pick up, lifted off the lighter red color. That's the light red color. And given very simple lines or majorly on the edges closer to the house, I'm going to let it be off the lighter tones itself. Now closer to the fence area, I'm just going to add in little more detail with the brown color not much closer to the house, but rather than more on the left side in the same verse pieces of lead. Now there also you can see at the top space the color looks a little, you know, beginning to dry in. So I'm going to put them either use the yellow ocher color on the damp brush to blend them within. Now at the bottom right side, you can still see that the following is not that dark enough. So I'm going to pick up little paint. Hello, I'm going to add in little darker depth data. Spell all of this. We are still working wet on wet the eating and all of the depth that we have done till now at any place, if you feel that it's beginning to die into, as I told you, you can pick up the previous VCO color, reactivate that space as well again, and keep on going. But since we've been painting layers on layers, your paper tends to stay wet. Or neither area closer to the house may have begun to try and quickly because there we did not add much layer. Now I'm just going to pull out little glass tubes out from this bottom space. Just using a damp brush from these colors that I've added in and pulling out some Stuart's to act in as the grass order bush effect out here. Now lastly, I'm just going to pick up a little of the yellow ocher color and just going to give him little yellow ocher debt wherever I seen that the blending needs a little. And then they will read through all of this to dry completely before moving ahead. Now, I didn't read through all of this to dry. Made sure closer to the house, you let the light yellow and the yellow color be visible and not add much of the yellow or full-color there. I've added in a very light tone and asked the drying it will turn lighter only. Now let's wait for this to dry and then begin painting further. 25. Day 7 - Storm Sky - Adding the Details: Now you can see my painting is completely dried and closer to the house, as I told you, I've added the yellow ocher in a very light consistency, so after drying it will still be of a lighter tone. I just blended the yellow ocher well with water so that it does not have Apache low. Now let's begin adding in the further details one by one. Now the details left to add in are the tree details, the details to the house, then the fence detail, and little of the details. First beginning with the tree. You can see we have the Cloud space out there on the right side. So we are going to have the light of the effect of the teeth onto the top of the trees where we will be using in the lighter green color at the bottom and the left side of the tree we will be using in the darker greens to showing as the darker effect, false beginning with the light green color, we discussed all of these in the technique section as to why we are giving in the light of, in effect at the top of the teeth because of that light effect in the sky that we are trying to show the reflection of the light on the keys as Ben, I've just added in a very small patch of the light pink color onto the first p on the left side. Now next time we'll shift into the olive green color. Now if you do not have the polythene color, you can pick up sadly, any darker green of your choice. It need not be exactly an olive green color. Now closer to the light, Dina, I'm going to add in the olive green color. And then I'm going to pick up a little Payne's gray color and adding further darker depth closer to the ALU others. And also define where the edges of the t. Now picking up the Payne's gray color, I will just begin adding in the darker depth. Now, make sure you add the Payne's gray color in such a way that you do not cover the lighter green and the olive in color completely. You need to have three tones into your tea to reflect the transition from the lighter to the darker effect in the tree onto the edges. I'm just giving in the detailed look with the Payne's gray color. Now I cannot paint the exactly adjacent tree to this tree because otherwise both the cheese will blend together. I will paint the last key first and then I will paint the rest of the teeth still. Then we can add in the other details into the painting. For this tree has better. I'm going to go in with the same technique as we went ahead for the first first, the yellow light color, sorry, the light green color, then shifting to the olive green and then the Payne's gray defining the tree veil. I'm done adding in the light chain and the olive green color. Now I will shift into the Payne's gray color and just define the edges. You can see how beautifully the T's popping up showing in the perfect light effects of the sky falling onto the TAs as well. When you will have the other two please also painted, it will create the perfect loop. Now between the G and the horizon line, these didn't have to add the stamp or the t using the Payne's gray color later on. And in-between the T and the horizon line, that is going to be a small bushy area which you can see it's still left white very carefully on top of the light pink color also using the Payne's gray color. I've just given the Payne's gray color, giving in that bush effect, but still maintaining the light effects out there. Now until those key dries, I will put me out in the bush effect on the right side, closer to the house. Out you're suggest using in the olive green color giving me in the dabbing effect at the top, I'm just going to fill it the rest of the color at the bottom, just going to give a little darker effect using the Payne's gray color. Just dabbing little Payne's gray color at the bottom. The horizon line. And that is if we are ready with this part of the painting, that's the right side closer to this area. Now we will begin ahead and keep adding the further details until the T dries completely for the other two T's to be painted using in the light green color I'm going to paint in the bush yada, yada. So the reason of not using the lighter green on the right side was on the right side. You can see the cloud is not of the lighter color, but in this center space to sort the night effect again of this nighters piece, I'm just adding little lighter green onto the left side and from the center to the right, I'm keeping it all done. So again, closer to the house, even the left side, I'm going to feed her dark only closer to the T F given little lighter effect with the light pink color to slow the light effects of the sky. Now in the rest of the space using the olive green color just filling it at the top aide yeah. And then at the bottom, I'm just going to use the Payne's gray color and given the darker depth between the tree and the bushy area, you can see there is little sky visible. Barriers are going to be adding in the stems for the tree as Ben, suggest, filling the complete space with a darker consistency of the olivine Carlo. And at the bottom, I've just given little effect with the Payne's gray color as well. Now, these greenery details dry in. Let's begin adding in the detail into the fence area. For that, I'm going to lose the Van **** brown mixed in with paint. Or you can directly use a CTF LRS. So I'm just going to mix it Appendix ground with the Payne's gray color. Now make sure you do not add a lot of water. We need the calendar, put that consistency. You remember the fence lines that we had added while adding in the pencil sketch. So I'm just going to add in very fine rough lines to actin as the fence. Again, as we move closer to the house area, the friends are going to turn smaller as it's going to be a diminishing effect out there and are closer to us on the left side, it's going to be the larger fence. I'm going to connect each of these pens losing in the bio details. You can see I'm giving in very rough line for the virus as Ben not adding a simple straight line guided reading the lines and giving it an elliptical twisted and tilted effect. Next to where I didn't need to Savard effect, I'm going to be using in the white gouache mixed in with the permanent yellow light color. I'm going to pick up little of the permanent yellow light. And I'm going to add in little bike course to this so as to get an opaque consistency and the lighter color of the yellow version. Now if I've been used directly the yellow light color, it will not stand out right, because we've already used the yellow light color in our base to give him the little effect. And we'll make it stand out and have an opaque color look. I'm mixing it with white quash. Now using this color, I'm just going to begin adding in the flavor effect at the bottom side. It's going to be very simple detail by just having in the yellow color that p38 bit mixing in the bite. I'm going to keep the yellow effect closer to the left side, only moving till the little center space, not much closer to the house and onto this bottom space, maybe even in the darker debt into the field. You're going to splatter some of the color and then given little bigger details, this is heads and making up the process and also makes the details look more natural. Now quickly using the Payne's gray color, I'm just going to add in some branches or stems to these flavors very roughly. I'm going to make some sort of grasp hook loop come out of this Payne's gray color. So very simply just adding in very small strokes out to you. Some of them connected to the flower and some of them moving randomly, giving in that class effect out you. Even underwrite bottom side, I'm going to add in a few strokes the Payne's gray color later on. Using a little of the permanent yellow deep color, I'm just adding little darker flower effect as very, very little of it. Not much though I'm using the permanent yellow deep and a very thick consistency to get an opaque look for that, if you want, you can mix in a little of the audience to this yellow and white mix and ghetto pasting a yellowish orange color and use that color if your permanent yellow deep color is not standing out that opaque. Next I'm going to cover up the top area of my painting and I'm going to snap down there at the bottom space. So I'm gonna adding in the darker yellow effect at the bottom right side as Ben. Now I didn't pick up with rough sheet and cover up the area to the house piece. I'm going to splatter the browser. Now, make sure you cover the space so that this plateaus do not go out of proportion and uncontrollable. Then do even correct them using the Van **** brown and a little liquidy consistency so that I get the splatters perfect. I'm just going to splatter this meeting here at the bottom is the entire bottom speed I've quickly flattered in the bronze creating in that part and the stone effect. You can see how beautiful the fainting loops lose yet beautiful and so much detail with simple detailing techniques. Now next, picking up the light brown color, I'm just going to begin painting in the details of the house. The light red color. I will begin adding in the roof details and the window details, door details. First beginning with the smaller house out. You're just beginning to paint it into the roof very carefully. I'm going to let the rest of the house be white, as I told you. Pick the same color. I'm going to add the roof of the back houses when now using the same color, just going to add in this door and the window details to this houses. The top chimney of the bigger house, you can see I've left it white only to stand out. You can see how beautiful the White House's looping with little of the glass effect going onto the walls and the roof only with that light red color. Now I will just pick up the indigo color in a very liquidy fantasy and z and just going to add in a very nightly or on the French spaces of the house to show in the light effects out your as well. So very little you can see it's like 95% water, only 5% pigment that I'm using. Just a very light color tool. You can even use the light color tone of the Payne's gray color if you want. But since I already had the indigo on my palette, I just use a little of the indigo color. Now using the Payne's gray, I'm just giving you a little HDP is to the bottom spaces very little. You can see I've not given the details onto the roof with the Payne's gray color. Now my G is completely dried, so I'll begin painting the rest of. Into trees, driving first begin with the secondary from the left side out here. Now this G is actually behind the first three. I will just begin adding in the light green color first on the right side of the tree. And then shift into the darker sap green color and then to the Payne's gray color and make this key onto standard separately from the first tree that we painted. Now automatically, you will it, or towards the right of the philosophy that is the lighter green color. And towards the left side of this secondary is the darker green color. So this G is automatically standing out separately because firstly, the first G has already dried it, so it already has a sharp edge. Now. Now when you are painting this smaller block, second G, This also has a sharp edge and the fellows are distinguished. All means the same fellows are not adjusting to each other. Now I will wait for this G as well to dry and then paint the last three. Now my thoughts he has a second tier has also dieting. And I will in this smaller t in-between these two trees quickly. And then we're almost done with this class project for these seven are getting lit and lend the class project, but so much to learn in so much details. Very simple techniques and very simple details, but such a beautiful painting into this G as well, going with the same details that is first beginning with the light green color and then moving towards the bottom side, shifting to the darker tones. Now you have to make sure that this G has to stand out separately from both. It's adjusting entries as well. So you have to use the colors alternatingly, accordingly so as to make them stand out from each other. In this tree, I'm adding little of the yellow ocher valid as well in-between to make it stand out. You can shift between the nature of colors to make them stand out if you need the help of in other fellow. Now quickly using the Payne's gray color, I will just add in the stems to each of these. So at the bottom space and I'm going to add in some extra stem. Frankie saw some of the teeth which are behind you didn't meet your hidden behind these fees, but the stem of which are visible out here. Now I'm again going to cover the bottom, the top of the painting with a rough paper and using the light yellow color in our liquidity in an opaque consistency, medium opaque consistency, which is not much water but not to pick. Also, I'm going to quickly splatter little yellow effect as well at the bottom space. I've covered the area till the house this time. And closer to the fancy, I'm going to splatter this pain. Now new to the horizon line as well. I'm just giving you a little detail with this yellow color because I feel this color is looking a little extra dark out yours. I'm just trying to lighten up the color using in the yellow light color. Now I'm going to blend this into the background, losing in a **** brush quickly. And I both throwing the lighter effects settled out there. You can see almost the entire piece I added the yellow light color close to the house, covering that space completely. Now quickly dabbing it yours so as to give it the blended loop closer to the house, I wanted the lighter effects. So as I told you, just, you know, again, you can add in this opaque layer and blend it on the edges and give it a second look. Now I'm going to quickly pick up a little of the Payne's gray color and you can see the center key. Is the code tree that we added with the yellow ocher color does not stand out a little up perfectly. So I'm this women are using the Payne's gray color and try to show it, separate it from all of the cheese quickly. On the left side, I added in the darker effect with the Payne's gray color. And now you can see it's standing out differently from the adjusting entry. Now I will just pick up a little of the light pink color and even going to correct in the first key that we painted, because I guess the lighter effect on this G is also a limited list. Now lastly, I'm just going to make this last year old to stand out. So just giving it a little lighter highlights, dabbing it. And you can see now just as I added the lighter details, the reason of adding it on the right side yard is to make it stand out separately from the adjustment tree because there also we have the darker tone in front of this key also we had the darker tone. Now again, losing the Payne's gray I've been just connected to these minute details will differ from each painting to painting depending on how your colors have been, on how your placement of the tree is. Sonya may not be that you have to keep adding in the details just as I have been doing it. Now, just using a black pen, I will define these pens detail a little more or well enough so that they're visible distinctively in the painting. But again, by using in the black panel to add given in very rough lines and not exactly street simple lines. And this time I've made the friends go double lines because I had just added in one thing. It's also just giving you a little detail to these small houses has been using in the black pen. If you want, you can use a fine detail of rationalities, details losing in a brush and a black color or Payne's gray color as well. I prefer adding them quickly using in the black pen. That is it. Let's remove the masking tape and see your final painting for these seven of these 30-day watercolor challenge. Now I know this painting was quite a time taking one. So that is the reason I've split the painting into two parts and given a big gap between each painting. Because these paintings are more focused on learning techniques and adding in details rather than going ahead with very simple quick ten minutes painting, you can make the painting into two days and go ahead AS for your time schedule and create these beautiful outcomes. You also closer view or the painting you can see how beautifully each G standing out, the light effect, the details in the foreground. I hope you guys enjoyed painting this beautiful class project with me today. This is by far my most favorite class project of the study, the watercolor challenge. I will see you guys soon into the class project. Thank you so much for joining me. 26. Day 8 - Sunset by the Sea - Colors & Technique: Hello everyone, Welcome back to day eight of the 30-day watercolor challenge. Today we will be painting this beautiful sunset by the sea. So let's have a look at the colors that you need for today's class project. I will first begin noting down all the colors and then we will watch them and also discuss the alternatives that you can use or creating your own colors if you do not have the exact same sheets. The C is going to be of the same color tones. The CAD is just going to be a reflection of the sky. For this guy, we have a pretty sunset sky with beautiful warm colors and the resultant of the pulpal for this guy and see you need the yellow light color, the whole million new color. The car mine to add in little pink touch. And then the violet color. Also for the C two given little sunset effect I'm going to be using in the bright opera color. If you do not have write a better, It's okay. You can just add the Carmine color only. Now. If you do not have the exact same sheets, you can go in shade of yellow. You can go ahead with any tradeoff audience, either vermilion, vomiting view orange. Now the area is going to be a reflection of this guy as I told you. So for this bias when we are going to be using in the same colors and for the CIO. So we're going to use in the same sheets just in the positive direction. Then coming to the mountains we will be using in the shades of brown and paint scree. Now at the right side mountain, if you'll see, I have created a lighter mountain range to show the sunset effect falling on that mountain. And the left side mountain has painted it in a darker color. And then I have added little university light effects are onto this mountain range using in the white quash and yellow color. Then for these flowers at the bottom as well, again, you can see it's a pacer pink color that we are using it. So it will be Carmine mixed in with white gouache and a little bit of a beta mixed in with white gouache. If you do not have the Carmine color, you can go ahead with any tone of pink color in your palette. Or you can even go ahead with the permanent red column mixed in with a little tent of bite. Now I can begin to watching the colors one-by-one. First is this permanent yellow light color. Now if you do not have the permanent yellow light color, you can go with any shade of yellow, Naples yellow, whichever it is, availability of Fallot. Next is the 1 million new cutoff. As I told you, if you do not have the 1 million new as well, then you can go ahead and use an orange color or uses scarlet color, or you can mix in your red and yellow to get a little orange-ish thing. Next is the Carmine color out here. You can go ahead with any tone of pink if you do not have a car mine Carlo. Next for this guy is the violet and the brighter, paler color. Now brighter pinna is a pigment which cannot be mixed by any two colors. It is a pigment having a separate pigment altogether through which this is formed. You will not be able to mix this color. You either need to have this color or you can skip adding in the highlights with the Vita better. If you notice, we have only added the highlights with the brighter in the CDM, giving you a little detail to the v's. So that is the reason I'm telling you if you do not have that color, you can totally skip into that detailing part. Lastly, the two colors blend the crown and the Payne's gray color for, for adding the mountain and the bottom tier detail for the leaves as this slider mountain veins also will be of the lighter follow so as to reflect the sunlight as I told you on this mountain. Now, in this class we are going to learn about adding in these details. I'm going to show you two of the methods. One Veteran Bill false discussed the wrong width. That is, you know, when you have excess water or excess pigment ruining the VIV effect. And then we will understand the right way first time beginning in with a clean layer of photo. Now as I told you, that the area is going to be a reflection of the sky. The color closer to the horizon line in the sky is going to be the color closer to the horizon line in the video. So I wanted to begin with, they look at it at the top of the sea, moving to the orange carmine, violet color. The reason of using carmine between the orange and the violet color is so that you do not have muddy tones because audience and violet mix together tends to create brownish color, which can give you money effect in your painting because both orange and violet are secondary colors, which are usually formed by mixing of two or more followers. Now using the brighter, better color, I'm just adding little highlight at the top space, close it. The orange color. Now just below the Carmine color, I'm going to add in the violet color. Now this was just a base knew when we added the colors only in a simple format. Now when you begin adding in the VSD deal on this, the important thing that comes into picture is the water control. Because if you will not have water control while adding in the wave effect, then it will become difficult for you to get from an NPV effect. And also the bottom VT is, I'm just going to add in little Payne's gray out you are at the bottom because you can see at the bottom you have a little darker effect for the field to show in that depth and shadow effect. Now while this space is bad, we have to add in the details, wet on wet for the waves area. I'm going to quickly pick up little of the violet color and begin adding in the wave details into a painting. I'm beginning with the violet color using in a smallest size brush. You can see right now there is so much extra water that the paint is spreading a lot. They're not retaining the beef sheep as in our final class project. You can see it's giving a flat color loop, blending a lot with the orange and the yellow and spreading in such a way that the yellow and the audience pieces are looking ruined up. This is where water control comes into picture. If I keep adding the waves with so much wet paint, so much extra water in your paint, then it, they will keep spreading and you will not get the waves loop. Now I'm going to show you the right way and right detailing to understand as to when if you need to understand that the water control or water than paint in your brush is extra, which is ruining up your ODP is, I'm going to quickly just run again a layer of water and paint a senior again. False, just as simple layout of the same colors that I use about earlier. So beginning with the yellow moving to the orange Carmine, adding the distorts with the brighter, better color. By adding all of these colors also closer to each other, you have to go in carefully in such that you did not have access what in these paints has been. Otherwise even they will spread and mixed with each other forming in a third color tone. Instead of having the different color looks between each of the colors. I'm done with obesity are now using the same smallest size brush. I'm going to begin adding in the waves with the violet color. I just picked up the color that didn't do our tissue so that the excess paint, water and pigment both get absorbed by the tissue. Now you can see when I'm adding in these waves, they're not spreading, they are having in the soft edge. Whereas at the top you are, if you see there was creating completely, they are completely covered up the audience and the yellow strokes, you can see the violet strokes are visible. They are not spreading into the orange and the yellow color, yet they have that soft group because we are playing along with the wet on wet technique. Even with the bright opera color. You can see when I'm adding the wind, the water control is perfect because of fish the paints and not spreading much. And they are retaining the shape of the wave that we're trying to add it. This is where I'm, I keep telling you again and again that water control is a very important part by adding details wet on wet into your watercolor paintings. This was about, you know, how we are going to be adding in beads. In the water control, dabbing your brush onto a paper towel, plot audit issue so as to absorb all the excess water and pigment CMV even for this type and you are adding details, water control is very important otherwise the Skype alos will begin to spread completely and you will not be able to achieve the strokes into the sky as well. I hope you are able to understand the water pen tool and it's important while doing any watercolor in organic ingredients, wet on wet. I would recommend you as well to try out this or not. Before moving ahead of that, you have a control and have an understanding of how water control effects. Once I'd try adding in the layer with the excess water and see how the paint spread and react and then having in the water control. Now next I'm going to show you how we are going to be adding in that city light effect onto a mountain range. I have picked up some whitewash lady on my palette, but before that I'm going to it please watch out the paints gray color onto which I will show you the light effect. Because if I do not add a layer of paint scree, then the white quash will not stand out on this white paper itself. Just added a block of the Payne's gray to show you how we are going to create in those glowing light effect onto the mountain ranges. Now, does this dries, I'm going to quickly show you the leaf strokes that we are going to be using in the middle space at the bottom of the painting. You can see we are going to paint the leaves stroke also using the Payne's gray colored. It said I am going to use a smaller sized round brush. I'm going to use the Payne's gray color and I'm using my size four on gas which has a pointed tip. You can use a size 23 depending on the pointed tip or the thickness of your brush. Quickly, I do about these least alveolar going to be adding in. I'm going to use a blend of some simple strokes, so just some fine grass groups moving across very loosely like this. And then in-between, I'm just going to add in some pick up a leaf effect using a single brushstroke. For these leaves, I'm just going to begin with a pointed tip. Press the belly of the brush until I'm satisfied with the length of the leaf. And then again, a very thin branch downwards still in space. You can see how simply, with just one stroke, you can create beautiful leaves moving in different directions. This is how we will be adding in the grass effect as well. Now I'll quickly do I do with the flowers as well. So for the flowers, as I told you, we are going to be mixing in the white gouache along with the Carmine color. I have some bike question my palette to that. I've just mixed in a little off the Carmine color and I'm just going to show you It's our strokes that we are going to be using a very simple techniques and breakdown of the entire class project to make it easier for you while painting along and achieving in this beautiful sunset effect. Very simply, just simple flowers. You can add flowers with more petals as well. Or if you want to go ahead with any other specific flower, then you can go ahead with that as well. If lava can be different, it may not be exactly the same as mine. You are open to creativity. Now in this also in-between, you can see I'm just dabbing and adding in small petals to actin as fellows. Even in the final painting, if you see in-between the flowers have just added little dabbing effect as well. We are going to be adding in flower with two color tone variations with the same color. Now, even this black color patches jive, I'm going to first begin with small whitewash dots onto these competing in the growing space. Just one small dot. Now using a damp brush makes sure it does not have excess water all the way the paint will spread a lot. Just going to very gently blend this white color into the background. You can see now that a dull white color is formed in the same variable, just be two to three more of these quickly. It does pieces will act as the glue in space when you add the light effect into the center of the circles that you've created. Now using the whitewashing of good thick consistency. And this went to add small dots into the center of these. You do not have to cover the entire data space with a larger circle. It has to be smaller as compared to them, basically are so-called only in the center you can see that I'm adding this. Now you can automatically see the effect is creating a glowing effect to these details that you've added in. This is how we are going to be creating in the glowing effect and in-between, we will also be using in just simple white dots as well. You can see some of the lighter blue in and some of the lights are not growing. One, we are going to use a mix and blend of all different techniques and the bills by painting a final class project. That is it for all the techniques and color discussion for this class project, I hope you could get a hang of the water control. Understand the importance of water control in any watercolor painting while adding details, wet on wet. Let's begin painting a finance class project in the next lesson. 27. Day 8 - Sunset by the Sea - Painting the Sky and Sea: Let's begin with our class project for the ETE. I'm going to begin in with a little pencil sketch. The pencil sketch is going to be marking out the mountain ranges and the horizon line. The horizon line almost a little about the center or you can just consider the center of your paper may be. On top of that we will be adding in the mountain ranges. So as you know, it's going to be two range of the mountain. The back range is going to be off the lighter color where we are going to show the sunset effect following onto the mountain range. The friend mountain is going to be off the darker color. All right, so this is how we are going to be painting the mountains. That is the reason I've given in that vice kitchen as well. Now on the right side, I'm just going to take the mountain range a little below because there we are going to paint in those lights, as I told you. Right side mountain where we will be giving in the sense that effect and how to edit the button we are going to be having in the leaves in which we do not need to add in any pencil sketch. This is adopt placement that I'm showing you, but that will directly be with the colors. Let's begin painting now. I'm going to begin in with the clean layer of water onto the sky area and we will be painting the sky and then moving ahead photo. Make sure you add in a layer of even water. I'm not going to be adding water onto the mountain dangerous. I will try to keep the mountain ranges blank if I looked at the color seeps in all, but it's okay because the mountain ranges out of the dark color tones. But as far as possible, try avoid adding in the water and the colors of the sky into the mountain. I'm going to make sure that my sky hasn't even layer of water and no excess water on the edges. If you are using the twenty-five percent cotton paper, you can run your brush multiple times so that your paper stays wet for enough time. Now first beginning with the permanent yellow light color to begin with the sunset effect closer to the mountain change. I'm going to head with a very vibrant consistency of the paint. As you can see, I have not added much of water. It has picked up the color in a little thicker consistency only because they want a very vibrant look for my sky and the sea area, as Ben first added in a layer of the permanent yellow light color. Now I can shift to the 4 million new color and I'm going to add in the orange strokes into the sky. Now when I begin adding in the orange color in the center, I'm going to leave little of this space white to show the sunset light effect or some cloud effect you can call it as when add orange color. You can see in the center and maintaining little lighter space, the space white, and letting the colors have a soft edge out there. Now next, shifting to the Carmine color and we're going to add it at the top of the orange color, after which we will add in the strokes with the violet color. Make sure if you will add directly the violet color, then the audience and the violet mixed together, they will begin to give you a muddy tones. So in order to avoid the muddy tones, we are going ahead with a layer of car reinforced so that we do not get in the muddy tones. Now just add the top stroke. You can see I've very carefully added in the violet color and getting it till the orange color tones. Now quickly using in the colors I'm going to add in little cloud effect onto the previous colors. On the yellow color, I'm going to add in little cloud effect using in the vermillion new color. Now I have already discussed with you the water control importance while adding in the Cloud waves or any wet on wet technique. In case if you've missed the techniques section of this class project, I recommend you to go and watch the technique section that will help you to get a little deeper insight into the water control part when working wet on wet and watercolors or trying to add the details wet on wet. Now under 4 million new color, I'm going to give him little of the strokes using in the car main color or the permanent red color. I'm giving him little strokes in the whitespaces as well as you can see. But I'm making sure our little whitespace is still visible, is I've used a little touch of permanent red mixed in with the Carmine color. I may have missed to mention the permanent red color in the color section of this class. At the top of the sky, I'm going to give them little strokes with a violet color. You can see again by adding in the violet color strokes, I have the water control. I'm making sure I do not pick up excess paint or water because I want the violet color Cloud slopes to be visible prominently. And moving towards the bottom space, I'm just adding some of these strokes with the violet color at the bottom media of this guy as well. In the similar manner using the Carmine color, I'm going to add a little strokes at the yellow, orange part as well, but make sure your sky is still wet so that these cloud strokes have a soft blended edge with the VCO colors. Otherwise they will stand out very differently in a dry panel which we do not want. I'm making sure that they are blended and easily or else you can use a damp brush and quickly blend them into the background as well. I'm just using little yellow color and blending all of these into the background. Now from the space out here, you can see the colors. I've spread it a lot. I'm just lifting up latent colors to create that whitespace into the sky. This is our, as I told you, the lifting technique that you can use just depending on the pigments that you're using, whether they are staining or not, the lifting technique will vary. You can see my pigments are not steaming, so when I'm picking up the colors even after a few minutes, it's giving me the whitespace again. But aspirin every lifting you can see I'm cleaning my brush so that my brush does not have the pigment on it, which will get laid on to the next stroke that I tried to lift up. Now around the strokes In lifted, I'm just running the damp brush so as to get the soft edges because otherwise when they will dry, it may give him a sharp edge. Just adding some more darker strokes with a violet color at the top area of the sky. I'm still working wet on wet almost five to six minutes, but my paper's still wet. That is, by using a 100% cotton paper works better and also stays wet for a longer time. That is it for us, sky area now till asked guy is bad. We cannot paint the mountain genes, but we will paint the CEO. This area, as you know, is going to be a reflection of this guy. Hello, yes. So closer to the mountain veins, you have to get your colors are closer to the horizon line you will be having in the yellow and the orange color. And as you move towards the bottom side, you will have the top color of the sky is coming in. So false beginning in with a thin layer of water. Now I'm not going to run the water into the mountain ranges as bent. You're also because it's the same colors that are losing that I use for this guy. So I do not want to add in any colors on the mountain named for now. I'm done adding in a thin layer of water now beginning with the permanent yellow light color closer to the horizon line. Now I already discussed with you about the water control in the previous lesson, which is very important while adding in the waves as well. So you can see the 1 million new color when I'm adding on the orange, it's not spreading beyond the limit which I wanted. So it's letting the yellow color be visible and not spreading and covering it up. Now, as I told you in the CMB going to be using a little of the brighter, better palette as well. So just adding in little strokes with the brighter, paler color, as you can see next, shifting to the Carmine color after this, and then to the violet color. First adding in the violet color at the bottom space. And then I will add in little Carmine color on top of this. Now while the sea area is still wet, we have to add in the wet-on-wet we've detail. So you can see very carefully, I'm taking a little of the violet color strokes towards the top space. We are going to be adding in the CVF details using in the brighter pair of carmine and the violet color. This is the base layer. I'll just wait for a few seconds for this to settle in and not waiting with a violet color, I'm going to begin adding in the baby effect for that, make sure you either have a raster organ or a tissue it to dab off the excess paint and water. As I discussed with you in the technique section, if you have excess water, how the color spreads. Make sure you have the right level of water control so that you get the soft look to the veins and your paints do not even spread. You can see every time that I lift up the color, I dab it onto a paper towel first so that the excess pigment and the water is absorbed by the tissue. And then when I add these details, wet on wet, it gets the soft blend as well as it retains a cheap and giving them the detail. Oh, you're not adding the details wet on wet. Now in the same way, I'm just going to lift up a little of the para Fallon going to add in some wavy effect with the writer petal color majorly at the top side that is on the yellow, orange color. Add in these weeks the writer better colored all through. It's very important to have the water control. You can see my brighter, better color is not spreading beyond the limit which I wanted to. So again, I'm repeating this multiple times because it's very important because without the water control, everything will just give you one flat color loop, which is whatnot we want in our watercolor painting while walking soft by working on soft details and the wet-on-wet technique. Now at the bottom side, I'm just going to give in some darker details using in the bright violet color because as you know, the bottom of the sea is going to be quite dark as we are going to have in the middle effect out there. I'm going to pick up the paints gray color as well. I'm going to give it a darker depth at the bottom space. Now you're quickly using a damp brush and I'm blending it because I seen that paper was a little damp dry, which I didn't want any harsh edges. Now with the Payne's gray color just adding in the strokes at the bottom space here, you can see how it is bleeding and blending into the background, creating in that effect. All of it is still wet and you can see I'm just adding in the darker debt for the middle space and then we will be adding in the leaf effect once all of these dries it. So make sure you do not add the Payne's gray color in a very big space. Otherwise, the leaves which we add after all of this jives will not stand out. Now wet on wet also, I'm pulling out little of the strokes to give him the blurry background effect. You can see simply just from the Payne's gray space is pulling out metal grass strokes still the popular area of the seed giving him the details wet on wet. Now let's wait for the Seattle area to dry completely. Then we will move to adding the first year for the mountains as well, and then move to the further details of the middle. Now my sky and the sea area, both are dried completely. I'm going to begin adding in the details into the mountain range first. I'm going to begin in with the shades of brown. For the background mountain range. I'm going to begin with the Van **** brown in a little medium consistency. As it will do. The mountain range on the right is going to be off a lighter color because I want to show the sunset effect falling onto the mountain, the end of the right side. I'm using the smallest size brush, but you can see I'm holding it quite closer to the presets because to get the precision and also adding in the colors at one bull. Now I'm done adding in the light layer of the vendor brown color onto the background mountain deed. Now just picking up lift the pain's gonna be color and adding in little darker depth medially at the bottom space of the mountain range, as you can see. Now, to give the little sunset effect, I'm going to use the woman in new color and just going to drop it at the top of the mountain veins in the blooming effect. So you basically have to just pick up either orange color, red color, or any rights and set color and drop it at the top of the mountains and you will see while the background is still wet and you drop wet paint, it automatically blooms and creates a lighter effect. So basically you are just using extra red pin, dropping it using the tip of the brush and creating the blooming effect. If you want, it can even lift up little color and create little glowing effect. So just below the orange color you can see I'm lifting up little color and dabbing it onto a tissue. Now at the top of the mountain range you have a little orange colored effect as bell. Now I will just give it a little finishing touch as bell again added little dot effects. And now quickly I will just lift up little more color. And then we'll wait for this mountain range to dry in. Until this mountain ridge rising. We cannot paint the second mountain range, otherwise, the darker colors will bleed into this lighter mountain range. So till then we will paint the bottom layer of the leaves because CATI is also dry. We will paint the leaves so that we can add the flowers in the next lesson. Now we've shifted to my smallest size down brush. This is a size four round brush which has a pointed tip. Using this one brush, I can add antenna gas troops, and leaves us better. Father leaves, as discussed, it's just simple. One stroke leaves. You press the belly of the brush and lift it up once you are satisfied with the lens. Now if you want some ticker leaves, you need to press the value of the brush a little extra, or you can use a bigger size brush and use the same method. Now you can see I'm adding in a mix of both leaves and grass strokes as well. And on top of this, I'm going to still be adding in some overlapping leaves and grass strokes. Just keep adding them very dad should be an randomly, make sure you do not overdo it because we already have some background effect that we've added wet on wet. Just adding in the leaves here you can see we are going to add a little more on the left side as well. And after this, we will paint the second mountain range on the left side. And then we will wait for all of this to dry before adding in the final details. The details after this that will be left to add in are the flower details and the light RC delay details on the mountain ridge. I'm done adding in a lot of grasses. As you can see, I will be adding in the leaf effect on top of these notes. At the bottom, I'm giving it a little more darker effect. You can see it is showing us the shadow to the middle space. Now some in-between these glasses I'm going to pull up little off the leaves strokes and also given some bigger gas effect inbetween randomly, I do not want to tape all of the grass and leaves taller. That is the reason I first added in the layer of glass tubes at the bottom space and now in-between I'm adding in some leaves and some taller grasses. Now you can see my mountain ranges also completely dried, so I'm going to begin picking up the paints gray color and paint the second mountain waves. So the second mountain range on the left side is going to be completely off the darker color, which is the Payne's gray color in-between, if you want, you can add a little stoops off the brown color as well. Very carefully you can see I fill the entire mountain z with the Payne's gray color. On the right side. I'm taking the mountain range a little till the edge and you can see as I'm moving towards the edge and try to reduce the height concepts we believe and add the top. You can see I've given a very rough shape to the mountain range to given that natural effect. Now at the bottom, as I told you, I'm going to pull out a little extra source into moving into the sea area out here. Make sure you are using a pointed tip brush or smallest size brush so that you get in the fine details your that is if now I'll be for the mountain veins and my leaves to dry completely and then even add the further details in the next lesson. 28. Day 8 - Sunset by the Sea - Final Details: Now my entire painting is completely dry. The mountain ranges and the leaves that we added in, we are going to begin adding in the rest of the details to the middle and creating in the city light effect. For both these details we will be needing in white gouache. So I'm going to quickly remove the white gouache separately onto this palette out here. Now Father flowers, I'm mixing in the brighter, paler color along with the white gouache. I've picked up the white gouache and picking up the brighter para as well in a good thick consistency. Using this lighter color tone, I'm going to begin adding in the flowers. Now as I told you the flowers also, we are going to be adding in, in two different color tones. So I'm going to add some width, the brighter pair of color mixed in with white gouache. And some I'm going to add in by mixing in little Carmine color, creating in some darker tone as well. As I told you, I'm going to be adding in very simple flowers. I'm going to add in most of them blooming either towards the top side or the bottom site and not much off the round flowers this time. And in-between, as I told you for the fellows, we're even going to be adding in some, just dabbing off the brush to create in the filler flowers as been. Now you can see I'm adding some of the flowers blooming towards the top side and some of the flowers blooming towards the bottom site to strike a balance between the type of flowers that you add in. Make sure you do not add all the flowers in one single direction. You will not get it international look to the middle. Also make sure you do not overdo the flower at one specific place a lot. Make sure to leave in enough spaces in between. Because as I told you, we are going to add in the filler flowers as well so as to make it look all nutshell. Basically filler flowers are nothing but, you know, just to show that some of the flowers adjusting their blooming stage, we will be adding them by just dabbing the tip of the brush. Still going to be adding in the flowers using in some darker tone and lighter tones as well. So make sure you do not overdo the flowers with one specific color as well. Otherwise, there will be no space left for the other color flowers to come in. Now I've mixed in a little extra whitewash into this column mix that we were using in. And now I'm adding in the flowers with the lighter tone. You can see how by just adding in little more of the whitewashed, the color is standing out so much differently and you'll get in the two color variations into your flowers as well. Now at the top space, I'm adding in the flower with this second color tone, March, because if I added the flower with the darker tone at the top space much, you would have noticed the flowers were not standing out that right? Because the violet color at the bottom was already dots. To make the flowers stand out. I'm adding the lighter color tone flower more at the bottom site. Now in the rest of the spaces, I'm just dabbing in little petals to join some of the flowers in the blooming stage. As you can see, very simple detailing and you can see how quickly the space looks as if it's filled up completely. Now to the flowers that are blooming out into the top area of the sea. As you can see, I'm going to quickly add branches to them using in the Payne's gray color. Otherwise those flowers will look as if they're standing out somewhere separately. So connected to sulfur, connecting it to the middle. I'm adding in this stem detail out there, very simple ones. You can see how simply adding in small little details make your composition looking so much real and gives him the natural look to your painting. Now let's move on to adding in the city light details on the mountain range. So I have some yellow mixed in with white gouache. I'm going to first use this and create some small light details with this yellow color. I'm going to have a mix of yellow and white gouache. Both it creating in the light effect to give the detailed look to the light area as well. With a yellow color. You can see I'm this simply dabbing the tip of my brush and nucleating very small light effect seem there. I'm going to create a little onto the left side here as bed. So it's going to be only medially towards the bottom side of the mountain. So make sure you do not add a lot of this onto the top of the mountain chains because we wanted to show the city night a major need to watch the bottom side. Now in the same way using in the white gouache, I'm just adding in some small dot effects and do these dots. I'm going to be, you know, all creating in that glowing space to create the glowing effect or city light effect. Now just using the damp brush and blending this whitewash into the background. We discussed this technique in the technique section of this class. So again, in case if you've missed watching that lesson, I would recommend you to go ahead and watch this lesson. It will help you better in understanding how and why we are creating in this growing space for the lights into a mountain date. Now distant do the center of these growing spaces that we've created, I'm going to quickly be adding in the light effects. So just using in the white gouache input pick consistency. I'm just going to drop in small dots in the center space only to create the glowing effect. You can see how beautifully these thoughts as fattening out building in the background. It's because of the dial white background that we created using the blending technique off the white gouache. Now using the white gouache, I'm going to quickly be adding in LinkedIn highlights into our flowers as well. Now to all of the flowers, but to some of the flowers, I'm just going to add in little highlights to create more growing space on the flavor as well. I'm done adding in the glowing effect as well onto the flowers now quickly using in this pink and the white quash myths, that's the brighter beta column mixed in with white gouache. I'm going to splatter a little of this into the bottom fields piece to given the filler effect as well. So before you begin to splatter in, make sure you cover the bottom space, sorry, the top space with a rough paper so that these platters do not go on to the mountain range. I've just covered the top of my painting with a rough paper. As you can see, that the splatters do not go into the top area of our painting. And I'm quickly splattering little of this plateaus using in the mix of the plight of para and the white gouache. Now for some final effects, I'm quickly adding in a few of the more detailed leaf effect into the painting. You can see just simple leaves popping out from in-between the flowers as well. So make sure that, you know, the leaves look, I'm very much with the flowers that we've added in. Now at certain places you can take the leaves a little taller, didn't the center area of the z-space making them look a little difference into the painting and giving it an effect into the middle space. So that is it. We are ready with our painting for the eat. Now let's remove the masking tape and see our final painting with those beautiful clean edges. Make sure your painting is completely dry them before you begin to remove the masking tape off the edges and the colors may get lifted onto your edges as Ben, Here's our final painting for DEF of this 30-day watercolor challenge. We had ETAs through this 30-day challenge. And I hope with every each new painting, you are able to get more knowledge about the watercolor techniques and trying to learn in the different techniques. You can have a closer look at the middle, the CVs, how wet on wet the leaves are since standing out drive because of the water control technique that we learned in. This is the final class project for d I eat. I will just add little more highlight because some of the highlights onto the flowers look a little messed up, which I do not want to. I'm just quickly correcting. It makes sure you do not add any details out. You're in such a way that the, you know, the edges get when after removing the masking tape, if you're adding in any detail, you have to be a little extra careful because of the edges that may get through it. The final painting for the eight, I will see you guys soon into the day nine class project of this 30-day watercolor challenge. Till then, I hope you guys have painted till they eat along with me. Thank you so much to each one. A fuel for joining me into this class. I will see you guys soon into the next class project. 29. Day 9 - By the Beach - Colors & Technique: Hello everyone. Welcome back. Today nine of the 30 day watercolor challenge. We are on the ninth day of these 30 days today, we are going to be painting this beautiful beach side view for our class project today. So let's begin noting down the sheets that we will be needing for this class project. And then going a little deeper into the techniques. And then moving to our final class project in the next lesson. So fast for this guy, we need the salary color. That's the only color that you will be needing for this guy. Next, moving to the beach space, you would be needing that the coin is blue color. Nice. You do not have turquoise, blue. You can go ahead with any other shade of blue because blue, or you can mix in a little bit of screen to your blue to get turquoise blue color. Next, for the beach area you would be needing in the yellow coat color, a little darker tone of brown. So you can either use red brown or burnt sienna or red or brown red color or light red color, whichever is available in your palate. A little brownish red shade, that is what we need. Next for the small mountain range out to you would be needed. The sepia color as well as a little bit of the Payne's gray color, or you can go ahead with any darker tone of brown color. So I haven't been using in the Van **** brown mixed in with a little bit of Payne's three to get the sepia color lookout to your next moving to the middle space of this painting, we'll need different shades of green. So you need the light green color, the sap green color, or any other greens, you need one sheet of light green and one shade of dark green. So I will be using the three sheets in my palette, like Jean sap green and all. Last, I will be mixing invite, wash with them and creating indifferent don't radiations and the opaque layer of gases on top of the darker ones. And lastly, you need the Payne's gray color for adding in the darker highlights, as I told you in the mountain range, as well as in between the flowers and in-between the flowers. We have little bit of the details as well. With the Payne's gray color and rest for the flowers you need either carmine or para color, which we will be mixing in with white gouache, plus a little bit of the red color. You can see the permanent red highlights that we've added in. So you can use permanent yet payroll read, write, read, whichever is available in your palette. So now I'm going to quickly be swatching out these colors one-by-one. The first one is the city named Luka. You can go ahead with the sky blue color, bright blue color of order, or any bright sky color which is available in your palette. For the turquoise blue, I'm going to use this pan palette or banned from the band White Nights. So except for the turquoise blue color rest all of the colors are from the shin and PWC professional watercolor set that I have pulled into tube and curated my own palette from the CD. When do you can see the turquoise blue color is a little different. But in these fields and not have a turquoise blue or you can simply mixing blue and green. So I'm going to quickly show you a myths and show you how you can form your color using in this blue color. So I'm mixing in this area in blue and the sap green color to get turquoise green color. Now, with little trial and error, you will get almost equal to the turquoise blue color. That is, you need to just get in the proportion of the green and the blue, right? So right now, if you see the shape looks a little more towards the green side, which is not what I want. I want it a little more towards the blue side. So I'm just going to add a little more off the settlement due to this mix and watch it again and see if we get closer to it. So now in this you can see the color is more closer towards the turquoise blue color on the blue side. So very little can just clean is what you need. But if you are okay to go ahead with a greenish, turquoise, blue, then you can add in more of the sap green color and less of the civilian blue color. So this is all from your basic palette. You can even keep mixing the colors. But if you need the pigment colors of blue and the sap green color, you can visit the resources section. I have uploaded in detail the pigments watches, and pigment color of this branching and PWC. That I'm using now, I'm just quickly swatching in the rest of the colors that we will be needing for this class project. Nice. You do not have the light red color. You can simply mixing your bone sienna with a little bit of fluid and get a reddish brown color. That's all you need for creating it. And highlights on the beach space. Also, you would be needing the Bayh-Dole red colored, not describing in the highlights, but also for adding in those two small sitting spaces on the beach. Now for this, when the crown out your for this mountain, as I told you, we're going to use the vending found mixed in the Payne's gray to create the Doppler depths. Now moving to the deans and swatching them quickly for the field area. So if you see the field space, we have a lot of slides in details on top of the dark green color. That's by using invite us to unmaking the colors are P. Naught is the reason the standard write, even for the flowers, we are going to mix in the Carmine Android Auto Para color with white gouache to get into big loop onto the dark green shades as well. So along with the carmine and a better color, I believe only using a little bit as the violet color to forming this invalid tones for the flowers. I don't want simple things, loves to give it a little darker flowers you can see I will be adding little violet. So all those, these three colors are going to be mixed in with whitewash to form opaque colors to use them on the darker green layer that we will be adding in the base. So now let's have a closer look at each element to understand how we are going to be creating each of them. So in this guy out you can see the light space that we've created in-between the clouds. So for that, I'm going to be using in the flat brush for painting the sky. So I'm using my half inch flat brush. I'm going to be pulling the palace from the edge diagonally and leaving space in between. And then pulling lids, love the color from the bottom right edge as well of this guy's face to seem even indices. Here you can see via went to keep it lighter towards the beach side and darker towards the inside of the beach. Apr. Now in Florida beach area driving the days, I'm going to quickly be swatching out. Let's mosquito boys blue color and let it dry so that after this has dried, I can help you out with the dry brush technique that we will be using in the lab. One side you can see how we did not have matches the JVs. We have the darker effect to show the shadow of these leaves falling out onto the left side of the beach area. That is the reason we have a darker line, even at the horizon line and on the entire left side of the z-space. And on the right side it's going to be lighter for adding in the dry brush details. Now in the same way we are going to be adding in these two small umbrella looking overhead. Alright, so if you see the reflection, the light in the sky is falling from the left side. So the reflection of these two will be on the back side. So that is a reason just underneath that, I've added Mitchel reflection. Alright, so that is the reason you need to understand the light source. My light is falling from the left side, so the reflection will be towards the right bottom side. If the deflection or the light was from the right side, that affection would have been on the backside at the left area to the light source. Nice and important tool while deciding the reflection space. So let's quickly add in a small umbrella and understand how we are going to be adding in the reflection. First and light is falling out from the left side. So the reflection will be towards the bottom right side. Further the selection I'm going to be mixing in violet with the Payne's gray color. And I'm going to use this shadow violet color that we've created using the Payne's gray and the violet color. So this is how we are going to be adding in the reflection, is the light would have been falling from the right side. The deflection would be have been on the bottom left side instead of the bottom right side. So that is how you can even understand this by keeping an object on time. The light effect from this insights and seeing how the deflection falls in. Now let's begin adding in the driveway of details into the beach area. So for the dry leaves detail, we are going to be using in the white quash. I'm going to quickly be using the white wash using in my smaller sized round brush. Now, whenever you are doing in the dry brush, details will have to use the color in a thick consistency and not have much water on your brush as well. I'm just going to begin picking up lifted off the white wash without adding in water. This forming a similar or BH curve that we have in our painting. This right side is off the yellow ocher color. It should be. Now you'll see if you just pick up a lot of pigment and tried to spread it, you will get patches of the Palo instead of the drivers detail. So for the dry brush teeth, you always need to have a tissue handy so that you can remove the excess water before beginning to paint in and then just keep pulling in the waves very simply. That plus the excess paint and water both. Now you can see when I'm trying to pull out these details, I'm getting in the dry brush wave detail that I'm not getting into patches of the whitewash that I was getting in the first case. So every time that you pick up fresh pigment, you need to make sure that you dab off a little bit of the Payne's so that you get in the dry brush details. So you also close up view for you to see the dry brush details that we've added in the bottom, you can see we have the perfect dry brush detail. And at the top again, because of the extra pigment, you can see at these two places you are getting more of the patches instead of the dry brush by adding the drivers detail, the texture of the paper also plays an important role and helps in getting in the RDD is more easily. So since my final paper is a little dry brush people, also deaf people, the dry brush technique comes more easily and more impactful because of the grains of the paper. That is all about the techniques that you need to know for this class project, we've discussed the colors, the method, the lighting reflections, the dry brush details, everything in detail. Now when we begin painting the final class project, I will keep discussing each of these with you in more detail. And we will paint the final class project together step-by-step. So let's begin painting a class project for the name. 30. Day 9 - By the Beach - Base Layer: So let's begin with our class project for D9. So I'm going to beginning with a little pencil sketch. So I'll begin by marking out the horizon line, which is going to be almost in the center of this paper that we're using in and below that is going to be the beach area along with the middle onto the entire left and the bottom side. On the right side, I've added the mountain range. And just from the end of the mountain range in the center, I'm taking the beach area coming in. So the right side of the bottom space is going to be the sand space and the left side is going to be the water space. And at the bottom it's going to be the field area or the middle details that we are going to be adding in. I'm not adding the pencil marks of this into the sky. We will directly do that with the paint itself. So now we are going to first begin painting the sky, and then moving on to the details one by one. We will paint the sky first, then move on to the beach area, then move to the mountains and then to the final middle space. So let's begin with the clean layer of water onto the entire sky space. Make sure that you have an even layer of water throughout. And also make sure that your paper stays wet for enough time because there's not much details this time in the sky. So even if you do not run your brush multiple times, it would be sufficient unless and until you are working with a twenty-five percent cotton paper as that may dry in quickly. I'm done adding in the layer of photo. Now I'm going to pick up the city in, in blue color. I'm going to begin adding in the sky details. So for this guy, I'm using this area in blue color in a very medium consistency, not too thick, not too watery as you can see. I'm pulling the strokes from the left side till the center or right side almost. And you can see in-between I'm leaving some white spaces. Now I realize I should use a flat brush to get the strokes much better and clear. So I've shifted to a 1 fourth inch flat brush and I'm just going to keep pulling out the strokes diagonally, making sure that I leave enough space in the white area. Sorry, in the right area. So you can see I'm just pulling simple strokes out you're using in the flat brush. But when I'm reaching the right side, I'm quickly lifting my brush so that I have that white space onto the right side. Now, using the same technique, I'm going to pull out the strokes from the bottom-right side. But in such a way that between the left and the right strokes there is white gap still left in. So by adding the strokes from the right side, I'm not adding in much of the pigment. You can see I've added very little pigment. Now in-between, I'm just lifting up, lifted off the color again using the same flat brush so as to get the blends right. So from the left space, you can see I just lifted the color and after each stroke, I cleaned my brush. Now again, I'm just going to begin adding in some darker strokes into the sky from the left side. So you can see despite I'm adding in so much strokes from the left side, I'm making sure there is that whitespace maintained on the right side. Now again, just using a damp brush, I'm going to do some color lifting from the left side strokes so as to get those light strokes passing through and creating in that. Light space that we want in the sky to show that glowing sun effect. So again, using the blue color, I'm adding some darker death majorly on the top left side strokes. And make sure that you do not have to add too much of the dark strokes because most of the left side of this guy is going to be covered with the greens that we will be adding it. So I do not have to worry much about adding in some darker strokes. That is it for the sky area, a pretty simple sky. We just one color tone creating in the glowing effect in the sky to show the sundry. So on the right side, now my sky is completely dry it and I'm going to paint the base layer for the beach area first. So for the beach, we are going to be using in the turquoise blue color. And for design space of the beach, we are going to be using in the yellow ocher and brown shades. So I'm adding in a layer of water even in the bottom middle space, because there also we are going to add in a background layer of the green color to fill in most of the space. So that is I'm going ahead with a wet layer out there as well so as to get the blends out there smooth while we add the beach colors. So I'm going to begin in with the turquoise blue color for the CEO. Now, do not worry for little of the turquoise blue color moves into the field space or into the beach space. We are going to be adding in all the colors you are wet on wet, but make sure you have little water control while adding in these colors so that they do not spread a lot completely out of control. So I'm going to begin with the yellow ocher shade and little touch of the brown red color for the science piece. So I've added a layer of the yellow ocher color on the entire bottom space here. Now while this is still wet itself, I'm going to be adding in the darker strokes using the brown red color. So before that I'm going to add in the darker depth into the sea area as well. So I'm going to add the darker layer at the horizon line and on the left side. On the left side, because I want to show the reflection of the leaves that we will be adding falling on the sea, making it the darker space on the left side, so forth for the base here of the middle space as well. I'm just going to add in the lighter green tone closer to the entire C and the sign space. So just simple colors you can see all of them have soft blend, not moving much into each other. Into the middle space. I'm just adding in little of the sap green as well, giving in some darker depths for the field space. Do not worry, this is just the base layer to cover up all the extra spaces that we will be having in-between the leaves. We're going to add in a lot of detail, nice effect into this, as you would have seen in the beginning of the painting. Now using the smaller sized round brush, I'm just beginning to add in little wave effect into the sea area. So I'm using the turquoise blue and a little darker consistency than what I've used in the base layer. And you can see I'm just adding simple strokes and the darker effect at the horizon line as well. Now, this is still working wet on wet. As I told you. Now, I'm just merging the green and the turquoise green yard, or turquoise blue here so as to get the perfect blends between your Asbell. Now, if your paper does not save it for this long time, you can pay to one part by part. So you could paint the C, add in all the details, then the beach and then the middle space. But I recommend you to try to keep your paper over it for enough time, or you could even use that Think technique. Now you can see so much of the darker depth that I'm adding on the horizon line and at the left side of the painting to create in the depth of the shadows and reflections. Now on the sand area adding in the darker they're using in the brown, red colors. So you can see simply from the edges, I'm just pulling up this color. My paper is still wet enough for me to add in all the details. The meeting point of the turquoise, blue and the yellow ocher color we will be adding in the dry brush strokes with the white color later on once everything dries to give him the form effect or the crashing wave effect at the beach space. So that is it for the base layer. Now we'll have to wait for all of this to dry and then paint the further details in the next lesson. 31. Day 9 - By the Beach - Adding Leaves: So everything is completely dry and let's begin adding in the details one by one onto this. Now, first I'm going to begin by painting in that small mountain range out there. So for that I'm going to use in the Venn diagram for the base layer. And then using the Payne's gray color on the edges, I'm going to add in the dark or debt. So beginning in with the vended ground first. Now if you do not have the Van **** brown color, you need not worry. You can go ahead and use any color of brown or which is a medium tone brown and not too dark because you need to color tone variations. Because I'm going to show a little of the light effect falling on the mountain range. So the right side of the mountain, I'm going to turn it a little light on the left side and the top edges I'm going to add in the darker that using the Payne's gray color. Now using the Payne's gray color, I'm just going to begin adding in the dark or depth onto the edges. So just using the tip of my brush you can see I'm beginning to drop in the darker tones at the top and also bleeding in the shape to the mountain range. I'm adding this while my mountain range is still wet so you can see the soft blend happening in between the brown and the Payne's gray. So that is it for the mountain range. You can see on the right side, I have the lighter tone of the Van **** brown color. And now we are going to begin painting in the field space. So for the field or the mental space around this beach, we are going to go in with a lot of details step-by-step, so fast and beginning in with the sap green color, the first layer we already added in the lighter green color creating in the base layer. Now for the second layer, we are going to begin in with the sap green color and just begin adding in the details quickly. So same thing, the sap green color. I'm just going to quickly be adding in little of the bush effect first. So just add the top space. I'm going to add in little detail effect by dabbing in the tip of the brush and creating little bushy element. And then at the bottom space, I'm just going to be filling it with the sap green color completely. So now we're going to have these, the bottom space you can see I'm mostly selling up the entire space very rarely leaving some white gaps in between to let the nitrogen color be visible as well. Now, using the same sap, green color in-between, I'm going to be pulling out some of the grass strokes as well. So simply you can see just pulling out some family reflects some simple brush strokes. And the bottom space again is going to be filled in with the dark green color. So I'm just going to begin filling in with the sap green color at the bottom space, leaving in very little gaps again in between so as to let light in color be visible at places. Now to break the simple or sap green color in-between, I'm using in little olive green color. Because if you notice any field, it is not always of just one specific green color. It has multiple shades of green into it. So that is the reason I'm breaking it and adding in little sap green in between along with little olive green as well. Now same v onto the left side as well. You can see I'm just creating very random draft details for the base layer. So you just have to keep filling in this space very roughly using in some bush details, I'm filling details and some grass strokes. So majorly, when you reach closer to the beach space, you will notice that I'm adding in some detail leaves and grass, true, and bottom spaces. I'm majorly filling it with just the normal color layer and not giving in much of the details. These bottom layers, we're going to add in details with the lighter tone using in the white quash in the next layer. Now closer to the beach you're at as well, you can see I'm adding little detail leaves and grass, D1 and bottom space. I will again fill it completely with the green color. Now in the same day, I'm going to fill up the space at the left side of the Sea area as well, just using in this app three, and they're all normal green, olive green color. Now again, closer to the beach area, even on the left side, I'm going to add in little detail needs using in the sap green and the olive green color. So now as we move into the sky, you can use different types of leaves, grass palm leaves strokes to or given the detail look on the edge. So you can see closer to the beach area again, I'm going ahead with the detailed look at the leftmost side. I had just added in plain color filling spaces. Now even your, you can see I'm using a mix of the palm leaves, different kind of leaves and some detail looking simple leaves as well, overlapping onto each other. Now I have to make people completely so that it's easy for me to add in the details onto the top side or Skies area so that I do not leave my hands onto the wet side of the green details at the bottom paper. Otherwise the details will begin to get messy because of your hand being touched again, again into the sky in the first layer, I'm just going ahead with simple, basic details of palm leaves. And I'm going to go ahead with simple leaf details. Now at the topmost space out your, you can see I'm adding in quite big leaves out your two given the detail look. This is again, as I told you, just the first layer. We are going to go ahead with more different color tonal variations of different leaves. So do not worry as to, you know, or do not add even much more of just one color. Otherwise it will not get the nostril look that we want to achieve in our painting. So now you can see at the top space I've given in some detail leaves look on this guy in-between is visible. Now in-between if you want, you can add some smaller leaves as well. And you can even mix in a little bit of the Payne's gray color to add in some darker leaves. I'm mixing in sap green and olefin randomly and just adding in some more smaller leaves. So again, as I told you, this is just the first layer that we're working on to say I'm just going ahead and adding in leaves simply onto the right edge of this middle space that we're creating in. Now next messy. It's completely dried, so I'm going to be adding in the dry brush with details out there until my green space dries completely for adding in the next layer. So let's quickly add in the wave effect to our beach space. So as we discussed in the technique section, so getting into perfect dry brush waves, it's very important to have very limited pigment onto your brush. So I'm dabbing off the excess paint, the water as well, and just using very little pigment you can see I'm beginning to get in the dry brush details very slowly. It may take a little time to get the details right out your butt at the end, if you go in slowly, the result looks quite beautiful. Also makes sure that you use the right question of good thick consistency so that you get the opaque loop. I'm using a smaller sized round brush so that the details do not go out of control or look much bigger than what is needed in the painting. Now in-between random here I'm adding in little wave effect into the beach area as Ben, that is the C part of the beach space. And adding little waves are pulling out the form effective the center of these waves as Ben. Now using the brown red color, I'm just adding a small shadow to this onto the beach area. So just using the brown red color, I've added a very fine line onto the right side of the white line. Now I'm just going to use a damp brush and blend it into the background and create the shadow to these v's. Now on top of this again, I'm just giving a little more opaque look to the white details that I want to give it. And then we will wait for all of this to dry completely. And then in the next lesson, we will begin adding in further details into our middle space. Going ahead with the second layer of leaves as well, I will quickly even adding the two umbrellas that we're going to add on the beach side. So using in their payroll red color and thick consistency, did I leave without adding in much of photos because I want a vibrant look to this. So just simply adding in too small umbrellas out here. We will add the shadows to these ones, these all to dry completely. So now let's wait for all of these details to dry before moving ahead in the next lesson and adding further details. 32. Day 9 - By the Beach - Final Details: So now my entire painting is completely dry it and you can see how beautifully the green color shades are looking. And even though Dr effect that we wanted to give towards the beach side is looking perfectly opaque and right enough. Now I'm going to mix in whitewash along with a little bit of the green. I'm going to begin adding in the second layer of leaves. So if I go ahead with a very basic watercolor tone onto these dark green watercolor that we've already added in. The colors will not stand out, right? So in order to make the colors stand out right, I'm mixing it with white gouache to create an opaque consistency of the colors that we use in and get the vibrant effect even onto the darker shades. Now in case if you want, you can directly, even using the wash paints instead of using the watercolors mixed in with white gouache to now you can see with this lighter green tone, I'm Extend little bit of green, yellow, and white quash and beginning to add in similar leaves as we added in the first flip. It's going to be a mix of simple leaf branches along with some palm leaves as well. And plus they are going to be all of the stream size is not a fun specific size. So very carefully, go ahead slowly, keep adding in different kind of leaves. Do not do overdo one specific kind of the detail. Otherwise it will not given that natural law. So try to have a blend of all different kinds of details that you would wish to add into this. So moving in the sky space as well, I'm adding in a mix of the leaves as well as the palm leaves. Make sure that you use opaque color. You can directly use gouache paints as I told you. Or you can mix in your basically a watercolor along with some white gouache and get an opaque color if you do not have a white gouache set or a specific color. So now I will wait for this layer of the leaves to dry completely. Till then, I will add in the shadow to those two umbrellas that we've added in. So fighting in the shadow, I'm going to mix in violet along with Payne's gray, as I told you, and create a shadow using in these two colors. I'm going to be using in this color as well in a very light consistency, not too dark, It's going to be more diluted. So make sure you do not add the shadow in a very dark color look. Otherwise it will not given an actual look of the shadow. So the shadow to these umbrellas is not going to be a complete circle. And as I told you, the light is falling from the left side. So the shadow is going to be on the bottom right side of the circles that we already added. And the shadow will be just halfway of the circle and not a complete circle as the main umbrella. Now next I'm going to pick up some white gouache and going to mixing the colors for adding in the flowers. The flowers I'm first going to mix in a little bit of the brighter, paler color mixed in with white gouache. As I told you, you can use the Carmine colors, scarlet color, or any other shade of pink, or whichever other color tone you wish to use for the Florida. You can go ahead with yellow florals. You can go ahead with orange or any other color that you wish to choose, not limited to only the pink tones or the yellow tones. So first for the night set of the Florence, I'm going to be using in the write-up better hello mixed in with white gouache. And then for the second set of Florida's, I will be creating in a darker tone, mixing it, although whitewash, along with carmine color and a little bit of violet color as well. I'm going to add in very simple florals, not any detail, Florida rope. So you can create five petals, expected seven petals, very basic Florence. You need not go in with very detailed. I'm just going to try and vary the size of the florals that I added. And at some places I'm going to be adding in a bunch of these flowers with different color tones. So I will just add one flower for now and then maybe you know, that the flower with another color and so on. So I just added in little more of the white course so as to create little more lighter tone. So before you begin to add these flowers, make sure and be careful that your second year of the leaves, That's the light green color mixed in with white gouache is completely dry, otherwise you will not get the perfect look to your flowers and the colors will begin to merge into each other and get reactivated. So it's very important to make sure that you're basically it was a completely dried before you keep moving to the next clip. So on the bottom left side out you are, I'm going to add in very small teeny weeny flower details. I'm going to create a bunch of lavas out you're using in this lighter color. So these flowers out you are going to be quite nasty deemed as compared to the other flowers that we are going to keep adding in. Now, on the bottom left side, I'm adding flowers very limited and slowly color by color because I do not want to overdo the flowers with one specific color. I'm going to be adding in the flowers with the darker consistency as well. So for now I'm adding in flowers in such a way leaving spaces so that I can add some of the flowers in between to create the bunch of flowers out there together. Even at the top space of the middle. I'm adding in some detail flower look as you can see, some of the very simple bad look as well, popping out into the sky space. We're still going to be adding in some darker flower details using in the red color, just some highlights flowers basically out there. If you want to add in more detail, look to the flowers, you can even keep adding in some more detail. Look to the flower, go ahead with one specific kind of flavor. It's completely your choice, but I'm going ahead with very simple details. So that as big nose, if anyone is joining in. Easier for them to follow along and create these beautiful paintings. Now further darker color of flowers. I'm adding in little of the Carmine color to this color mix that I already have. And I'll try adding in color flowers first with this color mix and see if these standout right. Or else I will add in little more violet. So just adding in very little violet force. So it's a mix of the bright operon white color that I already had two region adding in little carmine and little violet color. So you can see how I'm adding in the flower in such a way that it's overlapping the light flowers that we've created. And it's looking like a bunch of flowers are there together, overlapping onto each other. So that is the look that I'm trying to create an out your, that is by adding in the flowers closer to each other, overlapping each other. And at the rest of this basis, I'm adding some highlights, as well as adding in some small flowers with this dark color has been also are not going to be adding in a lot of flowers because I do not want to cover the leaf details. So you may notice that I'm mentioned the adding the flowers onto the edges and closer to the beach, I'm letting more of the greenery be visible. So it's again your choice, but I prefer letting the greenery view being there. So just adding very limited flowers into the painting. Now till these giant, I'm going to quickly add in the other details using the white gel pen. Using a white gel pen, I'm just going to add in little details onto this umbrella out to you. So if you want, you can use white gouache orients. You can even use white acrylics for adding these highlights in case if you do not have a white gel pen. So I'm just going ahead with another layer because this Leo does not stand out, right. So I just want to give him a perfect opaque layer. That is the reason just adding the same details once again, make sure that your red color is completely dry otherwise, the white gel pen will not walk in efficiently. I will quickly using some white gouache and a pointed tip brush and just add little more bright and vibrant look out here because the white gel pen seems to be not working fine out onto this red color. And I want a good white look out here. So you can see even if you face the same issue using an a right, even you can add in these details using enough white gouache again over onto your white gel pen as well. Now let's wait for all of these details and the flowers to dry completely. And then we will just add in the final highlights to our flowers and the middle ear space and be ready with a painting for the nine. Lastly, using in the payroll red color, I'm just going to add in little highlights into the pleural space. So just going to add in very simple buds using in the red color. If you want, you can add in some red Florence as well On to you how you want to create highlights into a specific space. So basically I'm just adding in a small branch and from that, I'm just adding in some smaller but details. So just dabbing my brush and adding in smaller circle looks to act as the bird. Now after this, I'm going to pick up little of the Payne's gray color and quickly going to be added again, lifted off the bat details to the pink flowers that we've added in. So you can see just to the center of the flowers I'm adding small details to actin as the bud majorly to the bigger flowers that I've added in. Now for this also makes sure that your flowers are completely dry, otherwise the Payne's gray color, we'll begin to spread it. You can either use a Payne's gray color and the darker brown tone, whichever suits you the best. It's completely your choice as to which color you want to add to the button. And also depends on the color of the florals that you've added in whether they are of any other color tone, except for the pink tones that I have used it. So that is it. We are ready with our class project 49, another beautiful beach side or nature landscape. So let's remove the masking tape and see your final painting with those clean edges. Make sure you remove the masking tape against your paper. Otherwise you may tear off the edges and all the pains may also get lifted and make sure your edges are completely dried before you begin removing the masking tape. So your final painting for the nine of the 30 day watercolor challenge. Here's a closer view. You can see how beautiful the glow in the sky is on the right side and the effect of it onto the mountain range on the right side you can see the lighter brown color, the reflections to the umbrellas and also the Florida space, the darker depth into this area. So I hope you enjoyed this. I will see you guys soon into the next class project. 33. Day 10 - Glowing Sun - Colors & Technique: Hello everyone. Welcome back to day ten of the 30 day watercolor challenge. Today we are going to be painting this beautiful sunset view and then just adding in the silhouette of the leaves and the beautiful bird flocking onto the flowers and the leaves. So let's begin first with the color sheets that you would be needing for creating in this class project. So fast moving on with the sky colors. So you can see for this guy, we have used in warm colors of the sunset shades for creating this effect. We are going to be working with the shades of yellows and browns. I'm going to be using in the permanent yellow, deep yellow, ochre, Indian yellow. Now next for the darker dips into the sky out your, you can see there are sheets of brown that we'll be using in. So I haven't been using in the brown red color or you can use the light chain, reddish brown, brown, red, whichever is available in your palette. I will also be using in burnt umber color for adding in some darker. Next for the bottom speeds darker that I will be using the CPI and the Payne's gray color. I'm for the silhouette space as well. I'm going to be using in the Payne's gray colored only. So these are all the colors that we will be using for our entire class project of the ten. So I will quickly swatch them out for you and also keep telling you the alternatives that you can use. Now, as I kept telling you the color sheets, maybe of different names in different brands. But what matters is the pigment number or what is used so far, the pigment numbers that I'm using, I have uploaded all the pigment numbers into the resource section of this class. So you can quickly go and visit if you want to know the specific pigment number of the color sheets that I am using in. Apart from this Indian yellow color, all of the colors are from the BWC said, the Indian yellow is all from the set of whiteness. And the Payne's gray is also from the brand White Nights. Now on so if you did not have a bone Dumbo color, you can go ahead with any medium tone of brown. If you do not have a CPR color, you can go ahead with banded ground or you can just fixing little bit of Payne's gray to your brand to get a darker brown color. And then use Payne's gray for the, for the darker strokes that we will be adding in. Now last week, we will be needing in the Payne's gray color for giving in the dapp is depth at the bottom-most piece out your hand. Oh, just below the sepia color at all. So you can see the Payne's gray color and the final salary details as well. Hello. If you do not have a Payne's gray color, you can using the black color, surely you need not exactly having the same things. But for me, Payne's gray color box like black color, if using its stock is consistency and it doesn't work off at getting it a little lighter black tone for adding in the other. Now let us quickly understand how we will be creating in this glowing space and do a painting being followed some different methods and we'll try to understand different techniques that suits you the best with you. Let's practice and understand what suits best for you and accordingly, use a technique while creating your final class project. So first I'm going ahead with a simple block adding in a layer of Florida. And onto this I'm going to be adding in the same colors that we are going to be using it. And I can show you three different ways of creating in that glowing space. I would recommend you to try out all of these different methods and then select the method that suits you the best and use it in practice. It's only with practice and trying different things that you can understand what suits best for you. And accordingly, pick up the technique and use it into your final projects. So in the first technique, you can see I'm beginning with the permanent yellow deep color and in-between for the growing space. I've marked it out through the color and I'm not adding the color out there in that space. So basic leaf for the glowing space, you are living in a white background and a ground that you are adding in the color tones. Now I'm just adding in little darker tones very roughly not going in with a specific. A loop or layout out your because they just want to show you how to play it in that growing space. So again, then I'm adding in the darker tones as well. You can see around the growing space, I'm not adding in the darker color. At the bottom of the painting we are going to be having in that blurry details. So when I asked that blurry glass detail also, you can see I just add very little stroke moving into the growing space and that also in the lighter color. And at the bottom of this you are going to have in the darker strokes using the Payne's gray color. So this is how the entire knee out is going to be. You can see I had a flight of water in that gluings. He says, Well, but still, after adding in the color around that space, all for the growing space is still maintained. So this is how you, this is one of the way how you can create in that glowing space by just leaving that space blank. And I just blend it neutral color up there using a damp brush. Now if you'll see is that the growing space is toning short, all the colors are spreading a lot. You can quickly lift up the fellows as well like this using a damp brush. Make sure your brush does not have any pigment and aspect every time that you pick up lifted off the color, make sure to clean your brush only then you will be able to achieve in that clean look. Otherwise, the colors that get listed on the brush will again get laid down on to the next space where you're trying to lift up the color. You can see as quickly lifted up the color and created the glowing space because the paint was spreading a lot because of the wet space that we had applied into the growing area as well. So you can see how using in the lifting technique is one way that you can create the glowing space. If you have applied in a liter of water and your fellows are spreading. Now let's move on to the next type that you can go ahead for creating in the growing space. So for the next method, I'm going to apply another layer of the color onto the entire space completely. Now in this path, I'm just showing you the creation of the growing space and not the rest of the details. So I've added in the new year often permanent yellow deep color onto the entire space. Now this time I'm going to be using in a tissue and creating in that flowing space. So how using a tissue, you can quickly create the blood. But for that, you need to make sure that you do this lifting technique with the tissue white or yellow color layer is still wet, otherwise you will not get the same effect. So I just created an edge of the tissue and using that edge space, I'm just picking up the palette with the help of a tissue creating in that circle. So you can see how quickly we've lifted up the color. Now just to give him the soft edge to the growing space, I'm just using a damp brush and softening the edges from where we picked up the color. So this is another way how you can create in the glowing space. If you do not want to leave. This is blank while painting or you find it difficult to go ahead with the lifting technique. Remember repeating it again. It's very important that you do this while the yellow color is still wet. Otherwise you will not be able to achieve the result with this as well. So very carefully I just corrected the edges. You can see what is the perfect looking space out here. Now the last technique is, again, basically the lifting technique. In the first week, we had actually left the blank space, but since the colors was spreading. So we use the lifting technique there as well. The first case we use the lifting technique because the paint is spreading. But in this case you're just as we use the tissue paper for lifting up the pins. In the same day, you can even do the lifting technique using the brush. So you can see we purposefully added in the color onto the entire space. And now using a round brush and simply. Lifting up the follow-up meeting in that glowing space. Now while doing this one more thing that you need to keep in mind, whether you're pigments are staining pigments are non staining pigments. If any case, your pigments are staining pigments, then the lifting technique will not work perfectly. So in such cases you will have to by default, using the first technique that is, but even in those pieces blank to create the growing space. Because staining pigments as such, which do not get lifted up and quickly leave those things onto the paper, no matter how hard you tried to lift it up quickly. So you can see quickly using a round brush and then a smaller sized round brush. I've given him the D dealings out and created at that glowing space quickly even after adding the color onto the entire space. Now one last way is where you would not add in the water onto the gluing space. I'm just painting in that glowing space. And then you can see I have not added in a little photo and into the rest of this base you add in the paint. Now in such a case, what will happen is the glowing space will have a very sharp edge. You can see it has a clear rounds open space. And then just using a smallest size brush, you can quickly just try to create in that soft edge to that growing space, as you can see just using a damp brush, I soften the edges quickly and created it that flowing space along with that soft edge. So this is how you can even create by leaving in the space blank without even adding in the layer of water there as well. Then just softening the edges using the damp brush. Now in case if you do not have the Indian gold color, yours or you can mix the Indian gold color. I am using in the permanent yellow deep, a little bit of the woman in New Color, Dodge after red brown color. You can go ahead with the numerous possible sheets available in your palette. Or you can simply, when using a yellowish orange tone if you do not want to mixing the color. Now again, mixing the color is always or trial and error process. You need to understand all of which pigment color or proportion needs to be increased or which pigment proportion needs to be taken down. So you may not get the panoramic stripe in the fourth grade. But, uh, you know, with two to three different proportional trying, you may surely get the color mix, right. So make sure to give it a try and mix the colors and see. So here you can see by just altering the proportions of the color, I've got the color mix right as well. So that is it about the techniques and creating in the glowing spaces with different styles and mixing in the colors if you do not have the direct shifts. So we'll begin the final class project in the next lesson and paint this beautiful glowing sunset effect today. So see you guys into the next lesson and paying this class project with you together. 34. Day 10 - Glowing Sun - Creating the glow: Let's begin with our class project for dy dt. Then I have my paper taped down on all the four edges. Make sure that your paper is taped on where there is no loophole left for water to seep through. So before moving ahead, I will quickly add the silhouette for the board. Now you can go ahead with any bird silhouette that you wish to go ahead. I'm trying to show Boat which is feeding onto the plants are the leaves that we will be adding out here. It's completely your choice. You can go ahead with the different silicate for the board, but just make sure that you do not add the pencil sketch too dark because the other colors are going to be light sunset colors as you can see. And then a hiding in those pencil marks will be very difficult. So make sure you go ahead with very light pencil sketch for any painting that you go ahead with watercolors. I'm adding in the book, which I'm trying to show is going to be feeding on to the plants that we are going to be adding, get added an elongated, be trying to show that it's peters out and it's trying to pluck out the leaves from the stems that you'd be adding in. That is it for the sketch? Now just adding in draft lines for the other details that we will be adding in just very simple, basic leaves and florals that we will be adding all in the Payne's gray color trying to show in the silicate out there. So that is it for a pencil sketch. Now I'm going to begin in with the clean layer of water onto the entire paper. Now remember closer to the board space in the center area out here, I'm going to have in the growing space to just a very light pencil sketch. It may not even be visible to you. It just for the guidance that I'm adding in here and showing it to you. So that is where I'm going to be having in my growing space. Go ahead with the first technique that we discussed. That is, I'm going to be adding in the layer of water. But while painting, I won't be adding in the paint into that space, leaving in that glowing space out there. Now again, it's completely your choice from all the four techniques with suits you the best and gives you the much easier way for adding in the detail. You can go ahead and select that technique and follow that for creating in that glowing space. Make sure you run your brush multiple times so that your people's tastes bad for enough time because all of the background VPNs we are going to be adding in wet on wet. Your paper has to stay wet for enough time, otherwise you will begin to get rough patches in between. Now I'm going to quickly begin picking up the colors out you're on my palette. The first color that I'm picking up is the Indian gold color. Now I discussed the mix of this Indian gold color in the previous lesson where we discussed all the techniques as well. So in case if you missed it onto watching that lesson, I would recommend you to go ahead and watch that lesson and then come back to this. This will help you in deciding the technique that you wish to go ahead with for creating in the growing space, along with even knowing the color mixes of colors which are not regularly available in your basic palette. So I've added a very light layer of this color, as you can see, but around the board space you can see I've left that glowing space here as well. So make sure that you do not cover the entire species. Or if you are going ahead with the lifting technique, then at this stage itself, when you add the color, make sure you lift up the colors again. Otherwise, if the color's will dry completely, then it will be very difficult to lift them up and creating that space. Now using the same color, I'm going to begin adding in the dark or death. So you can go ahead and just pick up the same color without adding in much of water. If you are doing in the color mix spot, you can add in little extra brown to create the darker color strength when you begin adding in the second layer. Now, majorly adding the darker color on the left side and on the right side you can see I have not added much as the darker tones around the growing space as well. I'm adding in the darker color. We're still lead to add in a lot more layer onto this for creating our background. So make sure your paper is still wet. In cases you'll see that your paper is beginning to j. Leave your paper to dry completely and then go ahead with the re-weighting technique. Now in case if you want to have a look at the re-weighting technique I have discussed in one of the previous class projects. So you can visit that technique section. Even have a completely separate class on the re-weighting technique. So you can visit that class if you want to learn more about details of the re-weighting technique. Now using the Van **** brown color, I'm just beginning to add in little details at the bottom space, but creating in the gallery space for the class details as well. So we are not going ahead with the grass of green color this time, just going ahead but simple, darker silhouette detail. I'm going to pick up little sepia color and begin adding in the darker details using indices. Hello. Now in case if you do not have the sepia color, you can go ahead with any darker tone of brown or you can mix in your bone Tambo with a little bit of Payne's gray or black and get a darker brown color. Now, just trying to pull out the darker brown color from the bottom. Now, make sure you do not cross the board space or the growing space completely. You can see I'm trying to vary the height of this detail and adding in very roughly. And my strokes as well are very rough and loose. Now for the next layer of this guy, I have just picked up the brown red color. Now you can go ahead with the red brown color or mixing your red with a little bit of the bond sienna and get a reddish brown color tone. And just begin adding in the darker strokes. Now again, these darker strokes are still wet on wet, you can see my paper is still wet. And major neither darker strokes again are going to be on the left side. Now around the gluings, please make sure that when you add the darker color, it shouldn't spread into the glowing area. Now on to the board, you can see I've let the colors flow in because as it is, the bird silhouette later on is going to be of the Payne's gray color. So all of this will get covered up easily. Now, before moving ahead, I'm going to quickly lift up a little of the color from this glowing space because I feel the colors are spreading a lot. So to quickly maintain that growing space between each layer, wherever I feel that the colors are spreading in, I'm just going to keep lifting up the colors so that the glowing space is maintained just as we need at the end. Now using the Indian yellow color, just adding in little of the darker debt onto the right side as well. Not much. You can see it's much lighter as compared to the left side. Because on the left side we've added in the details, but the brown color as well. Using a medium brown tone, I'm going to begin adding in further details now, veteran adding in the medium brown tone, I'm picking up the file in a little liquidy consistency. As you can see, the file automatically spreads a lot into the sky, creating in its own space. So that is the reason I'm using this color in and lifted liquidy consistency, not too much as well. My paper, if you can notice, is still wet and I'm able to add in all the details when I reach the bottom space, you can see with the darker color I add in the grass looking strokes in that half-man or the loose details in the background that we wanted. Now I'm picking up a little bit of the Payne's gray color and add the bottom space. I'm going to begin adding in the dark or debt using the Payne's gray color. Now the darker that is to be added in such a way that it does not cover up the entire glowing space area or the brown shades as well. So we want to go ahead from the lighter looking loop colors to the darker colours flagged with a lighter color of the brown shades first. Now, going ahead with the Payne's gray color, blending them swiftly in such a way that the lighter color tones are maintained. On the right side since we are going to have in the silhouette moving taller. That is the reason there I've taken a few of the grass strokes into the background a little taller. Now I'll just blend it quickly as well so that it does not have any sharp edge. Now again, for the growing space, you can see it looks a little out of proportion. The so-called doesn't look to be perfect. So I'm again just quickly going to lift up little colors and keep creating in that glowing space out there so that the glowing space look is maintained perfectly. Now again, you can see the color that I added, the stroke. It has moved into the growing space. So as I do at every step, you will have to keep looking and keep having a check on the space that the glowing season maintain perfect ni at any stage when you feel that the color is spreading a lot, make sure to lift up the color quickly at that stage itself. Otherwise, if it spreads a lot and dries completely, then you won't be able to lift it up. Now adding in the last knee or into the sky, you can see I've built the layer of my sky in around five to six layers step-by-step, letting the knee basically your colors to settle in and then adding in the next year of colors. In between, I have kept altering to adding in the details into the bottom middle space, as well as maintaining in that glowing space. Now I will just pick up little more Payne's gray color and adding little more darker that just at the bottom-most piece, the bottom field space also now you can see we have around three to four colors sheets by just altering the mixing of the brown, Payne's gray and different tones of brown. So you can see the bottom was still not dark, so I'm adding another layer of Payne's gray again now you can see almost black color out there being fun. So he picked up the pains cleanup very thick consistency this time so as to keep the color vibrant. So that is it for the base layer we've built in our sky, we've built in the blurry background for the middle space. We have the board out there. And now all of the details that we will be adding is going to be in the next player. Makes sure you're growing space is still maintained. You can see, again, I'm just going ahead and giving it a clean look that that glowing space is maintained because that's going to be the highlight of the painting when you add in the other details. So that is it. Now I will wait for all of this to dry completely. And in the next lesson we will begin adding in the foreground details into this painting and complete a class project for the ten. 35. Day 10 - Glowing Sun - Final Details: So now my painting is completely dry it and you can see how beautiful the growing space is created and what a beautiful look at this giving and all the colors of visible perfectly the light side is maintained light and at the bottom we have the darker depths from brown to moving to the Payne's gray color at the bottommost space. Now using the Payne's gray color in a thick consistency, I can begin adding in the leaf details or the foreground details of the florals and the leaves out here. So first I'm going to begin adding n by adding in a few of the stems and branches. Now when we add in the leaf detail closer to the growing space, are moving over to the glowing. We're going to add it with the brown color to show the effect of the sunlight falling onto the leaves and the florals as well. For now, let's first add in all the details using the Payne's gray color. I'm going to go ahead with very rough people says no specific pattern to be followed along. You can just go ahead and add in a few branches. And I'm adding a few leaves and some few flowers to them. So I'm going to be adding in the flowers in very different angles. So first one out here, you can see I'm trying to add in a stem which is moving downwards of which is bent towards the bottom side. And to this I'm adding in the detail and then some petal details lifted on. What I can do is first I will quickly add in few of the branch details and then go ahead adding in the leaf and the floral details depending on the type of requirement at this specific species. So from the bigger branch you can see I'm pulling out these smaller stems as well. Now, make sure that you do not add. A lot of these are majorly going to be adding this onto the left side, onto the right side only. And just a very small leaf or the stem that we will add, overlapping the sun space. And then at the bottom of space, we will just give him little detail using in the spoilt round brush. Make sure the major detail is going to be only on the right side. Now, I have added a few of the stems and now to these first I will begin adding in the details. And once I'm through the details and then I even begin adding in more details as required. Now, very roughly you can see I'm adding in some leaf shapes. I'm Florence as well. So these are kind of the shoe flowers which are bent towards the down space. You can go ahead and add any specific flower that you wish to. You need not follow the same as mine. And these are very basic shapes of flowers that I'm adding in. Now from these further, you can see I'm pulling out some more flowers and some leaves now closer to the beat of the bar. Make sure you're given some leaf or floral details shortly because we are trying to show that the board is trying to plug goes. So it's very important to have either a leaf or a flower, which we can show moving towards the beak of the bird. So you can see, I'm going ahead with a detail look to the flowers and the leaves this time not adding them in a very, just go ahead with a little detail. Locked door with just one simple color. You can see how much beauty it adds to the painting. Because rest of the details are very simple, a very simple blurry background. So the main focus is all of these details that you add in. So depending on the type of painting, you need to understand whether you need to go ahead with the DT, look in the foreground or your background is your main focus area. Now I'm going to quickly be adding in some of the leaves to these all as well. So we added mention either flowers first. Now, I'm just pulling out very small leaves randomly. Now at the bottom-most piece, I'm just going to begin adding in a little more of the foliage details. So just giving it a little more low-lying stem and the leaf detail. Now in between you can see I'm using little after we fill the CDs as well. So you can even go ahead and use some typical grass details. So it's onto you again. How do you want to strike the balance into your field space need not be seemed like mine. Now, next I'm going to first quickly fill in the silhouette of the board so that I understand whether I need to add in more details in the foreground. Make sure that for every details that you add in, add them step-by-step, do not overdo any part. Because with watercolors, it's very difficult to cover up anything. And there's no going back again. So whenever you are working on, make sure you go in step-by-step because you can always add more of the details later on. Now I first fill in the board completely. So to the wings you can see I'm giving it a little detail. So first just added water to the board so that if you want to follow along with the same layout as the board, you can follow it. Fill the board completely with the Payne's gray color. Now, that is it for the board detail. Now, I'm going to go ahead and just add in little more detail into the field space. And then we will be ready with our class project for the ten as Bell. Today's class project was a very simple one. It was focused on creating in that gluings piece and then adding in the details into the foreground, creating the focus onto the foreground and the growing space. Now, as I told you, we are going to be adding in little of the point h The been moving across the growing space. So for that I have picked up the brown red color. Now I'm going to add in little of the RDD is moving the growing space. So there I need to show the effect of the growing space falling onto the leaf details. So if I did a small leaf, now I'm going to quickly use a tissue and dab it so as to create that glowing effect onto the leaf has been cited for us to add one more leaf moving across the growing space. That space is basically the sun. And I want to show the sunlight effect falling onto the leaves. So you can see with the added in those knees and I dab it off using in the tissue. So you can see, we can see the effect of that growing space falling onto this, now onto this pieces which are about the sun area and below the sun area, you can cover it up with the Payne's gray color again, only in the space of the sunlight. You need to have the effect of these light tone, which we are adding in using in the brown color. So just in front of the sun, I added in a few leaves and quickly dab it off using a tissue to create the effect of the sunlight falling onto these leaves. This is how you can use C adding little details and omega painting look more detail. Basically I just added very simple leaves using in the brown color to show the sunlight it. Now last piece, I'm just adding in a few more of the leaf D. D is moving out to you are at the top speed. And that is it. We are ready with our class project for deep. Then I do not want to add in any further village detail because I'm quite satisfied with how this is looking. I absolutely love the effect that we have given closer to the sun space that leads off the brown color. Believing these simple little DDS makes your painting look more nitrogen and realistic. So now let's remove the masking tape and see your final painting with those clean edges. Painting for the ten, you can see the effect of the glowing knees in front of the sun and the board plucking onto the flowers and the leaves. I absolutely love painting this, and it's one of my favorite projects from this top ED watercolor challenge. I hope you enjoyed painting this too and launch, creating in that glowing space. And then giving you the effect of deploying space onto the foreground details as well. In the closer view as you can see how beautiful the medians are looking. Thank you so much to each one of you for joining me for this class. I will see you guys in the next class project. 36. Day 11 - Foggy Mountains - Colors & Technique: Hello everyone. Welcome back to day 11 of the 30-day watercolor challenge. Today we are going to be painting this beautiful blurry mountain C, for which we will be discussing the colors first and then the techniques and then begin the class project in the next lesson. So first let's discuss the colors for this guy. That's going to be the sunset colors. So we are going to be using in the shades of yellow and orange. I will be using the shade of permanent yellow light, permanent yellow deep, and the woman in new color for the darker orange. You can go ahead and use shades of yellow, one medium, one light, and one shade of orange. Or if you do not have an orange color, then form an orange color mixing in the scarlet and the yellow color. Now swaddle foggy mountain ranges, I'm going to be using in the Payne's gray color mixed in with the violet color. And for the second mountain range, it's going to be more of the Payne's gray. And for the first one it's going to be majorly the violet color. So that is how we will be painting in a mountain ranges. Now next, moving to the background, also the bottom details for the middle space. There I will be using in the light red color for riding in the branches. I will be even mixing in a little bit of Payne's gray out there. Later on. It's going to be lighted plus the Payne's gray color for the flowers I'm going to be using in the Carmine color mixed in along with the operator and white. So you can see the flowers out of species, one darker and lighter. So we're going to make sense By plus, then we are going to be mixing in mine and a whitewash. Now, let's quickly swatch out these colors and then we will move ahead and look into the technique of creating in that misty look to our mountain ranges. So I'm quickly swatching of the palace. These colors are from the brand PWC, except for the Payne's gray color, which is from White Nights. If you want to know the exact pigment color of the shapes that I'm using. I have uploaded in the swatches and the pigment number of all the PWC paints that I own into the resources section. So you can check out for the exact pigment number if you want to match it with another brand color. I'm done swatching all the color sheets. You can see the pink color tones. They are two different tones and B will be mixing in with whitewash later on. I'm not plotting out the right course, of course. Now, first thing about the growing space technique, just in the previous class project, that is class project ten. We discussed four distinct ways of feeding in deploying speeds. So in case if you have not visited the technique section of class project, then I would recommend you to visit the technique section. And you can see all the different ways how we have created in bed growing space. Alright, so this is how we'll be creating in your as well, just that you're, you will see it's a little sharp edge for the glowing sun area and not to blended one. Alright, now next we learn to create the foggy Mountain loop. So I'll quickly beginning with the clean water and then moving ahead, father will show you how we will be creating that misty look to afford mountains. I'm done adding in a thin layer of water onto this half area out here to show you the technique for creating those foggy Mountain look wet on wet. So I'm first going to begin adding in the sunset effect using in those three colors which we discussed. That's the permanent yellow light, yellow deep, and the woman in new color. Now in this painting you can notice the sky area is quite small space. Major part is going to be the mountain spaces. Now Y3 it in the sky. I'm going ahead with a very roughly out. You're not going ahead with the exact class project. Just trying to show you how you are going to be working. Now for the growing space. You can see I've already left the roof space out there. Now I'll just define it by first adding in some darker strokes. The audience follows quite dark, so I quickly lightened it and blended it well with the yellow color. Now, I'm not going to show you the growing space detail again, as we've already discussed that in the previous lesson. Now let's move ahead and begin adding in the foggy Mountain look. Now, the orange and violet color, when mixed together, they begin to form in some muddy tones. It's very important to make sure that we do not have the orange and violet mixing together much. That is the reason we've added the orange felonies subspace. Now to make the colors flow down what I'm going to keep our masking tape so that my paper stays inclined during the entire process. And I'm going to begin adding in the violet color in a very light consistency because we want a very light loop for the first mountain. So what I will do is quickly closer to the yellow color, I will just add a line off the violet color. And then using in water, I'm just going to dilute and spread it till the bottom of the space. Because the second mountain range will be again or wet on wet itself. Like this mountain range that we added for getting this mountain range completely till the bottom space so that we do not have much color variation. Now when you're doing this, make sure you keep your paper tilted otherwise, the violet color will begin to flow into the yellow color if your paper will be steep. Now you can see I'm keeping my people so much tilted. Cancer violet color is only flowing towards the bottom space and not moving back to the yellow color. You want this mountain range wet on wet. You have to be sure that even when the yellow and violet will get mosques together and if not, multiple times, if you try to blend it, it will also give you a little muddy dense. So in order to make sure that you have, you would not get any muddy tones. Make sure that you add the violet color just below the yellow line. And using the damp brush to blend them together. So you can leave a little white space in between the yellow and violet. And then using a damp brush and just quickly try to get in the plains between them and get this soft edge. Now for the next mountain range, I'm going to mix in the Payne's gray follow along with so violet color as I told you, as you can see, the second mountain range is off the darkest fantasies. Now this all who we'll be adding in, wet on wet. You can see my false mountain range, my sky, everything is still in bed and onto that wet background will leave. I'm beginning to live in the mountains. I'll do the second mountain veins. You can see I'm giving you that little spiky look as well, giving in that dark area detail to the second mountain range. Now the first mountain range, the bottom side has to be a little light, so I'm just lifting up the colors a bit. You can see in our final class project, I've tried to maintain that growing space into the first mountain range as well, whereas I forgot to maintain that. Your that is the reason I lifted up the colors quickly. But just this is a rough idea to show you how we are going to be creating in the bloated up to a mountain ranges. Wet on wet. So this is the misty look that we will be creating. Wet on wet beginning from this guy and moving till all the mountain ranges. And then once everything dries completely, we will begin adding in the foreground meetings. That's the branches, along with the flower details. And for the glowing space detail we already discussed in the previous project as I told you. So make sure to visit the section of class project. Then. Also make sure to keep an object ID with you so that you can keep your paper. When you add the mountain ranges wet on wet. Otherwise it will be very difficult to control the flow of the colors. And most importantly, on the first month and veins where it is closer to the yellow color, has to be very careful that the color does not seep into the dark skies piece. And also that the colors do not match and creating those muddy tones. So the most important technique, and we'll be out there to prevent those colors from bleeding and spoiling the entire sky space. So that is it for the technique section. Now in the next lesson we will begin painting a class project for the 11 together to see you guys in to the next lesson of this class. 37. Day 11 - Foggy Mountain - Creating the Mountains: So let's begin with our class project for the 11. I have my paper taped down onto all the four edges. And I'm going to begin in with a light pencil sketch before we move ahead. Just for your guidance, I'm marking out a very light pencil sketch for the mountain range so that you know where you need to stop the colors. I'm going to follow the lightened on this so that it's only visible to me and it does not be visible after I begin adding in the face. Also make sure as I told you in the technique section to have, oh, you know, something underneath to keep your paper in plane so that the paints flow towards the bottom side. So I've added in a layer of photo onto the entire paper now. So as we discussed, the entire painting is going to be background video is going to be wet on wet. I'm beginning with a clean layer of water onto the entire surface. And then I will begin painting the sky force moving on to the mountain ranges, buying the sky will still be wet. So make sure that you keep your paper for embed code enough time. So in case if your paper seems to dry anywhere in between, you can use the reweighting technique or you can quickly try to keep your paper wet by adding in more layer of paint onto the spaces that are beginning to dry. So I've added a small circle on the right side you can see for leaving as the growing space for the sun. And beginning with the permanent yellow light color first, and then moving to the darker tone of yellow and orange. Now I have picked up the orange color. That's the whole meeting new color from this set you can pick up orange color, scarlet color, or by any other colony that's available in your palate. And this begin to add in the orange stroke in such a way that the yellow strokes are still visible. Now you can see the growing space is looking almost covered. So I'm going to go ahead with the left. You can try to lift up the colors from there while this is still wet. You can see for now I have added a lot of orange fallow closer to the mountain range, which is actually not supposed to be. Because if I will keep adding a lot of orange there, then because of the violet that we will be adding, we make it in Monday bones to grow in very carefully in those spaces. I recommend you as well to go in very carefully while adding in the color tones there so that you do not go ahead with much of the darker tones. Now next, using the permanent yellow deep color, I'm just adding in some highlights up into the sky space. Now you can see all of the three colors of visible light. Visible. Then we have the orange panel and now the form that is very visible. Now quickly using a round brush, I'm going to begin lifting up the colors to create that blowing sand space. Make sure we very carefully, otherwise, if you win, lose the role in space and this guy will be dried completely, it would be very difficult to achieve in that glowing space. So it's very important to do this by new sky is still wet. Now using a flat brush, I'm using little of the permanent yellow deep. I'm just giving it up. As I told you this time, the sky or the sun actually is going to have a little bit off this thing. They've asked that because it will not have a soft edge blended in blue sky. Let's open edges will be a little sharp ones. That is the reason I'm giving him the colored outline to make it look sharp. I'm done with this guy's *****. Now I'm going to begin in the first mountain range. I'm going to be using in my round brush and using the violet color, I will begin painting the first London Breed. Make sure that your sky is a little second and your paper is a little damp so that this guy fellows will not flow into the mountain range. If it will be extra wet, the panels will plead no matter even if you keep your paper in blind. So it's very important to understand the wetness of your painful. So they just put a few seconds after you add in the sky, then you can begin adding in the mountain range. So I'm leaning in front of you. And now I'm going to begin painting the mountain range might be, and it may not be visible to you on the Canvas screen. But my paper is implying there is a masking get underneath, which is keeping my paper in blind towards the bottom side. You can see this by keeping the paper and blend its luster color begins to flow towards the top side from the edges as well. But you got to be very careful and quickly lift up such colors which lead to the edges. Now this time you can see to create the misty look I have used in water and try to dilute the color towards the bottom side getting into a lighter tone. So that is what you are supposed to do to create that blend towards the bottom side. Now, just using a damp brush, I'm quickly blending in the violet color with the area of the sunset. So you can see I'm just running a damp brush out there so that I do not have any sharp edges or I did not have even muddy tones. Now remember what the color dries or tone lighter. So if I leave my mountain range at such a lighter tone, it will die almost equal to a white stone. That is the reason I'm adding in a second meal with a violet color. But again, you can see that Misty loop. I have just added the color and diluted it to a lighter tone while moving downwards that I'm just pulling the fallows towards the bottom space flight with a very thin. Now I'm quickly running my **** brush onto this guys, please, because the blending between the sky and the mountain, I have some sharp edges because of the sky began to almost dry completely. And to get rid of those sharp edges. And very quickly we're adding in a very loose nature of water onto the entire sky space. It's sort of an event in technique that I'm using your butt not completely venting. Does this five was dry, so I just leave it in that office to get rid of the sharp edges. Now I'm quickly just running again one layer of the violet color so as to get rid of any sharp edges at the violet color side also. And again you will see I just use a damp brush and pull the color towards the bottom side. Now for the next layer of the mountain, I have mixing Payne's gray with the violet color and you can see how the top species using the brush, I'm giving him that spiky Look to the Mountain face trying to so in the dirty effect on top of the mountain range. Now this is again a very light color tone for now onto this, although we will be keeping adding in Laos and automatically these are fallible tone towards the darker side. So now I'm adding in more of the Payne's gray as you can see, and I will begin earning in a second layer on top of this again. Now you can see the first mountain veins gives a beautiful, you often miss the moon because I knew that the color while moving downwards is giving in the top darker view of the mountains. Underwater mountain range is completely off a darker color. And again, just after adding in those spiky look and this moving the colors bottom, just using the same color. This time I'm not diluting the color to a lighter tone. So let me give you a closer view of the mountains, each how it is looking for now. You can see I've not got any of them muddy tones around the horizon line as embed them sky and the mountains are meeting. Halls have tried when the colors from moving towards the top space a lot by quickly lifting up the colors from there. Now, before leaving this to dry, I'm quickly going to add in a little more darker things on the bottom mountain ridge because I still find it a little light. And to increase the inclination, I have just kept in one more masking tape underneath so that my paper stays more in plane. So you can keep on any other object, you can keep up all your water jar or any other object for that matter that will help your paper and keeping it more inclined so that it's more easier to walk and not let the colors flow towards the top area. So now as I told you towards the bottom, mongering beings have added more of Payne's gray and just darkening this color mountain out here. And after this, we will wait for this entire force knee or to dry completely and then move ahead to the second lesson. We'll be adding in the flower details on the branches DP. So let's wait for this to dry completely. You in the next lesson now. 38. Day 11 - Foggy Mountains - Adding the Flowers : So now my background layer is completely dry it and you can see I've beautifully been able to control the moving of the violet color into the sky spaces. Now, we're going to begin adding in all the foreground details. So first I'm going to begin adding in the branches, and then we will begin adding in the Florence after our branches and J. For the branches I've picked up the light red color. You can go ahead with any shade of brown. There is no compulsion of using the same brown shade. You can use a shade of burnt sienna, burnt amber, light crown, or raw sienna, raw umber, whichever color of brown is available in your palette, in whichever color of brown you wish to go ahead with. So just randomly, I'm going to begin adding in very random shapes for the branches. There's no specific pattern out your Asbell. You just need to go ahead and create a bunch of branches out there together. Now to make these branches look dual tone, I'm going to add in little Payne's gray color as well in-between the bottom side, I'm going to add in the darker roots with the Payne's gray color and the top side of the branches. I'm going to keep it with the light red color. Now it's completely your choice. I will quickly just removing the masking tape from underneath. So I'm missing it's completely your choice as to what color you want to keep your branches if you want to keep them simple, just one color, or even if you want to give a head this dual tone loop, I preferred the dual to look because it gives it a more natural look and it makes the branches look quite different and detail when you add in that little dual tone with a darker color. So I'm going to quickly keep adding in branches. Now, you will notice that my branches are majorly only till the lower mountain range that we have added in. I'm not taking it too long till the first mountain range because we are going to be having in some flowers and later on we will just add in a few branches moving till the top space. Now in between the branches you can see I'm taking some thicker branches, some smaller branches, some shorter branches. And very randomly, I'm altering between the carlos, that's the brown and the Payne's gray color. There is no specific pattern as I told you, you just need to keep adding in creating an a bunch at the bottom space first. But by adding these also, make sure you do not overdo These itself because we are still going to be adding in the Florida range as well. So maybe you could add a little and then add in the floral and see if you need more branches, you can always add them later on as well as I always say and keep repeating this. Never overdo any specific kind of detail. If you know that there are more details to be added into your painting. Otherwise it will be very difficult to go back to the previous stage and eradicate little of the details that you've added. Because with watercolors it's quite difficult to cover, cover them up, or redo those stuffs without altering the entire painting. So you can see I'm just doing in very simple branches for now. And now in between, I'll just begin adding in little smaller branches between these bigger branches. Again, you can notice I'm just altering very randomly between the two colors. There's no set pattern for me to alter between the colors. Now from the bigger branches that I already added, I'm adding in a few of the branches more. And as I told you, I'm just going to be taking in very little branches towards the top side. So now very carefully, I'm just pulling out little branches moving towards the top space. Imagine you're on the right side. I'm going to have in more of the branches moving towards the top side. Whereas on the left side I'm going to keep it low line only and not going to add in much of the details out there. Now. These bunch of bigger branches that have added, I'm just adding in some more smaller pre-stress branches to cover up that species in between. And then we will shift to adding on the flowers into this space. So that is it. Now I'm going to shift into the floral colors that we are going to be using it. So as I told you, I'm going to be using invite wash mixed in with the carmine and a brighter color. So fast beginning in with the white gouache. And I will first add in the Carmine color to this and begin adding in the Florida. So I'm mixing the carbine color here and I've got a good medium tone pace, still pink color. And now using this I'm going to begin adding in the Florida. So I'm going to go ahead with a very simple flower, not adding in much of the detail flower look, just very simple flowers adding into these branches. Now you will notice I'm leaving enough space between the flowers because as you know, we are going to be having in the flowers with the lighter color tones as well. Now if you want, you can add these flowers in the shape of daisies and try to vary them in all different dimensions. If you do not know, I have a specific class on painting DZ fields as well. I've discussed all the different perspectives of daisies, adding it from different angle views if you want and if you are interested, you can go ahead and visit that class as well. So you will notice somewhere I'm adding in bigger flourine somewhere. I'm going ahead with smaller flowers, some veggies, half of the flowers, trying to vary the layout of the flowers and not keeping it one set style or one said detail only. Now even towards the bottom side, I'm going to add in detail of the florals with this color detail and then we will shift to the next color. So for now, I'm just adding in little more floral details with this color quickly at the bottom side. I'm done adding in the florals with this color for now. Now next I'm going to shift in and create the lighter tone. So for that I'm going to quickly mixing a little more off the white gouache into this. Now just adding in more of the white gouache, you can see we've got such a beautiful light. Baby pinks are the fur color, which is completely different from the first color tone that we were using for adding in the Florida. Now with this color tone, I'm going to quickly keep adding in the rest of the flowers in-between these that we have created. Now with this color, you will notice in-between, I'm just adding in very simple dot bunches together to create some filler effect as well for the florals. So you need not worry about having the exact same detail or, you know, having in the complete Florida everywhere some way you can add in the filler flowers as well to create the filling look in between and given little more detail. So I'm just quickly adding in more of the flowers in between the branches and in-between the darker tone of the flowers that we've already added in. Now in case if you want, you can go ahead with a very different Florida earlier as well. You can go ahead with red poppies or you can go ahead with sunflowers or any other flowers which you wish to add in. It's completely your choice. As I keep repeating, it's not necessary to go ahead with the exact same detail as mine. It's more about learning the technique and then implying your own perspective or your own imagination into your painting rather than just following along the same. No doubt, you can follow along the same as well. But in case if you want to explore more than you are free to add in different flowers as well. Now I'm going to create one more darker color loops. I'm just going to add in little more of the Carmine color. And you can see this is much more darker than the first two layers. So basically the first color was a medium tone of pink, the second was the basal tone. And in the third one there is very little of the white quash and much more of the Carmine color. Now, I had written the option of using the brighter, paler color as well. But in case if you do not have the right of para color directly, you can your is how you can mix in your car main color and get a bright pink color for adding the details into your painting. Now using this darker pink color itself, I'm just adding highlights to some of the branches as well, adding in some pink queens. And also I'm going to be pulling out some of that Dwayne separately as well. So just adding little highlights to the branches that we've already added. So you can see how you can keep creating and adding so much more details to your painting with very little, very little techniques and just trying to vary the details with every technique. I'm done adding in the details with the darker pink color. Now I'm going to shift to the ground and the Payne's gray again. And using the brands and the Payne's gray, I'm going to quickly add in feel more of the branches into this painting moving across from these florals as well. So one detail before moving to the branches using in the Carmine color without adding in water. I'm going to add in the details to the lighter flowers that we've added in the medium tone of the flowers and the baby pink tone of the flowers to those florals. I'm going to add in the body using in this Carmine color to the darker flowers. I will add in the board using in the Payne's gray color later on once they dry completely. Now using the Payne's gray and the brown color, I'm going to quickly begin adding in the rest of the branches, as I told you. So you can see I'm adding these branches very randomly twist and turn together. Nothing specific or nothing to follow in a specific pattern or anything. You just need to keep adding a little more of these and create the detailed look. Moving across the florals as well. You can even add some of the branches intertwine to the florals, moving up from over the florals as well, giving in the detailed look. So I'm almost done adding in the branches. Now. I'm just going to add in the butt to the rest of the Florida. So using the same pain scan, the brown color to the darker flowers, I'm going to keep adding in the budget as well. So quickly. Just you can add in the detail to the rest of the Florida, just in the center of very small. But so after adding the byte, we will be done with this painting for d 11 as well. So it was again a very simple painting, but the technique focused here was on creating in those foggy Mountain look wet on wet and handling the wet on wet details and stopping the colors from flowing into each other. Let's remove the masking tape now and see your final painting with those clean edges. Make sure your edges are completely dry before you remove the masking tape and always remove the masking tape against your paper. Your final painting for d 11 of this 30-day watercolor challenge. So yours is a little closer view to the florals that we've added. You can see all different shapes somewhere. I've just added petals of the flowers to show some of the flowers in their blooming stage. So as I told you, it's all about how you wish to add the details. There's no specific pattern or specific methods that you need to add so much of the detail or in a specific set pattern. I hope you enjoyed painting with me today. I will see you guys soon into the day 12 class project. Thank you so much to each one of you for joining me. 39. Day 12 - Windmill - Colors & Technique: Hello everyone. Welcome back to D2L, off the 30-day watercolor challenge. Today we are going to be painting this beautiful countryside field with the windmill. So let's have a look at the colors before painting the final class project. First, let's have a look at the colors that we will be using for the sky area. Big thing with the yellow and the brown color sheets we are going to be using in the yellow light color, the light red color, burnt umber, CPR. And then for the blue space, we are going to be using in the civilian blue color. Since these are the five colors that we are going to be using for this time to create all these cloud effect that we have into our skies peace. Showing in the perfect sunset. Sky. Blue, as I told you, we will be using the setting in blue color. So these are the five sheets for the sky. Next we will move to the shapes that we will be using for the field space. For the field, we will be using the yellow ocher color, then the light green color, the sap green color. If you want, you can use either Sapien olefin or whichever other greens are available in your palette. So I will be using olive green. Along with that, I will be mixing in a little bit of the Payne's gray, darker. Next you would be needing the Payne's gray color for adding the windmill as Ben. And for the wooden law, we will be using in the shades of brown. Shades of brown that I've mentioned for the sky area, we are going to be using in the same sheets for the windmills space. So I'm going to quickly swatch out all the colors now. If you do not have the brown red color, you may have a reddish brown color, light red color, or any reddish brown tone, or you can mix in your red and browns to get a reddish brown tone. Now you may not have the color by the same name in your palette. I would recommend you to visit the resources section of this class, wherein I have uploaded the pigment number of all the color sheets that I'm using. I love these colors are from the brand PWC, and only the Payne's gray color is from the White Nights. So you can find the pigment number and match it with the pigment number of your palate. And depending you can get the same **** then I'm dance watching the colors for this guy. Now quickly let's watch in the colors that we will be using for the field area. So first one out here is the yellow ocher color. It's a very simple, yet beautiful class project. I absolutely love how this guy has turned out in this one. For the class EDR or the middle space, you will also be needing a little bit of the white gouache. I'm the bottom space. We will be mixing in bike wash and the green color and adding these little glass tube once I've filled area dries completely. So for that you would need white gouache as well. Otherwise, it will not stand out opaque onto the green background that we will already be dv adding at the bottom space. So now let's understand how we will be adding the details onto this wooden log out here. So we have the color shades ready. I'm going to be using in the bond, amber in the base layer. Onto that I will be adding the darker that using in the sepia color and the Payne's gray color. So let's begin understanding the technique and the details that we will be using for painting these little details into a painting for the dwells. Sam, false beginning with the brown red color out, you're just adding a very rough bark out. Your wouldn't look that we are going to be painting. Now this is just the base layer you can see very randomly. I'm giving it very rough edge shape to make it look nitrogen onto this file. This will be where we are going to be adding in details. While we'll be painting the final painting, we will be adding in a pencil sketch and leaving this space blank in the beginning so that we can add these hello slated on. Now to add the darker details, you can either use a Venn diagram color or sepia color or any darker brown which is available in your palette. And you can see just using the tip of my brush, I'm beginning to add in the darker death in such a way that the lighter debt is still visible. Onto this, we will be adding the major details using the dry brush technique. So this is just the BCR that we are painting right now. Now using the Payne's gray color, I will further add some more depth onto the edges. Now with the Payne's gray color, you will see I'm adding majorly only on to the edges and not much in the center space. Now next I will quickly show you how we will be adding in the grass strokes until this area dry brush strokes, as I told you, I'm going to be mixing, invite Koch along with clean color to get the opaque green color. So you already, you can see at the bottom I've added in the grass strokes which are visible even on the darker tones. For that you need to make the color of pink. I'm willing to mixing white quash along with my light green color and going to form a pistol opaque of green color. If you want, you can directly use a gouache paint for this purpose and adding the strokes using in the course. But I will prefer mixing invite flush with my base color so that everyone can follow along easily. So because of the opaque color of the white gouache, you will see that this color is visible and even on the data. So you are on brown. You can see when I'm adding the class troops, it's still visible perfectly because of the opaque consistency. So that is the reason D will be mixing invite Guassian farming in the opaque color. Next in front of this wooden log, you can see that we have two wires crossing through, which are those of protection buyers, which farmers using the app to their farms to protect anyone from causing those pieces. These wires we are going to be adding in using in the Payne's gray color. And on that we will be adding in little highlights with the white color later on. So we're just going to add in simple wire crisscross to each other. So it's not just one single wire. It's two to three wires crisscrossed, tied into each other. So now on to the first nine, you can see I'm adding another layer of buyer trying to show that it's intertwined with the first layer. So this is how we will be adding both of these lines in front of the log space. And then they are going to be adding in little highlights onto this with once it dries completely. And also in between, I'm just going to add in some sort of a veteran, you know, it's actually across kind of a detail that's usually there to prevent people from crossing over it. Now on top of this, I'm going to be adding in the detail with whitewash. This will not be visible nucleoli yard because my piece of paper is still white. But when you will add this white highlight onto your final painting, it will make a huge deal for your painting. So make sure to not miss adding in this detail onto your violence that we will be adding. So you're in the closer view, you can see how the white highlight that we've added onto this makes it different views when you will see your paintings from a close-up view. Now, this ground space has completely dried and I'm going to show you the dry brush detail that we are going to be adding it. Pieces of the brown which is wet. So I'm not adding it directly onto the brown space for now. For adding in the detail we are going to be using in two types of details. One is going to be some thick black lines, that's a Payne's gray color line, but not so thick that it is visible distinctively, we need to make it look more into the wooden log as well. So now adding the dry brush, It's important that you do not have excess paint or pigment onto your brush. So in the first case you could see I had a lot of pigment and water, so I just got a flat Payne's gray color line and not the dry brush details. Now, when I dabbed my brush onto a tissue and then run it onto the paper. You can see how beautifully I get the dry brush details. So let me give you a closer view of the final details on the painting. You can see how beautifully I've got the balanced dry brush detail along with some lines of the Payne's gray color as I was telling you. Now, that is also because my paper is a little rough on paper so the dry brush gets in more easily. Now the lines that I was selling are going to be these thin lines of the Payne's gray color pre-stress to each other, giving him the word details to the law. And apart from this, we are going to be having in the dry brush detail, as I told you. Now, there are many other ways how you can add the details onto the wooden log. Like you can create some spirals like this onto the log. You can just go ahead. Normal lines and the dry brush technique or a mix of all three, it's completely your choice how you want to go ahead with the detail loop. So these are all the techniques and the colors that you need for this class project time. The next lesson we will begin painting our final class project together. 40. Day 12 - Windmill - Sky: So let's begin with our class project for D2L. We're first going to beginning with the pencil sketch for the mean and marking out the wooden box space as well. Then move ahead with the rest of the details. So first I will begin marking out the horizon line. It's going to be just a little below the center line. Now, depending on the size of your paper, you can show me all the details. Now onto the top of the horizon line. The wind wheel is going to be a little into the horizon, I'm sorry, but below the horizon line. Most of it above the horizon line into the sky space. First added a triangle. I'm going to add a very light circle on top of this so that I can add the spikes to this windmills. Now this circle is going to be very light. I'm just basically going to be a guiding line for me to keep adding in the details. So in the center of the bigger, so I could have just added another smaller circle. Now, towards the left side, I'm just pulling out the hand of the mean, which is going to be one bigger one beyond the so-called that we've added. And rest of the spikes are going to be inside this circle space. So now I will not be adding in the pencil sketch for each of this bike. I will directly add it with the paint. Next, adding in the back out you're onto the bottom left side. Now roughly, I'm just adding a light pencil mark for the two wires as that we will be adding in front of the wooden bar, also in front of a windmill that we have added. I'm going to be adding in a small fence area. So just adding in those details as well so that we do not forget adding these details when we begin painting the final painting. Now I will quickly add little spike details out here. Now you can go ahead with any different kinds of myths silhouette that you wish to go ahead with. If you want to go ahead with a little less detailed one. So these are the kinds of spikes that I will be adding. This was just to show you. So let me give you another easy techniques. I've quickly erase the spikes that I've added. Now, you can just add one diameter into this socket is I'm going to add one diameter across the smallest circle that we added in the center. Now, you can keep adding smallest spikes into this space. You can keep adding more of the diameters and then connect them and create these blocks. It's absolutely your choice. And as I told you, you can go ahead with any different silhouette as well for the windmill space. So now since I've had it in the details into the rest of the half space. I'm going to quickly add in despite the views into the remaining space as well. And then we will move ahead with the painting and begin painting the sky first. Now another benefit of having your paper taped down onto a movable surface is while adding independence get you can see how easily I could just rotate my paper and get it adjusted onto my hand movement. And easily just add in the details, but I just don't think my paper. So that is it. I'm done with the pencil sketch. Now I'm going to quickly begin painting the sky first. I'm going to begin in with the clean layer of water onto my sky space. Let's begin adding in a layer of water. I'm going to be adding in the layer of water onto the entire space, including the win-win area. Because the windmill details are going to be off the Payne's gray color, which is a darker color than what we will be using for this tight area. So you can very freely adding the colors of the sky into the windmill space. Now I forgot to leave the backspace empty. If possible, try and leave the backspace of the sky. Also MD do not add in the sky colors there because underneath the brown, then you will have little tones of the blue visible. We do not want I by mistake, he had added the layer of water here. I'll try to lift it up as well, but I don't know how far I'll be successful in doing that. So I'm first going to begin in with the civilian blue color for the sky, and then we will move to the yellow and the brown details later on. So we will be leaving in the space for the yellow and the brown details. Now, as I told you, I do not want to add the color to the wooden log space. So I'm trying not to add the blue color there. I've even tried to lift up the water from that space. And I'm just going to add in the blue color. Now I'm going to make sure that I have the perfect horizon line described in there. I'm going to give him the perfect layer of the blue color. Now you can see the blue color that's moving into the wooden log space. I'm going to quickly lift it up using a damp brush. So I've just cleaned my brush. I'm using this brush with very little water. I'm going to quickly just lift up this color from this wooden log space so you can see how easily again, you can try to lift up the color and get a clean space, but do not spend a lot of time on this. Otherwise, the sky area will begin to dry in. The color goes in there, you can try hiding it later on with the darker tones of brown. So as far as possible, a wider audience do not waste much time on to getting the details there. Now next has picked up the permanent yellow light color, and I will begin adding in the yellow light details at the top of the sky. And then we will add the rest of the blue highlights at the top area later on. So I've added in the space where we will be having the yellow and the brown clouds. Now in the remaining top space, I'm going to quickly add in the blue color. Now, be very careful when you add the blue color closer to the yellow color, because you will notice that blue and the yellow mixed together will begin to give you a green tones, which we do not want. So you have to go in very carefully. If you want, you can leave a little space out there and use the browns for blending. Now next time picking up the Indian yellow color. Now in case if you do not have the Indian yellow color, you can simply use in any medium tone of the yellow or yellow orange mix. You may not have this specific color. This color is actually a mix of yellow, orange, and brown tone. So I've just added little highlight with this color on the yellow strokes. I guess I forgot to mention this color while we were discussing the color of this class. So I've just told you that color mix. I've even shown this column, it's in man of the previous class projects color mixing technique. Very few did not have the Indian yellow color, how you can mix in the color. Now I've picked up the brown red color. You can pick up light red, red drowned by whichever name it's in your palate. Now when I'm big thing to add in the details with the brown color, I'm making sure I do not have either excess paint or excess water. Otherwise, the colors will begin to spread a lot and cover the entire space, which we do not want. I want these clouds to stay in as a highlighted part and not cover the entire yellow space. So whenever you are adding in details, wet on wet for any project, oh, no matter what kind of a painting, it always make sure and be careful about the water control while adding the details. Only then you will be able to achieve the detail look or else you will just get one flat color layout. Now in-between, I've added some of the darker clouds using in the sepia color. And very carefully you can see at the blending point of the yellow and the blue color. I'm adding in the brown cloud so that I do not have any green color clouds coming into the background. Now I've just mixed in a tinge of the Payne's gray to the surreal and blue color and onto the blue area as well. You can see I'm adding in some darker blue color, highlighted clouds. You can either use a Prussian blue color, indigo color. I'll simply mixing your little Payne's gray or very little tinge of the Payne's gray blue color. And use this darker tone for adding in the highlights into the blue space. So at the top space here as well, I've added in the little highlights now, I'm going to pick up the Van **** brown color. I'm going to add in some darker highlights of the brown color and do the yellow brown space. Now closer to the windmill area, that is the spike area of the windmill, I'm going to maintain the lighter color effect of the yellow color. As you can see, the rest of the spaces you can see I'm adding in the brown cloud effect. So make sure you do not add much darker color closer to the windmills spikes because it's already going to be darker because of the Payne's gray color that we will be using to paint the windmill completely. So again, you can see I have a tissue in my hand all the time while I'm adding these details, wet on wet. Now again, I'm just going to pick up a little of the blue color in a little darker consistency, mixed in with a little pinch off the Payne's gray color and just adding some more darker cloud effect onto the blue space as well. Notice, I've painted the entire sky using in this 1 fourth inch flat brush for all the details. So that is how you can even practice using one single brush for adding in the details of all different sizes that will help you in getting better control of the brush as well and understanding the use of brush through different ways. Now I'm just adding little more yellow highlights because I feel the yellow is a little completely hidden kind of detail because of the browns. So just adding little yellow highlights as well. So my sky is still wet. And the last detail now to add in is some more darker clouds using the sepia color. Now in case if you do not have the sepia color, you can mix in your bond Tambo with a little bit of the Payne's gray and get a darker brown tone. So now in my sky, if you notice, I have so many different colors of clouds coming into the picture. I have the yellow color, the brown red color, the burnt umber color, now, the sepia color clouds as well. So it's very important. Again, I'm repeating the word control while adding in these clouds. In case if you will have extra water while adding in these darker clouds, the color will spread completely and will not retain the cloud shape, ruining the entire space. So very important to have water control while adding the details wet on wet. So that is it for my sky. Now let's wait for this to dry completely and then we will begin adding the details. 41. Day 12 - Windmill - Field: So now my sky is completely dry it and I will begin painting the base layer for the field area. And then once that is completely dry, we will paint the rest of the details. Now for painting the field area, I'm going to go ahead with a layer of water onto the entire space. Now while adding the colors into the field, I'm not going to be adding in the pylorus into the hood in dogs. I've added in a liter of water there so that I can lighten the blue color. So in case if you want, you can skip adding in the water onto the wooden log space and just add it into the rest of the field space. So I'm going to begin adding the colors. Now. I have the yellow ocher and the bond amber color out on my palette. Now I'm going to begin with the yellow ocher color first, closer to the horizon line. And to define the horizon line, I'm going to add in a very thin line of the OH bond amber color at the horizon line, blending it well with the yellow ocher color. Now, I'm going to run carefully so that I do not run into the wooden log space. But even if it's love, the color goes and you need not worry because that's going to be of a darker color, as we discussed already. Now the win-win space, the fence area, all of it and covering up with the color for now, because all of those details are going to be with hello. And it is quite easy to add these details with Payne's gray color over any other color. So just using the tip of the brush you can see how I'm adding in the details onto the O horizon line, making it more crisp and clear. Now next has picked up the light green color and I'm going to add it is closer to the yellow ocher color blending both of these bell. Now in case if you feel at any point the Bezier color or the previous Palo is beginning to dry in all. You need to make it stay away for much more, longer time. Then you can run the previous color again. So say you're if the yellow coat color was beginning to dry, I could run the yellow coat color again, and that will stay wet for a longer time again. Now I've added of the light green color, the entire bottom space, and now I'm going to shift in to that brown color. I'm going to add in some darker at the bottom space of the field area. Now next I'm going to pick up the olive green color. I'm going to begin adding in the BBN Z using the olive green color. So we don't live in college is going to be little highlights up into the brain space that I've added it. Now in-between. Notice you will see that I keep my brush down in between different spaces so that no area dries quickly because I do not want any of this piece to dry out quickly. That is the reason I keep running of the brush to when fraught with different colors so that the entire bottom space remains wet. And then I'm adding in all the details wet on wet. So closer to the yellow color you can see I've maintained more of the light green tone and added very little highlights with the olive green color. Now at the bottom-most piece, I'm adding in more of the olive green highlights. And you can see along with that how I have added in the brown color highlights as well. Now you're again, you can see I'm running the yellow coat color because I feel the yellow color space is beginning to dry. So in order to keep it wet, I quickly lifted some yellow ocher color and applied it again there. So in this way, you can keep your paper wet for how much ever time you want by reasoning the colors that are that space which is beginning to try it. Or you could just use a damp brush and reverted quickly as Ben, just adding a little more of the brown highlights as well between the greens. In the same way, I'm just adding little of the green highlights again as well, because the lighter green color seems to have vanished in between the brown and the olive green color. So just adding little more off the light green highlight again. So now I will wait for this entire base here of the field will dry and then move ahead for the atom in the further details. So now my feature space has dried completely and you can see how beautifully all the colors have blended into each other, giving in the perfect blends between the fellows and transition as well, between the palate bones. Now next I'm going to pick up light, wash, mix it with three to form the opaque green color for adding in the grass details at the bottom space. So I'm mixing in bike was a little bit of olive green and a little bit of the light green color to create the grass color that I will be using for adding in the grass strokes. So it's more often I clean colors and white wash and very little touch of the olive green color because I do not want the green on the darker side as the BCL green is already dark enough. Now make sure when you're adding these grass strokes, you use a pointed tip brush so that you get the details fine. Now although you will notice I'm just running in the grass truth, Only the center of the anion at the top area of the field. I'm not going to be adding in gusto. So far I've taken these grass strokes. I'm using a size three brush which has a pointed tip. I added some smaller brush strokes at the top line first and now at the bottom line, I'm adding in some longer grass, true, which I do overlapping the top line as well, giving in the perfect detail view for the field space. I'm going to be adding in some of the grass strokes towards the left side of the wooden log as bad. But after we paint the wood in love, I will add in some more data up to the class today. I'll be showing the grass strokes moving onto the top of the wooden log space as well. So same they have added in the grass strokes towards that this side as well. Now, at this moment I'm not adding in the grass strokes overlapping the wooden O log space because we are yet to paint the wooden dock area. After we paint the wooden block, I will give him the catch-up strokes. What I was telling you. Now I'm going to quickly add in the base layer for this wooden log. So for that I'm using the brown red color. You can go ahead and use any heat of medium brown which is available in your palette. It can be burnt sienna or it can even be on brown, red color. I am using the shade light kit from the SEC, and you can see how vibrant this color is. It's easily gobbling up the blue color as well. But to make sure that the blue is they didn't completely, I'm going to run a little more of the brown color there. Now in between, I'm just adding little of the yellow ocher color at the bottom space as well. Now on the edges, as we discussed in the technique section, you can see I'm adding in the darker and wet on wet, I'm beginning to adding the darker they're using a lot smaller size brush. You can see also if you'll notice the log shape is not a complete straight shape. I've given it a very rough, I'm crooked. Now we can add the dry brush details onto this only once. If this completely dry. I'm just going to add in little of the brown glass talks as well in-between these green strokes. So you can see the brown strokes are quite less as compared to the green strokes that I've added in. So make sure you do not add a lot of these brown stones. There has to be very little just for highlight purposes that we are adding this. Now next at the bottom of the windmill space, I'm going to create a little of a darker area. So for that has picked up the Payne's gray color. I'm just going to add in a very small line of the Payne's gray color. I'm using a damp brush. I'm going to quickly blended into the rest of the background. So just running the damp brush on the edges. If you want, you can use a little of the yellow ocher color basically or to blend in and so that it does not have sharp it. Now, I just wanted to show specific muddy area or o stone area from where the windmill standing. That is the reason I'm adding this Payne's gray color just below the windmill space. Now at the bottom side here you can see I'm using little of the light cream color to blend it into the background. So depending on the VCO color where you add in this Payne's gray color line, you can use the Bezier color and just blend it into the background. I'm getting the perfect blending and the smooth edges. If you want, you could have even added this while we were painting the background. But I completely forgot about adding in this darker color that I'm adding it now and using a damp brush, you can see I'm blending it. Now for the top space, you can see I'm using little of the yellow ocher color to get the blend smooth. Now next I'm going to shift to my technical pen and I'm going to give him the outline to the win-win so that when we'll all stand is going to be quite thin. So I'm using a pen for adding in the detail later on using the brush, I will give it a little highlight and make it more bold. But to make it more clean and crisp, I'm going ahead with the technical pen. Now if you want, you can use any black pen. Make sure you use a waterproof pen. You can use of detailer brush and your Payne's gray color and adding these details. Now the inside detail, I'm going to use a scale and quickly keep adding in the details. Make sure when you are adding these details. You also use a scale so that you get the details easy. And Chris, now as I told you, the details on the inside can completely Vd for you and you can go ahead with your own set of details. They may not be exactly same as mine. In fact, doesn't mean silhouette itself. If you want, you can go ahead with a simple silhouette, or if you want, you can go ahead with a more complex elevate. These lines that I'm adding at the bottom stand out completely random. I'm just going ahead with what my Notion sees. If you will have noticed with me, you would know there are multiple lines in between in the Stan Cam just basically trying to create that lookout. Sure. That is it. I'm almost done adding in the details onto this time you can see random details, just preposterous lines creating in that pattern out there. Now we'll add in the rest of the details in the next lesson. 42. Day 12 - Windmill - Final Details: Now using the Payne's gray color and a smallest size brush I'm going to add in this pipe details. So the pencil sketch of the spikes may not be visible to you now because of the sky colors that have covered it up. But you know, the technique that we used in, I first added a small circle using in the tool. And then in the circle, I added a center line to act as the diameter. And then from that I began adding in all the spikes out there. And in the center again, I have a smaller circle to actin as the connecting point for all the spikes. So I'm just going to quickly begin adding in all the spikes one-by-one. So make sure you going very slowly if you want it, we can use a sketch pen or a waterproof pen out yotta as well. If you're not confident about adding these small details using a brush and the color. And in case if you are confident about adding in using a brush and color, going very slowly so that you do not run out of proportion anywhere. So now go ahead very slowly by adding in these details. Do not rush. Make sure you maintain the so-called look for all the spikes. You can see if you will go out of proportion for any spike. It will not look like a windmill. And all the details we'll go haywire. So that is a reason going very slowly. And if you're not confident about adding this with the brush, so go ahead with an outline first with a black pen and then you can fill it. That makes the task easier and makes it look neat as well. I'm almost done adding in the details into all of this page. Just last two Lift also you can see when you have your paper taped down onto a movable surface, it makes it so much more easier. And so much more easier for your hand as well because it's so easy to just adjust the book according to your hand angle and your comfortability. Now quickly using the Payne's gray color, I will just add little highlights as well onto these are details that are added onto the win-win. Because as I told you, the black pen lines would not stand out that bold enough. So to giving those highlights, I'm using the brush, the Payne's gray color and just adding in some more lines. Now using the same Payne's gray color, quickly adding in the hand of the windmill as well. Now next, using in the sepia color, I'm going to quickly be adding in the fence in front of the windmill that we have added in. So remember the small logs that we had added with the pencil mark. I'm going to quickly be adding in the fence details out there. So very simple sense, TTS, three horizontal line and two vertical lines that I've added in. Now using the Payne's gray color, I'm going to begin adding in the details onto the wooden log. It's completely dry. So fast. Beginning with the Payne's gray. I'm just getting an outline or to the entire wouldn't lock and giving you much more darker details onto the edge. Now you can see I have a tissue in one of my hand ready so that I can dab off the excess paint and water every time that I pick up the paint. Now I'm going ahead with the mix of the first two details that we discussed, that some lines which are crisscross and some dry brush detail. So I'm going to be using in these two kinds of details for filling it in this space and giving it the natural look. So that is it. I'm done adding the details to the wooden law. Now, I'm going to quickly add in those two white lines that we had discussed. So the violins are going to be crossing over the wooden log space that is, from our view, it is in front of the wooden log and not behind the log. Now as we discussed in the technique section, I've given in two to three lines in Divine to each other and not just one simple line. Now until this dries, I'm going to pick up little of the sepia color. I'm just going to define the horizon line much more in depth. So just using a mix of the CPI and the Payne's gray color, I'm adding a very fine line to make the horizon line more distinguished. And Chris, now next I'm going to quickly cover the top space of my painting using a rough paper. And I'm going to use in some green color, I'm going to splatter it at the bottom space. So the green mixed in with white quash. I'm going to quickly be using this and splattering at the bottom space to give in more detail to the field space. I'm even going to be adding in little of the ground splat does very little, not much. You can see major off the painting is covered up or near the bottom space. You have to add these plateaus. Same V using the brown color I'm going to add in these plateaus. Now the brown splatters are going to be much more or less as compared to the greens plateaus that we added in. And now lastly, using the white quash, I'm going to quickly add the highlights onto the violence that we have added it. So very simple highlights as we discussed, just using the white quash, I'm not adding any water to the white quash as well. Now when you pick up the white gouache as well, make sure that you dab off the excess paint so that you do not add thicker highlights. You just need very fine look of the highlight. So that is it. We're ready with our class project for date 12 as well. Let's remove the masking tape and see your final painting. We are almost halfway through just three more paintings to complete the 15 day mark. So one last thing I'm just going to add in some of the highlighted grass strokes, as I told you so quickly, I've added more white quash to the green color mix. And you can see how bright this is. Now just adding little of the grass strokes which are overlapping the line as well as the wooden log space, trying to show the perfect natural lookout. So that is eight. Now let's remove the masking tape and see your final painting. Make sure to remove the masking tape once your edges are completely dried and always remove the masking tape against your paper so that you do not tear off the edges. So yours are painting for the 12 of the 30 day watercolor challenge. I hope you guys enjoyed painting with me today. Yours, a closer view for you all. I would love to see your class projects coming into the project section. And also if you liked this class, make sure to drop a review so that it will help me reach more students. Thank you so much once again for joining me into this class and painting along with me. 43. Day 13 - Sunset by the Lake - Colors & Technique: Hello everyone. Welcome back to day 13 of the 30-day watercolor challenge. Today we are going to be painting this beautiful sunset by the league. So let's have a look at the colors that we will be needing for painting this class project. It's such a vibrant sunset class project that we will be painting today. It's quite an easy one. Do not get what it's seeing the details of the foliage that we will be adding in. So let's quickly note down the colors first. So this guy on the sea area, or just a reflection of each other. So exactly the same colors of the sky will be the reflection for the Sea area. Even use the same sky, Carlos for the C to add the reflection. We will also be learning to add the reflection for the bush in the area you can see the grass reflection that we've added in. So fast. Let's have a look at the colors of the sky. So I'm going to be using in the Naples yellow color for the yellow sheet. Now if you do not have to Naples yellow color, I have discussed the color mix in the previous class project. It's a yellow mixed with a little bit of white, making it an opaque yellow. Next, you will be needing the vermillion new color for some orange highlights and some for some of the red highlights, you can either use a red color, Carmine color, or a scarlet color, maybe a tone of pink or red, whichever is available in your palette. And for the blue in the sky, I'm going to be using in the city. And blue color simply next to you would be needing in the Payne's gray color for adding in the file is detailed reflections and the darker there. So these are all the colors that you would be needing for this class project. Only these five sheets which we'll be using for this guy. And then as a reflection for this area as well. I'm going to quickly be swatching out these colors. Now in case if you want to know the exact pigment numbers, you can visit the reference section where I've uploaded all the pigment number of the PWC brand, which I majorly using for the Naples yellow, it's from the brand of Magellan mission and the Payne's gray color is from the brand White Nights rest. All of these sheets are from PWC. So you can see this Naples yellow color is nothing but a very bright yellow color with a little pasted into it. This is more of an opaque watercolor rather than a transparent yellow out here because it consists white pigments. If you will see the pigment number of these, as I showed you previously, it has a picometers yellow and a pigment of y. So that is a reason it is a little opaque consistency rather than being a transparent watercolor. Now rest of the shapes instead of the woman in new color, you can go ahead and use and orange shape. And instead of the Carmine color, as I told you, you can use either read Palo scarlet color or any other pink or red tone which is available in your palette. You can use the bright blue, sky blue color. And for Payne's gray, if you do not have it, you can go ahead and use either black color or any differentiate of black that's available. Now along with the highlights of the car main color, I'm even going to be using in the payroll red color for adding in the highlights. So you can see the darker highlights. I'm going to use color for that. So that's why the name pedro read in this set. Now let's discuss the techniques that we will be using for adding in the detail and the reflection for the grass areas. So I'm False going to be using in this wild round brush for adding in the village detail. It's a very simple technique. When you have a spoiled brush handy, not all spoil things are to be thrown away. So for all this foliage that you're seeing at the top space, I'm going to be adding it quickly using in this brush. I will discuss with you how we are going to be creating this piece. I've picked up the Payne's gray color onto my brush without adding any water to it. And I haven't even dipped my brush into the water. I directly took a dry brush and dip it into the Payne's gray color to get in the perfect consistency. Now, this holding my brush perpendicular, I'm beginning to add in the color DT, the foliage detail. And you can see how beautifully the foil age is being created even under the white background. Automatically you will see that a white spaces in between along with the village being created. So that is a technique that I'm going to use to make the point h going quickly and in the simple way. Now after feeding this base layer for Alicia, I'm going to add in little detail look to this village. You can see we have some detail leaves coming out. So for that I'm going to use in my smallest sized round brush, which has a pointed tip. I'm just going to add in very simple leaf details on top of this. So again, you can see how simply you can create the deals are by just using different techniques and getting the details right. So first I created the entire foiling using in this file, round brush. And then just to give the detail look, I'm quickly adding in some detail leaf using a round brush. So using this down rash, we will be adding all of the DD leaves in our painting, even at the bottom space here you can see. So just simple technique using the round brush creating in the details out there. Now next, let's learn to add in the reflection in the sea area. You can see we have some glass detail for which we will be adding the reflection. So for that, I'm first going to go ahead with a layer of water so as to show you how we'll be adding in the reflection. So to make the understanding clear, I'm just adding in one random color so as to show you how the reflection will be working. Now, why is this color is still wet? I'm going to add in the reflection details for us. The top details are going to be when the painting is dry. So for now, for adding in the reflection, you have the line over which the vast detail is going to be there. And below side we are going to add the reflection, just going to randomly adding the same color details. That is the Payne's gray color in the reflection areas, but while the background is still wet. So in this way, notice that because the background is wet, the paints gray color, we'll begin to have a soft edge, giving him the soft reflection loop. So you can see the reflection at the bottom space. So first we will be adding a blurry reflection. And once this will also dry, we will add in little more rough details on top of it just as we added it. For the foil age, even for the board, that reflection is going to be in the same week, just very light wet on wet reflections. So this is how we're going to add in the reflection of very simple process. But the entire technique ER, is also about water control. I know I keep repeating this, that what the control water control. Because everything out your when you add in the details depends upon the water control. Otherwise you will not be able to achieve in the details right and crisp. So I'm adding in a second layer to add in the depth. And you can see I've added in the depth wet on wet again. Now this was just the second layer. Once this dries completely, you can further add more highlights if you are not satisfied with the reflection. Now in the sky here you can see we've created such a beautiful glowing space for the Cloud area. So we are going to be creating in the Cloud space as well while painting. So that is all for the technique for this class project. Now in the next lesson, we will begin painting the class project together and create this beautiful sunset by the lake. So see you on into the next lesson of the class. 44. Day 13 - Sunset by the Lake - Sky and Sea: I have my paper taped down onto all the four edges, and I will begin adding in the colors first onto my palette. And then I will move ahead to adding in the pencil sketch details. So first is the Naples yellow color, because you know, this color is not on my palette already. Rest of the colors are already on my palette. I'm just going to begin now with the pencil sketch. For the pencil sketch, It's going to be O horizon line that I'm going to mark. Rest all of the details we will directly be giving in with the paint. I'm done adding in the pencil sketch now onto my horizon line to secure it further, I'm just going to quickly add in a masking tape out there. So if you want all to adding a masking tape at your horizon line, make sure you secure it completely so that the colors and the water do not seep into the sea area. Even if you do not put the masking tape, It's perfectly okay because as it is in-between, we are going to be having in the black mountain range. So I'm going ahead with a layer of water into my sky space force. So the colors for this guy has been discussed. Other shades of yellow, orange, and blue. So we're going to create a sunset closer to the horizon line. And at the top we'll be having in the blue cloudy sky. For the cloudy sky, make sure you have to leave in the white caps for creating in those beautiful soft cloud look. I'm first going to beginning with the new color closer to the horizon line. I will just add in a line of this vermilion color. It's going to be quite small line, not much of a bigger one. Now just about orange color. I'm going to begin adding in the Naples yellow color. So as discussed, if you do not have the Naples yellow color, you can go ahead and mixing white quash along with your yellow color tone and getting a Naples yellow color. So just added a small space of the yellow color. You can see how easily I have added in and the blends between the colors is so smooth. Now on to the Naples yellow, I'm just beginning in some darker depth with the permanent yellow deep color. So basically for the lighter tone, you can even using the permanent yellow light color. And on top of it you can give him the depth using in the yellow deep color. Now very gently, I'm taking little of the yellow deep color just over to the light color tone. So almost half of this guy is going to be of these sunset colors and rest half of this guy is going to be off the blue color. Now you have to be careful about one thing. When the blue and the yellow mixed together, they may form a green tone if not applied properly. So when you are adding in the blue tones, make sure you leave a small white line in between the blue and the yellow so that you do not have the green color formed into your sky. Otherwise, I cannot give you a pretty look to your sky. So I'm beginning with a blue color at the top space. Now I've shifted to a flat brush so as to spread this and get it into a lighter tone. And remember in the center area, I'm going to leave the space majorly white. So quickly using a flat brush you can see how you can spread the color and blend it into this piece creating in that soft white look. So again, on the right side as well, you can see adding using a flat brush, how I'm making the color move till the yellow color without getting in the green tones. And also you can see the blue and the yellow. There is a fine line which is still there in the rest of the space. And with the flat brush, I'm just giving in some of these tropes moving till the yellow color very swiftly and very gently with a very gentle hands so that the green colors do not get formed. In the center of the top area. You can see I've maintained the law space with the people being white. Now using the new color, I'm going to begin adding in some darker depth on to the yellow space. Now make sure before you begin to do this, you'll get loose piece is a little dry so that the colors do not spread a lot. Not completely dry. Otherwise, you will begin to get into the sharp edges instead of the blended load. Now I'm picking up some carmine color for adding in folder Docker depth in the yellow space. So very carefully for us going ahead with the Carmine color on the orange color. Now again, you can see that it's perfect water control. That is the reason the pains or not spreading. I have discussed in a lot of the technique section of this class itself about the importance of water control and how you can achieve it. In almost every second class project, I tried to put in the technique of water control so that if you have missed it previously, you can still go through it. So this is it for this guy. Now I will wait for this to dry and then move ahead further. So now my sky is completely dry and you can see the colors have blended so beautifully into each other, still maintaining each color visible. And also the whitespace, the Cloud space that we wanted for the sky of the blue space. You can see how beautifully that has also been maintained. Now I'm going to begin in with the clean layer of water into the z-space. Now the Sea area is going to be an exact reflection of the sky colors. As I already told you. I'm going to begin adding in the colors one-by-one into the sea area. Closer to the horizon line in the sky, we have the orange and the yellow sheets. So closer to the horizon line in this area, it's also going to be the orange and the yellow sheets and add the bottommost space. It's going to be the blue color. So basically, the CATI is just an inverted reflection of the sky space. I'm done adding in a layer of photo now beginning with the Naples yellow. Now between the horizon line in the Z space, you can see I'm leaving a very fine whitespace because I do not want the colors to run into the sky and ruin the sky. And as it is in between, as I told you, we are already going to be having in the black mountain range, living in that fine white line that will get covered up with the Payne's gray color later on. Next is shifted to the permanent yellow deep color. I will add the orange and carmine highlights onto the yellow color later on. Now in the remaining bottom space, I'm going to be adding in the same setting in blue color. But in this area I'm not going to be leaving in the whitespace so quickly using the flat brush, I'm going to make the planes between the yellow and the blue smooth. So you can see using a flat brush, you can try avoiding getting in the green color if you run your brush gently. So very carefully you can see I've added few of the blue stroke onto the yellow color as well, but still not gotten the green color because my hands were very gentle while adding in those blue strokes and using a flat brush, I quickly added those strokes with a loose hand. In between you can see the yellow strokes are still visible. Now shifting into the formula, a new color I'm going to begin adding in the darker strokes closer to the horizon line. Now again, the important thing here is what control when you are adding in the strokes wet on wet. So my yellow color is still wet. And onto that, I'm adding in the highlights strokes using the orange color. So you can see when I'm adding the orange color, the orange color is not spreading much. It is getting greeting in its shape and it's also letting the yellow color be visible. That is because I have to forfeit water control. Whenever I pick up the pigment, I make sure I neither have excess pigment nor excess water. Whenever you are adding in the details, wet on wet, otherwise the paint will begin to spread a lot. And instead of getting in these, we've looked with the orange color. You will begin to get A-flat mics off the orange and the yellow color. And right now if you'll see, I have bought the colors visible distinctively. Now just as I added some highlights into the sky using the carbine color, I'm going to be adding in a little of the highlight into the area as well. So for that I'm going to use in the Carmine color and I'm going to add little Carmine highlights onto the blue space of the sea as well. Now another trick here, the reason of using the Carmine color or closer to the blue. Because I saw a little green was getting formed and I wanted to hide it. So as soon as I added the Carmine color over onto the blue color, I began to get a violet shade, which goes perfectly with the blue color. That is the reason to hide those green color strokes I used in the Carmine color. So this is how, if you want between the blending of the yellow and the blue color always you can use in little Carmine color as well. Now in this piece itself, I'm going to be having in the reflection space. So why is this is still wet? I'm adding in the area for the reflection. Same way on the right side, closer onto the yellow, orange space, I'm going to have another grass area. I'm just adding a very rough line fascia as you can see. And then from the bottom of this, I'm going to pull out the reflection. So far, the photosphere of the reflection I've just given in a triangle shape at both the spaces and blended it into the background. Now, if I feel that the color is spreading a lot, I'm quickly lifting it up, using the brush and dabbing it off onto the tissue. Now I'm going to begin adding in some darker depth and some strokes as well. So make sure that again, you're, you have the perfect water control. If you will have excess water or pigment, these strokes will begin to spread and your entire get covered up with the Payne's gray color. So very carefully you can see just using the tip of the brush, I've added some reflection strokes at the bottom spaced. Now you need to remember one thing. When you add the actual grass over this area where you added the reflection, you need to make sure that the grass height has to be according to the reflection hide that you've added. So where you've added the reflection in smaller height, the grass out there will also be off the smaller height. So these are some things that you need to keep in mind whenever you're walking along with reflection and details like this. Wait for us each area to dry completely before adding the further details in the z-space. Then since my sky is completely dry, I will begin adding in the foreign HDD using in this point brush and do my sky space. So I'm going to use in the Payne's gray color and begin adding in the details there. So now you're this group beginning to add in the foil H T, T, using the Payne's gray color, I haven't dipped my brush into water. And the pigment also has very less water. You can see it's majorly pigment and less water. That is the reason I'm getting in this dry brush detail. Now in case if you do not have a spoiled grass, you can use your normal round brush, but do not do that in water as well. Just hold the brush perpendicular and dip it onto the pigment directly and try to just press it onto a rough paper audit issue for some time. And then you will see the prisoners spreading across and then use that **** dry brush and adding all of these files, each detail. So very carefully you can see I'm getting the shape has been active for an age only in this piece, as you want to give it to somebody. You can see I've taken the foil age or little more towards the center space somewhere. I've kept it more closer to the edge itself. And at the bottom that is closer to the horizon line. You can see I've taken it a little more towards the center area. Now in the same way I'm going to add in the final edge towards the left side as well, and even the top space. At the top space, I'm going to keep it very thin because I do not want to cover the whitespace and the complete blue area of the sky. And even on the left side, I'm going to keep it literally. Remember, we still have to add in little detail leaves on top of this as well. So make sure you do not add a lot of it and cover the entire sky with this itself. Because in the lake area as well still we are going to be having in little of the foliage details. So we do not want our entire painting to look completely black. It just needs to have in this silhouette detail. So make sure you go ahead and be careful depending on the size of your paper, you decide how much spoilage you need to add in the sky area. So I'm done adding in the foliage. I will stop at this point so that I do not overdo. Now I will wait for all of this to dry. And then in the next lesson we will begin adding in the rest of the details into this painting. 45. Day 13 - Sunset by the Lake - Final Details: So now the furniture is completely dried and now I've shifted to a smaller sized round brush. And again, using the same Payne's gray color, I'm going to begin adding in some detail the flu we discussed about all of this in the technique section. So in case if you've missed looking at the technique section, make sure to give a visit to the technique section of this class project so that it will help you understand how we are adding in these details. So very quickly I'm going to add in some detail looking leaves and foliage. Now. The most left space here, I'm adding in only the detail. We did not add the foliage look out here in case if you add a little visual to, it's perfectly okay. Now even into the rest of the foiling space, I'm going to be adding in little of the DD leaves using these policies round brush. So I'm basically just pressing my brush and lifting it up once I'm satisfied with the length of the lease. So in-between you can see I'm adding some branches and from that I'm popping up the smaller leaves us bread and adenine branches of fields vary randomly. There's no set pattern for this as well. Just basically giving in some detail. Now, do you see that the leaves is not visible right now? But when I give you a closer view, you will see the details out of all to visible and they add another level of beauty to the painting. So do not go ahead with adding in only the foliage, but make sure to add in the Disney didn't look as well on top of it. I'm almost done adding in the detail that the top space now after this via left to add in the mountain range and the grass details into the sea and then adding in that small little boat into a lake space. Then adding in the feces out to hold onto the right side as well. Now I'm going to begin adding in the mountain range to further mountain range, I'm going to add that same masking tape onto the horizon line. Again, not on the horizon line actually. I'll just below this whitespace that we have added in so that I can get that straight line for the mountain range has been so just below the whitespace as I was telling you, I'm adding this masking tape so that I can get the street right. Now in cases you do not want to add the masking tape. Go ahead and directly at the mountain range in a straight line. So this makes me pass easier as I do not have to worry about the units. Just look at the bottom space. Now at the top, I'm giving you in a very dark shade to the mountain, taking it a little bit at species and at the bottom, since I have the masking tape, you can see how freely I can just fill that space without worrying about not having in the straight line. So I fill the entire mountain range with the Payne's gray color. Now I'm going to quickly lift up the masking tape again. Now in case if you are a beginner, I would recommend you to wait for the mountain range to dry completely and then lift the masking tape. Otherwise, you may land up adding in the black color from the masking tape to your painting. You can see that the help of the masking tape, how easily I've got that straight Look to the Mountain Range near the sea space. Now I'm going to begin adding in the folder details. Again, shifted to my round brush and on the right side of the sea space where we're going to have in that glass piece for the reflection which we already added. Then I'm adding indigenous for Elijah. If this brush, then I've been given little detail. Look to this as well. Now shifting from my round brush, I'm going to begin adding in the new name. So I've just defined the line a bit better. And now at the bottom, as I told you in the reflection, again, I'm going to go ahead with the religion of the book. So now I'm going to add this reflection lines. They are going to be a little smaller as compared to the body. The friction that you already have. This is going to be more closer view of the reflection. That is the reason I'm adding in some precise line wet-on-dry who are having the same yeah, I'm going to be adding in the details out. You are on the bottom left side as well. So I've added the line to distinguish the top area and the reflection. Now at this piece, I'm not going to go ahead with the foliage details that I'm just going to give him grass TD using the Payne's gray color. Now to this as well, the reflection I'm going to add in some strokes as well again, to make the reflection more precise. Now, make sure when you are adding this class at the top space, you take in mind the height of the reflection that you've added and accordingly, or main plaza. So that every reflection is to allow your class that the top space has to be taller to match the reflection at the bottom space. I'm just giving you little off these details strokes. You can see because it's the background blurry space that you have when you add this reflection detail. It makes it look more natural because of the gallery space in the background already. Now next in the scene, I'm going to be adding indigenous after o stone intended to foil HD didn't add the bottom-most piece here as well. So fast as the broader media, just having one stone space, I'm going to finish be with the Payne's gray color. And then at the bottom right side I'm going to be adding in some ways be days as well. So now first you're at the bottom right side. I'm just adding in the detail look for the foreign aid. So basically just add the talk. I'm giving you the detail look at the bottom space. I'm just going to fill it with the Payne's gray color. Then we'll add in little detail of the leaves moving from top of this space. So just using the tip of the brush and pulling out some of the grass strokes you can see very simply to give it the messy look out to you all. Now on the left, I'm not satisfied with the leaky it is. So I'm just going to overdo this and adding little more detail look often use very randomly. Now make sure they feel satisfied with that space mode or not to attach this area again and doing it, it completely depends on how satisfied you are. Now. Going to add in a very small, It's going to be quite small one. So you can see I'm directly going to hit with it. I'm not adding any pencil sketch. One that we're adding. Now on top of this, I'm going to show one person sitting now this person, the dealers also going to be very random. And from Nissan I'm trying to show strong to roll the board. Now just using the dry brush technique, I'm going to add in little reflection to the board. I'm going to show the different diminishing your flexion closer to the board line. I began with a long line of reflection and as it moves towards the bottom space, I liked it and narrow the reflection. So very simple detail again. Now I can quickly just for him. Adding some last details onto this piece. On the left side, I'm just adding in little more precise detail of the grass strokes because the details seem to have dried a little lighter. So it quickly just overdoing so that there's details stay vibrant. Now lastly, using some Naples yellow color, I'm going to show a sunset effect closer to the mountain range. So you can either use Naples yellow or you can make some whitewash along with your yellow. You need to have an opaque yellow for this purpose. Otherwise it will not stand out. Hold on to this orange color. So I've added a small yard. As you can see, I'm now using a damp brush. I'm going to blend it into the bathroom and tried to slow the Sundays moving on both the sides. Like you did the background space. This again, I'm going to be adding in a little bigger size, yellow color. Now, just going to spread this as well and they do very new deal. You can see not much like the first one. So now this open of the Sun is also visible unless somebody is moving on what the site. Now quickly using the Payne's gray color at the bottom space, what I'm going to add in some leaves at the bottom space you are now you can see I'm just adding the DMV. Bring, looking nice. So it's very simple. These are just one stroke leaf. You'll begin by pressing the brush and lift up the brush as soon as you are satisfied with the length of the leaves. Now using the Payne's gray color, I'm just going to splatter little stone effect onto the paintings. I'm going to cover the area of the sky because I do not want these factors to go into the skies piece major me at the bottom space just to show very tiny grass and the stone effect. I'm adding these plateaus, make sure you do not add a lot of it has to be bidding the dude. That is the reason I've not added much water as well to my face so that you don't even have the pigment in a very pretty consistency does plateaus will be more so make sure you have a control limit of this plateaus. Now to make this goal, it just said, I'm quickly going to tap these using enough tissue so this will look a little dull, not too bright. So that is it we are ready because painting, Let's remove the masking tape and your final painting. But those clean edges, I absolutely love the vibrancy of the sunset in this painting, and especially the reflections on the foliage, how they've turned out so pretty and all going well together. You also find in painting for the D, we are just two days away from reaching the 15 day mark and halfway through the challenge. I hope you guys enjoyed painting days and launched adding the foliage in this simple way and then just adding little loop. Also learning to add the deflections in this one and, you know, giving him the D-Day look to the reflection wet on wet and wet on dry. Thank you so much to each one of you for joining me into this class. 46. Day 14 - The Clouds - Colors & Technique: Hello everyone. Welcome back to day 14 of the 30-day watercolor challenge. Today we are going to be painting this pretty simple landscape. In this class project, we will be focusing more on creating these beautiful clouds sky. So let's have a look at the colors force that we will be using for this class project. For this guy, I'm going to be using in the shades of blue. It's going to be the same in blue, the cobalt blue color. And for the clouds I'm going to be using in the Payne's gray and the violet color. So we will be using the Payne's gray color for the clouds as well as for the small little tree and the reflections and some dark details as well. Now next let's shift to the colors that we will be using in the field space. So it's going to be the shades of yellow ocher and brown shades. So it's going to be yellow ocher, brown, red. Or you can use in the light red color or red brown color by whichever name it's in your palate. So it's basically a reddish brown color that I'm using in your next for the darker details I'm going to be using in the sepia color. Or you can mixing Payne's gray with your brown color to get a little darker brown color. Now I will quickly swatch out these colors first. Now why did they think the clouds we are going to be using the violet and the Payne's gray color in a very liquidy consistency, not in such a dark tonal variation. We are going to dilute the color by adding in a lot of water and eating in very light color for it. I'm Dan swatching all the colors that we will be using for this class project. Just simple seven basic colors that we will be going ahead with. Now before moving to a final class project, Let's discuss how we will be creating this cloud effect into our sky. I'm going to pick the beginning with a rough area by going ahead, wet on wet. So I'm going to lay down a layer of water first and then move ahead and show you simple techniques for creating in those clouds. I'm almost done adding in the layer of water. Now next onto this, I'm going to begin in with the blue color force. That's going to be the cobalt blue and the setting in blue for creating in those clouds, we are going to be leaving in the space is right in between. And then using the Payne's gray and the violet color to create the cloud effect. So first beginning in with the cobalt blue color. So you can see very randomly I'm leaving in so much of the whitespaces. Now when you are trying to do this, you have to be sure that you're leaving video using the cobalt blue color. You do not use it in an extra liquidy consistency, otherwise wet on wet the paint will spread completely and you will not be able to achieve in the space to keep them right. Now very quickly, I'm just lifting up little after pains from the center space because I feel I added too much if the cobalt blue color. So I just lifted up the color from there and quickly revisit the space to create more of the whitespace. Now on to this and beginning to add in the Payne's gray and the violet highlights. Now you can see the Payne's gray color that I added was so dark. I need it in a very diluted consistency. So I just quickly lifted up that color and diluted it with the help of water into the rest of the space. Whatever whitespaces I had left in in that I have added in some diluted color of the Payne's gray by living in very little white lines in between the blue and the Payne's gray. As you can see. You'll feel that if the blue is more or Payne's gray is more, you can quickly lift up the color using a damp brush and dabbing it off onto a tissue. Now I'll pick up little of the violet color in a very diluted consistency. So I just add little color and then I spread it across every way. So just adding in little of the violet highlights onto the Payne's gray area. Now beginning in with the blue color, again, adding in the highlights, as you can see. Now at this point, if you see there are no whitespace or linings left into the sky to create that distinctive between the clouds and the sky area. So for that, I'm going to quickly using a tissue and create that effect. So for that use one edge of a tissue turned in perfectly having an appointed edge. And you can just run it quickly across the Cloud space, creating it some whitespace blending into the blue areas as well. So you can see this makes a distinction between the sky and the clouds spaces. So make sure you do not have that they should pull firmly. Otherwise it will begin to give you a very rough patch. You have to go in very gentle handedly and just lift up some color creating in those white lines in between the sky and the clouds. So now you all, you can see by just creating in those white gaps how beautiful this guy's looking at the Cloud standout distinctively. Now in our final class project also you can see we have some whitespace. So if you want, you can leave the space wide and be careful while adding in the colors. But in case if the color spread just as minded now you can quickly it was official and create those whitespaces and given the distinction between the sky and the clouds. So let's begin painting in the next lesson. 47. Day 14 - The Clouds - Sky: So let's begin with a class project for day 14. I have my paper taped down and we're going to just beginning with a light pencil sketch, marking out the horizon line, distinguishing the sky and the field space. So the horizon line is going to be a little diagonal this time. That is, it's moving from the left to the right towards the top side. So I'm going to first begin painting in the sky area. So I'm going to begin in with the clean layer of water only into the sky. Make sure you add in an even layer of photon to the entire sky because we are going to be working in wet on wet, creating in the clouds as well. Wet on wet in the first query itself. So I recommend you to make sure that your paper stays wet for enough time. In case if you're using a twenty-five percent cotton paper, I would recommend you to run your brush multiple times. Wait for it to dry a little and then rewrite it. That will help you. Makeup paper stays wet for much longer time if you're walking on a twenty-five percent cotton paper. I'm done adding in the layer of water. You can see I've run my brush multiple times, despite using a 100% cotton paper, I'm going to first quickly pick up both the blue colors out on my palette, which is going to be the cobalt blue and the city is in blue color. Now, I'm using the smallest size paper as you can see. And for painting in the sky as well. I'm going to go ahead using in a smaller size brush that I do not add in more of those clouds spaces or more of the blue sky spaces because I want to leave in those white gaps for the clouds as well. So first beginning in with the cobalt blue color, I'm just beginning into adding the cobalt blue color at the top space, the civilian blue color. I'm going to be taking it more towards the horizon line. Now you can see as I'm moving, I'm making sure to leave in those clouds spaces for adding in the clouds nature on using in the Payne's gray and the violet color. Now into my cobalt blue color, as you can see, I have the public water can contend that is the reason the cobalt blue pallor is not spreading or covering the entire whitespaces. It's remaining intact onto the space that I'm adding it just having the soft edge because of the red bottom. Now, ready randomly you can see in between I'm adding in little of this sky space leaving and white gaps. So majorly, I have created the Cloud spaces at the top area. Now in the center, taking the sky space and then closer to the horizon line again, I will leave in the middle of the cloud area. Now closer to the horizon line, I'm going to be using in the city Lynn blue color. Again, the settlement blue also in a very or medium consistency, not too much. And you can see, I'm blending it a little with the cobalt blue at the top. Now next I'm going to again shift into the cobalt blue color. I'm going to begin adding in little highlights onto the cobalt blue color again, giving in some darker details. Make sure to maintain the whitespace, do not cover the whitespaces, let them be right for now. Also make sure your paper is still wet. Now in case if you feel that after this knee or your paper is beginning to dry in quickly, what you can do is wait for it to dry completely. The way I did, and then add in the Cloud details. Even in that way, you will get the Cloud details better and the whitespaces as bad, but do not add the clouds have wet and dry, otherwise you will not get the detail look. In the same way. I'm adding little more highlights into the centers guys pieces as well. So that I'm using in a little of this shaded in blue as well, adding in the highlights onto the cobalt blue color. But you can see I've still maintain the medium tone, especially by adding in, I have the perfect water content. That is the reason because of which the Cloud spaces are still white wedding I can add in the Payne's gray and the violet color. Now using the city didn't do color. I'm just defining the horizon line well, so just running it very gently onto the horizon line using the tip of the brush. Now next, I'm going to begin painting in the Cloud spaces. So I'm just using a damp brush and making sure this space is bet it was, I guess beginning to dry a bit. So just ran very damp brush out there. Now I'm picking up the Payne's gray mixing in a little touch of the violet. Now using this mix of the Payne's gray and the violet and beginning to add it into the whitespaces. You can see I'm adding it in such a way that there is still a little off the white streaks available in-between the sky and the clouds detail. So I'm leaving in those white gaps to create that distinction. Now you can see whenever I feel that the color added on is a little dark, I quickly clean my brush and try to spread the color into the rest of the whitespace. Now, using in this Payne's gray and the violet color mix, I'm going to create more of the Cloud spaces. So at the bottom medial, so I'm just going to add, and let's turn off the Payne's gray over onto the blue as well and create this as well as the Cloud space. I guess the blue out your spread it a lot. So I'm just going to cover it up using in the Payne's gray color. Now using the Payne's gray color, I'm just beginning to add the highlights onto the violet color that we added in. So you can see when I'm adding the Payne's gray color, if it is dark, I just using the water and then spread it across onto the entire space. Or you can use in the diluted consistency of the Payne's gray and spread it. But make sure when you use that I noted consistency. You do not pick up the color in a very liquidy consistency and drop it. It will just spread and create a bloom instead of blending with the base layer color. That is the reason I'm using the color in a little darker streak and then spreading it across using a damp brush into the space. So now I will wait for this layer to dry. And I will also go ahead with the re-weighting technique for adding in more details. So after adding in little of the blue highlights here now I will wait for entire layer to dry in and then rewet it and add the details. So let's explore the re-weighting technique as well. So now my sky is completely dry and using in a bigger size flat brush, I'm just going to rewrite the entire space. Wherever you go ahead with the re-weighting technique, make sure you go in with very gentle hands. Do not add a lot of pressure. Otherwise the fellows will begin to get reactivated and they will spread across. And you will lose the base TO details. So you can see I'm just going one stroke at a time. After every stroke, clean your brush and pick up fresh water. Otherwise, the colors that get lifted on your brush with the first two will get laid down onto the next layer. So these are a few tips that you need to remember while going ahead with the reweighting technique for any kind of painting. Now to add in the photo highlights, I'm going to go ahead with the Payne's gray color. I'm going to create some darker depths into the Cloud space. Make sure you do not use the Payne's gray color in a very dark consistency, makes sure to dilute it. Or after adding it on the paper diluted quickly using a damp brush. You'll see when I added the color with lots of water, it looms so I will quickly just dab it off. I do not want to actin as a blue. That is the reason I pick up the pigment, dab my brush onto a tissue so that the excess water is absorbed by the tissue and does not get laid onto my painting. Now I'm just adding in the dark oh, highlights using in the Payne's gray color. Again, I'm trying to make sure that I have some whitespaces preserved. Now, even at the bottom space here you can see I'm just adding in the darker highlights using the Payne's gray color. Now using the edge of the tissue, I'm going to go ahead and create those whitespaces so quickly while the paper is wet, you have to list in the colors. Now, do not add a lot of pressure while doing this with the tissue as well. Otherwise, the tissue will create some patches on the paper and it will look in as very rough edge patches which we do not want to have in the soft edge patches or the soft and blends because of the tissue. Makes sure that the paints with a very soft and gentle hand using in the tissue. So I'm done creating in those glowing spaces now lastly, before letting this to dry, I'm just going to add in some darker highlights using in the blue color. And then we will wait for this entire sky to dry and then paint the field area in the next lesson. So all of these blue highlights I've added while my paper is still wet. So make sure you add all of these highlights only if it is wet. Otherwise, skip adding in these highlights or as you may just get in patches of the column. So that is it for us sky area. Now I will wait for this to dry completely. And in the next lesson we will paint the field area together quickly. 48. Day 14 - The Clouds - Field: So now my sky is completely dry and I'm going to begin painting in the field area. So the field area is going to be off the shades of the yellow ocher and brown. So I'll post MI beginning in with the yellow ocher color closer to the horizon line. So I'm going to begin in very carefully. We are going ahead with the wet-on-dry technique here. Because I'm going to directly add in the colors and keep them blending with each other. Now if you want, you can go ahead with the wet-on-wet technique so that you get the blend much more better. In case if you are also going ahead with a wet on dry technique, then what you can do is if any of the previous color begins to dry in, you can rerun that color or a damp brush so that it stays wet for enough time. Hello, closer to the horizon line. Now, I'm going to just use a damp brush and I do a yellow coat color and just run it towards the bottom side. So for the first year of the field, I'm going to cover the entire field space using the yellow ocher color itself. So in the entire field, I will just need down a layer of the yellow ocher color quickly. You can see I'm not adding much water. I'm adding in the yellow coat color in a good vibrant consistency. Make sure you also add the yellow ocher color in a vibrant consistency and not diluted much and create it as a transparent color. So I'm done adding in the yellow ocher layer. Now while this is still wet, I'm going to begin adding in the red brown color. So using in the red brown color, I'm going to begin adding in the darker streets, creating the details into the field. So now I'm using it, my brush. Now make sure that when you pick up the brown red color, you would not add in a lot of water. I'm going ahead with very light layer of the water or brown, red color. You can see it's in such a way that it's not spreading beyond the limit that I'm adding it. And you can simply blend it into the yellow ocher color as well. Makes law again, repeating it. You do all of these while the yellow color is still wet. Now at the top space, I feel that my yellow ocher is beginning to dry in a little. I'm just using a damp brush or you can pick up little color as well. And we ran it on this piece. So you can see I just read on the yellow coat color so that this will now again make that area is still wet and also blend in well with the brown shapes that I'm adding in. Now, the brown palette that I'm adding in Lucan seeds in such a way that the yellow values or not, he didn't completely. Towards the bottom side, I'm adding in more of the brown patches and covering up this piece, leaving in very little of the yellow ocher details. And at the top I have lead more of the yellow ocher be they sent me, I went to adding in furthermore darker details into the field area. Now again, using the yellow ocher color, I'm just running it on this piece. This helps in making the planes clear and also letting the paper stay wet for a little longer time. Now next aspect of the sepia color, and I'm beginning to add in the darker depths with the sepia color. Now onto the brown red color, you can see I'm beginning to add in the sepia color strokes at the top space of the media, I'm going to maintain more of the yellow. Then I'm not going to add in much more detail with the sepia color. It's going to be very little detail with the sepia color out there. Now again, I have picked up the brown red color. I'm adding little more highlights at the top space with a brown red. You can see there is so much water control that the colors are not spreading, they are only blending into the background, basically all of the yellow ocher color. Now, I'm going to keep adding in little more of the brown highlights. That's the brown red highlights. Now you will see me just juggling between these three colors, creating in more depth into the field layer on layer. So again, you can see I'm adding little yellow ocher highlights as well at the bottom space. Now I'm going to keep shifting between these three colors itself, creating in the highlights spaces and getting the perfect blends and transition between the field space. So you can see how using the brown red color I added in more depth now again, using the yellow ocher color, creating the blends, as well as making the paper stays wet again for enough time, I'm getting the perfect transition and the soft edges in the field space. Now using the brown red color, adding in the last highlights at the bottom space, you can see on the right side we created and very much highlighted in the brown red color. In the center, we have more of the yellow color and closer to the horizon line as well, if we have more of the yellow ocher loop. Now using the Payne's gray color, I'm going to quickly add in the tree the reflection to the tree and digit of the bushy area on the left side. So just adding in the small t onto the horizon line on the right side. Now do this. I'm going to add in a reflection as well. So first I'm just going to add in the foyer leads to the t very roughly using the tip of the brush, just dabbing in the Payne's gray color. Now for the shadow of this tree, I'm showing that the sunlight is falling from the right side. So the reflection is going to be onto the left side of the tree. The light is falling from the right side of the tree. Hence, the shadow is falling towards the left side onto the field space. Now to blend this well into the Philly area, you can either use a damp brush or middle of the yellow ocher color. For the reflection. You can see I've used the Payne's gray color in a little diluted consistency and blended it well with the yellow color of the base layer. So I added in a Payne's gray line and then using in a damp brush and little yellow ocher color, I blended it when the eating in the diluted shadow group. So make sure you do not add the shadow with a very dark consistency of the Payne's gray color. Use it in a little diluted consistency and try to blend it with the base e of colors using in the base year colors. Now last week using the Payne's gray color, just adding in little of the bush detail onto the left side very randomly just having in the tip of the brush creating in the foreign age effect there. And then the bottom space, I'm just going to be filling it with the Payne's gray color. So we are done with the class project for d 14, another pretty simple landscape and creating in those beautiful clouds in this class project. So let's remove the masking tape. My painting is completely dry. I waited for a few minutes for it to dry completely. So make sure your painting is dry otherwise, the colors from the field will begin to spread onto the masking tape and the edges when you lift up the masking tape. Our final painting for day 14 of this 30-day challenge, absolutely loved creating the simple, easy class project with such minimal details yet such beautiful looking landscape. I hope you guys enjoyed painting with me today. I love teaching in those clouds and that little shadow to the G as well. I will see you guys soon into the day 15 class project. Thank you so much. Once again, each one of you for joining me into this class and painting along with me. 49. Day 15 - Tulip Field - Colors & Technique: Hello everyone, Welcome back to day 15 of the 30-day watercolor challenge. We are on the midway line of this type ED challenge. Today we are going to be painting this beautiful sunset by the tulip field. So let's have a look at the colors that we will be using for this class project. So fast moving with the colors for the sky. So as you can see, a sky is a sunset sky. So we are going to be using in the shades of sunset and warm colors. I'm going to use in the yellow light color, Indian yellow color. Then for the darker paints I'm going to be using in the orange color. So I'm going to use the woman in new color from this set. I will also be using in little payroll and little brown highlights as well. So for the Brown highlights, I'm going to be using in the brown red color. We are going to use in the same ground with Colorbond Dumbo sepia color painting, that win-win space has been thrown off the windmill I'm going to be using in the Venn diagram. It's a darker brown tone. Go ahead and use any darker brown which is available in your palate. It may not be the exact same name sheet as mine. Now next part that we are going to be using the same colors mixed in with white, That's the yellow, orange, and red mixed in with whitewash. For the Greenfield Lady of the tulips space we are going to be using in the shades of green mixed in with a little bit of Payne's gray for the darker greens, I'm going to use an olive green color and the sap green color. And I'm going to be mixing it with just pain-free for some darker deck. Now, please watch out these colors that I've listed down here. Now in case if you do not have this Indian yellow color, which I mentioned as Indian pool, you can go ahead and mix it. We have already discussed the mix of this color previously in the class projects as well. So the palette mix for this Indian yellow color is you can mixing yellow, orange and a little tinge of brown. You can see it's a brownish orange color, but a little tinge of yellow in it. You can see you can make your orange medium yellow tone and a brown tone to get a similar Indian yellow color. Rest of the pillows are all from the brand PWC. You can find all the color codes and the pigment numbers in the reference section that I've uploaded all the details except for the fence lead which is from the brand right nights that I'm using here. I forgot to mention the last color that's going to be the Payne's gray color. So I will quickly swatch out that color and then give it the name out there. Now in this class project, I will again discuss with you the importance of water control while creating in the sky, getting in the effects of each of the color. And this field area is quite a simple one. We'll directly deal with it in the final class project. And using whitewash will create the opaque look for the flowers in the field space. Coming to the win-win space. I actually did a mistake while adding in this fan space out. You're in the Wednesday. But I somehow connected it and added a little different shape to the fan and revise the painting. So when we paint our final class project, you would know how I just corrected it with the best possible way. And you don't meet the paintings survive because I have absolutely loved the sky and the field area of this painting. Let's discuss the wet-on-wet technique and then move on to the final class project. Samples. Moving ahead with a thin layer of water. Zoo show you the wet on wet technique. We will again be discussing how while working wet on wet, you need to have the water controlled by adding in the details veterans. Otherwise, if you will add a lot of water by adding in the details, the colors spread and just give you one flat color look instead of giving you the look of each color into the background. So fast, I'm going ahead with a layer of yellow color onto the entire space. I'm not going ahead with the exact placement of the sky that we will be doing in the final class project. You are, I just wanted to discuss with you the importance of wet on wet. Now I'm do this first, I'm going to go ahead with the wrong method of wet-on-wet time picking up the Indian yellow color. And I'm just going to drop, begin dropping this color on the yellow color. You can see this color has so much water, the color is spreading so much. It's not going to stay at one place. And if I move my paper even a bit right now, that will begin to spread a lot. Let me add in a little more water and try to show you. So you can see now when I'm dropping the paint, the paint is spreading so much. It's not retaining a specific shape. And once this will begin to dry, it will completely begins spreading more and cover up the entire space and hide the yellow color and get mixed with a yellow color and form a third. Now, I've picked up the orange color and your eye, Perfect Water Control. You can see the orange color is not spreading beyond the limit that I'm adding it. It's staying at that place. It's having a soft edge with a yellow color because we are working wet on wet. But you can see it does not, it has a soft edge but that spreads as well. Whereas the orange color is not spreading. I'm keeping the tissue in my hand ready so that I can dab off the excess water and the pigment on the tissue before moving ahead. So it's very important that you understand the importance of having the perfect Water Control while adding in the details, do not have excess water or excess pigment. Otherwise, when the colors will begin to spread in the base, we will just get one flat layer color. Now your brown color also you can see it's not spreading because of the water control. Whereas at the top space here you can see when I had a lot of water, the paint has spread it completely and at the bottom space here, they haven't spread it. So that's about the water control and the importance while adding in the details, wet on wet. If you will not be having in the water control, you will just begin to get in one flat color look like here. And all the details we'll get loosen up. And at the end you will just be getting in one flat color sky. If you see a final class project as well, all the pallidus, these are visible perfectly in the sky, giving it eats. Now perfect loop. Now for the flowers we will be using in the right brush, as I told you. These will be mixing them with the BCL palace and forming these opaque color loop. It's very important to form these opaque colors. Only then they will be visible on to the background layer, because this background layer is also going to be very vibrant off the same sunset colors of the sky. Now Yoda, again, you can see how the yellow or brown palette I have mixed together and form a yellowish brown color in the background. And at the bottom we have the orange color shapes still retained. Even the brown color flower shape still retain. That is what I meant by the water control and how the color will give you just one flat color loop. So it's very important that you understand and practice this water control every time that you're working wet on wet, it's very important that you make sure you do not have excess pigment or excess water. Always keep our tissue handy, dab it up onto a tissue and then begin adding the details wet on wet. So you will see you get this soft edge and the paints do not spread beyond the shape that you add them in. So this is how we are going to be working wet on wet. I know I have discussed this wet on wet details multiple times in multiple class projects. But that's the basic essence of working with watercolors hands and discussing it over and over again so that even if you've missed the previous lesson, you can still get along and understand the importance of wet-on-wet. So see you all at the top and M again adding in the red Paladin, the liquidy consistency. And at the bottom they added the red color in the perfect consistency, having the perfect Water Control. At the top you can see the pins are beginning to move a lot because it is extra water, so much of liquidity out there and the paint spread a lot. So that is either about the water control for this class project. In the next lesson, Let's begin painting our class project together now. 50. Day 15 - Tulip Field - Base Layer: So let's begin our main class project for day 15. I have my paper taped down onto all the four edges. And we are going to beginning with the little pencil sketch for the windmill space and all distinguishing the sky and the field area. So as you can see, my sky area is bigger as compared to my field space. The field area is going to be the smaller one on the right side. I'm adding in the rough markings for the windmill space that we are going to be adding in. And I'm going to add in the pencil sketch for the windmill perfectly. Now at the bottom of the windmill out here, we are going to be having in a small fence area as well. I'm marking out that fence as well. This time I'm trying to show it around fence piece. So you can see I've taken all the things coffee out there on the edges. And all of these details we will be adding in with the Payne's gray color later on, just simple lines and the fence details. Now next closer to this, we are going to be having in little greenery space. I'm just giving in very rough markings of this as well. Even if you do not do these markings, we can directly add the colors for the field area. We will not be having any pencil sketch. We will directly be adding in all the details in the pains. So let's begin painting the sky false. And then we will move ahead to the fill area. Now, on the win-win, we are going to be having in the blades and the fine detail which I will be adding later on with the Payne's gray color. I'm going to begin in with the clean layer of water onto the entire sky space. I'm not going to be adding in water into the windmill space. I will try leaving that space blank. So the bottom, the top area is going to be covered with a black color. So I added the water layer there. The rest of the windmill, I'm going to leave it blank. I will not be adding in the water layer there. In the fence piece you can add in the colors are outside the wind because it's just going to be a simple fence detail that we are going to be adding it. So very carefully have added in the layer of water. I've tried avoiding adding in water into the grassy area closer to the windmill as well. Now at the top space of the windmill also that I added the water, I'm trying to lift it up using a damp brush and, you know, trying to avoid getting the colors there as much as possible no matter if little color goes and it's okay because they've been meal is going to be off the brown and the darker shades. But as far as possible, avoid adding any, basically your colors out there. So now I'm going to begin with the colors one-by-one. First one is going to be the yellow light color for the sky. I'm going to be adding in the yellow light color and the entire center of the sky. And then I'm going to shift into the orange color. I'm going to mix the orange color to this yellow color on my palette. I'm going to add the orange color at the bottom side, closer to the horizon line. So I've mixed in the orange and the yellow color. And I'm going to add this at the bottom side of closer to the horizon line. I'm going to blend it well with a yellow color. This is just the base Leo Carlos that we're beginning to add in. Our sky is going to be much more vibrant than what it is right now. Even in the rest of the top space, I'm going to quickly be adding in the orange color and blend it well with the yellow color. In the center, you can see we have little Only of the yellow color. Look at the top and the bottom. We have the orange color coming in. Now we're going to begin making these sky a little more vibrant. But in between quickly here I'm lifting up the color that has moved into the windmill. So I use a smaller size Dan Brown brush and quickly lifted up the colors from there. Now I've picked up the orange color without mixing in the yellow color, and I'm beginning to adding the darker there. Now when I'm beginning to add in the darker that you can see, I'm not running it in the straight line rather. I'm just adding in strokes of the orange color creating in the Cloud space into the sky area. Next time picking up the Indian yellow color, I told you the mix of this color already in the previous lesson. And I'm going to begin adding in this color just closer to the orange color and in-between the area of the yellow color. Now, I'm going to add this color on the yellow space in such a way that little yellow color is still visible in between. So you can see automatically as chi is beginning to turn more vibrant with the colors neon Leo that we are beginning to add it. Now I'm again going to pick up little yellow Palo so as to get the blends right. And I'm adding in a layer of yellow exactly at the place where we have the yellow color. So you can see the blends go much better when you add the base layer color in those gaps again. Now using the Indian yellow color in a little thicker consistency and adding in the dark or debt onto the orange color as well at the top right side. So now for creating in the Cloud space, I'm going to keep juggling between this Indian yellow color and the orange color and vibrant consistencies. Now again, I'm going to pick up the orange color. And you can see I'm adding very little water as I'm trying to increase the vibrancy of these colors into my sky space. And again, very casually I'm just adding in middle of this short, I'm not adding in the pallor in a perfect layout. Just very random strokes. I'm still working wet on wet. All of this has been wet on wet. My paper has dried still. Now in-between just getting in the plains and little right wherever I feel that the blends are going a little haywire. And to get the blends right, I'm adding in the yellow light color again so as to maintain the blends between the colors as well. Now using the Indian yellow color, I'm again going to be adding in little of the strokes as well. So just you can see using the tip of the brush, I'm adding in these strokes onto the yellow patches in such a way that the yellow color is still visible in between. So that is it for my sky space. Now I'm going to wait for this to dry completely and then move ahead to painting the base layer for the fee. So let's wait for this to dry completely. You can use a hairdryer to speed up the process. So now Ms. Guy has dried completely and I'm going to begin in with a layer of water onto the field area as well. You can see the sky has turned out so vibrant. The orange and the Indian yellow color strokes are visible clearly and the yellow colored blue is also there. And all the color sheets have turned out so vibrant. So make sure you build your sky layer on layer and maintain the vibrancy as well by using the paints in a little thicker consistency with very less of water. Now very carefully I'm adding in the layer of water so that I do not run into the sky space. So for now, we're just going to be painting the base layer of the field, which is just going to be very simple. We're going to use in the same yellow, orange tones. And at the bottom most space we are going to be using in the green tones. So first, beginning with the Indian yellow light color onto the horizon line. And then I will move ahead to the different colors. Just below the yellow color. I've added little of the orange color now onto the yellow color as well. I'm just going to be dabbing in lifting of the orange color. Just giving in details as we have to begin creating in the field effect from the base layer itself. So you can see I've just picked up the mix of the yellow, orange color and just dabbing it, trying to show in the background blurry effect out here. Now next I have picked up the sap green color and I'm just going to begin adding it from the bottom space so you can see how I'm feeling. Sap green color and the remaining spaces till the orange color. Now along with the sap green, I'm just mixing in a little bit of olive green color to give him little darker debt and just adding it randomly onto the sap green color blends for the bottom field space. Now to further given more darker death, I've added a little bit of the Payne's gray to the green and at the bottom more space. I'm giving you a little of the dark depth with the mix of the sap green and Payne's gray color. Now to get the blends between the orange and the green, right? I'm again going to go ahead with a layer of orange color. You can see by just going ahead with one more layer, the vibrancy has also increased and the blending is also turned out much better. Now I'm going to pick up the yellow light color in a little liquidy consistency. And just using the tip of my smallest size brush, I'm beginning to drop in the yellow color or droplets onto the orange color. You can see creating in little yellow blooms, the orange space. So this is again creating in the base layer of glory details for the flower field that we will be adding later on. Once this dries in the flower D, then we are going to add in once the field area dries completely. Now I'm just going to pick up little more of the olive green mixed in with Payne's gray. I'm going to add a little more darker depth into the green space because I guess once this will dry, it may turn out a tone lighter. And that is the reason I've increased the vibrancy right now. So let's wait for this to dry now and then begin adding in the field details. 51. Day 15 - Tulip Field - Adding the Tulips: So my base year of the field is also completely dried and you can see all the blends have turned out so beautiful. So now before beginning the field space, I'm going to begin in with the windmill area. So for that first, I'm going to begin with the brown red color. So I'm quickly picking out little off the color onto my palette. Now you can go ahead with any reddish shade of brown. Or if you do not have a reddish tone of brown, you can go ahead with a medium tone of brown and then adding the darker highlights using a darker tone of brown for the windmill space. I'm going ahead with the wet on dry technique because it's a small space. If you want, you can go ahead with the wet on wet technique as well. Now I've just tilted my board so that it's easier for my hand movement and so that I get the shape of the windmill right? So first I'm going to add in the margins using in the color and then fill in the rest of the space using in water. So now just using innovate brush, I'm trying to blend the color and run it into the rest of the space. Do not add the brown red color in a very dark consistency for now because we are going to be adding in the darker highlights using in a different tone of brown. So you can see I've added the brown color. If it's a very medium tone in the center, I've used water and just try to dilute the color and blend it. And on the edges have given him little darker day. So at the top and the bottom edge you can see I've added the darker strokes and now just using the tip of the brush for the dropping in little darker tints of the red brown color as well. Now pull the top grade I'm just giving you an outline for now. While it's still wet, I'm just going to pick up little of the Payne's gray color and adding darker depths onto the edges. So just picked up the Payne's gray color and using the tip of the brush, I'm dropping in little darker highlights with the Payne's gray color. All of this is wet on wet. So I just let the brown red color settling a bit and add it in the darker deaths. So for this you can either use the Venn diagram color or darker brown tone or the Payne's gray color as I used in. Now, let's begin adding in the first layer into the field till the first year of the wind will rise in closer to the horizon line, the field is going to be very bloody and very far of view. Only on the green space. We are going to show it flower loop. First half mixed invite, wash into my yellow light color and I'm just beginning to dab in the yellow light color mixed in with white gouache closer to the horizon line. So just using my round brush, I'm just dabbing in this color very roughly. If you would have seen the final class project, you know, closer to the horizon line, the details are very rough and messy. Look to the field trying to show the fire of look for the fee. Now next time mixed in a little bit of white quash into my orange color as well. So I have used the vomiting new color. Now in-between the yellow color, I'm just going to add in little of the flower details with orange color as well. So you can see just randomly between the yellow flowers that I added in, I'm adding in the orange flowers now. Same V. I'm going to continue till the green line of the field space. Adding in the detail is very roughly and trying to show them as part of the days. Now again, I've shifted to the yellow color and I've mixed in yellow and white gouache. This time I've kept the yellow a little more and write a little less. And you can see in between the flower I'm leaving little spaces because then I'm going to be adding in the orange color flower. This time I'm mixing in a little bit of the red as well to the orange color to get a little pinkish tone. Because now you can see we are on to the base layer, orange color on that. If I will keep adding more of the orange flower, it won't stand out that vibrancy. That is a reason I added a little tint of red color so that it stands out differently on the orange color as well. So you can see just by adding in little orange color, it's got a little pinkish touch and how well it is standing out onto the orange color background as well. So very randomly you can see I'm just having the tip of my brush and random shapes creating in that far afield look. So I'm done adding in the details to show in the fire of field look. Now I'm first going to add in some detail looking leaf and then we're going to add in the clothes are looking to let details. And then we will see if we need to add in more of the file looking to lifts. So I'm picking up this ad green color mixing in with a little bit of the olive green and Payne's Grey already on my palette. And using this green, I'm going to begin adding in some loose leaves from the bottom on the green space. So just using my round brush, you can see I'm adding in very random shape to the leaves. So I pressed, I begin with a pointed tip, then I press the value brush. And once I'm satisfied with the length, I lifted up, giving it a pointed edge again on the other end as well. So very randomly on to the entire green space, I'm adding a list of different angles and different heights in-between. You can see I'm adding in some smaller leaves and some of the bigger leaves till the orange color line. Then once these will drive even adding the flowers onto these as well, which are going to be the flowers which are closer to our view. So I'm almost done adding in the leaf details out here. So basically this was just a mix of the sap green and Payne's gray color that I've added the leaves now, I'm just going to pick up a little of the orange and the white color mixing. Just going to add a little more flower details. You're closer to the yellow one. And now this dries completely. I'm going to add in the other details closer to the windmill space. On the left of the windmill, you can see here we have the whitespace where we were supposed to add in a little of the bush details. I'm going to mix in a little bit of the yellow ocher to my brown red color to get a little lighter tone of brown. You can use any shade of brown that you want. And at the top of this bushy area, I'm just going to begin giving in the details with the brown color. Then I'm going to mix in the sap green and the Payne's gray color out. You are closer to the horizon line and fill in the complete space. It's just a little touch of brown and then rest of it with the Payne's gray and the sap green color mix. Now we're going to fill the entire bottom space of this bushy area completely with the sap green and Payne's gray color mix. Make sure you define the windmill line well and do not run into the windmill space. I'm going to add in the bushy area to the right side of the windmill as well using the same color combinations. Now using in little of the yellow ocher color, I'm just going to add in little grass strokes at the bottom of the windmill. Now in case if you do not have the yellow coat color, you can just go ahead and add in little strokes with a yellow color. Very little, or you can even skip this part. It won't be visible much any which ways because we will be adding in the fence detail there. Also I may have missed to mention the yellow ocher color while discussing the color techniques because I missed on to this part of the painting. Now using the Payne's gray in a very light consistency, I'm going to fill in these two blocks at the top of the windmill. So you can see such a diluted consistency of the Payne's gray color that I'm using it. Make sure you do not run out of shape because if you add the Payne's gray color after that, there is no going back, you will get a patch out there. Now next I'm going to pick up little of the white gouache and begin adding in the detail. Onto the windmill creating in the windows and all white watercolors will not work great. It will not give you an opaque look. It will give you a dull. So I recommend using either whitewash or white acrylics. I'm using in the white quash out here and just beginning to add in the windows, you can see very random details. I had not added the pencil sketch for this because as it is, we're not going to leave them separately. While adding in the brown color. If you want, you can go ahead with different details onto the windmill area. It's completely your choice if you have a better reference or if you, we still go ahead with something different. Now next, using the Payne's gray color, I'm going to add in the wind blades or to the windmill on the left side. So you can first have a look how I'm adding in the wind blades. I'm going to be adding in for wind blades. Or you can go ahead, as I told you, if you are following a different reference, then you can go ahead with your own reference. So first add the center part, and now I'm adding in the four blades. And then I will define the shape of these blades as well. I'm just giving you the blades a little triangular shape as you can see, CMV, I'm going to define the bottom two blades as well and give them a little define sheet just as the top two out here. Now once these will Dr. Evil adding highlights using the white color later on. Now lastly, I'm adding in the fan yard to the windmill as well. So this fan is something that I messed up actually. So make sure you go ahead with a very small fan as well. So I just messed up with the blades of the fan. That is the reason I had to increase the size of the fan-out. You're on the windmill. So you can see I just messed up the blade and everything just on as a black dot out there. That is the reason I'm increasing the size. So what I'll do is I'll wait for this to dry and then maybe define the shape. Well. So I'll quickly even dab off the pains from there so that they dry lighter. So just using a tissue, I adapt it off. Now, I just again begin defining this a little more better. So as I told you, once you drop the darker tones on the lighter tones, It's very difficult going back and trying to cover it up. So that's what somewhat mess that I created out here. And now I'm just trying to cover it up with a sober looking detail out here for you, I would recommend to go ahead. So very small look of the fan out there and not mess up like cow. And what I have done out here, I'm still not satisfied with this different kind of shape that I've added in. I will still be correcting it further. But for now I just want to freshen up my mind so I will move ahead to the next slot of details. And then I will go ahead to that when we fan again and corrected. Now using in the Payne's gray color, I'm going to begin adding in the fence detail in front of the windmill. So remember the pencils sketch that we had added. So I'm just going to quickly be adding in the details out here. Now if you're not confident about adding in these smaller details using in the brush and the black color, you can go ahead and use a fine liner pen and adding these details. Now at the bottom side you can see I'm just dabbing and adding in little grass detail as well. And at the top I've given in the fence loop detail. Now let's begin adding in the closer looking flowers. So for that I'm mixing in the yellow light color and the white quash. And I'm going to begin adding in the first set of yellow flowers. Make sure the color is opaque by adding in white gouache only then it will stand out on the green color as well. Otherwise it will not stand out and you will just get a very dull look to the flower. I'm going to go ahead with a very simple tulip shape. You can see just two petals that I'm closing, adding closer together. So basically a U-shaped you live with little or bonding in between as you can see. So leaving in spaces, I'm going to first be adding in the flowers, but they're yellow color. Then we will be adding some orange and red mix. So make sure you do not add a lot of tulip only with the yellow color. We still have to add in with the orange color as well. Now sum of the two lips, you can see I'm just adding a single petal, trying to show it as a closed you live. And also have added in the two lips at the bottom space as well, because it's not that the tulips are only at the top space. Now, I'm adding in orange, white, and red color and farming in this pinkish red color that we haven't. And using this I'm going to begin adding in the Florida few lips in between. Now again by adding the two lips. So I'm going to striking a balance between some single petal Julie's. Some I'm adding in two to three petals, your lips as well this time. So again, it's onto you how you want to strike a balance. Just make sure you have both the color looking tulips well into your painting, not just one color, single tulip. Otherwise it will not give that look what we've tried to create closer to the horizon line. Now as soon as we've added in these tulips, which are closer to our view. You can see the tulips behind that is the far off. Your two lips are also beginning to look like your lips. All year. It was just looking as patches of the color, but just by adding in the define flowers closer, they are also beginning to look at as flowers. Now lastly, I'm going to pick up the red color without mixing in any white quash. And I'm going to add in some of the tulips using in this bright red color, suggest some of them in-between the yellow and the pink colors that we have added it. So now I'm going to quickly add in little of the red tulip detail in the far afield area as well. So I'm just dabbing in middle of the red color. Now, the field area in the back area is already dried you. So to get this red color blend look much better. I'm going to go ahead and let you off the dabbing with the yellow palate again there so that the red color looks, you know, settle with the field space and does not stand out differently. So you can see I'm just adding in little dabbing with the yellow color mix of the white quash again. So that is it for the field area for now. Now, I'm going to pick up the white quash and begin adding in the detail one of the highlights so closer to the when we're using in a smaller size pointed tip brush, I'm going to begin the highlighted look. So first onto the fence area at the top of the Payne's gray color. I'm just adding in very fine white lines, as you can see, not necessary that you have to add the white lines onto the entire species. They can be just down to a few of the lines, but make sure you add them in such a way that the black color lines are still visible, they shouldn't be beyond the black line. Same way I'm going to just add in little highlight strokes onto the windmill space and onto the blades as well. So you can see just adding in little dry brush strokes with the white color. Now using this brown color, I'm just going to add in little of the bush detail out your on to the rest of the horizon line, defining the horizon line well and distinguishing it from the field area. Now I'm going to quickly add in the same detail to the flowers. So for that I'm going to use the brown red color which is already on my palette. And using a smaller size brush, I'm just going to add in the stem to the closer looking flowers that we've added in. So just simple stem moving till the bottom edge of the paper. So not necessarily to add to all of them, you can add some of them connecting into each other as well. So you can see adding in simple stem details also gives him such a detail look to the field again and just adds another level of detail to your painting. Now lastly, using in this yellow color mix, I'm just going to give him little more yellow details or TR, because I feel that red color is overpowering the space which I do not want. I'm just going to cover up some of the red background few lives and cover them up with a mix of the or whitewash and the yellow color. I forgot. Correct. That fans pays for now and I am removing the masking tape. So after removing the masking tape, I'm going to be correcting in that fan space as well and get it into all six to eight blade fan. So make sure you watch this till the end and see how I corrected that mistake out there. So now quickly using the Payne's gray color, I'm going to correct this space as I told you, to create further blades into this and show it as a fan shape out here. So correcting this was a very messy process and getting some sheep out of the entire mess that I had created was a very difficult task. But I somehow managed to get a decent shape and not spoil this loop. Do I know it does not match the sizing of the entire or details that I've added in. But still something better than getting the entire painting spoil. This. My most favorite painting because of the beautiful field looked at. We got it. And somehow I just could correct that little mistake and somehow gets some surviving shape out there. Yours. The final class project, what we painted for day 15, and just a small tick and trip to how you can try to correct the shape by going ahead with some different detail out there and trying to cover the mistake that you make in a unknowingly. So that is it for day 15, we're halfway through this challenge. I will see you guys into the next lesson soon. Thank you so much for joining me into this class and happy painting. 52. Day 16 - Moody Landscape - Colors & Technique: Hello everyone, Welcome back to the 16 off the 30-day watercolor challenge. Let's have a look at the colors that we will be needing for today's class project before moving to our final class project. This time as chi is going to be a moody sky for which we are going to be using in only the indigo color. So we are going to be reading the tool and values of the indigo color for creating in this moody sky. Then coming to the other details of the painting, moving to the field areas. So fast you are at the top. We will be using this shade of yellow, light, yellow ocher and a little bit of brown. Then as you move further at the bottom space here you can see the brown sheets that we have used it for other brands I'm going to be using in the raw umber, burnt umber. Now if you do not have any of these specific colors, you can go ahead and use the best alternative brands available in your packet. Then for the part b as well, we are going to be using these browns. And then for the remaining fields pieces, the green areas I'm going to be using in different shades of green, which is the light green, olive green, sap green color mixed in with little bit of Payne's gray to get in the darker tonal variations. And then lastly, I'm going to be using in white gouache for adding in little Florida and effect mixing it with a little bit of yellow Asbell to get into effect out here to get the opaque look. So that is about all the colors we'll be needing for this class project. Now let's quickly begin to swatch out these colors one-by-one. Some of these colors I already have on my palate. Some of these colors I do not have on my palette, which I'm going to be freshly squeezing out from the tube. Now, all of these colors are from the brand PWC. If you do not have any of the specific name color, you can go ahead and have a look at the pigment number of the color. I've uploaded all the pigment number resources in the pigment number details in the resources section of this class. So that if you do not have the same sheet, you can visit the pigment number. The best alternative shade of the same available in your palette. Now as I always keep repeating, it's not necessary to always have the same shades as well. You can go ahead with the best alternative sheets. So safe around. But if you do not have the exact glom, bushy, you can just mix in a little bit of your yellow ocher with a little bit of burnt umber and you'll get almost an equal tone to the row ambushed shade. It's about mixing the colors which are available in your palate and getting the sheets. So I've switched the teens post because both of those browns, I have to space them out from the cubes. I thought of swatching out the greens quickly first, and then the Payne's gray color. I'm using this from the brand white knights, except for this, all of the other colors are from the same brand, PWC, you can visit the resources section for the exact pigment numbers. Now if you do not have a bond amber color, you can go ahead and use any darker tone of brown. You can see in the center for the pathway I have used in this brown. And you can even use a little bit of the sepia color forgiving in Dhaka depths. Or you can mix in Payne's gray with burnt umber forgiving in that darker depths. Now as I discussed with you, some of the color mixes of the browns. I'll quickly note down those color mixes for you, because usually these shades are not there in each valid one, is the raw umber color for the Rama, as I told you, you can mixing yellow ocher along with little bit of the burnt umber color and you'll get a stone to the raw umber color. Next, let me quickly swatch out the Van **** brown for you, which is a darker brown color. Now you can either use when the crown or you can go ahead and use sepia color, or you can even go ahead and use any other darker tone. Which is available in your palate. So as wash the Van **** brown color from this set. And I'm going to show you the color mix that you can create if you do not have the exact direct same sheet in your palate. So frankly, you're taking the Van **** brown color. You can mix in your burnt umber or any medium tone of brown along with Payne's gray color or black color. So I can suggest you either any tone of brown along with Payne's gray to get a darker brown shade. Also, many of you may not have the indigo color directly into your palette. So let me show you a quick color mix for the Indigo hello, which is almost 90%, 95 per cent same to the same indigo color. So you'll need to mix-in Prussian blue along with the Edo Payne's gray or black. Now if you're using the black color, make sure you add in very little of the quantity. Even if the Payne's gray cannot go in with little quantity at a time. So I'm going to quickly show you this mix of the Payne's gray and the Prussian blue color and show you how this forms and almost nearest indigo color. You can see the color mix that we've got by mixing in the Prussian blue and the Payne's gray is almost near to the Indigo. Now, depending on your color pigments, you can still vary the color tones a little by adjusting the proportions. Now for this guy, you can see we have created a glowing moody sky which has white gaps in between. So this is all about playing along with the water control technique of watercolor. If you will not have the perfect water control, you will not be able to achieve in these glowing spaces. Just reusing in one color to create the moody landscapes. So to have a better hold on the water control for this class project, I'm going to be quickly discussing with you the water control technique. The right way of having the perfect Water Control and the do's and don'ts a widen while creating these glowing spaces for your watercolor painting. Let's quickly have an overlook of the water control by creating in these glowing spaces. So I'm going to go ahead with two small blocks out your one where I will be showing you the wrong way of adding in the details. And the one where we will be discussing the right way for adding in the details to get in those perfect glowing spaces. So let's begin with the wrong way first, I created a small block, as you can see. And I'm going to go ahead with the same sky. Hello, that's going to be the indigo color itself. So for the first layer, I'm going to go ahead with the color mix that we created in using in the Prussian blue and Payne's gray color. I'm not using the direct indigo color here because it's just a simple exercise that I'm trying to show you here. First, I'm adding in the color. You can see I'm adding the color with so much water into it. And I'm just creating in the first layer wherein I'm leaving in the spaces of the white gap. Now in the next layer, I will begin adding in the darker depths. Remember, keeping the glowing space. But for this exercise, I am going ahead with the wrong method. So you can see I've picked up the color with so much of water and as it lay down the color strokes, they begin to spread much and do not stay at the one single position of the stroke that I've added in. And gradually when you will keep adding in more of the layers, there will be more water onto the paper, creating more of the Payne's to flow around. Now, let's begin with another block and show you the perfect way of adding in the details wet on wet with the water control. So now you are as well. I'm going ahead with the first year living in those white gaps. Now this time you can see I've not picked up much water into my brush. It's more of pigment, but not excess pigment as well, that it spreads a lot. Now in the top layer, you can see the white caps are hardly visible and the colors are still flowing and bleeding into each other. And there are no species or different color tones left out. Let's begin adding into further details onto the second part. Now, for water control, always dab your brush onto a tissue or paper towel or a cloth to make sure that all the excess water than pigment gets absorbed by the tissue. And then when you begin adding in the strokes, wet on wet, there is only little pigment that gets laid down onto the paper, causing it to not to spread and also giving in the stroke details wet on wet and letting us maintaining those white gaps. So you can see while adding in the details on the second one, every time that I pick up pigment, I make sure to dab it onto a paper Darwin, so that all of the excess paint and the water is absorbed by the tissue. Now I'm able to have in the water control my stroke selling exactly where I put them, unlike the first one where they've spread it completely, alter your, you can see more of the whitespace being maintained. So as I told you, even in the previous class projects, everything when coming with too wet, wet on wet details is dependent on the water control. By adding in the details wet on wet. Only then you will be able to achieve in these glowing spaces into your painting or getting the detail looked at you're trying to create. If there will be no water control, you will just be getting in flat layers of color mixes instead of each of the distinctive color look. So I recommend to each one of you to practice a few exercises for water control, working wet on wet details and understanding how a water control plays a major role in your watercolor wet on wet details. So you can see the color is still spreading and you're, the colors are not spreading creating in that space. So that is it for the technique and the color section. I will see you guys into the next lesson where we begin painting our final class project for the 16. 53. Day 16 - Moody Landscape - Sky: I have my paper taped down and we'll begin in with a light pencil sketch before moving to our final class project. I'm going to begin by marking out the field space. So it's going to be diagnosed more on the left side and moving towards the right side, I'm going to make it go at the bottom area. Now, on top of it, on the right side, we had another yellow small field space. And now in the center, I'm marking out the area for the pathway that we are going to be adding in. So in the center space, I've marked out two spaces for the pathway that we're going to show. The moving mud space in the field area in the center of which we are again going to be adding in little grass details. Alright? And there is the vanishing point in the center or near to the field space. So this is about the pencil sketch. Now, we are going to be having in a small tree, which we will be adding in the details later on with the paints directly. And this guy is going to be a simple moody sky with the indigo color as we discussed. So let's begin with this guy first. I'm going to quickly pick up little of the indigo color out on my palette because I do not have the indigo color onto my palette. I'm using the indigo color this time from the PWC said I loved the Moody, moody mood that this color or transmits. Now to create the moody sky, I'm going to be playing along with the color tonal variations of this indigo color. So I'm going to be using this indigo color in different color tonal values to create in that depth into the sky, so forth. Let's begin in with a clean layer of water onto the entire sky space. Now make sure you run your brush carefully. Do not enter into the fields pieces because indigo is a darker color and a fields are going to be off the lighter tones, That's a green and a yellow sheets. So make sure you stay only into the sky space. Now, despite using a 100% cotton paper, you can see I'm running my brush multiple times so that my paper stays wet for enough time until I can add in all the details. Now beginning with the indigo color, I will begin with a very light consistency. You can see an in-between. I'm already beginning to leave in those white gaps for creating in the Moody cloud effect. So make sure that you make keep leaving in those white gaps while adding in the false self. And the paint will already have a soft edge because our paper is wet. So you can see I have less than enough of the white gaps. And even then I have to add in the darker details. First layer, I'm going ahead with the lighter tone it safe, and then I'm going to build in the layers using in the different tonal variations. Now for adding in the darker depth, I've picked up the indigo color in a little thicker consistency. You can see with less of water automatically, with less water, the color tones darker. Just wherever I have to add in the darker depth, I'm beginning to add in the darker details. It makes any going to be at the top spaces that I'm going to give him the darker values of the indigo color. But I'm going to make sure that I maintain that white glowing spaces in between to create those Cloud and moody climate into the sky area. Now quickly using a damp brush, I'm going to lift up little of the colors from the bottom space here, because all of the whitespaces has got covered up with little of the colors as you can see. So you can use the lifting technique for lifting up the colors if the colors seem to have spread a lot. But again, whether the lifting technique will work with your pigment or not, you need to first test it on a rough paper before you begin to paint it. Because many of the indigo colors maybe staining indigo colors, which means when added on the paper, they add the scene quickly to the paper. And the lifting techniques do not work with such staining pigments. So you need to check with your pigment number and your pigment details whether it's sustaining pigment or a non staining pigment to perform the lifting technique. Now, I'm just adding in furthermore, darker values and darker depths at the places at the top spaces. At the bottom, closer to the mountain range, I'm going to keep the sky lighter and of the moody color itself. It's only at the thought that I'm adding in the darker depths. Even at the top space, you can see I've tried to maintain that wide gaps in between. And even if that off, if you feel that the white caps are beginning to get covered up, you can lift up the colors from there as well. So that is it for a pretty simple sky. Now I'm going to wait for this to dry completely before moving ahead further. So now my sky has dried completely and I'm going to, and adding in the further details into this painting. Let's begin painting the field area. For that, I'm going to go ahead with a layer of water onto the entire field space. Make sure you do not run into the sky space. Otherwise, the colors will begin to bleed into the sky. So closer to the sky, you can skip avoiding in adding in the layer of water. There you can directly beginning with the color. So if you notice, I'm leaving a very fine line. It just like a 0.1 MMR points to m, M line gap that I'm leaving. And then I will directly beginning with the layer of the paint for the field area. We are going to go ahead with the wet-on-wet technique, adding all of the details wet on wet, even the brown pathways and all of the details so that all of them look well. Going along together. First we'll begin painting in the yellow fields at the top and then move gradually to the Greenfield's and the path we add the bottom space. So I'm going to quickly pick up a little of the raw umber color because the raw umber color is also not a part of my palette out here. I have the yellow ocher on my palette, so I'll just pick up a little of the rhombus separately. So first using the raw umber, I will quickly add in this pathway. This is just the first layer to the path we are going to be adding in the darker the EPS using in the brown and the Payne's gray color. Now in the center of both of these pathways, there is a small white line you can see. Then I'm going to be adding in little of the green effect to show a little of the grasses growing in there as well. Now next time picking up little of the bond amber color as I told you to add in the darker depth. So wet on, wet onto this as well. I'm just adding in the dark adapt quickly. You can see majorly on the edges that I begin adding in the dark or depths. Now next let's shift into the yellow color and I'm going to begin adding in the yellow color out. You're at the top. Now going very carefully with a pointed tip brush out here so that you do not run into the sky space and ruin out your sky, as well as the field area. Beginning with the yellow color, I'm going to add an almost covered this piece with a yellow color. Next, going to pick up the yellow ocher color and add in the details at the bottom of this piece. And lastly, I've picked up a little of the light green color. I'm just going to show a transition from the yellow fields to the green fields. So in-between I've added that little layer of the light green color. Now very carefully running around the pathway areas as well. I'm going to add the rest of the green fields. So this is what we call working wet on wet. Like all of the details we are adding, the details in the field are still wet. So I added the pathway first, that settled debate that is still wet, but certainly no V. And now when I'm adding in the green colors, you can see I'm not adding much of water. That is the reason the greens and browns are not mixing with each other completely, but they still have a soft edge. So when you are adding in all of the details in the field area, make sure you do not add excess water to any of the details. Otherwise you will not be able to achieve and add all of the details wet on wet. Now as I'm adding in the details on the other side of the field, you're also, you can see when I'm adding the green closer to the brown details, the colors are not bleeding into each other. They are staying where they are supposed to be, but still they have a soft edge because of the wet background. Now to give him the darker that I'm mixing in the green with the indigo color, you can mix it with the Payne's gray color. But since I had little of the indigo on my palette, which may otherwise go V's are dry out. That is the reason I use the indigo color and it goes a little better than the Payne's gray color by creating in Dhaka depths for the green color. Now on the left side, if you see the green and the brown, are the brown began to dry a little using a damp brush. I'm blending the greens and browns using a little raw umber color again, because I want the soft edge between them to stay engaged. Even if your DBA's begin to dry like this, you can quickly use a damp brush and little of the Fellows and get a soft edge to both of them again, trying to show the perfect blending happening out there. So I'm just adding in the layer of grounds again so that this stays wet for a little longer time. This is another technique or a trick that you can use, formulating your pains or any specific areas stay wet for a longer time by adding in a layer again on top of it. Now using in the sap green color, I'm going to add in the center area you want to show in the grass detail in-between the pathway. So just simple sap green color. Now next, while the pathway is still wet, I'm going to pick up a little of the Van **** brown color. I'm going to quickly begin adding in the dark or that test bed. So now just using the tip and the Van **** brown color, I'm beginning to add in the darker strokes in the pathway medially on the edges. And you can see just some soft strokes that I'm adding it, not covering the entire pathway with the darker tone. Now next I'm going to cover the sky space and using the vendor color, I'm going to add in some splatters onto the pathway creating in that muddy effect. So make sure you cover the sky. If you are not confident. Otherwise, you can see this plateaus moving into the sky. So I'm going to quickly cover the sky and then go ahead and add in the rest of the splatters. Now I picked up a little of the darker tone of the indigo as well. In the splatters, you can add these plateaus onto the green spaces as well. So major now I'm adding in this plateaus at the bottom base of the field, as you can see. Now using the tones of brown, I'm going to quickly add in little detail onto the yellow filled out yours. I'm just going to create an little depths by adding in these simple strokes. And now if you feel that these pieces are beginning to dry in, so using a damp brush you can quickly keep blending them into the background. So I'm just using a damp brush and blending them into the background well so that all of this has a soft edge, just creating a little field details out here. So I'm been alternating between different tones of brown as you can see to add the details in the yellow fill space. And all of these were wet on wet. So the yellow field, It's a little wet steam. Now again variable, you feel the need, keep on adding in the details on the path p as well. That's the edges creating in the darpa strokes. Now next I'm going to be adding in the tree out here on the left side. So this again, I'm adding in wet on wet. So basically the green area is a little bit, I'm going to be blending the tree into the bottom field space, trying to show that it's rooted into the field area. So I'm spreading the Payne's gray colors. You can see I'm blending it into the green color, trying to show in the perfect blending of the roots of the tree inside out. You're showing a whitespace from where the tree is actually growing out. Also added in little reflections. These will act as little reflection as well to the tree that we will be adding it. Now on the right side, just separating the fields between. So using in the sap green color, I've created a little distinct look for the yellow field. Then separated the pathway and the rest of the field spaces, as you can see just using simple stroke of the green color. Now I'm mixing in the sap green and indigo color, getting in a medium tone of the green, a little on the darker side. And I'm going to add in the foliage to the tree that we just added on the left side. So now you can see the root of the tree looks perfectly blended and coming out from the field space. Because of the wet-on-wet technique that we used and created in that blend. Now, I'm going to begin adding in the foyer leach out you're an in-between wherever I feel like creating in little lighted effect, I'm going to quickly dive out the paints using in the tissue. So again, you're now I'm going to dab it a little with the tissue, so just quickly dabbing it. So this creates little of the lighter effect onto the foliage as well. Now again, I will add little foolish, but in such a way that not covering all of the lighter spaces that I created. By dabbing the tissue. In this way, you can get little light effect falling onto the tree as well, trying to show the lightest pieces of the tree. So very simple, fine, it just dabbing in the tip of the brush. You can see I've created the entire freeList for the tree. Now from the edges, I'm just pulling out some branches and some time like details out from the tree to make it look nicer. Just using the tip of the brush, pulling out these details and trying to make it look as the nitrogen three. So now we'll wait for all of these to dry completely and then add the flavor and the grass details into this painting. We are almost done just a little more before we remove the masking tape. So see you in the next lesson. 54. Day 16 - Moody Landscape - Field : So now all of my details are completely dry and I'm going to begin adding in the details using the in the white quash, mixing it with a little bit of the yellow. First, I will begin it by mixing a little bit of green to add in the grass details as well. A little. On the bottom right side, I'm going to add in little grass strokes using in this mix of the green and white gouache. Now the reason for mixing invite cautious to get in an opaque layer so that you guessed the grass torques visible onto the green color. Try using indirectly the watercolor and adding in the grass strokes. You will notice that once they try, they begin to look dull because they do not stay opaque because of the darker layer of watercolor underneath already. But as soon as you're mixing a little bit of the white quash to your color and begin adding them. You automatically begin to get in the opaque strokes and the lighter color is also visible on the darker watercolor layer. As you can see, I've quickly added in a little of the strokes out. You're on the bottom right side. Now I further darken the stroke by adding in little of the darker green color into the same white quash. You can see now I'm getting into color tones for the grasses as well. So majorly on the right side I'm adding in a lot of these strokes, as you can see, just filling up this entire space out here with the strokes quickly. Like little of these move into the top field area as well. Not a problem at all, but not much effect covering the entire field. You can see I'm taking in very little of these details out there. Now on top of these strokes, I'm going to begin adding in some of the darker strokes using in the mix of the indigo and the green color for this, I'm not mixing invite gosh, because you can see how dark this color is. So it is automatically, the villain has an opaque look over the lighter tones that we have added in. So just adding a little of the grass strokes using in this darker color. Now it's in such a way that not all of the lighter strokes are covered up completely. So make sure that your lighter strokes are also visible in between. Adding in the depth to your painting. Now on the left side as well, I'm going to quickly be adding in little of the grass strokes on the pathway or line out there. So very small strokes, not much of them. Now using the white quash, I'm just going to show him little flower details out here. So just going to use dabbing technique and showing very simple details for the flower. Not going in with the detail look to the flowers out to you. Only one thing, make sure you do not take these flowers a lot closer to the tree. Just keep it closer to the borderline of the pathway, trying to show him the flowers growing across the pathway. Now on to this, I'm going to be adding in some highlights with a yellow color mixing as well. So I'm mixing in the yellow light color with the white horse to get an opaque look of the yellow palette. And now I'm going to begin adding in the yellow flower. Now it's going to be in such a way that we still have little of the white flowers visible in between. Now using the yellow-green color, I'm just going to add in little off the flavor or grass strokes, you can call it just below the yellow and the white color. Now this yellow green color, or sorry, the light green color is already an opaque color if used in our thick consistency. In case if you are light green color is not an opaque color, you can simply mixing white gouache and create a lighter green color, and then begin adding it to get in the opaque look. So just adding little at the bottom line to showing little grass details there. Now using in the yellow color, I'm just going to add in little details at the top left side here as well, new to the field. Very little, not much. So just a very small, teeny many dots are there just to show you now as we have a field on the right of the yellow color. So just adding in little depth out here as well with a yellow color. Now I'm going to cover almost the entire painting leaving the bottom-right site. Now at the bottom right side, I'm going to quickly be splashing the yellow and the white gouache mix to create the wildflower look out there. So just mixing it gouache and the yellow color in a good consistency or not too light. I'm going to pick it up in a medium consistency so that it's visible out here and going to begin splashing it onto the green color. So I'm going to force platter related and then using the brush, I'm going to add in some bigger details of the wild flowers as well. It's going to be majorly on the bottom right side only onto the grass strokes that we have added in. So make sure before you begin to splatter, you have rest of the space is covered up so that the splatters do not go beyond the grass strokes that we have added in. Now quickly using in the yellow color mixed in with white gouache. I'm just adding in some of the biggest trucks out here to give him little details in between and showing in the depth of the wild flowers out there. Now make sure you're mixing white brush with the yellow color because otherwise it may not stand out this opaque onto the green color, darker strokes that we have added it also do not add a lot of water to this white quash meets otherwise it will again begin to act as a transparent layer instead of acting as an opaque layer. Now using the Payne's gray color, I'm just going to add in little branch effect into the tree. So earlier we had just added in the details with the green color. Now, just if between adding in small strokes to actin as the branches of the tree. Very little you can see just as Captain, between using the tip of the brush. Also adding a little darker strokes out into the field space with the Payne's gray color. And then we are ready with this class project for the 16 as well, just 14 days away from closing this 30-day watercolor challenge. So that is it. We are ready with the class project. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once all of your details are completely dry, especially the bottom edge details. Otherwise, the colors me begin to get lifted and laid down onto the clean edges. So be very careful while removing the masking tape and always remove the masking tape against your paper so that you do not pay off the edges. The final painting for the 16, I hope you guys enjoyed painting this beautiful moody landscapes with me today. I absolutely loved the sky, how it is glowing in this one. I hope you enjoyed painting this and had a better learning of the wet on wet water control technique while adding in the detail. Thank you so much to each one of you for joining me into this class. I will see you guys soon into the day 17 class project. I hope to see you all joining me into the further lessons as well. If you like the class for whatsoever reason, make sure to drop a review so that it can reach maximum students. 55. Day 17 - Lavender Field - Colors & Technique: Hello everyone. Welcome back to day 17 of the 30-day watercolor challenge. Today we are going to be painting this beautiful lavender field. This is one of my most favorite class project from this entire series. It may seem difficult, but believe me, it's very easy to paint along and create these beautiful fields step-by-step. Before beginning in with the class project, Let's discuss all the colors technique of creating the field. The sky is a pretty simple Skype which is playing down the colors, cheating in little cloud effect with the color tones. So let's begin and note down the colors plus. So we will first begin noting down the colors for the sky. For the sky we have a sunset effect. And then at the topics you'll see we have the dark night sky coming into life. So let's list down the colors that we will be using for painting the sky. Father, shades of yellow and orange. I'm going to be using in the yellow sheets and the orange sheets for this type of pattern I'm going to be using in the indigo color. Now, let's note down the yellow and the orange sheets that I will be using. For the yellow color. I'll be using the Naples yellow color for the orange tones. I'll be using the vomiting new color. Even the leaky area you are, it's the same yellow, orange color. And next time we'll be using little payroll red color as well. Next for the field space I'm going to be using in the opera pink color, you can see the highlights in-between. So that's without pair up in Canada. Next, I will be using the violet color and the Payne's gray color to give him the darker there. This is going to be the first layer of the field. And then we're going to use invite push mixed in with violet color to create the second layer for the field. And also creating in the bush effect on the horizon line. So apart from these sheets, as I told you, you would be needing white gouache for creating in the lavender field detail. So we'll be mixing invite wash with the violet color to create the field details. Now if you do not have Naples yellow, you can mix in your permanent yellow deep and yellow light with a little bit of fight to get a little opaque paste in yellow color. Now I will quickly swatch or these colors before moving ahead further. This time, the indigo color also that I will be using is from the same brand, PWC, nine days. If you do not have the exact same sheet in the previous class project, I had shown you the mix where you can mix intuition blue with Payne's gray color to get a nearest indigo color. Now that will again depend on the ratio of two Men SAP you'll make sense. So it will be a little trial and error to get in the nearest sheet for Naples yellow I'm going to be using in the Naples yellow from the brand Magellan mission. You can go ahead and use any shade of lighter tone of yellow mixed in with a little bit of white if you do not have the exact same sheet. Now for the glomeruli new color, you can go ahead and pick up any shade of orange that is available in your palate. It can be a light orange or medium orange. A woman in color. Or in case if you do not have either of them, you can mixing red and yellow to get an orange tone. For the red color, you can pick up Permanent red color, payroll red color, or scarlet color, whichever is available in your palette. For our better pink, there is no substitute because this pigment itself is a pigment which is not mixed in with any color. So if you do not have a brighter color, you can just mixing a little bit of your carmine with white gouache and get a bright pink color for the base layer to getting those highlights of the bright opera. Now in case if you do not have the Naples yellow color, you can mix your permanent yellow deep color with a little bit of the white gouache and you would get on your wrist Naples yellow. Hello. So you either need to have the color directly or you can call. You always keep on mixing and experimenting with the color tones will pass beginning with the sky. The sky is going to be a pretty simple one. As you can see, yellow and oranges at the bottom and indigo at the top. In-between your, you can see we have a little space and then we have a very thin water area. You are of the same sky Canvas. So the water area is going to be a reflection of the sky. Alright, so these are the elements one by one that we are going to be painting. Now this G I'm going to be painting using in this spoilt round brush. So we have discussed this previously as well, but just showing you the technique. So I'm taking the round brush, which has the spoiled Brazil look. You can see here, I have not dip this brush into water. I've directly picked up medium wet paint. I'm just using the tip holding the brush perpendicular. I'm giving in this spoilage detail. So you can see how easily you can create the mesial looking for lists which gives you a realistic look. And you'd not even have to worry much or put in a lot of effort in creating this detail. You can even use this brush for creating and grass effect as well into your field and filling up the space is completely without much of effort. So you can see simply just pulling in the brush. The only important technique or Childress that your brush shouldn't be wet, otherwise the bristles will come back together and they will give you larger strokes instead of these drivers kind of details. Next, for the lavender field out here, we are going to be painting the fields in six different partitions. And we are going to paint one part at a time. And while that dries, we will not be painting in that Justin part. So for the first layer, we are going to beginning with the bright opera color towards the right side of this section, our field is going diagonally. You can see towards the right side of each section, we're first going to beginning with the parietal pleura CagA. Next week, shifting to the violet color and add it closer to the right of para color. This post LEO, we will be creating section by section one-by-one. So why this says, if we are painting the second section, we can not paying the first and the third section, while the second section is still in the same way and so forth, we're going to paint each section part by part, then close it to the violet color we'll be adding in the Payne's gray color. Now for blending purposes, I'm running through the colors again. So this is just going to be the base layer. And then on this we are going to give him the details using in the whitewash mixed in with the violet color. You can see that basically are at the bottom most pieces. We have the darkest tone. At the top most area, we have the parietal pleura loop. Then in center we have the violet look at the bottom. The reason of giving him the darker look, that's the pin three calories to show the shadow, as well as the darker depth into the field and distinguishing each five. So as we discussed, we won't be painting to adjust insights together, we'll paint one part at a time, wait for it to dry, then paint it suggests in one. And then once everything dries, we'll be giving you the details with the white gouache mixed in with the violet color. So for this also highlights, you can see we have two color variations. So we are going to alter the proportion of white gouache with a violet and getting these two different tonal variations. So that's all about the techniques and the details you need to know before beginning in this class project for D7. It may seem a difficult one, but beneath me, as I told you, it's a very easy class project to paint along step-by-step. You can achieve this beautiful looking for you. But the important thing here is to have a white gouache to get in this TD lambda c. Otherwise we may not be able to achieve in the opaque enough, which is very important. So creating in the field. Also, in case many of you may not have the right color, then as I told you, you can either use the Carmine color directly instead of the bright opera color or mixin little bit of your white along with carmine to get a little lighter pink and added instead of the color. So these are the color variations that you can use. And these are the basic details that I wanted to discuss with you before beginning of finance class project. So let's grab all your colors and your supplies together and let's begin painting today's class project together. 56. Day 17 - Lavender Field - Sky: So let's begin with our class project for D7. Now, I have my paper taped down on all the four edges. And we're going to begin with the light pencil sketch. So I'm going to mark out the horizon line and then the small field area, the CED. And then there's different sections for the field that we are going to be painting. So just below the horizon line, I made two more smaller sections. And at top of the horizon line, on the right side, I've added a small mountain range now in the rest of the bottom field space and beginning to mark out the sections diagonally. So you can create one vanishing point from where you want to make all the strokes coming out. So I'm trying to get in all the strokes coming out from the left side. You can see as I'm moving towards the right, you will see my afield liens or toning oh, more broader. And towards the left they may look very thin because of the vanishing point that I'm considering it to be on the left. So that does it for the pencil sketch. Now, I'm going to begin painting in the sky first. So let's begin in with the clean layer of water onto the entire sky space. And then we will move ahead painting in the further details one by one. Make sure you add an even layer of water throughout so that your paper stays wet for enough time until you're adding in all the details wet on wet creating in the depth into your sky or even any other element for the painting. So I'm first going to pick up a little often Naples yellow color out on my palette, as I do not have this color readily into my palette. Now as I told you, repeating it again, you can mixing your permanent yellow deep and wide cost to get the Naples yellow color. If you do not have the Naples yellow color, if you see the pigment of the Naples yellow color, It's a shade of yellow mixed in with white. So it's kind of an opaque paint, still yellow, sort of a color. So beginning with this color closer to the horizon line as you can see, and half of the sky, I'm first going to be covering it up with a yellow color. Now next time picking up the permanent yellow deep color and I'm going to begin adding in some darker strokes using in this permanent yellow deep. Now you can see I'm not adding any water to my paint because I want a good, vibrant consistency into my sky. I do not want to lighten up the sky or dilute the colors a lot. That is a reason I'm going ahead with a very opaque consistency of the colors. Now as I'm getting to add the strokes with a yellow color on the lighter Naples yellow color. You can see I'm adding it in such a way that the lighter yellow is still visible in between. So I'm just adding it in a stroke manner. Now next time picking up the color and I'm going to begin adding in the strokes with the orange colors on top of the yellow space. I'm just pulling out the strokes of the orange color. Now some of the strokes I'm pulling towards the top side, some of the strokes towards the downside. In my flat brush you can see very carefully, I'm just pulling out these strokes. Now the important element here is to make sure that you'd not excess water by adding in these details, wet on wet. Next, I've shifted into the payroll red color and you're also you can see I have not added any water to the pigment. I'm just going ahead with a medium tone of the pigment. So that will give you a soft edge to the pigment, but they won't spread beyond the limit covering the entire space. So you can see those pins are staying at the places that I'm adding Devin. They're not moving across anywhere and the strokes are retaining their sheep having in the soft page. Now, I'm going to pick up the indigo color and begin adding. Ghost strokes at the top of the sky. So picking up the indigo color, I'm beginning to add in the strokes that I have a little indigo color out on my tool. Rather than wasting that paint, I'm quickly using that app only. Now make sure when you get the indigo color closer to the orange and the yellow color, it may begin to form in some muddy tones. So raise your brush quickly when you reach closer to the orange and the yellow tones. So you can see how quickly I'm adding in these strokes. Now when you add these strokes, some of the yellow and the orange may get lifted on your brush and you can see it's getting laid onto the indigo color nitrogen. So some of those strokes I'm letting be there, which are getting added naturally so that your Skype and look balanced with the yellow and the orange strokes as well in-between the indigo stroke. Now just picking up little more of the indigo color and beginning to add in some darker strokes and spread into the lighter strokes pieces that we've added already. Now I've taught in places I feel the indigo is a little extra dots. I'm quickly lifting up the indigo color and just lighting up the tones wherever I feel that the color has turned out to be too dark. Now, I'm just going to add in little more of the red highlights into the sky before letting the sky to dry in. So at the bottom now you see it's majorly the yellow color that is visible. So I'm just going to give it a little more orange highlights closer to the indigo and the yellow mixing point. Then automatically you will get in some darker highlights. But make sure when you move your brush into the indigo color, then you clean your brush and pick up the orange color again because you see one of the strokes, but I did not clean the brush. The indigo color got laid onto the yellow color space. So whenever you are working wet on wet, this is very important to keep in mind about cleaning your brush from time-to-time. Because the colors get lifted and laid onto each other. Now I'm just running over with the same colors of the base layer again because the paper is sort of beginning to try in so as to keep it wet. I'm just running with the colors quickly on the same places that will help in keeping the paper wet for a little more time. Now picking up the orange color, just pulling out a little more of the strokes are too far from the right side. You can see how quickly I'm lifting up the strokes and, uh, you know, not letting the indigo color come to the yellow color. We're almost ready with the sky just giving in some more strokes with the red color mixed in with a little bit of orange. Now you can see I've added it all in such a way that I still have the orange color, yellow color, red color, each color visible separately as well. I'm not covering the other color completely. Now using the same yellow and orange color, I will quickly paint the area as well. So the second partition out you are below the horizon line. This thin line is the area which is the reflection of the sky colors only. It's basically just a small water line in between the field that I'm trying to show when we have the reflection of the sky colors. So I just added a line of the yellow color first and then just add in little highlights using in the orange and the red tones. So that is it. Now we will wait for all of these to dry and then begin painting in the field and the D, DNS one-by-one. So let's wait for this to dry completely and then move ahead further and paint our final painting for days 70. 57. Day 17 - Lavender Field - Field: So now that my sky is completely dry it and we'll begin painting the other details in the painting. I'm going to begin with the field Lydia, because we have to paint one section at a time. The costlier of the field, I'm going to be beginning in with the brighter para, violet and the Payne's gray color as we discussed. I'm going to first begin with the brighter, paler color. So towards the right side of each line, I'm going to beginning with the brighter color. Now you can see towards the top edge, I'm giving in a very dark shade to the right of Beta color. Now in-between, if you want, even if you're using the brighter, paler color, you can use a little bit of the crimson color as well to give it a little more color tonal variation to the field space, if you want, That's absolutely your choice, not a compulsion. Next time shifting into the violet color, just below the crimson color or the bright opera color, whichever you are using in. And lastly, just giving a little touch of Payne's gray color and blending all of these colors well to each other. Now in case if you feel that the blending is not happening easily, you can pick up the previous color and try to get the Blend. Make sure you do not add much of water while you are adding all of these colors. Otherwise, the colors will begin to just flow into each other rather than staying distinguished in each color line. Now at the bottom, this giving in the Payne's gray color, dark is playing. Now because it's the light reflection. This line may not be visible clearly to you right now. But the rest of the lines when we'll begin to paint, they may see more. Now beginning in the next slide, in the same way. So my Payne's gray color is a little dried now, so I'm beginning with the second layer now too. But in case if you are Payne's gray is not right, then I would recommend you to move ahead to the chord line and not the second line. Now next I've moved on to the violet color, as you can see. And after the violet color, I will move to the Payne's gray color again onto this lean as well. Now this giving him the last nine with the Payne's gray color out here. Now this is just the base layer of the field. That is the reason just adding in the colors creating in the highlighted sections and each section out each line of the field has to be different and standard differently from the next one. So make sure that you paint one layer at a time, wait for it to dry and then move to the next one of the alternate ones and then paint the rest of the alternate ones. So for blending the violet and the operator color, I use in the violet color or the operator color again, because at places I feel that the blending is not smooth. So just to make them smooth, I go ahead with the layer of color again. Now Bill, the time these lanes dry in, I will quickly add in the mountain range as well. So Powder Mountain Range, I'm going to go ahead with a simple layer of the medium tone of Payne's gray color. I'm not going to go ahead with the very dark consistency. It's going to be a medium tone, so make sure you do not go ahead with a very dark color. The rest of the mountain space you can see I'm just using water and diluting the entire color tone. Now I've just picked up a little violet color as well to give a little violet touch to the mountain ranges as well. Now this has been, I'm just going to use in a damp brush and I knew did quickly. Still the bottom space of the horizon line. In-between you can see the whitespace there. We are going to be adding in the field details as well. Again. Now leaving the third row in between blank for the time, I will begin adding in the fourth player in this adjusts and forth one out here. You can see I've left one get one lane in between bites because the second Elaine is not yet dried completely. So I thought let's shift onto the next one. Now it's on to you as I told you, if you want to paint one at a time, pay for it to dry or use a hairdryer to speed up the process. Or painting the alternate ones and then paint the rest of the alternate ones once they dry in. Now you can see at the right side, I am thinking in a very dark shade for the brighter, paler color. Then I'll be painting in the adjacent cell. It may get covered up a little bit of the Payne's gray color. But they're for the Payne's gray color is when I will go in with a rough shape. Any which ways most of these are going to get covered up with white gouache details mixed in with the violet color that we will be adding it. So do not worry much about all of these for now. Just make sure you have distinguished line so that it's easier for you to understand where you have to add in the highlights of the white dwarf that will get in all the palette looks for your lavender p. If you have seen the final class project in the beginning, you know, the brighter para, highlights are underneath, are also visible. The violet color leans are visible clearly the Payne's gray color lines are visible nucleoli. So to get all those highlights visible clearly, it's very important for this base layer to go right. Now again, to blend the violet and the operator color. You can see I'm running with the operator color again on top of it and trying to blend both the violet and the para again with the second layer. Now after getting into the blends between the violet and I'm going to shift into the Payne's gray color and fill it at the bottom space. You can see towards the left side, sea lanes are thinner and as you move towards the bottom right side, they are toning broader because of the perspective view that we are adding this into. Now till these dry, I'm going to paint that small thing, the area just below the horizon line there also I'm going to use in the same color, the brighter parabola and the violet color. Since it's a very small space, I'm going ahead with the wet-on-dry technique there as well. I'm going to quickly be adding in a small little detail out data. So you can see me to do on the left side I've met the brighter color be there. And on the right side I'm filling it with a mix of the brighter para and the violet color again. Now, I'll wait for all of this to dry completely and then paint the rest of the Orleans off the field. The further details into the painting as well. I'll wait for these to dry now, depending on whether you have added in the layers one-by-one or adjacent or alternative, you will have to keep waving accordingly for fill in the details. So now my rows are completely dry, so I'm going to begin in the rest of the rows as well. So first going to begin in a row, that's the fifth row. The reason being, you know, by the time this will dry a little, I can paint the third row and then come on to the last row. I could have PVC painted the sixth through as well and then waited for it to dry. But I just felt like meeting for all of it to dry and getting a payoff. And then moving ahead further. So wherever you feel, you need to take a break or you need to understand how things are going in, wait for things to dry in, and then move ahead further rather than just rushing with the details altogether. So going in with the same color details that we have gone in for the first three. That's a brighter para, then shifted to the violet and now shifting into the Payne's gray color. Lastly, again, all of these are diagonal as you can see. As you move towards the bottom side, row becomes thicker. Also, you can see each row is looking distinguished from each other at the point of the Payne's gray and the writer para color. If you would have added all of the lens together, that is without waiting for the previous layer to dry in them, the colors would have lender and bleed into each other. And they would just look simple, color flat look together instead of giving him the distinguished clean loops. Now just going to pick up the paints gray color and add it into this row as well. So you can see every time I post adding the brighter, brighter color, then add the violet color. And then to get the blends between the violet and the right operator, right? Randomly or off the bright or better color, blending it well with the purple color. That is the reason you can see such soft blend between the violet and the bright opera color. Again, wherever you feel that the blend is still not going right, you can be done the color again and get the blends right. Now I'm going to paint the in the same way. The third route here, which I had less than blank. So beginning in with a brighter color, I will run the same colors again. We are almost close to the finishing of this class project. So after adding in the remaining two rows, we'll add in the bush details on the horizon line and that small tree using in this point round brush. And then once all of these will dry, we just have to add in the lavender flower highlights using in the white quash technique mixed in with a violet color. Now in this row, be a little careful because you already have the next row painted. So in case if you are following the same technique, make sure you add the colors in such a way that the next row of data color does not get covered up. So you have to run in very carefully to consider going very slowly. And as I told you, you can paint this class project very easily if followed step-by-step. It's such a gorgeous looking landscape in this lavender field. Oh, so easy to paint. What you get when you see the painting, you may feel that it may be difficult or if you are a big now, how will you follow along? But believe me, if you practice a little and just understand the techniques and methods of going along with watercolors. It's a very easy painting to paint a loan. Now I will begin painting in this last row. You can see almost the Payne's gray color has dried in. Now when I'm adding in the bright color, you can see the Payne's gray color is not bleeding into the brighter, paler color. So this is the perfect timing for adding this color out. Two are same. Then I'm going to go ahead with the violet color and then again, use bright opera for blending and move to the Payne's gray color at the end. You can see in every field the pains, the bright opera and the violet color look perfectly blended with each other. Both of the colors going a little over each other showing in the perfect blend for the field space. So I'm done with the first layer for the details in the field area. Now I'm going to pick up the paints gray color. I'm going to add in the details on the horizon line by my field area dries. So now using it, the color I'm going to quickly begin adding in little bush D, DNS out. You're on top of the horizon line. So very simple, just having the tip of the brush out here. Now make sure you do not take it to long as Ben covering in the skies piece, you can see how small I'm taking them. But despite being small in them, also, I'm trying to vary the height so as to get in the perfect blended look. I'm going to beat this bushy area completely till the right side. Now, make sure when you're moving towards the right side, you do not cover the entire mountain. You can see according to the size of your paper, you have to adjust these details accordingly. Now using the Payne's gray colored itself on the right side, just adding in that quick G that we're going to add in the details. So now I'm going to shift into that pointed round brush. I'm going to quickly be adding in the village to this gene using in that spoiled round brush nineties. If you do not have this boiled down, not very pick up any round brush, but do not dip it in water. Brush is damp and dry, just dip it into the fallow mixture. The color is also not too wet. It has to be a little thick so that you don't want your business to not be sought. And just using the palette in a little dry consistency, hold your brush perpendicular and begin to dab it into the shape and try to get in this dry for at HDD. You can get this nope, easily even with a normal birth by just understanding the right technique of using it. Now let's wait for all of these to dry and then add the final details into the field for this painting. 58. Day 17 - Lavender Field - Final Details: So now everything is completely dry it, and let's begin adding in the final details on the field space. So now I'm going to mix, invite coach, along with the violet color and create two to three different tonal variations for adding in the highlights. I have some whitewash already on my palette. And now to this, I'm going to add in the violet color. So I'm going to add the violet color little by little, not much altogether. So you can see I'm mixing in the right garage and the violet color little by little, not mixing in all the white quash as well in together, not adding in a lot of violet out there together. Now I'm using a size two round brush, which has a pointed tip. And I'm going to just begin adding in the detail beginning with any line that you wish to. I'm going to beginning with the first one on the right and just on top of the violet and a little, sorry, on top of the operand unnatural of the violet color top, you just have to keep dabbing your brush and given small dot py, things like this, right now, make sure you leave spaces in between for the background color to be therein as highlights. Just have to begin. Go don't add in a lot of this because still we are going to be adding in another one with the second color as well. I feel seen that the colors are too bright, or if you want to give it a little subtle look, you can dab it quickly with a tissue just as I did. So I'm going to be using this method as well. So I'm going to add in the entire layer that it quickly with the tissue. Now onto the violet and the Payne's gray color of the background layer. You can see I'm not adding in this violet flower details on them. So majorly, this flower details of the white quash mixed in with violet is only on the bright opera color layer, off the background layer. So quickly that then your Asbell. Now I'm going to quickly begin adding in the same V on the rest of the forelimbs as well. So this is just the first layer that we are adding it. Make sure again, you do not go beyond the bright operand, the violet color. Do not add these flowers on the Payne's gray color line. If you notice closely, then the violet color flowers that we're adding now are only on the violet and the parietal pleura color, not on the Payne's gray color. Between each line of these flowers. Gap of the base layer, which can be seen clearly. So the reason why I'm dabbing it with the help of a tissue is to give it a little dull and set the loop. I do not want the lavender flowers to pop out too bright. So to make it go a little dull and set, I'm just dabbing it quickly with the tissue so you can see it has an opaque look over the dark areas because of the wide brush, but it is not shining out right. Because I'm dabbing it quickly with the tissue while it is still wet. Now in the same way, I'm going to quickly get bad again in the rest of the lanes as well. In-between when, you know, the lanes are beginning to be more broader and longer. I'm dabbing you're halfway through so that the paints do not dry out. Now again, you are also, you can see I'm dabbing only on the right of Beta and a little off onto the VCO violet color and not moving till the Payne's gray color. Now this is just the first layer of the details that we are giving in. We're still going to be adding in highlights with other colors as well. So this method of dabbing it with the help of a tissue can be used in various different techniques as well, such as when you are adding in shadows and you want to lighten the shadows quickly, you can just add the color and quickly dab it with a clean tissue that will help you in getting in the perfect shadow effects were in any kind of painting. Now, I'm dabbing it to double the effect and not get them too bright. Still having in the opaque look to the field. Now, I've just picked up a little bit off the violet color again and I'm blending it into the background because I feel the violet color was not visible much clearly, so I just added up a little of the violet color there as well. So I'm done with the second last layer as well. Now I'm just going to go to the last row. I'm going to add in the details there as well. And then we will shift into the next layer of details. So in-between, I've just drawn in this pieces where I see that I've added a little less of them or the details have not turned out that right there at those places, I've added little more details and quickly dabbing them as well. Now, make sure and be careful about one thing when you're dabbing it with the help of a tissue, you are using a thin edge of the tissue. Otherwise, if you will have any other colors onto the tissue, they may get laid off onto your painting and that may ruin your painting. So you have to be a little careful about the color that is already on the tissue. Now when I'm adding in this dabbing technique, you can see I'm taking these little flower details, lipids over to the previous layer, Payne's gray color. That means in the first layer, when we had added the pins gray color, we had created clean lines and six different lines. So now when I'm adding these lavender flower details, you will notice I'm taking these dot onto the Payne's gray color of the previous layer. So basically, now when I'm adding these flowers in the sixth row, you can see I'm taking a little of these flowers onto the fifth row, Payne's gray layer. This is to create the perfect look into the field. But still in-between each row after row of these dabbing, you can see the base layer colors settled and clean clearly. So now I'm quickly running the same color at places wherever I feel that they've tried to dance. After this, I'm going to add in more gouache or white gouache to this mix and create a folder lighter color tone of this mix, and then begin adding in the further details as a second layer on top of these lavender field. So now what I've added in little more of the white gouache to the same violet mix. And you can see how beautifully it's standing out more differently, adding in more highlights to this as well. I'm going ahead with the same technique that is dabbing quickly with the help of a tissue. But still you can see the two color variations of the field details that we're adding in. Now, make sure again, reminding you about one thing that between two lines or two fields, there should be gaps and each row of the field should be distinguished separately. So in between each of these dabbing flower details, you can see that basically are Payne's gray and the violet color, which is distinguishing each row of the field separately. So the n almost done with this class project, just adding in the finding highlights to the remaining two rows on the right. I'm just loving how this entire field has turned out. Every do is visible, distinguished Lee and the field details I've turned out so pretty and solvent. So that is it. I'm finally done adding in all the details. I do not want to overdo it and spoil it quickly remove the masking tape and we are going to see your final painting with those clean edges now. So just realize that I've covered a lot of the violet color out yours. I'm going to quickly use the violet color and paint this piece again so that little of the field goes in proportion because I felt the dabbing off or white question, the violet was too much in the last two out here. And now this looks a little setup. So I'm going to quickly just make this **** dry and then remove the masking tape. So in case if you are also doing this and if you are on the part of removing your masking tape, Be very careful. Medium move your masking tape once your edges are completely dry. Otherwise, the pains may get lifted off Anne's point where edges as well. You also final painting for these 17 of this Saturday watercolor challenge. Yours are closer view at the field and the gaps that I was talking about. You can see how beautifully each row is distinguished and how you have to add the dabbing technique only on the opera color. Thank you so much for joining me into this class. 59. Day 18 - Evening Field - Colors & Technique: Hello everyone, Welcome back to day 18, off the 30-day watercolor challenge. Today we are going to be painting this beautiful evening field of view. It's a very simple and easy class project to follow along. And we will be creating these beautiful clouds using in very simple techniques. So let's begin having a look at the colors first before moving ahead with the final class project. First, let's have a look at the colors for the sky I'm going to be using in the shades of blue. So the main color for the sky is going to be the cell in blue color. Then for the darker highlights, you can either mixing your paints gray to your blue color, or you can either use Prussian blue or indigo or any other darker blue that's available in your palate. I'm going to be using little bit of the Payne's gray color for adding in the highlights into the cloud areas. Rest for the darker tones. You can use Prussian blue, indigo, as I told you. That is it for the sky area? Now let's move to the field area. So the field is also going to be a very simple one as you can see. So first we are going to begin in with the yellow light color closer to the horizon line. Then onto that we are going to give him little highlights using in the formula new color. All of this will be going wet on wet. And at the bottom media you can see the greens. For the greens I'm going to be using in the light green color, the olive green color, the sap green color. And then you would need little Payne's gray as well to darken the bottommost space. So along with the olive green, I'm going to add in little payne's gray for giving into darker highlights at the bottom most area of the field. Then for the flowers, I'm going to be mixing in white quash along with the yellow color and given these opaque flower loop. So I'm going to use the yellow light color and mix it with white gouache. Mixing any color with white gouache mix the color opaque and it is then visible even on the darker highlight or darker areas of the watercolors as well. So these are the colors that I'm going to be using in for the field space. Now I will quickly swatch them out and discuss with you the alternatives that you can use in case if you do not have the exact same sheets. So many of you may not have a Payne's gray in your palate. So instead of Payne's gray, you can use a black color. But whenever you are mixing in black color to your other color tones for getting in the darker tonal variations, make sure you add in little and not much because black color is too pigmented and vibrant and that may darken the other colors. A little extra, which we do not want. While on the other side, Payne's gray color, if you see if a use the dark is consistency, it will give you a color like black. But when using a medium or lighter tone, it gives you a grayish tone that we exactly want. Now for the yellow light color, you can go ahead with any lighter tone of the yellow color. And instead of the woman in new color, you can go in along with any orange shade or yellowish orange color, scarlet color, whichever is available in your palette. Now in case if you want to see the exact pigment number of the shades that I am using it. You can visit the resources section of this class where I've uploaded the detail about every color that I'm using in this palette. All the pigment numbers for this brand PWC set, which I'm using right now. So let's discuss how we will go about this class project. We are going to first begin with this guy for this guy for creating these glowing cloud spaces. We're going to leave those places white and then add in little highlights of the Payne's gray color, only wet on wet. Next we're going to move to the field area. The field is going to be, as you can see, off the yellow color at the top space and moving down towards the bottom side, we are going to get in the greens and the darker tones into life. Then we're just going to be adding this one tree out here onto the left center side. And at the bottom you can see the shadow to the tree that we're adding in. I will discuss how we are going to add this tree and the shadow quickly. So on the TI as well. First we'll go ahead with the layer of Payne's gray color. Then once we are done and the Payne's gray layer dries, we're going to use invite mixed in with yellow to giving those highlighted view on the tree as well. And all of the other details that the green and the orange details on the yellow color, all of these are going to be wet on wet, that is while you're obesity or for the field is still wet. We are going to be adding in all of these details. So now let me. Quickly show you how you're going to be adding in the shadow to the tree. So first beginning with the Payne's gray color, I'm just beginning in with the small g out here. I like to I just began with the small branch now at the top of it for adding the foliage I'm just going to use in the tip of my brush and keep dabbing and creating in the foil age effect. Now once you've determined the size of the tree accordingly, you need to add the shadow in that much breadth only. So now I'm going to begin adding in this shadow effect so your audio can see the shadow. We are going to add in little with the Payne's gray and the green color mix. So first using a damp brush, I'm just going to quickly spread this out. Alright, so you can see how quickly using a damp brush while it is all still wet. I have just expanded it out. And now I can pick up little green color and adding the highlight. Now, on our final painting, you can see the shadow is going to be on the yellow color space. So you will have to blend in the greens and the yellows. So you can either use a damp brush and blend both of these, or you can quickly use in little yellow color on the edges of this shadow area and then blend it well. So let me quickly add in little yellow color out here and show it to you how it is all going to see. So right now the yellow color is wet, so that is the reason the green that I'm adding now is quickly blending in with the yellow color. But in case if the yellow color has dried, I would use a damp brush and blend the yellow and the green together quickly. Then for this highlight on top of the tree, I'm going to be mixing in whitewash along with the yellow light color that we're going to use for the flowers as well. Same color I'm going to mix in and adding the highlight onto the tree out here you can see to show the sunlight effect onto the tree area as well. So that is all about the basics of this class project, the colors and the simple techniques. In the next lesson, let's begin painting a class project for day 18 together. So see you all in to the next lesson and begin painting in the class project for DAD. 60. Day 18 - Evening Field - Sky & Field: So let's begin painting a class project for d. I have my paper taped down and I'm going to begin in with the pencil sketch mocking up the sky and the field space. This time it's going to be taller on the left side. And as I move towards that, I said I'm going to take it downwards diagonally. The sky idea is a little bigger one as compared to the field space. And even on the right side by the end, I think in the field a little up again. So I'm first going to begin in with the clean layer of water on the, onto the sky space. And we're going to paint the sky first and then move to the CEO field area. Make sure you add in an event photo throughout so that your paper does not dry quickly. And make sure to run your brush multiple times that will help in keeping your paper stay wet for a little longer time and help you add the wet on wet details as we are going to be working wet on wet for getting in the cloud effect into our sky. I'm first going to beginning with the steady Lynn blue color. I'm going ahead with a very light consistency. You can see this is just the force Leo. And by building in the first layer itself, I'm going to mark out these pieces that I'm going to leave the clouds. So you can see just using the tip, I'm marking out the space which I want to keep in white for the cloud effect on the rest of the spaces. I'm just giving him a light layer of the blue fallow for the first layer of the sky. Now closer to the field line, I'm giving you a complete layer of the city Lynn blue color first at the top space median, you have left in the white gaps for the clouds that we will be adding in. Now, make sure you go in with a light color consistency of the blue color for now, do not add too much of the dark color. You can see I'm also lifting up a little of the color because closer to the horizon line, the color seemed to duck altogether. Now again, I have picked up the set even blue color and just using the tip and beginning glad in the darker Deb step-by-step. So you can see again just using the tip of the brush and beginning to add in the darker there. Now when you begin to add in this darker that make sure you maintain those white spaces in the clouds that we've lifted. And also make sure you do not add any excess water on this layer. Otherwise, the paint will begin to spread and cover up the white spaces as well. So you can see how slowly I'm building in the layers for the sky despite adding in the Leo's, you can see I've tried to maintain that glowing spaces to the Cloud still at the top area of this guy. Now again, I'm disappointed. Let's start by lifting color out here from the bottom side you can see I want a little lighter tones closer to the horizon line as well. So simply using a damp brush, you can lift up the colors like this. Now just adding in little darker highlights using in a mix of the pollution due and the city Lynn blue color. So very little of the blue color that I've picked up and more of the blue color that I'm still using it. So just when you do not add water to your paint to automatically get a little darker consistency of the paint. You can see despite that, I've again try to maintain those two glowing the clouds. Then I'm going to add in a very diluted layer of the Payne's gray color now to give him the cloud effect. Before beginning to add in the Payne's gray color, I'm just going to lift up little more colors to give him little more cloud deck. Very randomly at places I'm lifting up the blue color in very random shapes you can see, especially at the bottom side, just creating little lighter Cloud effects as well. And up little of the color and now I'm just blending the bottom space when widow all colors at the bottom side so that I do not have any sharp edges so quickly using a damp brush, I've blended and created that lighter effect. Now let's begin adding in with the Payne's gray color highlights. I'm going to use just one per cent of the color and only water. So this is also a very dark tones have quickly lifted it up and just diluted. It's more of water and very less of pigment. You can see such a light color of the Payne's gray tone that I'm using in your even in other spaces, you can just add in little highlights as well with the Payne's gray. Now when you're doing this, make sure about two things. That one, you do not have water on your brush. Otherwise, the paint, the paints gray color, we'll begin to spread completely. And when you are adding this makes sure that the Payne's gray color is diluted enough so that you get in these light cones and do not adding a lot of the darker tone. Otherwise it will not go well with the rest of the composition of the sky. So I'm done with this guy just giving it some last strokes off the civilian blue color. You can see quickly crossing through the clouds as well. That is it. Now we're going to let this guy dry completely and then we're going to go ahead and paint in the field area. Once this guy dry. Now I will quickly wait for the sky to dry and then we will paint the base here for the field. So now my sky is completely dry it and you can see how beautifully those two clouds have come in and the whitespace is still maintain because it's the perfect Water Control that we had. Now I'm going to go ahead with a layer of water onto the field. These and we're going to begin painting the base layer for the fee. Again, the C layer is also going to be wet on wet technique that we are going to be using in your now closer to the horizon line V0. Little careful so that you do not run into this guy space. You can leave a fine line gap out there and directly add the color mark meso. And the water does not flow into the sky and running your sky as well. So I'm going to begin in with the yellow light color first, closer to the horizon line. The horizon line, I will give it a little distinguishing using in the green color as well. But first, let's begin with a yellow color. So I'm picking up the yellow light color in a good thick consistency. You can see it is quite vibrant enough. I'm going to begin adding in this color first. So I'm adding in the yellow color layer almost till the bottom space. And then I'm going to shift into the green colors at the bottom. I'm going to leave a little space blank. Now I will first begin with the yellow light color and going to add in a layer of the green, sorry, the green light color. That's the light green. I'll actually just using this color I'm going to add in below the yellow palette, open space and blended well with the yellow. Now on top of this, I'm still going to be adding in a lot of green color tones and getting the darker depth at the bottom space from the 19 palette, giving inner layer of the sap green color, blending it well with the yellow color again. So half of the feel, a little more than half is going to be majorly the yellow color. And only at the bottom space we are going to be giving in the green color highlights. Now whenever you are blending, if you've seen the yellow and the things are not blending and easily, you can pick up little yellow color and blend them. Now next I'm going to begin adding in some depth with a woman in new color or the yellow permanent yellow, orange color, you can go ahead and use and we yellowish orange tone, orange tone or a bright red color as well. And while this is still wet, I'm just going to begin adding in little depths, creating in the details. So just using the tip of the smaller brush you can see I'm just dropping in this color, creating any little effect into the theme, trying to show some flour and some scattered loop as well. So all of this is wet on wet. So make sure that your field area stays completely wet for a longer time to keep adding in all of these details. Now next I'm going to pick up a little of the sap green color. I'm going to be adding in little green details as well. So I'm mixing in both the sap green and the light pink color. Same way just to show a little grass effect as well. Scattered urine there. I'm just dabbing in the green color, giving in that little effect into the field. Again, remember this is also still wet on wet. So that is the reason that I added the second time yellow color layer. That helps letting the paper stays wet for a little extra time so that I can add all of these details wet on wet. Now also be kept about one thing when you're adding in these details, wet on wet, make sure that you do not pick up extra pigment or water. Otherwise, the paint will begin to spread and create loans instead of getting in these definite shape. Now using the olive green color and the Payne's gray color, I'm beginning to harden the depth at the bottom space because otherwise the green color at the bottom layer will dry out quickly, which I do not want. So I'm just quickly running out there. And again, we'll blend the yellow. I'm going to pick up little off the yellow color or a damp brush. I'm going to run my brush out here at the meeting point of the yellow and green and blend them easily and smoothly. Now again with the Payne's gray color, just adding in the depth at the bottom space. Now, every time you add a color, make sure that you make the blending mode again, so that the transition between the colors from yellow to green to dark green stays Perfect. Now next time picking up a little of the woman in new color and a little darker consistency. In the previous day, I had mixed in the yellow and the orange and I had picked up oh, yellowish orange tone. And now I'm picking up the vermilion color directly. I'm just going to add in some darker depth as well. So same way just as we added the grass details, I'm going to add some little of these details. Now you can see every time that I begin to add in the details, wet on wet, I have a tissue in my hand ready to dab off the excess pigment and the water so that the colors do not spread your or three loops. We want these colors to have a soft edge. That is the reason we're adding them wet on wet. But we want them to retain the shape in which we are adding them. So you can see just using simple techniques, how you can create these effects into your painting and even a simple scene, you can just give it a little different color touch. Now wherever you feel that the blending or the paper is beginning to dry, you can quickly add in little yellow as well and get the blending easy. Now using the Payne's gray color, I'm going to add in little grass strokes out, you're at the bottom space while this is still wet. So just using the tip of our smallest size brush, this is a size 0 brush that I'm using in and using the Payne's gray color in a medium dark consistency. I'm just adding in the strokes wet on wet. So these will be very soft looking background glass tubes that will come into life once they dry completely. Now you can see the grass strokes are only till the green color layer. I'm not taking them much beyond that. And the best troops are very random moving in left, right, and center, very randomly creating in this space. So as I told you, this is wet on wet. So all of the details built on software while they dry out. Now before letting this layer dry, I'm going to quickly pick up little of the green color. I'm just going to run it at the horizon line so as to distinguish the sky and the field area perfectly. So while this is still wet, quickly picking up little of the sap green color. With this color, you can see just adding little line out here at the horizon line. So this will make the distinguishing point between the sky and the field area more prominent, giving him the perfect, you know, I finished line as well to the field space. Just adding in little more green highlights. So that is eight. Now we'll wait for this to dry completely. Then we will add the three out here on the left side and the flower details at the bottom of the feet. Let's wait for this to dry completely and then we will move ahead further. 61. Day 18 - Evening Field - Final Details: So now everything is completely dry it and you can see how beautiful the grass strokes that we had added wet on wet using the Payne's gray color have turned out. Now I'm going to begin adding in some more grass strokes. First we'll begin with the tree, not the grass strokes. So I'm going to begin in with the tree out here on the left side. So as I told you, we are going to add in the shadow as well. So first let's begin adding in the tree, the branches. The tree is going to be in the field space and the foliage details of the tree will run into the sky area. So first with the Payne's gray color, Let's begin adding in. Now for the foliage of the tree, as I told you, we are going to be needing in the yellow color mixed in with white quash. I'm just picking up a little bit of the white wash out here on my palette and keeping it ready. So I've mixed in the yellow and the white gouache. And now I'm going to begin adding in little of the foils detail and then shift into the Payne's gray color. I would recommend you. You can first add in the layer of the Payne's gray color, wait for it to dry completely and then go ahead with the highlights of this yellow color instead of following the procedure that I did that is going ahead with a little bit of the yellow color, then shifting to the Payne's gray color. I found the other methods easier. That's first going with the layer of Payne's gray, wait for it to dry completely, then add the highlights of the yellow color. So in the rest of the t space even I have gone ahead with the layer of the Payne's gray color completely. And once this will dry completely, I will add in the yellow highlights with the mix of white gouache and the yellow color. Now let's begin adding in the shadow reflection that we were talking about for the tree. So for that, I'm going to pick up the sap green color. I'm going to begin and create that space where I need to add in the shadow. Now using a damp brush, I'm just going to dilute it and spread it into the bottom space and blend it with the yellow color. So my yellow color space is dried completely for now. So using a damp brush you can see how easily you can blend in and create the shadow. Now on the edges of the green color also, I'm running the **** brush. This helps in blending the yellow with the greens as well. So that is it for the T area for now, now till the Payne's gray color dries completely. I will quickly add in the flowers at the bottom space for that as well. I'm going to use in the mix of the white portion, the yellow color, using the smallest size brush itself, you just have to add in random shape of the flowers out. You're at the bottom spaces. I'm not going to be adding in too much of them. I'm just going to add in some standard flower loop. Then I'm even going to, if you want, you can add in little splatter as well to show in some scattered splatter of the flowers urine there to fill in the spaces. Now make sure you adding this layer of the flowers by mixing in the yellow with the white gouache. Otherwise these flowers with nonstandard write out your because if you use the watercolor directly, since the base layer green color is of a darker color, only opaque colors will stand out and watercolors in itself may not stand out that opaque. So to make them have an opaque look over on the darker colors. Mixing them with white gouache helps in getting in the opaque look and also helps in making them visible over on the darker colors as well. Now I've been shifting to my size four round brush and I'm going to pick up this mix of the white portion, the yellow color, and I'm going to quickly splatter some yellow dots at the bottom space of the field to show in some tiny mini flower is there as well. So I'm going to pick up the color in a medium consistency so that it's easier to splatter them out to you. So you can see just using the tip, how you can splatter it easily out. Sure. Now, make sure you cover this tie if you're not confident about the control while splashing, these are splatters of the yellow color. So if you want, you can cover the sky space so that these plateaus do not run into the sky area. Also added a little of this platter on the top area of the field as well to show in little scattered flower look at the top there as well, very little. They may not be visible to you clearly because of the yellow color and the light effect. But you can see just adding in little mixing with white gouache so that even they will stand out of peak on the yellow field. Now in the same way, I'm going to pick up a little bit of the Payne's gray color. I'm going to splatter little of the Payne's gray color as well. So these will act in as the stones and the grass effect. Now for this also makes sure that you have this guy area covered and splatter these also very carefully so that you do not have excess of this. Now I'm quickly just going to pick up the white gouache and the yellow mix and just going to highlight some of the flowers again because they seem to dry it a little dull. So just going to add in little highlight. And then we're almost done with this class project. Now using the Payne's gray color quickly adding in the little stem effect to each of the flowers that we've added in. You can either using a mix of the green and the Payne's gray color, all the pins gray color individually or any darker green tone individually, depending on whichever colors is available in your palate, in the branches to each of the flowers. And along with that, I've added in little leaf strokes as well to some of the branches that I'm adding in. So very randomly, you can see I've added in little leaf strokes as well. Now, these may not be visible to you over the camera maybe, but they are clearly there. And when I show you the class project with a closer look, you'll be able to see them using the Payne's gray color, just adding in little highlighted strokes of leaves as well at the bottom space to give him the little highlighted effect to the field area as well. And now lastly, using in the mix of the white gouache and the yellow color, I'm just going to quickly add in the highlight over to the tree, so my tree is completely dry. Now I'm going to add this in such a way that the Payne's gray color is still visible in between. So basically then the Payne's gray color, we'll begin to act as the shadow towards the G and the rest of the yellow color. We'll begin to look as the mean autumn, the foliage tree. I looked at. We are trying to create our CIO. Now again, for this as well, It's important that you have in the paint white quash mixed in with the yellow color. Otherwise, the yellow color will not stand out opaque on the Payne's gray color. So white gouache is a very big savior when coming to adding in the opaque details in your watercolor paintings, because it helps in getting into perfect opaque look over onto the darker colors as well while adding in the detail. Now very randomly you can see I'm just adding in little flower details, tattered look at the top area of the field as well. And that is it. We already without class project for D. D. I'm just going to add in the last highlight onto the tree with the Payne's gray color wherever I feel that the yellow is a little extra. Just going to cover it up again quickly using in the Payne's gray color and give the finishing touch there. So that is it. Let's remove the masking tape and see your final painting. Make sure that your edges are completely dry, especially the bottom layer of the field before you begin to remove the masking pay. Otherwise, you may rest your hand onto those areas and the colors from them may get lifted and laid down onto the clean edges that we are trying to create it. So be very careful while removing the masking tape from the edges. So here's a final painting for the 18 of this 30-day watercolor challenge and another beautiful evening looking feel of the autumn video. I hope you guys enjoyed painting this beautiful class project with me today. We are just 12 days away from closing this 30-day watercolor challenge. And I'm loving to see all of your class projects and reviews into the review section. Thank you so much to each one of you for joining me into this class and painting along with me through the first 18 days. Hope to see you all join me into the further lessons of this class. Thank you so much. Once again. You guys soon into the next lesson of this class. 62. Day 19 - Bokeh Effect - Colors & Technique: Hello everyone. Welcome back to day 19 of the 30-day watercolor challenge. Today we are going to be creating this bouquet effect flower. Rest of the background, as you can see, is a very bloated of background that we are going to be working on. So before beginning with the final class project, Let's note down the colors that we will be using for today's class project. First, we will begin with the background colors, then move to this flower and that little butterfly. Then for the bokeh effect, we'll be using in the white gouache. For the background. We are just going to be using in three colors. That's going to be the shade of payroll, red, turquoise, blue, and the Payne's gray color. We are going to be creating in that effect in the background using the blooming technique of water and the paint. After that dries, we will paint the flower in focus and the butterfly, and then move to the bookcase. Wet on dry. After everything dries completely. We are done noting down the colors for the background. That's the three colors that we've noticed. Now let's move on to the flower. So this level, basically your color is going to be the payroll red color. Then for adding the highlights I'm going to use in the Carmine color, you can use in any darker shade of red or pink. And lastly, you would be needing in white gouache for adding in the details over on the butterfly and also creating in the bottom foil age and the bokeh effect. Let us quickly swatch out the colors that we've noted down. Just very simple, basic colors to do this class project, you can see such limited colors, but yet the outcome looks so beautiful and the focus on the flower and the butterfly. So let's do at least watch out the colors and then discuss how we'll be walking onto the background. Now in case if you do not have the turquoise blue color, you can go ahead and use the peacock blue color, or you can go ahead with any other tone of blue. Or you can even go ahead and mix in your setting in blue with a little bit of the viridian green color. To get an URI shade of the turquoise blue color, you will have to adjust the ratio of what the colors that you will be mixing it, the nearest shale. But these two colors will give you a new shade to the turquoise blue color. So these are the four base colors that we'll be using. And lastly, the whitewash, which I'm not swatching out. So I'm going to be using in the white gouache from the brand of white knights. Now let's begin understanding how we will go ahead with the background. So I'm going to go ahead with a clean layer of water and then begin painting in the background. In the final class project, we are going to have a pencil sketch for the flower, which we will be leaving blank. But for now I'm not focusing on the flower pot because I just wanted to show you how we are going to work on the background and the bouquet effect. The flower is a very simple one. Once you have your background ready, leaving in the flower space, blank and white. So now in the background we have three colors, as I told you, that's the red, turquoise, blue, and the Payne's gray color. So we are going to beginning with the red color and very roughly going to begin dropping it around the flower. We are going to have in more of the Payne's gray color. You can see roughly when you will have the pencil sketch, you will have a notion where you have to put in the red and the Payne's gray color has to be in focus around the flower. The reason for that is you can see the flower is already off the red color in the background. Also, you will have more of red around the flower. Then the focus on the flower will not come out that grid. That is the reason keep the red on the edges and around the flowers in the background. He bit more of the turquoise and the Payne's gray color. But since now we are not having a pencil sketch out your I'm just beginning my head with dropping in the colors randomly. All of these we're working wet on wet, wet on wet. So right now I'm just dropping in colors in a little liquidy consistency for them to flow into each other as you can see. So as you can see, I filled the entire paper along with the red and the turquoise blue color completely for now. Now I'm going to pick up the paints gray color. I'm going to drop the Payne's gray color over to these colors that we've already added and try to create blends between them. That makes sure you use the colors in a little liquidy consistency, not too much also because you need to have control. Because you want the colors to blend and flow in such a way that they are visibly distinguish amongst each other. As well as they have some bleeds happening between each other. Now, alternatively, you can keep shifting between colors so you can see I'm picking up the red color to get the blends and more vibrancy of the red color. The same spots. I'm just again dropping in the red color. Now quickly using in a tissue I will dab off the excess water which is getting collected out. You're on the edge. Alright, so this is just the base layer and a very rough layout that I'm trying to show you to learn the blooming technique. Now you can see we have the blooms which are creating in the whitespace in a painting using the tip of a round brush, I'm just going to pick up some water onto my brush and begin dropping it onto the painting using the tip of the brush, you can see how the water begins to bloom and creates that whitespace amongst the colors that you've already added onto the paper. You just have to pick up any round brush and pick it up some water onto it and just begin dropping it, holding it perpendicular. Make sure you do not drop excess water at one same place. Otherwise that entitled place when turnout, very light and rest of the species may remain extra dot. So you need to strike a balance. Now whenever I'm feeling that the water is flowing a little more because we do not have masking tape and we are going ahead with a very loose consistency here. I'm quickly lifting it up with the help of a tissue so that I do not know it dries up quickly. Also, it does not spoil the rest of the spaces. Now you can see the blooms are beginning to happen. So they take time to blown completely and create that space. So v, for some time do not use a hairdryer for speeding up this drying process. Or else you will not get the blooming effect. And also wait for a little time to let the blooming effect happened and then add more of these are droplets of water. So after a few seconds. So you can see there have been blues now wherever I feel that I need a little more of the blooms, I'm dropping in the water. They do not drop excess water. That one, please, as I told you otherwise, you will have a very big patch at one spot completely. So you have to be sure about this. So now we wait for the Bloom's to dry completely. And once this dries, I will quickly discuss the bouquet effect with you onto this background. Now my background has completely dried and you can see how beautiful it has turned out. Now using in the white gouache, I'm going to quickly show you how we will be creating in the book. A fact, it's a very simple process. They using in the light wash. First we will add in a few of the circles with the white quash in a little dull consistency. That is, you can see the background layers of the book effect. They are little dull and blended into the background. Then once they dry, we will add in another layer of the round circles using in the white quash, trying to show in a little more of less blended look. And then we're going to add in some vibrant whitewash circles, which are going to be vibrant and white enough. So the four circles, I'm just showing you how we are going to be adding them. I'm going to create a so-called onto the edge. And then using a damp brush, I'm going to blend it till the center. Just, you know, try to blend it a little into the background to give it the double loop. Now if you want to create a dialogue, you can even use a tissue paper quickly and dab it off. But at times this may not work perfectly because you can see the pain gets tapped off a little extra and it's completely invisible. You need to dab your tissue a little lightly. You cannot add in a lot of pressure. So I'm again going ahead with a layer now and I'm just going to add it in the half space. And now using a damp brush, I'm going to blend it into the rest of the space and create the book is so good. So that is the first so-called which will become completely done. The second one is going to be a medium tone byte, which is not completely vibrant white, but not completely dull and blended into the background. So this is going to be a medium, right? Alright, to this we will be adding half onto the first year. So orphans and some will be adding this completely without any basis of goodness. And the third kind of circles are going to be vibrant, white circles without adding in much of water or blending it into the background. These you can see onto our painting around four to five of these mini circles which are popping out, right? So this is going to be the last layer. So this was the first new route. You can see that this is the second layer as a medium tone white. And then the third layer, which is your vibrant consistencies that you can see. These are the three layers of whitewash that we will be using it for creating in the bokeh effect in our final painting. So that is it about the techniques and the color section for this class are pretty simple class project. Beneath me, it's quite simple if you get the pencil sketch right. So let's begin painting our final class project in the next lesson and paint this beautiful bouquet effect field. Today. 63. Day 19 - Bokeh Effect - Background: So let's begin with our class project for the 19. I have my paper taped down. And you're going to begin with the pencil sketch for the flower first. I'm going to be having my flower towards the right side is going to be a pretty simple flowers. I'm just beginning with the descender space. That's the idea. And now I'm going to begin adding in the petals. Now, why nodding in the petals? I'm going to do showing as if some of the petals are a little hidden behind each other. So you can go ahead with any pencil, sketch off any flower that you wish to go ahead with. All you can follow the same pencil sketch as I am going ahead. So you can see I've gone ahead with a very rough pencil sketch somewhere. I've even added the petals a little folded and little crooked and shape at the top species. And Sunday the petals moving and tilted more towards the left side or somewhere towards the right side. So very simple pencil sketch that I've gone ahead bit. Now I'm going to be adding in a butterfly as well at the bottom of the flower space out to you. So it's going to be just one side look of the butterfly. So again, even though this is a very simple butterfly, you just have to add a small fees and then one side feather look for the butterfly. It's just an unsatisfied with the placement of the butterflies. I've quickly these to Dolphin. I'm just going to go ahead with the pencil sketch quickly again. So that is it all. What happens in sketch is going to be about the butterfly and the flower. Rest of the area is going to be the blurry background that we are going to be painting along. So I'm quickly marking out the stem as well for the flower, which we're not going to be adding in the colors. And two, so quickly mark out this space as well so that you know where you do not have to add the colors in the first course. We are done and ready with the pencil sketch. Now I'm going to go ahead with a clean layer of water. Now, when you're adding in the layer of water, make sure you do not add the layer of water onto the flower petal and onto the butterfly and the stem as well. So we are going to leave all of those spaces blank while adding in the layer of water around these pieces, you can go ahead with the smallest size brush to get into layer of water perfectly. Or if you are confident about adding in this layer with a bigger size brush, then you can go ahead with a bigger size brushes. I'm going to go ahead with the same brush for now. And then at the end, just closer to the edges of the flower, I will shift to a smaller size brush to get into details perfect out there. So going very slowly by adding this layer of photo, you can see I'm going ahead very slowly so that I have not mess up these details. And also make sure that you add the layer of water in such a way that your paper stays wet for a little longer time because you know, they're going to be working wet on wet, getting in the details for the blurry background that we are going to be painting and then creating in the blooming effect. So make sure that your paper stays wet for enough time. So for that you will have to run your brush multiple times that will help in keeping your paper stay wet for a little longer time. Then just going ahead with one single layer of water. Now using the smallest size brush, I'm just running across the edges of the flower and the butterfly carefully with a layer of photo. Now, this may be a little slow process and it may take time to add in this layer of water. So before you begin painting, have a recheck that all your edges are still wet and rest of your paper is still wet and hasn't dried. And now I'm going to begin with dropping in the colors. So first I'm going to begin with the payroll red color. I'm going to begin dropping in the colors in a little liquidy consistency, you can see the colors begin to flow as soon as they are dropped onto the wet background. Now first beginning with the red color. Randomly. Now just below the butterfly, I'm going to add in the red color to show the reflection of the butterfly. I'm in the rest of the species on the edges. I'm going to add in more of the day closer to the flavor and the butterfly do not add any needed color, as we discussed already in the technique section. Because at those pieces, the main focus is already going to be in the red color. So then we're not going to go ahead with the red color. Now next close to the red tones, I'm going to begin dropping in the turquoise blue color. So for the turquoise blue I'm using in this turquoise blue from the brand White Nights. Now very carefully closer to the stem of the flower, I'm just going ahead with this layer of the turquoise blue color, making sure that the stem remains white. So you need to go in very carefully with these details, but you also need to be little quick to make sure that the rest of the details do not dry while adding in these little details and getting in the crisp lines. So at random places you can see around the flower I'm giving him the darker that using in the turquoise blue color. And in the rest of the space is I'm going to use the Payne's gray color to give him the darker debt. Now, whatever those pieces are left blank there. I'm going to go ahead with the Payne's gray color. Then I've been shifted again to the turquoise, blue and the red color and given some more vibrant, bright, nice, you see the red and the turquoise blue color, or a little dull, not too vibrant. And remember when watercolors dry the dryer tone lighter. So to make sure that these tones remain brighten us even after drying, I'm going to go ahead with another layer of the colors again. Now closer to the flower petals, I'm going to go ahead just using the tip of the brush and begin dropping in the Payne's gray color even around the butterfly species, we've left the white tab, as you can see, all of those places now we are going to fill in with the Payne's gray color. Make sure remember I'm repeating again that closer to this level, you do not have more of the red color because the main flower is going to be off the red color and then the background and the flower will all begin to look marched into each other, which we do not want. Now going very carefully around the edges of the flower, do not run into the flower species because we are working with a darker color, That's a Payne's gray color. And for the Flavia going to, go ahead with the red tones, flowers. So going very carefully at these spaces. So I'm almost done with the first layer. Now you can see the turquoise blue color is so light and you know, even the red color is in looking at vibrant enough. So I'm going to go ahead with these two colors again and begin adding in the darker depth as we discussed. At the same spot where we have added the first layer colors and beginning to drop in the same colors at the same places. The only difference that this time they are more vibrant, but still I'm using the colors in a little liquidy consistency so that they flow into each other and create the perfect or blends that we want between the colors. In the same way I added the turquoise blue color, and now I've added in little darker spots with the Payne's gray color as well. Now, again, I'm just going to go ahead blending all of these colors. Now wherever in between the colors you feel that the blending is not going easily. You can use a damp brush or use the lighter colors again and tried to create. Now I've shifted to a smaller size brush and I'm going to define the edge of the flower when, and give it the perfect finishing. So using the Payne's gray color and using a pointed tip size 0 brush, I'm just defining the edges and giving it the darker death. So automatic leave and you will paint the flower. All of these will begin to act as the shadow to the flower. So that is the reason around the flower area, make sure that you use in the Payne's gray color, more blurry effect. So you can see while I'm adding in the edges, I'm even defining the shape of the petals as well, so that when you begin painting in the petals, It's an easier process. And you'll know what shape the petal needs to take in. Same way even around the butterfly species, I'm adding in the edge to create in the perfect look after we paint the butterfly as bad. Now next I'm going to mix in a little bit of the white quash and the turquoise blue color. And while the background is still wet, I'm just going to add in little of the grass strokes as well. And then we have to still go ahead with the blooming technique for which your paper's still has to stay wet. So there is still a lot to be done wet on wet. So make sure your paper is still wet. If you feel that your paper is beginning to dry quickly, then instead of adding in these grass strokes here, go ahead and first do the blooming technique that we're going to use for creating in the texture in the background. We discussed the blooming technique already in the technique section for this class. You just have to go ahead the tip of your brush and begin dropping in water using the tip of your brush, creating in the texture in the background. Martin's, my paper is still wet enough for me to go ahead with the booming technique as well. I'm just adding in little as the bloody glass tubes into that background out here. I only mentioned the at the bottom space. So all of these grass strokes that I'm creating right now are just going to be majorly for the background blurry strokes. We're still going to add in some of the focusing strokes once everything dries in. For now, let's quickly add this and then move on to creating in that blurry background. Now I'm going to begin dropping in the droplets of water. Now when you begin adding in the droplets of water, you have to be careful about two things. One, that your paper has to be wet, otherwise you will not get the effect. That is the reason I told you. If you feel that your paper is beginning to dry in, skip adding in the bottom grass strokes and move ahead to this blooming technique. If you will add these water drops onto dry paper, you will not get these blooming effect. It has to be done on the wet background. Now when you're dropping in these water, make sure you're not have even excess of water. Otherwise it will spread a lot and ruin your entire background color. So it's important to have the perfect content of water as well to get in the texture and the details, right? So you can see how slowly I'm going ahead building in the layer, getting into details. Now I'm going to wait for all of this to dry completely. Make sure you do not use a hairdryer to speed up this drying process because then you may not get the perfect textures that you need it. So let this dry nitrogen and then we will go ahead further. 64. Day 19 - Bokeh Effect - First Layer: So now my painting is completely dry it, and you can see how beautifully the background blooms have come into life. Now let's begin adding in the further details into the painting. Now using the payroll red color, I'm going to begin painting the petals one-by-one. Now, make sure when you begin painting the petals, you do not paint two adjacent petals together. Also around the edges of the petal, going very slowly and carefully so that you do not run into the background space. So you can see I'm going ahead with a very medium tone of the payroll red color for the first layer in-between, if you want, you can even add in a few of the petals with the Carmine color. Or you can go ahead with little wet on wet details with the Carmine color. I'm going to go ahead with the little wet on wet details onto this medium tone or red layer that I've added. So basically I want to define the edges well, while it is still wet. So just going ahead with some darker color tones onto the edges while your pattern layer is still wet. In case if you further want to add in some more darker that you can even use your reddish brown color, red brown color, light red color, brown red color. So it's basically a reddish brown color and adding some strokes onto the flower while this is still wet. Or you can even add these strokes wet on dry. Now into the center but of this flower, I'm adding in the yellow ocher color completely and filling up the space with the yellow ocher color. Now, as I told you, we're not going to be painting any adjustment petals together. So I'm going ahead with a very random petals. I'm going to keep filling in the petals one-by-one. Now onto this petal, be a little careful because you have the butterfly head. So leave that space also empty for now. Now, not onto all the petals it is that you have to give him the wet-on-wet details with the carmine and the brown red color. You can skip a few of the petals and just giving some darker edges while it is still wet so that when it dries, it has a positive edge. It has the perfect distinguishing itself has better between the petals. Now, I'm just going to keep painting in the petals as well. Now in-between, I'm just lifting up little colors creating in some lighter parts as well on the petals from both the petals that we painted so far. You can see I quickly lifted up little colors that I have a little lighter spaces as well on the petals because we're still going to add in little strokes and details on the petals. Once everything dries completely. Now on this top petal, I just painted half the petal and now using a damp brush, I'm just going to spread this color and lighten it up at the top space. So another way, how you can create little lighter effect on the petals as well. You can see how slowly and building in the petals one-by-one. Whenever I'm painting in and adjusting Pidgeon, I'm making sure it's not touching in the previous petal. And the previous petal is completely dried in case if the touching to each other on any of the edges. And you can also see how I'm creating in the lighted effects onto the petals by either lifting up the color or just trying to create the lighter shade by using in water and dragging in the color. Now at the top side of the petal, our chore, or that small little petal which is on the backside. I've painted a little dot to show the shadow of the front petal falling onto the previous petal. Now in the same way, I'm going to go ahead with the layer of the red color onto the butterfly as well. So it's going to be a very light layer of the red color. It's a very diluted tone, as you can see. I'm going to give him the effect of all of the details of the butterfly using in the white gouache later on. So this is just the first layer onto this. We're still going to go ahead with another Leo for the butterfly as well. Now using the turquoise. Hello and a very diluted consistency. It's majorly going to be water. You can see just using it in a very light consistency going to give a very light wash on too little of the stem space, so not necessary to fill the entire stem as well, just giving a very light wash. You can see it's almost equal to a white color wash that I've given him, but it has a little color attached to it. Now till the petals are going to dry in, I'm going to use in the mix of the white quash and the turquoise blue color. I'm going to add in liters, details. Wet on dry or at the same species where we added in the stem effect in the background those pieces now I'm going to give him little of the branches and the stem details which are going to have in a clear loop. So just going to mix in white gouache and the turquoise blue color so that they stand out opaque. So it's very important to understand that since I background colors are dark, if you will use the turquoise blue color directly, it will not give you an opaque effect and we want a little lighter color opaque effect onto a darker background. So that is the reason mixing in with white gouache makes the color look opaque even onto the darker background. So slowly closer to the stem space we've built in the branch details now onto the rest of the bottom space, you can see very roughly, very crooked details that I'm adding in for the branches. So just keep on adding in very roughly and loosely. Do not hesitate about adding them with a very loose hand. Do not go in with simple straight lines. Only. Try to make it look as much as possible. That will add to the beauty of this painting. Now till the time all of these details dry. I'm going to add in the first layer for the bouquet effect so that even that dries. Now you can mark out smaller circles with the pencil if you want. First, I have marked out a few of the circles. They may not be visible to you because of the dark background, but that visible to me. So that is the reason I've not shown it to you. Or even you can use a smaller or instruments and mark out the so-called us. But now in the first layer of the circle you can see it's a double layer of the white gouache that I'm using it. As we discussed in the technique section, the three different tonal variations of the white that we are going to be using in for creating in the bokeh effect. So this is the first layer varying. I'm blending in the white majorly with the background. So now you can see I'm creating in the circles of different sizes. For the first layer, we're still going to be adding in a little more of the bouquet effect in the next layer once all of this tracing. Now if you feel that the layers that have dried have turned to dial, you can go ahead with another layer on top of them like this one out here, you can see it has dried extra done. I'm just going ahead with one more layer on top of it so that it does not look completely done. And I'll seem to be completely invisible the background. Now I can just add another two to three of these into the first layer. Then I will wait for all of these to dry completely now. And in the next lesson we will begin adding in the final details into this painting. 65. Day 19 - Bokeh Effect - Final Details: So now let's begin adding in the further details into the remaining petals one-by-one. So far as going ahead with the base Leo for the remaining petals. Then once all of them will drive even adding the further details into these. So for this pattern, I'm going ahead with a little darker tone as you can see. And this time the wet on wet, I'm going to add in little details. So I'm going to be using in the Carmine color onto this layer itself and adding the darker details distinguishing the petal from the adjusting petals. Little details out there in the center as well. So make sure you use a pointed tip brush for adding these details. And also when you're adding the details wet on wet, make sure you do not have excess water or paint. Otherwise, the details will begin to blend into the background color and give you one flat color loop. Now in the same time, I'm going to quickly paint the rest of the two petals as well. Now adding in the base layer for the last petal here as well. Then once all of these dries, then I will paint in the photo layer onto the butterfly as well. So now painting the butterfly you can have into my thoughts that's leaving in gaps in-between or later on using in whitewash to give him the texture with the butterfly. I'm going to go ahead with a mix of both the techniques out here. So for the second year of the butterfly now, I'm going to begin up with the red color. So now what I'm going to use the red color and a little medium tone consistency that is not to take enough and not too liquidy enough. I like to just go in to begin with the edges and begin defining the shape. Now in-between you will see I'm very randomly going to leave in some of the gaps white so as to create texture. So for that I'm marking out those pieces. Now. Do not bodies were unable to leave these gaps in-between. I would recommend you, you can paint the entire thing with a medium tone of red and then using white gouache and create these details. Now in the same way I'm going to run into the second area here of the butterflies. So the second wing as well. I'm going to go with the same technique. That is, I'm just beginning in leaving some white gaps creating in those spaces. But as I told this, you're unable to leave these. It's perfectly okay. We are going to go ahead with the detail of fight coercion. This later on. We are even going to separate both the wings of the butterfly using in the darker tones later on. So now for the second wing, you can see on the edges I'm using are quite darker tone of the red color as to what I've used in the fourth tone. So first was a very medium light tone that I used for the fall, spring, and for the second week, I have used in a darker tone and even in the center to separate both. The wings have gone ahead with a darker tone. Now next, using in the Carmine color, I will begin adding onto the petals of the flowers. So make sure all of your petals are completely dry. This is just going to be wet-on-dry details of the flower. So I'm just going to begin giving in details to each of the petals. Just going to give him very thin lines close to each other creating in the DD look to the petal. You can see very vast random line somewhere. The lines are taller, some veggies halfway through moving from either from the center space or the top space. Now to this petal. Now, I'm going to force given a darker layer itself. So I've just added the darker color on the edge. And now just using in little water, I'm going to blend this till the center space to give it a little darker detail to this petal out to do each of the petals that I've added the details you can see after adding these strokes, I go ahead with a damp brush and blend some of these strokes into the background, creating a little blood. So you can either leave the detail vibrant and those rough lines there, or you can also use a damp brush and blend them little into the background, creating in a subtle blending into the background as well. Now next using white gouache, I'm just going to begin adding in the detail on the butterfly. So just using the tip of the brush, I'm going to give him little oval shapes out yotta create the texture of the butterfly. So you can either, as I told you, you could have run the entire space with the red color and then added this to you already. If you have white gaps, you can give them more that they'll look out this using the white bush. Now using the Carmine Carolina thick consistency, I'm just defining the edges of the butterfly as well. So the BCL has to be dried completely before you begin to do this. Otherwise, the details will not stand out when. Now let's begin adding in the second layer for the book effects. So the first layer is completely dry it and I'm going to begin in with the second layer. So for the second knew we had already discussed bush consistency is going to be a medium tone, not too vibrant and not too dull. So a medium tone or vibrancy that we are going to use in mixing in a little water with a white gouache and begin adding in the circles. Now some of these circles can be overlapping. The first one, some of David's can be separately standing up, then the first ones. Now, I feel that the first-year circle is also a little extra Delta. I'm just going to give it a little touch on the edge. I'm going to blend it into the rest of the space using a damp brush. So this beta edges standout bright, giving you a little hint attached to the bokeh effect. Now in the same ****, just going to go ahead and add in a few more of the sulcus before moving to the third layer of the esophagus. So you can see the difference between the phosphorus and the second layer. The second layer circles are more vibrant as compared to the first peer. So now again, I will repeat if you feel that your first layer circles are also Bu Dan, you can go ahead with one more layer if you feel that they're too much blended into the background. So you add onto this circle again, I feel that it is too much or blended into the background and does not stand out at all. I've just given a dye edge again and I'm going to use a damp brush and blend this as well into the remaining center spaces. Seem to be going ahead with this book effect out to your husband. Now onto this overlapping one more bokeh effect using in our medium tone consistency. Now before you go ahead with any overlapping book effect, makes sure that the first book effect layer is completely dry. Otherwise the colors will begin to bleed into each other and you will not have the perfect. So now I'm going ahead with the third layer effect on some of the circles. Adding a few of the ripen circles using white gouache without adding in much of water in a very vibrant consistency. Now till the remaining book, a fake dry in using the Payne's gray color. I'm just going to add in a little distinguished look to the stem of the flower as well. So onto the one of the edges, just using the tip of the brush and the Payne's gray color. I've added in a line. Now using a tissue, I'm going to dab it a lifting and created a little lighter in tone because this seems to be too dark. So quickly when this was great, I just dab it off with the help of a tissue. Now using in the white gouache, I will define the stem a little more better. So just going ahead with the very last line using the white gouache because I feel the Payne's gray is not standing out that well. So quickly covering it up with the help of white gouache. Now, using the Payne's gray color, I'm going to fill in the center but space where we have added in the yellow coat color. So I guess while discussing in the color tones, I may have missed a viscous yellow ocher color with you, which we use for painting the bulk of this flower. Now lastly, I'm going to add in a few of the vibrant bouquets back because all of my bouquets that Lira completely dried now. So now this totally a bouquet effect. You can see how wiping this is pure white in such a thick consistency that it's standing out so vibrantly onto the entire painting compared to the first two deals of the book effect. Also you can see this is standing out bright and white. So this totally or bouquet effect also, you can add some of them overlapping the first two layers, creating a bunch of three to four, and some of them just separately standing up to all without any basis they are or any of them together. Now on the second year also, if you feel that it's looking a little done, you can give him little detail edge like this. So you can see I've just given in little shape to these bouquet effect onto the edge. And I will quickly blend them into the rest of it using a damp brush. So that is it. Let's remove the masking tape and see your final painting for D9 D. Make sure that your edges are completely dried before you begin removing the masking tape. And be very careful to not lay your hands onto the wet parts of the painting. You can see such an easy, beautiful class project it was to paint this beautiful book effect. So you can see such a beautiful simple flower with a blurry effect on pleaded with such simple techniques step-by-step. So I hope you guys enjoyed painting to these class project with me. Thank you so much for joining me into this class. 66. Day 20 - Northern Lights - Colors & Technique: Hello everyone, Welcome back to day 20 of the 30-day watercolor challenge. Today we are going to be painting this beautiful Northern Lights seen by the seaside. So let's begin with the colors that we would be needing for today's class project. For this guy first, we are going to be using into colors. That's the composed blue color and the indigo color. Now in case if you do not have to compose blue color, you can use the cobalt green color. They are almost the same color, but just the cobalt green color is a little paste it and decompose blue is a little subtle color. Then for this area we are going to use in the composed blood cells. But instead of indigo, we're going to use in the cobalt blue color for the C, for the mountain range, I'm going to use in the indigo color itself and a little bit of the Payne's gray color. Coming to the fields I'm going to use in the shades of green, which is olive green, sap green. Oh, for the flowers I'm going to be using in the royal blue color from the brand pipe night. Now in case if you do not have the royal blue color, we've already discussed them mixed to create this color in the second class project in the day to class project technique section. But I will quickly tell you the color mix that you can use to create this pasting color. Apart from this, you would be needing little white gouache as well if you do not have the royal blue color. And even for adding in the grass strokes and this dry brush technique onto the waves and the stones and even the stars in the night sky. So first let's quickly swatch out all of these colors and then move ahead further. The composed blue color is going to be from the brand right now. Magellan mission that I'm using in most of the shades are from different brands this time. So majorly, there are three brands. That's Magellan, mission White Nights, and PWC that I'm using in all the color pigment numbers of the PWC are already uploaded in the resources section. So if you want, you can check out the exact pigment number for the color shades that I'm using. Next is the indigo color, which again I'm using from the brand PWC. You can go ahead with any indigo color brand that you wish to go ahead with. But makes sure that the indigo is a little towards the blue side and not towards the black side. The next color that we need for the CEO is the cobalt blue color, which I already have. Our two are on my palette. I'm going to pick quickly pick up the color from the palette and swatch it out there. Now for the greens, I have the three greens on my palette and I'm just going to use them and create the background for the field space. You can see so closer to the stones that just underneath the stone space we are going to add in the darker color to give him the depth and shadow to the stones. And in the rest of this phase you can see we've got a plane and light and dark color compositions that we've used in. After that, we are going to be adding in little of the grass strokes. And for that you can either use a pistil green color, which is opaque inconsistency, or you can go ahead and mix invite quotient green to get an opaque consistency green color for the flowers that you can see. Very simple wildflower details for that I'm going to use in the royal blue color. So this is a royal blue color directly from the brand White Nights. So this is an opaque color. I haven't added any white gouache to this by using in the painting as well. So since being a pastry color, if you see the color composition, it has a white pigment in it, which makes it an opaque color. Now, in case if you do not have a royal blue color, then we had discussed the color mix of this in the class project of D2. So here, if you see the pigment number, It's a pigment of blue along with white color. So we're going to mix in a blue and a white to get this royal blue color. So to get this royal blue color, you can mix in the ultramarine blue along with white gouache. Now, depending on the consistency or depending on the vibrancy of the color that you need, you will have to keep altering the white quash. The issue if you want to bright or a little, depending on that. So first we're going to go with this guy. Then in the mountain range also you can see on the right side we've created a lighter effect to show the light of the northern sky. Then move to the sea area and you're, we've painted the rocks for the rock salts if you see in between, we have to compose blue color visible trying to show the light effect. Often other light's falling onto these rocks pieces as bed. Rest of the space is being covered with the Payne's gray color. I haven't quickly show you how we are going to be painting each of the rocks one-by-one, creating in that effect of the night lights falling onto the rocks area as well. So I'm beginning with a very random shape you can see. So we've, to make sure that these rocks are very random and shape do not go ahead with a perfect circle or an oval shapes. Now, first I'm going to begin in with a little bit of the composed blue color in between and just randomly lay down the composed blue color as patches wherever you need it. Now I've added a layer of the composed blue color majorly on the left side. Now I've picked up the Payne's gray color and I'm just going to blend the Payne's gray along with decomposed glue in the rest of the space. And in their ages, we had already given in the Payne's gray edge creating in the blend between the Payne's gray and the composed blue color. Now if at any place you feel that the colors have gone into dark, you can quickly lift up little off the colors. Now here you can see how beautifully the rocks are showing the effect of the night sky light falling on to the ROC area as well, creating in that little glowing space of the turquoise composed blue color. Later on, once this dries completely, we'll give him little off the dry brush using in the course. We've already discussed the dry brush technique and many of the class project. It's a very easy technique. So we'll be using that for creating the effect. Then for these are glowing stars out here. Again, we are going to be using in the white quash, and we've discussed the glowing stars technique as well. In case if you do not know, you can even visit my galaxy class and see how we add these glowing stars because it almost teaches the class projects we've used this technique to create beautiful galaxies. So that is it about the color techniques and the basic techniques and how we're going to go about this class project. In the next lesson, let's begin painting our final class project for the 20 together. 67. Day 20 - Northern Lights - Base Layers: So let's begin with the final class project. I have my paper taped down onto all the four edges. And now I'll begin with the pencil sketch before moving ahead with the painting process. So first let's begin marking out the horizon line. So just a little below the center line, I'm going to mark out the horizon line. Remember on top of the horizon line we're still going to be having in the mountain, James. So according to the size of your paper, the right the papers are to distinguish the sky and the rest of the species. Now leaving a little space for the C, I'm marking out the roof spaces are approximately four to five of the rocks and bigger sizes that I'm going to be adding in. The bottom space just below the roof area is going to be the rest of the field space where we're going to have in the greenery and the flowers out there. So you have a pencil sketch ready are very simple pencil sketch. Let's begin with the painting now. So I'm first going to begin in with the clean layer of water only onto the sky space. We'll first painting the sky and then move ahead painting in each spot one-by-one. Now, adding in the layer of water onto the sky, I'm not running into the mountain range as well, you can see. But if mid-semester colors go inside the mountain range, you need not worry as the mountain range if you have seen, is going to be off the darker color. And that's kind of the lighter color tone. So will easily be able to cover it up again, even if you love the colors bleeding out there. I'm done adding in a thin layer of water. I've run my brush multiple times so that my paper stays wet for enough time. I haven't had to love to compose blue color out there ready on my palette already. Impossible to beginning with the composed blue color or strokes into the sky space. So using a round brush, I'm just beginning to add in the compost blue color closer to the horizon line. Now when I'm adding in the compost blue color, you can see naturally I'm just leaving in lifted off the white strokes and some lighter colors strokes of the composed blue color. That is to create the light effect into the northern sky and create some blowing spaces as well. Now running in very carefully closer to the mountain range and closer to the mountain range. I'm going to give in Dhaka diffusing in the same color. I'm done with the first layer of the composed blue color. You can see I've added the darker that much closer to the horizon line. The left side is more on the lighter side. The right side is more towards the darker side. Now I'm going to shift into the indigo color first. And after adding in the first year with the indigo color, I will decide whether we need to go ahead with a little more off to compose blue color, vibrancy corpse. So the tops, I've given in the indigo color, just about a composed blue color. Now very carefully I'm pulling out strokes of the indigo color onto the composed blue color as well. So you can see it's in such a way that at the top, I'm even getting in lines in between of the composed blue color. Now closer to the mountain range as well, I'm just giving in some darker depth using in the indigo color. Now whenever you are adding in the indigo strokes which are overlaying onto the compost. Blue color, you have to be sure about one thing that you'd not hide all of the composed blue color layers completely at the top area of the sky as well. You can see that the composed blue color is still visible in-between the indigo color strokes and we even have some lighter strokes. Now I'm just defining the top mountain dream space where, because I want a little darker colored stroke out there. Now picking up little up to compose blue color again in a little vibe inconsistency, you can see it's a little thicker than the previous layer. I'm just going to begin adding in some more vibrant strokes in-between the indigo color as well. Now again, using the indigo color, I'm just going to add in some highlights strokes, but they indigo color over to the compost blue color and even adding the darker there. So you can see I'm pulling out this tropes diagonally from the top left and the right edges and And the centers piece, I lift up the brush quickly and create those strokes into the night sky. So that is it for the sky space just to pretty simple sky with the compost blue and indigo color. Now we need to wait for this to dry before adding in the stars and moving ahead. Then I'm just going to add in the earlier for the sea as well. So for that as well, I'm going to be using in the composed blue color and the cobalt blue color. So closer to the horizon, just below the mountain range, I'm going to be using in the compose blue color first. And then we're going to use the cobalt blue color at the bottom space of the sea closer to the row subspaces. Now for the CA, yeah, since it's a very simple layer, I'm going ahead with the wet-on-dry technique. You can see we did not add a layer of water. I just went ahead with the compose blue color directly. Now I'm going to pick up the cobalt blue color and add it into the rest of the z-space. So you can see how beautifully the cobalt blue and the composed blue color and blending into each other. And around the rocks space you can see I'm defining the shape of the rocks while adding in the cobalt blue color. It no problem even if the little colored bands into the rocks pieces because the rocks are also going to be off the Payne's gray color on the edges. So the cobalt blue color can be covered up easily as well. Now just going ahead with another layer of the composed blue color to make it go vibrant. Remember watercolors dry or tone lighter. So make sure whenever you are adding in these strokes they are of a good thing by Ben consistency because once they dry, they will still be trying to tone lighter. Now while this layer of disease still wet, I'm going to pick up a smaller sized round brush and pick up little of the indigo color. I'm going to add in some of the effect the wet on wet. So just picking up the indigo color, I've shifted to my size four round brush and just using the tip, I'm adding in some ways wet on wet, just some simple lines. Now makes sure but if you are working wet on wet, when you pick up the indigo color, you do not have either excess of water or a pigment on your brush. I just realized to add in some more darker strokes into the sky. But in this, if your sky has dried and do not add these strokes now otherwise you will mess up the entire soft edge loop. Since my sky is perfectly wet till now. So I knew I could add these strokes. But again, if your sky has tried it and do not attempt to add these strokes now. Now onto the waves, I'm adding them wet on wet. You can see within the vocal I've not picked up much of water or pigment. That is the reason they're not spreading. They just have a soft edge because of the red background I'll blend and our blending into the background colors. Now, leaving the rock spaces blank, I'm going to add in the first video for the grassy area as well. So for that, I'm going to begin with the olive green color just below the rock spaces, as I already told you, below the rocks, I want to add in a darker green color so as to give him the shadow effect of the rocks has been falling onto the grass piece. So far. The dark of in effect, I have mixed in a little bit of the indigo with my olive green color and closer to the rock edges, I'm adding in it with the indigo and the cream color. Now at the bottom space also you can see I'm defining the edge of the rocks when using in this darker tone. Now, just picking up more of the indigo color, you can see I'm adding it towards the bottom edge of the rock spaces giving him more defined low. Even at the bottom space where we are going to have in the grass look. Flowers. I have added in more of the darker depth using the indigo color. Now just below the rock spaces, I'm running more of the indigo color to given furthermore darker death to showing us the shadow. Now in the field space you can see I've maintained a lighter effect towards the right side of the field. You can use a lighter green color there if you want to create that lightest piece. Now my sky is completely dry and I'm going to begin adding in this task into this. I'm going to use invite gosh, cover the rest of the painting with a rough paper. And using the white gouache, I'm going to splatter some stars for the first layer of this task. Make sure you cover in the rest of the painting because we do not want these platters into the rest of the painting. Now you can either use a brush like this to dab your brush and getting these pleasure of stars. Or you can even keep dabbing your brush using Into of your fingers. So which makes the process easier. But you need to control the splatters with this because they going beyond control. So you can see when I was pledging with the brush, it was not going outside onto my table. But as soon as you begin splashing with your fingertips, it begins or out of space and springs up the entire space and creates a little mess. So you need to be prepared for this if you're going ahead with this technique. So that is it for the first layer of stars. Now in the next lesson, we will begin adding the further details. 68. Day 20 - Northern Lights - Final Details: So now everything has dried. So let's begin adding in the further details into a painting. First, I'm going to begin with the indigo color and I'm going to begin painting in the mountain range. If you want, you can use the indigo color in a very dark consistency and you will see it's almost equal to a black color that is getting laid down right now. Or you can even use Payne's gray color on the right side. As I told you, we are going to keep the mountain range a little of the lighter tone. And on the left side we are going to be giving it a darker tone. First-time defining the edge of the mountain at the top, you can see I'm going ahead with a very rough shape and not going with a very simple straight line, trying to make it look natural as much as possible. Now using the nature of the composed blue color, I'm going to add it onto the right side so as to get into lighter effect and also to show the effect of the northern lights onto the mountain range as well. Now when you add it onto the right side, you can simply blend it with the indigo color. You're also, we are going ahead with the wet-on-dry technique because there's not much details to add in your. Now on the left side, As I told him, go ahead with a more vibrant color of the indigo color. So just getting it till the right side and bending it well, now quickly using the indigo color, just going to define the entire horizon line. So you can see I'm going ahead with the pointy tip of the brush and just adding in the perfect straight line out there. Now, if you'll seen that onto the right side, the colors have gone into vibrant and violet, mixing it with the indigo color. You can even lift up little of the colors and create a little lighter space on the right side of the mountain range. So I just lifted up little of the color and you can see on the right side I've created a light effect with the mix of the indigo and the compost blue color. Just make sure that the horizon line has a good bold blue line to separate the mountain and the Sea area. And seeing the even at the top to separate the sky and a mountain range. Let's begin painting the rocks one by one. So we discussed about painting the dogs in the technique section. So I'm first going ahead with the compost blue color on the rock, and then I'm going to go ahead with the Payne's gray color photographs also. We are going ahead with the simple technique, wet on dry, not doing wet on wet. Now, make sure you paint one row at a time and not paint to adjust and drugs together. So what I'm going to do is I'm going to add in the layer of composed blue onto the entire row. That will make the process easier because as it has been, the Payne's gray will be laid over this. It will automatically cover up the paths that we do not need the composed blue color. Now since we do not have to paint to adjust and drops as last one, a rock empty, painted the next drug now onto both of these while they're still wet, I'm going to pick up litter of the Payne's gray color and going to begin adding it from the edges automatically because the composed blue color is still wet, you will see the Payne's gray color bleeding in and coming into the center space as well. At certain places you can even drop the Payne's gray color on the rock because you can see it's a quite because I broke and I do not want much of the composed new color visible. So now you can see how I've covered the entire row can just insane, but I've left little of totem poles blue-collar be there to show the effect of this dye falling onto the rocks as well. And that also I have not list the specific shape out there in-between all so I've added in patches of the Payne's gray color to get into perfect looking, looks out there. Now to least two rocks try. I cannot paint that just into rock. So till then I'm going to begin adding in the grass strokes. For that. I'm mixing in the whitewash along with green to get an opaque green color. If you want, you can go ahead with a green which is opaque inconsistency. Like many sets have the same color or the light green color, which is quite a big because of the white color consistency include it. But in case if you do not have such an opaque color, you can mix some green with your white gouache and create an opaque green color. Mixed invite brush along with sap green. I'm mixing a little bit of olive green as well. And just eating in an opaque paint still green color. Now using a size 0 brush and using this green color that we have formed, I'm just beginning to add in these glass tubes. You can see I'm going ahead with very random and draft plus nothing specific. Just close the adding a bunch of threats out there together. Now, make sure you do not add these brush strokes to longer just you can see I'm adding it majorly on the bottom side. Now if you'll seem that the green color mix that you've created is not standing out too opaque on to the darker green background that you've already formed. Then you can go ahead and add in a little more of the white gouache. Now on the right side I'm taking the class talks a little longer because then I'm going to add immediately this novel look with the royal blue color. So to have perfect grass effect out there, that is the reason I'm taking the grass strokes a little longer out there and the rest of the space, even on the left side of the Sea lady, I'm going to quickly keep adding in little more of this grass effect. You can see I'm going with very random crooked strokes is to make the grass strokes feel natural as much as possible. So I'm almost done adding in the layer of class strokes. You can see how I've tried to be the height in-between. I've taken them shorter than some better. I've taken them a little more taller and then again, listen shorter and try to vary the height throughout. Now next, I'm going to pick up the royal blue color and begin adding in the flower details. Now in case if you do not have to derive new color, we already discussed the thalamus, that is the ultramarine blue color mixed in with white quash. Having a white quash is quite an important thing, but no walking with details onto a watercolor painting. You'll want to add the lighter color details onto the darker color backgrounds. But you have a life course. It helps him making any color look opaque and adding the wet on, wet, wet on dry with such opaque colors becomes quite an easy task and getting the details right Even on to the darker backgrounds. So now using this opaque color of royal blue, I'm just beginning to add in very simple flower look. So you can see I'm just dabbing the tip of my brush and creating in some wildflower look, we're not going ahead with any other specific flower the deal or anything. Just simply dabbing technique to create the flower bunch out. You're on the right side. We are going to have in a lot of these flowers. And as we move towards the left side, at this point, go, haven't lifted up the flower spreading note in there. So now you can see as I'm moving towards the left side, I'm just sketching the flowers and just adding in very little of them and very small and far from each other. Whereas on the right side I'm creating a whole bunch of them together. Now on the right side, as you can see, I'm just adding in some of the flowers, just dabbing in the tip of the brush, dealing with some smaller details as well, trying to show and some flowers which are just about the lumen. So that is it for this novelty D is now let's paint in the rest of it. The blue dots by hostile rocks are almost right. So I can begin painting in the rest of the two in case if your rocks that you painted in the first year has still not dry, did then wait for them to dry completely and only then move ahead for though otherwise, the Roswell not have a distinguished identity from each other. They will all look much, much to each other as an entire batch. Instead of looking like detail, rock look. So here also you can see I'm following the same technique that is an outpost added in the compost blue color and now using the Payne's gray color filling in the edges, then creating little pattern out there in the center space. Again, all of this is done wet on wet. So the rock Leo, false color Leo. Leo was bet on which we added in the wet details with the Payne's gray color. Now just going to quickly blend it a little because it does not seem to blend in easily. Now in the same, we're going to paint this last dropout. You're in the center space. I'm going to fill it with the same method using the Payne's gray color. After this, when all of these Driving be adding in the details with the white quash as well. So I'm always done painting all the four of, four of Satyam. This is the base Leo. Now, well, while this dries and I'm going to begin adding in the shining star effect into the night sky because night look incomplete without the shining glimmering stuff. So now I'm going to use in the bike portion, begin adding in the stars into the night sky. So now using the whitewash, I'm first going to be the background layer. So for that you just need to add in a small circle with a white brush. Then using a damp brush, you'll need to spread this circle and blended into the background. So now using the damp brush you can see I'm just reading the white color, feeding a little bigger circle than what we added in. And just trying to make it look dull and settled into the bedroom. In the same way, I'm going to keep creating these pogroms. So when you add in the star dB HL on to this diagram, this diagram will begin to act as the glue in thes of the stars. And the white stars will stand up right onto these glowing spaces. Now a trick that I'm using here is since we added in the stars in the first lesson, as you could see, we already have the white star. So wherever I'm feeling that the patches have come into bigger, I'm just trying to read. We read those stars and blend them into the background and create the glowing spaces. So since we have used gouache, you know, you can reactivate it by just using in water. So I'm doing that. And then you can see the bigger patches have now reduced because I've used them to create the glowing space. So this is a small trick that you can use which helps and even correcting little of the study DNS if they go a little out of proportion. So I'm done creating the glowing spaces. Now I'm going to use the white goulash and a good thick consistency. And I'm going to add in small stars into the center of each of these glowing spaces. Now remember these tasks have to be quite smaller than size as compared to the glowing spaces just in the center. Add a dot with this vibrant white color. And also make sure that, you know, add water to this white color. Otherwise the star has been not standard, bright and vibrant. So now I just added some more fuel, bigger dots. And now I'm just blending them into the background because I felt the glowing stars, but a little less like weekly added in the bigger dots and now simply blending all of them. Then once the jaw to dry completely, I will add in the center start to get into vibrant blue. Now believes j, I'm going to pick up a little of Payne's gray color and I'm going to define these rocks a little better. So using the Payne's gray color, I'm just giving in the bottom edge shape. So you can see as soon as you add in a bold line of the Payne's gray color, that octets define and looks distinguished from the field space as well. Now using the right course, I'm going to begin adding in little dry brush di did I pick that the right was under my brush now, I adapted onto tissue so that the excess water than pigment is adsorbed by the tissue. And now I'm just giving you little drivers detail onto the rock. So you can see simply, I'm just trying to spread the white portion, a dry brush stroke. So make sure whenever you are going ahead with the dry brush technique, you always dab it onto a tissue or paper towel or a cloth towels so that the excess water than pigment is absorbed by the tissue. And then you have only very limited pigment on your brush, which will help in giving you this dry brush stroke. Now majorly, I'm adding the dry brush stroke onto the Payne's gray part of the rock so that it stands out. And also you can see I'm using the smallest size brush so that I get into the smallest dogs and not getting patches of stuff. Hello. So almost all of the rocks I've just added in very little of these dry brush details. You can see how these little DBS pop out so much more, you know, look onto the rocks as well. I'm done adding the driver's seat in. Now using the white quash, I'm going to define a little of the bottom edge orthodox again, just as we defined using the Payne's gray color at the bottom space, just to give it more lighten up effect. I'm giving you a little prominent dry brush with white gouache at the bottom space of the rocks. And you can see how it is separating the grass area of Syria, giving it more distinguished loop. So again, it's a kind of dry brush button, prominent one with little bold colors. Now lastly, I'm going to give him little dry brush teeth and even into the CEO to actin as the v. So same idea as before giving in the dry brush onto the rocks. I'm going to use in the white wash and begin adding in little dry brush TPNs onto the CED to actin as waves. So you can see I'm just giving in simple straight lines to actin as the V is not too prominent and out of their way. And the dry brush technique giving you more details on the edges. You can also see the wet on wet beams that we added with the indigo color are standing out so bright and perfectly in the CSPs. So almost done adding in the detail. Now, I have a little extra of the white course. I'm just blending it into the background using in a damp brush. Now lastly, onto the edges, I'm just going to give him little more detail. Look with the whitewash on both left and right edges. I'm going to pull it towards the inside of the sea. Very little, not too long waves but little prominent one. So that is it. Let's remove the masking tape and see your final painting with those clean edges. Make sure the edges of your painting are completely dry before you begin to remove the masking tape or else the paints will begin to get laid onto the clean edges under the masking tape. So you also find in painting for the 20 of this 30-day watercolor challenge. I hope you guys enjoyed painting this beautiful Northern Lights today by the field site. Thank you so much to each one of you for joining me into this class and for painting along with me. I hope to see your class projects into the project section of the class. And if you like the class, make sure to drop a review, it would help me reach a larger audience. Thank you so much once again for joining me. I will see you guys into the next lesson. 69. Day 21 - Wheat Field - Colors & Technique: Hello everyone, Welcome back to day 21 of the 30-day watercolor challenge. Today we are going to be painting another beautiful landscape by the CSA. So let's begin having a look at the colors that we need for today's class project. It's a pretty simple class project with a very limited color palette and very simple techniques to follow along to create this beautiful sunset view. So if you see we have a little glowing space out here into the sky area. And the sky and the sea colors are the same. They are just reflections of each other. So let's begin having a look at the base colors for the sky and the sea. So far, the blue I'm going to be using in the cobalt blue and further darker tints of the blue, I'm going to be using in the Prussian blue color. Then for the sunset effect, that's the yellow and brown fat I'm going to be using in the yellow light color along with a little bit of the vomiting new color. Now in case if you do not have the Prussian blue color, you can mixing Payne's gray to any of your blue and get a little darker blue for adding in the darker tints in the painting. Then if you do not have the vomiting new color, you can even go ahead and use either a yellow orange color or any orangeish red tone or reddish orange tone, whichever is available in your palette. Now if you see we have some brown highlights in our sky and sea area. For that, I'm going to be using in the raw umber and the Van **** brown. Now in case if you do not have the raw umber color, we have discussed this color mix quite awhile, times a. So for that you can mix in your bone Tambo with a little bit of the yellow ocher color and get a color equal to the raw amber color. Now let's quickly swatch out all of these colors. And then C, Let's love to techniques that we're going to use and creating this beautiful class project and then begin painting our class project for today. You're at the top of the sky. You can see where we are using in the darker depth of the Prussian blue color. But as I told you in case if you do not have the Prussian blue color, you can mix in a little bit of shading in blue along with Payne's gray and get an almost equal to Prussian blue color, which is nothing but just a little darker blue tone. For the yellow light color, you can pick up any lighter tone of the yellow color and orange tones. I already told you you can go ahead and pick up yellow orange color, yellow deep color, or any reddish orange color will also work fine because we just have to add in little highlight. Now in case if you're going to use the new color, you have to use it in the light consistency. You can see I've swash those scholar in both the consistency, the lighter consistency with a little extra water and a little darker consistency which is very less of water. So in case if you don't, you're going to use in the yellowish orange color, you will have to use it in a little medium consistency. And if you're using directly of omega nu or an orange color, you will have to use it in a little lighter consistency. Now, the rest of the two colors, we will swatch it out quickly. So the raw umber, we already discussed the color mix for this in case if you do not have it in your palette readily. Now in case if you want to know the exact pigment number of all of these sheets that we are using here. I have uploaded all the details of this color set into the resources section of this class. Along with the swatches and the pigment number for easy access anytime every brand may have the same color with a different name, but the pigment number is same. So if you want to check out the similar pigment number in any other brand, you can go ahead and look at the pigment number. So as I told you, I'll just quickly note down here the father or amber color for you to mix it if you do not have readily in your palate. Also, even for the yellow, orange color I will quickly not on the mixture. You can go ahead with a mix of the vomiting new color along with a little bit of the lighter orange to get oh, yellow orange tone. If you want to go ahead and use the yellow orange color instead of the whole medium color. Now you can see we have a little highlighted space which you can create with the help of tissue and then use a damp brush and blend the colors there, i e will be using in a tissue, lifting up the colors if the color spread and then quickly using the damp brush, I'm going to spread the color out there and get this glowing space. And the rest of the sky and the C are very simple, wet on wet details that we are going to be adding in. Now let's see how we are going to be adding in that foil age after everything dries. It's going to be simple or wheat field kind of look that we're going to be creating. So for adding in this formula h, I'm going to go ahead with the Payne's gray color using a smaller size brush. We're first going to beginning with a thin branch out here. And then here you can see we're just going to add in these little details. So if you'll see the details clearly, they are not a specific car or in a symmetrical pattern. We're going to go ahead with a very roughly out to make it look natural. If you ever notice of wheat field and notice how the structures look like. They are not symmetrical or they are not in a specific movement or in a direction. So just go ahead freely. We are going to create some of the branches with more of the spoilage and some of the branches with very little foliage and some of the branches, but completely no foliage. So here you can see we have a mix of different kinds. Here we have three Yogi have 55 digits coming out from different places. Then at places we have just one of the bend villages. And we even have phylogenies overlapping each other at certain places. So very simply you can just quickly do overlapping details as well without worrying about how the details we'll go about. Now in-between, if you see we have leaves and just simple grass details added on. So for that again, we're going to use in two strokes. One is going to be wearing. You begin with a pointed tip. Given a little leaf detail like this, by pressing in the belly of the brush and certain places you're just going to go ahead with simple thin strokes to act as the grass strokes. These two kind of the strokes that we are going to use and to fill in the detail and create more depth into the field space. Also, we'll be working wet on wet father of see me or see me at that time also, we are going to add in little of the foliage wet on wet as well and create a little background detail. So the two kind of leaf structures that I discussed, one is the simple thin stroke to actin as the grass fields. And mine is going to be this one wherein we press the belly of the brush and create a little leaf like structure. So these are the two strokes that you can use it to create the fillers in between the wheat field structure that we are working on. Now also, you need to be careful about one thing, when the yellow and the blue in the sky may merge together, they may form in green color. Those places we're going to use in the raw umber to create the distinction between the yellow and the blue. So astronaut form any green tones. So will be going in very carefully when we first lay down the yellow and the blue color so that we do not form any green tones. So let's begin painting our final class project. Now, in the next lesson. 70. Day 21 - Wheat Field - Sky & Sea: So let's begin with our class project for the 21. I have my paper taped down and we're just going to begin by marking the horizon line. Rest of the details we are directly going to go with the paints and no pencil sketch for the other details. Almost in the center space. I've marked the horizon line giving an equal space for the sky and for the C. Now in the sky or closer to the horizon line, it's going to be the yellow sunset effect. So if you want, you can have a rough pencil sketch for this piece system where you are going to be adding in the pencil sketch, sorry, the sunset effect. Now in the center space out here, we are going to be having in the glowing Santa defects. So whenever you are adding in the paints out your, remember too quickly lift up the paint from this base so that the spacing means glowing or use a tissue to dab off the excess paint from that space, and then use a damp brush to blend it so that it does not have sharp edges. I'm beginning in with the clean layer of photo into the sky first, make sure you add in an even layer of water throughout so that your paper is wet everywhere evenly and you can work wet on wet for adding in the details. Also running your brush multiple times helps and keeping the paper wet for a little longer time for adding in all of the details. So now let's begin with the blues for so I'm going to go with the layer of cobalt blue color at the top of the sky first. And then we will add in the darker tones using in the proof on top of the cobalt blue color. So 60% of this guy, I have covered it up with the cobalt blue color layer. Rest of this guy, we are going to have it with the yellow and the brown color tones. Now next I'm going to begin adding in the further details. You can see we've used the cobalt blue color alternate little medium consistency. So beginning with the yellow light color closer to the horizon line. Now in between the blue and the yellow, I'm going to leave a very thin line gap, or leaving it to white and letting the colors bleed and blend into each other on its own. Or we will be using in the brown. So you can see I've left a very small gap. Otherwise we may have in green color tones in between. Now I'm losing the vomiting new color to begin adding the darker depths into the sky. You can see I'm using the warm layer new color in a very light consistency, not too bold or vibrant. And just from the edges, I've added a little off the debt. Again, whenever you are blending orange and blue altogether. Otherwise you may form in muddy color tones out there. Now next I'm going to squeeze out a little of the raw amber color to begin adding in the further details closer to the horizon line. So in case if you do not have the wrong book color, then we discussed the color mixing, the technique section. That is, you can mix in your bond amber or yellow ocher color and get a new restaurant to the raw amber color. So using the smallest size brush, I'm beginning to add in the details with the raw umber color. Now, I'm going to begin creating in little cloud effect into the sky. Now when you go ahead with the Romberg color, be very careful about two things. One, that you do not have the pigment into dark consistency. And second, you do not have a lot of water on your brush. Otherwise, the paint will begin to spread and they will just create a patch of color instead of giving these defined cloud shapes that we're adding in. Now at the reading points of the yellow and the blues, I'm going ahead with the clouds of the raw umber color. And in-between just adding in some small d mini clouds to fill in the space. Now at the top space of this guy as well, I'm going to begin adding in the darker that. So for that I'm using in the Prussian blue color. Now, be very careful by the time you reach closer to the yellow color. Let there be cobalt blue colored only if you are unable to add in much darker that out there. Now I'm going to pick up little more Prussian blue color in a much darker consistency. I'm just going to add more of it at the top space and blend it till the bottom space using in the cobalt blue color in-between. Now using the Van **** brown color, I'm just going to add in little more of the darker depth into the sky space. So now this Van **** brown color coat is going to be a little less as compared to the Romberg details that we've added in, whether it's going to be closer to the Romberg details. So for the sunset space, you can see we've built in this space, or by layer by big thing in with the lightest yellow to building it with the darkest brown color tool to show it as the perfect sunset effect. Now, if you'll notice in the center space, I have not yet maintain that glowing space effect, which is still to be corrected and maintained. So do not worry, we are going to go ahead with the lifting technique. But in case if your paper is beginning to try and make sure to first having the growing space Jedi and then go ahead with the rest of the details. Otherwise you will not be able to achieve in that glowing effect or lifting of the colors if the paint is dry out. And also if you see at the meeting point of the yellow and the blue color, I'm mostly covered it up with the cloud effect using in the raw umber and the Van **** brown color. Now, using a damp brush, I'm going to begin lifting up a space out your and create the glowing space. So you can either use a tissue or a brush like this and creating the glowing space by lifting up the color. It's absolutely your choice which method is comfortable for you? It's of course, depending on two trial and error, depends on practice that will help you in understanding which method works better for you. So forth. I'm creating in a growing space for small token. And then I'm going to pull out little of the race from this and create furthermore growing space to show the effect of the sun falling around. So a few things to keep in mind whenever you're going ahead with the lifting technique is as soon as you lift up the colors, make sure that every time after every stroke of lifting, you dab it onto a tissue so that all of the excess paint is removed. Then clean your brush so that there is no pigment left. Otherwise, the pigment that you lifted up first, we'll get laid down. The next piece that you're trying to lift up and you won't be able to achieve in this effect. So you can see I'm trying to now create a bigger, larger space to create the entire glowing space effect out you. Now I'm just going to use in a little tinge of the yellow color. I'm going to put it about this glowing space closer to the blue color, but in such a way that the blue and yellow mixed together do not form in the veins. So you have to go in with a very light hand out to you. So you can see how beautifully I have tried to create in the entire glowing space, giving it a little yellow touch. And now just going to add in some strokes crossing through this growing space but very light consistency, not too dark. And also this is showing in the perfect sunset. You out, you're showing in the setting sun creating in that glowing space of the setting sun onto the sunset area. Now lastly, just adding in little of the Cloud effects. I'm just going to blend these Lytton because they seem to be quite too vibrant and prominent ones who quickly using a damp brush blending them all. All of these details I have been adding wet on wet. You can see for how long my paper has stayed wet. The reason is because I've used 100% cotton paper and plus I've added the details wet on wet and tried to make the paper stays wet. If at any point you feel that your paper is beginning to try, you can leave at the surface or rerun the colors. Now, let's wait for everything to dry. So everything has dried completely. And now I'm going to begin painting in the sea area. So for this area as well, we're going to go ahead with the same colors as we went with the sky colors. Going ahead with a clean layer of water. And then we're going to begin painting the background layer for the sea wet on wet, just as we painted the sky. So closer to. Horizon line is going to be the yellow and the brown, just as to show the reflection of the sunset falling into the sea space. And at the bottom space is going to be the blue sky reflection. Now closer to the horizon line, run your water Leo very carefully so that you do not run into the sky. Otherwise, the colors will begin to bleed into each other and may ruin your sky. So first, as I told you beginning in with the yellow sheets closer to the horizon line. So very carefully closer to the horizon line I've added in the yellow color layer. Now I'm going to go ahead with a layer of cobalt blue color at the bottom space and then begin adding in the details into the yellow color space with the brown and the orange sheets. At the bottommost space. I'm going ahead with the occlusion local, as you can see to add in the darker debt, when I reach closer to the yellow color, I've just let it be with the cobalt blue color out there. Now I'm using in a little bit of the Payne's gray color to add in little more darker depth in the CAD at the bottom space because we're going to show in the field details popping out from here. I'm going to again using the blues and blend them all together. So again, just about the Payne's gray color, I'm adding in little of the Prussian blue color so as to make the blending easy and show the perfect transition, moving in from the lighter tones to the darker tones. Now using the woman in new color again in a little light consistency, I'm going to begin adding in the same strokes that we added in the sky. First closer to the horizon line and defining the horizon line a little better you can mine off the woman in new color. This will help in distinguishing the sky and the sea area using a darker, bold color line in-between them. Now next I'm going ahead with the same raw umber color and the Wendy ground color mix, I'm going to begin adding in the same cloud strokes that we added in the sky area. So I'm just going to show a reflection of those clouds as well this time into this area. So you can see I'm going ahead with the same cloud structures. You can place them just as video, please. The clouds in the sky theme being the reflection spaces. You can add in little details. Not worry if the placement is not exactly at the same space. It's about creating a kind of reflection loop with the same color theory so as to show that it looks like a reflection. So you can see I'm adding it in the shape of clouds only, but when they blend, it may look like little distorted wave look. Now in the center space out here as well. I'm just creating a little glowing space to show the reflection of the growing space falling into the sea area as well. And you're also, I'm just going to go ahead with a little touch of the yellow color so as to show the blends happening easily in-between the glowing spaces. Then moving on to the blues into the CAD. Now just going to add in a little more depth Aotearoa as you can see. And then we're going to shift to adding in the further details into this painting. So closer to the horizon line, I'm just going to add in little more depth with this mix of the brown color also on the horizon line, you can see I've given it a very fine line touch with the mix of the raw umber and the Van **** brown color over on the orange color. And you can see the perfect distinguish happening between the sky and the sea area, giving him the perfect bifurcation and the horizon line standing out ball. Now using the Payne's gray color, I'm just going to add in little wet on wet foil it out here, which will turn out very soft ones. They begin to dry in using the Payne's gray color and round tip brush. I'm just adding in some grass details. We discussed two kinds of grass details as the fellows. So I'm just going to use both of them out here too. I didn't little blurry background and just going to get in very little detail at this point, not much of the detail look. Now when you are adding in these details, wet on wet, make sure that you do not have excess water. Otherwise the paint will spread out and just save your patch of the color instead of giving him the look of these innovate field structures. So it's very important to have the water control when you're working wet on wet, on any kind of watercolor painting for adding in the detail. Also make sure you do not have excess pigment or otherwise you will get in quite bold lines out here, which we do not want at this moment. We just want some soft blurry background details to show it. To come around in the backdrop and be painting the main foreground spoilage. So you can see I have not added much of it. I've added majorly or more of the foliage onto the right side and a little of the leaf effect on the left side. Now let's be for all of this to dry completely. And in the next lesson we will add in the foreground we feel for a ledge, and then we will be ready with our class project for day 21. 71. Day 21 - Wheat Field - Final Details: So now everything has dried completely and I'm going to begin adding in the foreground details. So for that I'm going to begin using in the Payne's gray color and using the Payne's gray color, I'm just going to begin adding in the foil it out here. So as we discussed in the technique section, we are going to go ahead with a mix of different kinds of phylogenies. With the main focus being with the beat kind of wheat field kind of foil age. And at the bottom space adding in some leaves and grass strokes. So when you're beginning with the stem for the wheat village, makes sure you go ahead with a thin stem. I'm using a pointed tip brush. It's a size four brush, which has a pointed tip. And you can see I'm able to get in very thin strokes. So to have more control over the brush. And two are getting more precise strokes. You can see I'm holding this brush much closer towards the prison. This will help in getting the precision much better and getting the details more easily. So very simple feather kind of details that I'm trying to add in. And as we discussed in the technique section, I'm going to go ahead with different kinds of furnish lookout, you're somewhere, the foliage is going to be quite clustered and together some way. Just very simple, dense foliage kind of for loop. Also, you can see I'm going ahead with a lot of overlapping out. You're going to add in the foliage overlapping each other as well. So you can see very rough details that I'm going ahead with. That is no specific pattern or a symmetrical pattern to follow along. Just simple details to fill in the space creating in the foil edge loop, going very slowly building in the details. Do not rush. Make sure you can use either Payne's gray color or black color. Or if you want to go ahead, you can even use in the brown color and tried to show the sunset effect falling onto the wheat field space as well. But I felt like going ahead with the silhouette look. Now you can see I'm taking these Whitfield details quite long ago, almost moving till the top of the sky at certain places. But again, you need to strike a balance. If you will take all of the strokes too long and taller, it will cover up the entire sky and the sea space. So you have to strike a balance between the size of these. We'd fill details also that you added. Some of them can be taller and longer, some of them can be shorter. Tried to have a mix of both, not just all smaller ones together, are all taller ones together. So in-between these two tall ones on the right side also you can see I have so much extra gap to fill in the smaller details in between at the bottom space. Now you are at the bottom space, you can see I'm adding in these details in the smaller format so as to fill in this space and even getting the perfect balance. Now the background details that we added wet on wet using the Payne's gray color, you can see how soft they have tried in and just the actin as the background details to this wheat field that you are adding it in the foreground. So now in the center space majorly, I'm going to keep the foil it smaller because I do not want to cover that glowing space of the sun in the sky area, you can see the growing space that we created. I have taken up one silhouette, just close it to the right side over it. But in the center, I'm not going to overlap that glowing space. Later on, onto the left side, I will just take a little more of the taller ones and in the central keeping it low line. So I add in a few of the details looking for English first and then in between them, I fill in the gaps using in the simple grass strokes and leaves strokes that we discussed. Now again, in-between these strokes, I'm just going to begin adding in the filler strokes as the grass you can see I just use them a pointed tip of my brush and begin adding these strokes one-by-one, overlapping and moving in all different directions. This will help in making a painting look more natural and make it look as much detail as well because of the natural flow of these grass strokes. So we're just left with very little detail onto the left side for the foliage. And then we will be ready with our class project for day 21 as well. Another simple class project, yet so beautiful and so much to learn about the wet-on-wet technique to handle adding in the details in, into the sky and the sea. And also trying to avoid forming in the secondary colors such as the green color because of mixing of the blue and the yellow color. Now onto the left side you are just adding in little taller strokes but not taking it to higher into the sky because I do not want to cover the sky space as we discussed, we just gave him little strokes on the right side and they've got a perfect move into the sky. And the rest of the space. I've taken it closer to the horizon line, but I've not moved it into the sky. Now just going to add in some fillers strokes majorly at the bottom spaces. And then we'll be ready with this class project as well. So even from the biggest drops you can see I've given him ten leaf details. Pressing the belly of the brush liter, not giving as much pressure as well because I do not want the typical leaf detail. So that is it. We are ready with our class project for the 21. Let's remove the masking tape and see your final painting. Make sure to remove the masking tape once you register completely dried or else the obtains from the edges may get lift up and laid onto the clean edges as well. So here's a final class project with those clean edges. I absolutely loved painting this, and especially I love the effect of the brown clouds into the sky and then the wheat fields moving about it and that little glowing sunset effect in the center space. Very simple class project with limited color palette to get such a serine view and such a calming view. I hope you guys enjoyed painting this with me today. I even see you guys soon into the next class project of this class. Thank you so much for joining me into this class and painting along with me. 72. Day 22 - Light House - Colors & Technique: Hello everyone. Welcome back to day 22 of the 30-day watercolor challenge. Today we are going to be painting this beautiful lighthouse by the field. So let's have a look at the colors before we move to our final class project. So this guy, if you see, is going to be a pretty simple Cloud using in one blue color, that's the sheet of cobalt blue. Now if you have a look at the lighthouse, you can see we have a little light effect with the yellow and violet color. The yellow color side shows the sunlight effect, and the violet side shows the shadow reflection on to the lighthouse. We're going to use in the yellow light color and the permanent violet color in a very liquid consistency. Then you need the payroll red color for painting the bright red roof of the house that we have just in front of the lighthouse. You also need the Payne's gray color for adding in the rest of the details for the lighthouse and that house. Now for the field space we are going to use in the green colors, and those are going to be sap green, olive green, light green. Then on the left side and the top-right side, if you see me have a little off the ground effects as well. So for that, I'm going to use in the yellow ocher and brown red color for this class project, we are even going to be using in the splattering technique to create the texture in the field space. Then for all of these foreground details I'm going to use in the white gouache mixing in with that, basically your colors, that's the green, yellow, orange, and red. I'm going to form in the colors and adding the flavor and the class details out. So now I will quickly swatch out these colors for you. So the cobalt blue color we're going to use in a medium consistency, I buy mistakenly picked up the civilian blue color first, I'm going to quickly just clean my brush and add the color out you're separately. So cobalt blue color we are going to use in a medium consistency. And you can see closer to the lighthouse, we're going to keep it to the clouding effect with the whitespaces as well. So this violet color as well, we're going to use it in a very diluted consistency. So you're at the end, you can see I've created the diluted consistency. That is just to add this shadow effect onto the houses and even onto the lighthouse. To give it the natural look, we're trimming going to show that the sunlight is falling from the left side, hence the shadow is falling onto the right side. To this, we are going to add in a little tinge of the Payne's gray color to create it as the shadow, violet color. So a new mixing the violet and the Payne's gray color, it forms the perfect shadow color. And I don't recommend using the Payne's gray or the violet directly. Mixing both of these colors gives a beautiful reflection or the shadow color. Now for the greens, if you do not have the exact same sheets, you can go ahead with any lighter and darker tones of greens mix and match and create this effect, as I told you, we are going to use in the splattering technique to create this texture on the field. As we move in the final class project. And the field details we are going to add in all the colors wet on wet together and then using the splattering technique, creating and textures, although using in the light green color to create some blooms to get in those effect into the field space. So this will mean a new color you will need for lifting, mixing it a little bit with the white gouache for adding in the florals at the bottom space. It's just pretty simple flowers that we are going to be adding. It. So here you can see I've mixed in bike cost with the primary colors and formed in these beautiful flower and the grass details, make sure to use a white quash so that you'll get the opaque details. Now first we're going to begin painting in the sky, then move to the other details of the painting. So before moving ahead, I'm just going to give you a quick small glimpse of how we are going to be painting in the beautiful blue sky just using one color. So I've just added in a layer of water onto a small space. Alright, for creating in the background. Now, I'm going to begin with the cobalt blue color and using the cobalt blue color just beginning to drop it. So basically, you can see in-between we've left in the white gaps, especially closer to the lighthouse and the house roof. We've kept in ensuring trying to show in some cloud effect leaving the spaces white. Now, I'm just going to begin dropping the cobalt blue color using the tip of the brush, you can see the cobalt blue colored rocks have lifted up in a little liquidy consistency. So it's automatically spreading on its own, creating in that own texture by spreading across in the rest of the spaces. So this is another way of creating those whitespaces. That's by using the color in a lithium liquidy consistency and letting the color flow and automatically create those pieces. But you can see I've left a little of the spaces where I have not added the color at all, because rest of this piece is where you've added the color. It will automatically be looming and creating an uncovering that space, giving in that cloud shape automatically. Now after adding in one layer, you just begin adding in little darker tint with less of water. Now seen case if you want to create a little bloom or some texture or some Cloud space out there onto the darker spots as Ben, you can just drop in. Water blooms out there as well and create the Cloud spaces. So this is how we are going to be walking on the simple sky using in one color, in different tonal variations. And then using little blooming technique to create a whitespaces as well in-between the clouds if needed. So after painting the sky, we are going to move into the base layer of the fee for that we're going to use in the greens and browns. And if I give you a closer look, you can see that we're going to use in the splashing technique to create this beautiful texture. For the fee, you can have a look how beautiful this texture is created using the blooming technique. All of this we will be going in depth when we begin painting the final class project. So that is it about the techniques for this class. Let's move on to the next lesson and begin painting this beautiful class project together. You can see how the cloud is taking shape even on this rough she's living in those white gaps where I did not add the color and the rest of the colors getting in the soft edge. So see you guys in the next lesson. 73. Day 22 - Light House - Sky: I have my paper taped down on all the four edges. And before beginning to paint, I'm going to go ahead with a little pencil sketch. So we'll first begin marking out the horizon line. Then add in the pencil sketch for the house and the lighthouse out there on top of the horizon line. So in the center of the horizon line, I'm going ahead with the pencil sketch for the house. So it's just going to be a simple roof house. Alright, I'm going to give it a little side view. That is, you're viewing it from the left side. So you will first see the entrance space and then the backside of the house. And behind that we are going to have in the lighthouse. I'm just giving in detail to the house this time because I want to give it a little detail. Look. Not much of the details, just giving it some margins and some outlines so as to give them with the Payne's gray color to make the structure of the house ten down. Now from a little behind of the house, I'm going to begin adding in the lighthouse so you can see the lighthouse on the left side is a little hidden behind the house. That's how I'm adding in the shape for the lighthouse here. So for the lighthouses, when you can see, I've gone ahead with a very simple pencil sketch. And then we're going to have in little details as well, which we will mark out with the Payne's gray color. They even onto the house we're going to have in the windows, which we are going to add in with the Payne's gray color. So this is it about the pencil sketch, pretty simple. One rest of the details, That's the grass here. We are going to add them directly with dark color just to or closer to the horizon line and the field, the diesel. So it's all going to be directly with the color. So let's begin painting the sky first and then move ahead later on to the next part of the painting. So one last thing, I'll just show you the shadow markings for the house before we move ahead. The shadow, I'm going to show that the sunlight is falling from the left side. The shadow of the house is going to fall towards the right side. Since the sunlight is falling from your, if you see the engines out, your district flexion will fall onto the right-side wall. So we're going to have in the reflection colors. Now let's beginning with the clean layer of water into the entire sky space. I'm going to go ahead and add in a layer of water. I'm not going to add in the water into the house and the lighthouse space this time. So be very careful to maintain those spaces clean because we have different colors there this time and not the regular paints, gray color, which will cover up all our mistakes. So it's very important that you make sure and maintain those are spaces white and not adding the layer of water there in case if the water layer runs and then makes sure to dab it off with the help of a tissue, but pick it up with the help of a **** brush. Audience though, or cobalt blue color will begin to flow into the lighthouse. And how does better? And if you'll need then around the house and the lighthouse area, you can use the smallest size brush for adding in the layer of photo. You can see I'm also running in very slowly around the house space because I do not want to mess it up by adding the water Leon out then o, because the colors, but otherwise will begin to flow into the houses band. When I add in the cobalt blue color. I'm then adding in the layer of water. Now I'm going to begin adding in the glare of the cobalt blue color. Now I'll just run the water layer again, be odd because it began to die. So make sure that if you are adding in the details around the house slowly than the rest of the spaces are still wet with the layer of water. Now false layer of the cobalt blue color. You can see I'm going ahead with a little liquidy consistency. And just using the tip of my mop brush, I'm dropping in the color. Now on the right side of the light. I'm going to keep in most of the space white or light now at the top of the lighthouse, I'm going to show up, please to stand out there. So that is a reason in the center I've added in that cobalt blue color layer. And in the rest of these pieces, you can see I'm just using the tip and dropping the color in between leaving in the right depth to actin as the clouds. So make sure to give in bold lines around the light house and the house roof as well. So I'm just going to now blended into the rest of this piece, but make sure that they have the perfect margins. So that when you paint the lighthouse, you have a bold or distinction. And even closer to the roof, I'm just going to give in a fine blue line and then blend it into the sky. I've left enough white gaps for the clouds and how the colors are flowing because of the wet layer and even using the colors in the bed Consistency. And they are creating in their own soft edges. Now using the same cobalt blue color in elliptical or darker consistency, I'm just beginning to give him some depth to the clouds, not everywhere, majorly on the edges you can see I'm beginning to drop in the second layer, which is a little bolder than the first player. So that really it for the sky. And now we'll have to wait for this guy to dry before you paint in the details into the house or the details in the field space, because otherwise the colors will begin to bleed in. Now around them. Space you can see a little mess up is dead because lifted up the color has begun to flowing. Suggest using a damp brush, I'm quickly lifting up the color that has moved into the lighthouse and trying to lighten it up and stop the color from spreading. So this is how I told you you can either use a damp brush or a pointed edge of the tissue. Or by folding the tissue, you can create a pointed it and use that edge for getting rid of such column mistakes that happen. So now let's wait for this to dry completely and then we will move ahead further. 74. Day 22 - Light House - Field: So now my sky has dried completely. So let's move ahead further and add in the base layer for the field area. For that, I'm first going to go ahead with a layer of clean water. So closer to the horizon line, go ahead very carefully with the layer of water so that you do not run into the sky area again. Otherwise, the color from this guy will begin to bleed and move into the field space. So I'm going very carefully. You can see just using the tip so that I do not draw anything beyond the horizon line into the sky space. First beginning with the light green color. I'm just beginning to drop in some Leo's of the light cream color very randomly, you did not follow the exact same shape or the method that I'm going ahead with, you can just randomly begin dropping in the colors and creating in your field effect. It's completely your choice. I'm just playing along with the colors, dropping in the colors in different patches. And then we're going to create an entire effect using in the splattering technique that I discussed with you. So now in-between the lighter tones and beginning to add in the darker tones on the horizon line. I gave him a good dark line of creating in the perfect distinction and line between the sky and the field area. Now next time beginning in with the olive green color, beginning to add in the most taco consistency into the spaces out to you. So now you can see randomly I'm just beginning to drop in the color blooms on the rest of the spaces. But in such a way that I make sure little of the lighter tones are still visible at places. So that is what I told you. You have to go ahead with that is you need to strike a balance between the lighter tones, some darker tones, and some mixed tones so that all of them stay visible. Now using the red brown color and beginning to drop in little brand consistency, which is majorly going to be on the left side and very little on the right side. So again, all of this is kind of blooming technique. You can see I'm just using the color in a medium consistency and using the tip of the brush, I'm dropping it onto the wet background. And you can see the colors bloom and automatically create their own space and texture. In case if you feel that the colors are not spreading easily, you can either add a little extra water to your paint so that when you add them, they act as a blooming technique. Or you can use in the base layer colors and begin to blend in. So now at this point you can see I have some lighter color tones and very dark color tones of brown tones. All of them visible despite whatever technique you follow. Now I'm just going to cover the sky and adding little brown colors plateaus into the rest of the spaces. Again, this is also wet on wet, so my background is still wet onto which I'm adding these. So automatically they will also create little blue baby. I'm just adding in little splatter of water as well now. So first I add it with the brown color, and now I'm adding in just water blooms. And you can see how the blooms are creating that texture into the painting and giving him the effect out there. Now after the splatters, you can see how the texture is beginning to form in. Now I'm just going to use in a little of the yellow light color and add in little lighter effects as well. So very randomly you can see I'm just adding in the blooming effect with the yellow light color. So all of these is just the same old way of creating in textures. It's just the size that make the difference. So when we added the splatters, it was smaller in sizes, so they created little smaller blooms. Now when you use the tip and dropping the powder little extra, it creates a bigger blue. But at the end the texture turns out to be same. So depending on the size of the bloom that you need, you need to select your texture technique. Alright, if you want smaller textures, go ahead with just adding in the splatter of the paints, all the water, whichever color look you want. So there are all you need to decide if you need the splatter effect with the color or the pains. So if you want some colors to stand out, you need to use the colors. If you want to lighten the BCL colors and create the texture, you use the splattering technique and create the texture like you're now. I used in the light green color for creating the texture because I wanted a little off the lighter green blooms to happen. So that is how, you know, you need to select whether you need to add in just water splatter or use colors. Just like we used a mix of both the parties. Now until this dries, I'm going to begin painting in the roof of the house. Now, you can see since I have my paper taped down on a movable surface, it's so easy for me to just tilt my paper and adding the details out here. That is why I always recommend to tape down your paper on a movable surface that makes the task a little easy while adjusting your hand movements. Now I'm just going to go with the roof of the red color. So going very carefully. Now till this first truth dries, I'm going to begin adding in the shadow effect for that. I've mixed in the violet and the Payne's gray color. Make sure closer to the red color, you do not add this color. Also, I had given enough pencil sketch where we are going to add in this. Now you can see closer to the horizon line, the green color is beginning to move into the violet color because they completely forgot that the green color is still wet. And if I add the violet right now, it will begin to flow in there. So I quickly lifted up the colors using a damp brush. You can see I'm trying to make that space go or dry quickly. Alright, so I will add this detail later on once it dries, till then I will add the red color roof to the bigger part of the roof of the same house. In-between the main engines roof and the backside roof. You can see I've left a very fine line closer to the entrance roof. There. We're going to use in the Payne's gray and define the details much more better. Now in the Lighthouse, you can see that the blue color that had pleaded while I was adding in the margin. So I'm just using invite coercion as quickly added in a layer of white gouache on the edge. So you can see the blue color maps are now covered up. This will help me adding in the yellow column much more easily. Otherwise the green color may get formed in there. So that is a reason going ahead with a clean layer of white gouache or dead will help in getting in much better details for the lighthouse. So the roof of the lighthouse as well, I'm adding in the end with the red color. Now makes sure that you go in very carefully. Your sky has to be completely dry, otherwise the colors will begin to bleed into the sky species out there. So very simple roof detail I've given and as you can see, the lighthouse, I will paint once the red color of the roof and the green colors are completely dried. And now I'm just going to add in lifting more sap green. Now my paper is still wet. That is the reason I can add this green color again out here. But if by any chance you're green spaces have already dried and do not add in for the color. Otherwise, you will begin to have in batches instead of the perfect blending loop. 75. Day 22 - Light House - Final Details: So now I bleeding is completely dry it and you can see how beautiful the field effect has come. Now, let's begin adding in the further details. So using in the olive green color, I'm just going to begin adding in little of the bush effect on the horizon line. So just using the tip of the round brush, I'm going to begin dropping in the paint out your dabbing in using the tip of the brush, creating in the bush effect. So at the top space I'm going to give him the dabbing effect. And at the bottom, closer to the horizon line, I'm going to quickly fill up that space as well with the green color. Now if you want, you can go ahead and add in little jewel tones by adding in little of Payne's gray color. So I'm going to add in little darker that using either the olive green color or the Payne's gray color mix, whichever is suitable for you. Now in the same way, I'm going to add in a little onto the left side as well of the House. And you can see, I'm losing in the Payne's gray color mixed in with the green color as well so as to create the depth out there. Now I'm blending and moving Oh, this into the field space as well. So if you see in-between the field and this bush space that I'm adding, there's not much space left and I'm trying to create that blends happen out there. Now for this green space as well, you can see I'm going ahead with the same technique. It's the same technique that we keep using it. That is, I am just adding in the bush detail using the tip of the brush. And then once I'm closer to the horizon line, I fill in the space completely with the color. Now using the violet color, I'm going to begin adding in the shadow effect that we discussed, so forth. Going ahead with the shadows out tiers, I've mixed in the violet and the Payne's gray color and it's in a very light consistency. Now I'm just going to dilute this shadow. Do not go ahead with a very dark color. It's just one or two per cent pigment and 98% water that I'm using in your, you can see it's a very light color. So I have added it half and now into the backspace of the house just under the roof, the entire space I'm going to add in this shadow color. Now on the lighthouse as well. I'm first going ahead with the shadow color on the right side, and then on the remaining left side, I'm going to go ahead with a very light tone of the yellow color, the shortage of the sunlight falling onto the right toes. So that actually White House is off the light color, but also in the shadow and the sunlight effect. We are adding these colors. I knew good though, violet color. And now I'm just going to pick up a little tinge of the yellow color. I'm just going to add it on the left border and adding little sunlight effect. Make sure it's a very light tone. You can see I've picked up it's actually equal to a white color that I'm using it with just the little things of the yellow and the violet color. Now I will just use a little more of the white gloss. I'm going to create a little more blends to make this work smooth. And also make the yellow color ball little more lighter because they find it a little more vibrant still. Now be loose pieces dry. I'm going to begin adding in the layer of grass strokes for that and mixing in the whitewash along with the bleeds. And using this opaque green, I'm going to begin adding in the grass truth. I've mixed in and it didn't off the sap green, olive green, and a white gouache altogether. Now just beginning to adding very small brush strokes using the pointed tip end of the brush at the bottom space here. And made your knee just going to be adding this on the left side and not onto the right side, just at the bottom left side. So you can see just simple grass strokes. So this was the first layer. Now I'm just going to add a little more of the white goulash to this and create a folder lighter tone and adding a second meal. So to this inmates just added in by squash. So you can see the background layer is a little on the darker side, and now the second will be a little more brighter one. Just going to run it over these strokes again randomly. So that is it for the grass strokes. Now let's begin adding in the flowers. We are going to add in simple tulip looking flowers. But that first, I'm mixing in the yellow along with white gouache. Now, make sure you're mixing the yellow, orange, and red, all three with white gloss to get the vibrant and opaque look. Otherwise they will drive down and be not give you the vibrant flower loop that we need on our feet. So make sure to add in white gouache without sin, no matter how much. Thicker consistency of watercolor directly you will use it. Once they dry, they will dry a little dull. So it's very important to use invite blush at this stage. So phosphate the mix of the yellow and white wash. I'm just adding in very small petals out there and then I will add the colors, fonts, the yellow-colored horizon. So if you have seen the final artwork, you know, there's not much of flowers that we are going to add just around four to five of them. So I've added three petals out together, then I will distinguish them with the help of the orange and the red petals in-between. So as I told you, you can go ahead with very simple flowers, whichever shape you want. If you want, you can go ahead with simple dd, Daisy's of philosophies are dualists, corn flours, whichever flower you wish to go ahead with. Sam then adding in the petals with a yellow flowers, you can see around ten to 12 of them that I've added in. Now, the lease petals dry, I'm going to shift into the pins color and add the details onto the lighthouse and the house. Because we need to read for these petals to dry before going ahead with the orange and the red petals. So now I'm using a size 0 brush and using the Payne's gray color. I'm just beginning to add in the details onto the house and the lighthouse. So the windows are onto both of them using the Payne's gray color. Now defining the top space here as well. So in-between the red and the Payne's gray color, we have added in the blue color because that's a standing space of the lighthouse that I'm trying to show it. Alright, now using the Payne's gray color, I'm going to give the margins to the houses by defining the shape of the house more prominently. Now again, you can see how easy it is for me to just tilt my board to get the profit hand movement and hand angles while adding these details. That is why I again recommend that always saved down your people on a movable surface. This will make your task easier to adjust your hand and make the flow go much easier. Now I can shift to a technical pen and given outline to this lighthouse as well, a very fine one because going along with the brush made when the outline for this one, because I want a straight line. So I'm going to use my 0.1 tape black pen and given this margin. So make sure you use a fine pointed because we do not want some prominent black lining, just a double line that we need in here on, in case if you do not have that, you can go ahead with a very fine line of the black color using in our detailer brush. Now next I'm going to mix in the orange color to this yellow color mix, so I get a yellowish orange color. I'm just adding the vomiting new color to this yellow and bike wash mix. And using this, I'm going to begin adding the second layer of petals. Now this period of Pettit is going to be overlapping onto this first player but not covered completely, covering it up. At some places. I'm just going to add in one or two of the petals. At some places I'm going to add in two to three of these petals. So depending on the shape of the flower that you are going ahead with, you can accordingly adjust all of these details. So you can see at some places I just added one petal overlapping onto the yellow color. And at some places I added two petals on both the edges of the yellow color. And at some places three petals as well, using in this orange color mix. So again, as I told you, it's all depending onto the type of flower that you are going ahead with. Now I'm going to use in the green and the white gouache mix, I'm going to add in some thicker leaves out to you. We've learned these leaves adding in many of the previous class projects. So you begin with a fine tip, press the belly of the brush and lifted up, giving in these simple leaf details. So I'm just going to add in some grass and lease details onto your again so as to David Stan blended with the flowers as well. Otherwise you can see the grasses have dried a little dull and are not visible much. Now using the Payne's gray color, I'm just going to add in some stem to these flowers quickly, very literal and smaller ones and some of the grass strokes as well using in the Payne's gray color. Last year I've picked up the payroll red color and I'm just going to begin adding in little red highlights onto these orange petals. So you can see just on one side of the petal I'm adding in little red highlight and covering it up. And at some places I'm covering the entire petal with a little red tone on top of it. So that is eight. We're ready with our class project for D2 and T2. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once your edges are completely dried. And all these removed the masking tape against your paper so that you do not tear off the edges. So here's a final class project for d 22 of these 30-day watercolor challenge. I hope I always enjoyed painting this with me today. I absolutely loved how beautiful the outcome of this is. I'm just going to define this little window out. You're more. I left outcome of this class project and absolutely loved the look of the class project together that is the beautiful sky, this simple grass field with the texture that we've created. Thank you so much to each one of you for joining me for this class. I will see you guys soon into the next class project. Make sure to drop in live view if you love this class for whatever reason. 76. Day 23 - Field - Colors & Technique: Hello everyone, welcome back to class project 23. So we are on day 23 today and we are going to be painting this simple, beautiful field for today. So we are going to be majorly focusing on the sky. As you can see, it's a pretty colorful sky. And the field is going to be a pretty simple one. So let's begin with the colors that we need for the sky first, and then move on to the field. You can see the shades of blue, pink, violet, yellow, and a little bit of orange and red out at the closer to the horizon line. For the blue, I'm going to be using in the Persian blue color this time. For the pink, I'm going to use in the Carmine color. Now you can use in a little bit of the opera color as well. Then I'm going to use in the violet color for the yellow color. I'm going to use in the yellow light color. And then a little bit of the vermillion, you are the payroll red color, whichever is available in your palette, you can accordingly mixing, adjust and use the color sheets for the field area I'm going to use in the shades of greens and browns as you can see. Alright, so for the field, I'm first going to beginning with the green color closer to the origin. Hi guys In line. That's going to be the sap green, olive green are lifting but this light green. And then moving towards the bottom side, I'm going to use in the brown tones. So far, the bottom side I'm going to use in the brown, red, and the Payne's gray color. And just about that, you can see I have a mix of the light green. That's the sad part, the light green color. And then for this bush detail on top of the horizon line where I'm going to use in the Payne's gray color. So I forgot to mention in the payroll red colors you're not going to use in the home in a new color, or you can use in a mix of both the colors closer to the horizon line you can see on the left and the right edge, we have that little sunset effect with the red yellow color. Now let's quickly swatch out these colors one-by-one, and then move ahead further. In case if you do not have the parietal pleura color, it's completely okay. You can just go ahead with the Carmine color and create the Ping space in the sky. I'm using a little mix of watercolors. Now, when it come to the greens and browns used in the field space, you can go ahead with any other choice of green and brown. If you do not have the exact same sheets, it's not compulsory to have the exact same sheets. You can just go ahead with any shade of light green and a medium green or dark green tone. Also, if you do not have the dark green tone, you can mix in your sap green along with the Payne's gray color and create a dark green tone. Even for the brown color. If you do not have the brown red color, you can simply go ahead with any tone of brown or medium tone and then for adding in the dark or that mixing the Payne's gray out the black color. It's not compulsory to have the exact same shades while creating all by him. Going ahead with any class project, it's important to understand that technique. Then. You can use in your own color tones and your own color combinations to paint the final class project. I had forgotten to mention the Van **** brown color, That's a darker brown tone. But do not worry if you do not have it, you can mix in Europeans grave with any tone of brown and getting a little darker brown. So I'm going to use in the Van **** brown as well for adding in the dark or depth on the ground spaces. I will quickly note down the name out here for you. Now let's understand the breakup of the class project. So we're first going to begin in with the sky. You can see we have a pretty multicolored sky. Now at the meeting point of the yellow and violet color, you can see there is no muddy don't form then because while painting and I leave a little gap between them, so automatically the colors bleed and flow into each other. They have to perfect blend. And do not create in any muddy tones. Also between the orange and the violet. You can see. Now that is very important that you leave in little gaps. Now, we're going to just see about adding in some quick bird shapes into a class for j. So we're just going to begin in with the smallest size brush and using the Payne's gray color, we're just going to keep adding in some loose boards. Boards can be added in different angles and in different motions. Alright, so these are some of the kinds that I'm just showing you, which you can use in any combination or any particular style that you wish to go ahead with adding the details in your sky. So the boats that you're trying to show closer to your view can be more detailed, analytical taking, consistency and the boards that you're trying to show him far off from our view can be a little thinner and smaller ones. So you can see I'm adding in boats in different angles, some of them just very thin enough to show him as the father of you. Some of them, they go to show and show them. The closer view. Also you can see the flight of the birds is in different angle, different directions and different movements as well. Now this bush de, de la tour, we are going to go ahead with the simple technique that we have been following at the top space. I'm just going to beginning dabbing the tip of my brush. So for this, it's very important to use the smallest size brush so that you can get in smaller details. So just holding your brush a little perpendicular, dabbing in the tip of the brush and creating in the detail brush effect at the top space, you can see you go ahead with very random shape at the top. Somewhere taller or shorter, there is no specific way to create it. And then the bottom space till whichever place you want, you just fill it with a darker tone of the Payne's gray color. Now, just at the top you can see the detail look, tries to show that everything is in the detail look. Whereas only at the top we given the detail look and rest of the bottom spaces, we're just filling it in with the Payne's gray color or any other color that we're using in for that method. So same way, you can just go ahead and add in little detail leaves as well, and also One, altering the height. Do not add the bush effect in a straight simple line, otherwise you will not get the natural look. You're also, you can see I have taken them somewhere taller. And then in the center, I take it a little lower. Alright. So that is it about the entire class project for D2 and D3. We have a little rough idea of how we will be going about through. So I will see you guys in to the next lesson where we begin painting a class project together. 77. Day 23 - Field - Sky: So let's begin with a class project for D2 and D3. I have my paper taped down and I'm just going to go ahead and mark off the horizon line and then begin painting in. The horizon line is the only detail that we are going to be having in the entire class project. The horizon line is going to be quite below the center line. As you can see, major part of the painting is going to be the sky space. Because we are going to be having in the boosted yields as well on top of the horizon, right? So I'm going to begin in the Technion layer of water onto the entire sky space. Make sure to run U-verse multiple times. That's been helping keeping your people stay wet for a longer time. And also for you to add in the colors and get the blends and minds between the fallows going in easily. I'm going to pause beginning with the patient rubella at the top of the sky. Now I'm going to pick up these colors in a literal liquid consistencies and you can see the veins flowing easily even just on the layer of photo. Now Nixon, for speaking up a little bit of the brighter color. On top of this, I'm going to add in a little bit of the cadmium. Now, when the blue and the pink color mixes together, you know, I performing a violet tone even at the top speeds. So do not worry about that. It will only create a beautiful blend as well. Next, closer to the horizon line, I'm beginning in with the yellow light color first, we will add the violet color at the end after feeding and rest of the details. Now next time shifting into the orange color. Now you can see I have a tissue that in my hand because when you begin to add in these details, wet on wet, at this time you do not have access of water. Otherwise, the pigments will begin to spread and cover up the entire yellow color and create a yellowish orange color instead of having into different tones. Now again, I'm going ahead with the solution blue color force at the top space to add in the Docker diff, so that the paper doesn't dry out and those pieces. So in this way to keep your people throughout, you can go ahead with multiple layers of panelist running back and forth. So that will help in keeping your people wet for a longer time. Non-exclusive to the private beta with the colors, but you can see in between ice didn't have gap. So I'm just going to take I'll grab my yellow color. So this bin again helped me in a widening in the muddy tones been an act of violet color on top of this. So this is another technique if you feel even in the white gaps will not work easily for you, all the colors will blend out. You can go ahead with a tone which cannot create muddy tones like the pink and the yellow mixing together, I'm sure will not give us muddy boots. So I've taken off the Carmine color, the yellow color. Now when drop off the car main color, I'm going to give him the violet. So you can see how closely on top of the violet color I'm giving him the violet color. And when it's reaching closer to the yellow, I'm making sure I do not add the violet color directly. I left the Carmine color blending with the yellow color and given the violet touch. Now this going ahead with a darker layer of the Prussian blue color at the top, because these colors, when they dry, they are going to dry out a tone lighter, which I do not want. Also just pulling out some random strokes from edges to create the blend and the floor. Now whichever color I feel needs a little touch up so as to when they tried to dry out. Right. I'm just going to go ahead with those colors. You can see where the blue and the pink is meeting in. It's giving you the little violet shade of data as well. Now I'm just going to go ahead with it. Darker violet tone on the violet colors pieces. And those pieces you can see I'm going ahead in such a way that the light tones can have a place in between creating in the effect in the sky. So you can see the violet is flowing too much at the bottom side. So I've quickly using a damp brush, I'm just lifting up the bellows out from here so that it does not flow into the yellow and cover up the yellows. It's completely you can even keep a masking tape or any object underneath to let the floor moves towards the top site. Now picking up a little bit of the payroll data and the new color, mixing them with some darker consistency. I'm just beginning to adding the edges all closer to the horizon line so that in the center I have that sunset effect. So you can see when I kept my paper tilted towards the bottom side, it automatically helped in moving all the violet color towards the top space. And it stopped the flow of the violet color towards the yellow color. So you can permanently keep a masking tape so that the flow of the violet color move on towards the pink and the blue color. Instead of moving towards the yellow color that will help him keeping in avoiding the mighty colors. Because if the mixing of these two colors, now again, I'm just adding in some darker tones because all of these when they will dry. Lighter. One, the sky to be of a lighter tone, I want a bright colors and going with another layer. So all of these I have added in bet on red. You can see how beautifully the sky is being created nearby. Now, you're seeing that the violet is still running over to the yellow color, just using a damp brush and we're lifting up. I'm dabbing it onto the tissue. And you can see the last talked with the new also, I decided in GF cloud shapes using the tip of this mop brush, CMV with the violet color also you can see I'm adding in the dark or death breathing in some cloud effect. So I'm using a size 0 mop brush. Do not worry if you do not have it, you can even using a round brush and add these details. I'm just adding a little more of the garden mentality factors. Then you can see just dropping it in different random route sheets and blending it with the blue palette and species, it is automatically forming in a little purplish color, giving him the perfect transition happening as well between the sky. So that is it for this guy. You can see I'm still holding this little tilted towards the top side. I'll just keep a masking tape so that the paper is inclined towards the blue side. So I've kept the masking tape below now all the violet color will flow towards the pink and the blue side. Only. You can even increase the height depending on your movement of the colors. So now let's wait for this to dry and then paint ahead further. 78. Day 23 - Field - Final Details: So now my sky is completely dry and now I just need the entire paper flat. And you can see how beautifully the colors have tried and the color has not bleeding much into the yellow color because of the masking tape that we used underneath to stop the flow of the beans. Now I'm going to go ahead with a layer of water into the bottom space. Or you can even directly go ahead with the colors. So I will not go ahead with the layer of water. Rather, I'm going ahead with the wet on dry technique here, so forth. I'm going ahead with tall bald consistency of the sap green color closer to the horizon line. So half of disease base I filled in with the sap green color. And at the bottom of the sap green color, I have had it in and it's above the light green color. I'm blending both of these, even the light green color you can see I've picked up in a thick consistency because it fits. I'm getting in the opaque look. Now below that, I'm going to add in the brown red color and try to blend all of these. Now at this point you can see the blending is not so smooth. I'm just going to go ahead with a light green color tone again and done it over to the brown color as well. So you can see by just using in the lighter tone in between, I can get the blend between the colors as well, right and easy. Now at the bottom space I'm going to add in the dark adept with the Payne's gray codon and even closer to the horizon line, I'm going to add a little depth with the Payne's gray color on top of the horizon line. As we know, we are going to be having in the bush effect with the Payne's gray color. So for that, you can add in a little shadow just as I'm adding in right now with the Payne's gray color at top of the horizon line. All of this is still wet while I'm adding in the details. So I'm just going to pick up more of the light green. I'm going to add in little more mature in-between this happening on the brown and get the plain straight. Make sure that between the sap green and the brown, you have latent space where the lighter green color is visible showing in the glowing effect in the field space. So now, while this dries, I'm just going to go ahead with the Payne's gray color using a size 0 brush. I'm just going to begin adding in the bush effect on top of the horizon line. The horizon line in space, you know, we already had it in the Payne's gray color, mixing it with the green to given the dapper death. In this case, you can go ahead with the Bush effect without waiting for it to dry because even if lifted off the Payne's gray color again, seeps into the field space of the green area. It's just going to give him the darker death and not spoiling the space. At the top space you can see I'm just going ahead with the dabbing technique and the bottom spaces. I'm just filling it with the Payne's gray color as we discussed. Now at the rightmost side out to other, I'm going to take it a little taller. Now, make sure that you know, all the yellow color space, so very small space, so you do not cover the entire yellow space with the Payne's gray bushes. So in this inverse base, I'm going to take this bush area very small so that the yellow color of the sky is still visible and does not get covered up completely. So beginning from the left side, I'm just beginning to add in the detail of the bush effect. You're on the left side. And after this I will, even in pisa, height of this poster on the leftmost end. But in the centers bees, I'm going. Blue lines so that the yellow color is visible perfectly. So now you're at the edge again, I'm just going ahead with a little more detail as you can see, I'm just adding in more color, pushes back again. You can see him just holding my brush perpendicular. So that does it for the bush effect. Now using in the brown color, I'm just grabbing that those plateaus at the bottom of my feet of space is still wet. So I can go ahead with these details out. Now using the brown red color. I'm just going ahead with little splatters at the bottom space in the field area. If you want, you can skip this part as well and just blending the colors easily. Or you can add little colors and blend them as well. Now, you can only do this if you're filled space is still wet, so my field area is still wet. Hence, I'm able to do all of these details and blending still now in case if you are all filled, space has dried in. Do not go ahead with this step lead, as you have added in with the greens and browns previously. Now lastly, I'm just going to go ahead and add in a few birds are TR into the sky and we will be ready with your class project for date when it was a pretty simple class project. This is light enough from all the difficulty or the class projects that we have been going through. We still have seven more days to complete this top TV watercolor challenge. And we are going to be painting of beautiful landscapes and then get through this challenge. So that is it. Adding in the boats as well? I'll just add one more tour at the topmost based on the Prussian blue color. And then we will remove the masking tape and see your final painting with those clean edges. So let's remove the masking tape. Be very careful when removing the masking tape so that you do not do an up the edges. Our final painting for date rented three of this Saturday watercolor challenge. I hope you guys enjoyed painting this easy yet beautiful landscape with me today. You can see the effect in the field because of the colors bleeding and blending into each other. I will see you guys into the next class project very soon. Thank you so much to each one of you for joining me into this class and painting along with me. I will see you soon into the further. Till then, keep painting. 79. Day 24 - Glowing Sun - Colors & Technique: Hello everyone, Welcome back to the 24th of the 30-day watercolor challenge. Today we are going to be painting this beautiful sunset view and creating that glowing bird and the book, a fret. So before moving to the final class project, Let's have a look at the colors that you need for today's class project. This time we are going to be moving the pains and the circular motion. And we're going to begin with the shades of yellow false closer to the sun space. We are going to leave the space empty while painting with the colors. You can either use the yellow light color or the yellow deep color. If you want, you can have a transition from the yellow light, yellow deep out you're moving from the sample space. I'm actually going to be using in the Yellow Deep. Next you would be leaving in the vomiting color, shade of orange. After that, I'm going to shift into a tint of it. Now again, if you do not have a woman in new color, you can either shift to paint over it or even just using the read. After that, I will move into the mind and the violet. So these are the colors that we will be needing it. Background, sky that we will be creating it. And lastly, you would need the pains pretty fallow for item in this part, I'm white wash for adding in the bouquets will be using in the right question. I keep updating that effect into the sky. So that is it about the colors that you would be needing. So now let's briefly sort of these fellows for the yellow and the orange sheets. So in basically do not have a yellow color. You can go ahead with a yellow light color and then you can use in an orange tone and creators transition between the yellow and the orange color. Or if you have a yellow would be prominent. You can directly use a yellow deep color. As you can see, I've used in the yellow deep color more and not much of the yellow light color in these upon the yellow, the color you want to create little lighter effect you can use in the yellow light color and lighting down the yellow deep color as well. At places that is closer to the sun space if you want to create more likely. Next is the woman in new color. Please, again, if you do not have the roman numeral, you can go ahead with the shade of orange, or you can use the payroll then mix it with the yellow and getting oranges tone, or directly apply the color closer to the yellow palette in such a way that the transition, so the little yellow, orange being formed in between the time I know you can go ahead with your pin rose color or, you know, Scarlett college did not have all the fad mine Carlo. And lastly divide it fell on the edges. You can see that. Lastly, for adding in all the silhouette we are going to be using in the Payne's gray color. That is it about the values that we need? Now let me quickly show you how we are going to be creating in this drawing space while painting beautiful sky. So let's quickly run with the small thumbnails to understand of creating space. So this time we are going to move ahead with leaving a separate space for the central sun area. So you can make this model so good at the place where you want to place the sun accordingly. So this created a rough small circle around this piece. I'm going to begin adding in a clean layer of photo or late now when we do add in the mirror of water, I'm not going to add the water in the sun's peace this time. I'm going to leave that space blank without water. Around the sun space. You have to go in very carefully with the layer of water by adding in the pains as well. We're not going to be adding in any paint into that space for now. Now first I'm going to begin in with a yellow deep Palo closer to the so-called space. Now going very carefully, if you're not confident about using in a bigger size brush, make sure to shift into a smaller size brush by adding in these degrees. So you can see how carefully I'm just beginning to add in the DBAs with a yellow color first. Now, since I know that I am going to shift into the orange color and to make sure that the yellow color so you add it a little bigger so that you have COVID transitions. Because as in when you will keep adding in the colors, the yellows piece will keep diminishing. And because of the blending, even the palace been listening space. That is the reason it's important to keep a bigger circle for the yellow. Now you can see here between the yellow and orange color, the blending is not easy. So you can either use a damp brush and then both of the meeting point of the pink and transition. You can again using the yellow Palo and begin from the center and blend in with the orange color. In this way, you will have to keep doing this for each of the palate add to get the lending side. That is the reason I'm saying you were to keep a little extra space off the yellow. You can see that the yellow Palo has gotten a lot covered up to the orange color, which we do not actually want. So you can eat that little yellow light, light in these palettes tones and plead for the yellow tone again. Now adding the color as well closer to the red color. And again, you can see while blending, you get little rough edges in-between though, all Carmine color and red color tones. So there again, you can use a damp brush or you can begin blending from this central space again using in our damp brush and begin blending from the center, moving to the edges again. Or you can first add in all the palace and then begin blending in some this N dot H file. So you can see between navy color, we have the blending happening. And as I told you, the yellow color will begin to diminish because it's the blending that keeps happening again and again between the layers. So we tried to keep the yellows peas are big enough space so that after adding in all the files and getting the blending site, you will still be having him the yellow color being visible. Now last few on this, just having the violet color, I'm going to blend that. So in this one your as well, you can see even my yellow Palo has diminished in it and I can add in the yellow light color and light in the center tone and get it into the color tone that I want. But it's too weak to understand how the pending and how you have to keep moving in the circular motion and even keep blending things are blending all the panels in the circular motion it says to get that knee out of the painting. Like this using the damp brush, you can begin reading from the edge and moving business and operating in that buffer between the fellows. I'm showing in the transition happening between from the darker color to the light tone all night due to the darker tone. And anywhere where you feel that the colors have gone down too dark, you can go ahead with a lighter tone over it. So you can see on the edge I'm just adding in the tin yellow color again to light in the center space. Also, when you're moving from darker color to the lighter tones, make sure to keep cleaning your brush in-between while blending. And if you're moving from the lighter to the darker tone, then it's perfectly okay to go ahead without cleaning your brush. This is how we are going to be painting this entire class project first with this circular sky loop and then adding in all the details one by one, you would be needing invite wash with creating in the book effect. Now that we will not be able to achieve in the lookout there. We've discussed about the bokeh effect in a previous class projects as well. So let's begin painting in today's class project directly in the next lesson and create this beautiful glowing sunset. 80. Day 24 - Glowing Sun - Sky: So I have my people deep down on all the four ages and I'm going to quickly mark out my son's piece. You can either go ahead with the free hand drawing for the sun area or you can go ahead using in a composite any other tool which is available at your end. It's a pretty small token. So you can directly go ahead with, you know, a rough pencil sketch as well. Now, I'm just going to lighten the Spence's sketch a little bit because the colors around this are going to be quite light. And I do not want, in all, you know, the charcoal masks to be visible. And once we paint along everything, because remember what colors all will make the oh, sorry, the water will make the charcoal marks permanent and which will all be visible if you are using the colors in a light consistency. So now the sun spies on my people may not be clearly visible to you, but it's clearly visible to me. So I'm going to begin with a thin layer of water, leaving the sun's face blank. Make sure to leave this on your line or what you can do is you can even put a masking tape in those Oculus eyes and paste it here and then go ahead with the layer of water. Even this may help you from all, you know, adding in the colors and the water layer onto the sun space and you can run your brush more freely. But in that case, also make sure to tape down your masking tape very firmly so that water does not sweep through or from below the masking tape. So you can see closer to the sun space. I'm going in very carefully. If you want, you can shift to a smaller size round brush and get the position out here much better and also get in the detail. Look, going in very slowly. So I'm done adding in the layer of water. Now I'm going to begin adding in the colors one by one. And for that I'm going to shift into my round brush and begin adding in the paints. So beginning with the yellow deep color closer to the sun space, you can see them going in very carefully because I do not want to ruin those so-called look of the sun. So going very carefully closer to the sun. Also, I'm going to use the colors in a little or liquidy consistency so as to get the flow between the colors much better. And also that will help in keeping the people wet for a little longer time, which will help me in blending the colors as and when I add them one by one. Now, as I told you, I'm going to add in a little bit of space for the yellow color. Now, depending on the size of your paper, you can determine as to how much space you need to add in for the yellow color and how you need to get the blending straight next. Shifting into the vermilion color closer to the yellow color. Now at this point, you can see the blending between the yellow and the chameleon color is not that deep. So again, I'm picking up little of the yellow color and at the meeting point of the yellow and the orange, I'm again running around with the yellow deep color creating in the transition. Also the orange color you can see I've used in a light consistency, not too dark because I want the transitions to happen in smoothly and want a good glowing space around the sun area with the yellow orange tones. Now I'm going to directly be using in the Carmine color in case if you do not have the color, as I told you, you can use the payroll red color mixed in with a little bit of yellow. You can see even the Carmine color adding it in circular motions. And I'm going to cover almost the entire page with the Carmine Color Force. And over that, I will go ahead with a little of the violet color only on the edges. Now lastly, I'm drifting into the violet color. You can see I have a tissue in one of my hands permanently so that I can take this paint pigment and keep cleaning my brush as well in between of the blends. At this point, if you see, the blending is very, you know, unfinished. Plus, even the colors are dull. And when they dry the even tone more than because what the colors try to then try to, you know, dry. I don't I don't. Oh, so that is the reason it's very important to go ahead with vibrant consistencies. If you need vibrant look at the end after your project dries it. So I'm going ahead with another layer of the Carmine color. I'm still going to add in the darker depth with the violet colored as well. I'm still going to get in all the blends between each of the colors. Right. Now I'm going to pick up a little more of the orange color and going to add it closer to the Carmine color so as to get the blend and the transition happening between the oh carmine and the yellow smooth. So you can see how quickly I'm just running a little light of color closer to the oh, carmine color. But I'm not picking up the vermilion color in two. Dark consistency has been. Now, again, I'm going to pick up a little of the yellow color. I'm going to begin blending from the center space again, moving on to all the edge colors. So this is how, as I told you in the technique section as well, you will have to keep rerunning the colors to us to get the blend and smooth transition. Also, you need to keep running in circular motion so as to get that shape off the moving of colors around the sun's face. Now using a **** brush. I'm just trying to get in the blend straight and smooth again. I'm just going to go ahead with another layer of Carmine and Violet still. Now, in case if you want to have a little more smoother flow, you can even keep tilting your paper in all directions. Also, as I told you, using the paints in a little watery consistency will help you in getting the flow and the movements a little better. Now you are. You can see I added a layer of dough, forming a new color near closer to the yellow color. So I'm quickly lifting up that vermilion color because major of the yellow color is looking hidden below the vermilion color, which is not exactly what I want. Now again, I'm moving along with the layer of the Carmine color. Again, you can see as soon as I add in this layer of Carmine, the blending between the orange and the carmine again looks a little unfinished. So now I'm just going to keep running my brush in circular motion with the Carmine color in the edge and then with the violet color. Then at the end, I'm going to correct in the, you know, blending between the carmine and the orange color has been. Now for this vibrant layer you can see have picked up the violet color also in a little thicker consistency. And it's made, you know, on the edges that they have the violet color, not much in the same space. Now again, you can see how I'm running it in circular motions to get in the planes between the Violet and the Carmine. Right. Also, you can see I'm just running lifting of the violet color onto the carmine colored has been closer towards the edges, only so as to get a good transition. So you will have Carmine, then a mix of Carmine and Violet. And at the edges you have the violet color. This creates the perfect transition between the colors. So now you've laid down the colors. Now it's all about just going ahead with the blending and stopping at the right point where you feel it's enough and everything is smooth to go. You can see in between the yellow and the carmine color, I'm not satisfied. So I'm again, just going to go ahead with little yellow color. I'm going to get in the blends. Right. So you're using in the orange color, you can see how I have moved from the yellow to the carmine with moving tones of the yellow towards the orange, then towards a little pinkish tone. And then to the carmine color. Now lastly, I'm just going to pick up a little of the beans green color. And while this is still red, I'm just going to add in little of the Bush effect into the bottom space with the beans green color. I I'm just wiping off the excess pain from the edges so that it does not see back into the painting. Now make sure that you do not add the beans gray color in extra liquidy consistency. Otherwise it will float and float towards the top of the sky. So they pick it up in a medium consistency so that it has a soft, bloody look as well as it stays in the place that you are trying to added. Or you can even keep a masking tape and keep your paper inclined towards the bottom side, which will help in keeping the beans green color at the bottom of the page only so you can see how only at the bottom space. I've added a little of the beans. Great touch. So I'm satisfied with the blends from yellow to Carmine to the violet color. You can see they are quite vibrant and the transition is also smooth enough. Now we need to wait for this to dry completely and then we can add in the for the silhouette into this painting. This is with practice that you will be able to achieve this circular motions easily. 81. Day 24 - Glowing Sun - Final Details: So everything has dried completely. Now let's begin adding in the silhouette on top of this, you can see how beautifully the bottom they are. Payne's gray color has dried in and not move them towards the yellow color. Now I've shifted to a smaller size brush and using the Payne's gray color, I'm just going to begin adding in the salivate, so forth. Let's begin adding in the grass details. You can see I'm going ahead with a very rough line at the top space and the bottom of it, I'm going to fill it completely with the Payne's gray color. So on top of this later on, I'm going to add in little of the gas detail, but at the bottom first, I'm just filling in the entire space with allure of the Payne's gray color in a dark consistency, you can see it's almost equal to a black color. Now, you may be thinking that if we had to add in such a dark layer at the bottom space, why did we add in the Payne's gray color with the wet and wet background while painting the sky. But if you notice about this space, we have little of the Payne's gray color coming in with the soft blue. And then you will be adding in the grass detail on top of this, the background Payne's gray color. We'll give an added look to the past details. So now using the brush from the pointed tip, I'm just going to begin adding simple brass talks coming from this Payne's gray patch that he has painted at the bottom space. So fast I'm adding in a few of the bigger strokes closer to the sunspots. I'm not going to be adding in any of the stroke over passing the sun for the, for the moment. Also remember, closer to the sun space, we are going to be adding in a board as well. So make sure to leave IT space out there as well. That is the reason I've taken the branches started out there to make the world look standing onto these branches. So very randomly you can see I'm adding in the strokes one by one. So it's a mix of some bigger Stokes and smaller strokes. And also from the bigger branches you can see I'm just popping out some smaller branches Asbell And then for those smaller branches from those branches as well. So that is how you're supposed to create in the entire graphs look out to you. So on the left side you can see I've gone ahead with little smaller strokes and on the right side, I've gone ahead with a little bigger strokes. So this is just trying to balance out the kinds of strokes that you are using it. And this will also be helpful in not having a monotone nice layout for the classes throughout. You can go ahead with any pattern variable you want to follow wherever you want, shorter. Now next into the science piece as well. I'm just going to go ahead closer to the sun area. So when adding in the strokes closer to the sun space, I'm going to dab it quickly with a tissue to light in it to show the effect of the sun. So fast you can see I'm going ahead with a very diluted layer. Now using a tissue, I'm going to quickly dab off the paint as well so that it has a very light look and not excess of a dark loop because I want to show the effect of the sun falling onto these branches as well. So you can see how light the stroke is, which is crossing the sun space. Now using the brown color, I'm just going to begin adding in the board out you're onto the right side of the sun, onto the branch that we have added in. So I'm going ahead with the brown color reason being I want to show the effect of sunlight falling on to the bird as well. That is the reason I'm not going ahead with the Payne's gray color for the first marking out the outline for the board. You can go ahead with a pencil sketch if you need. Or even you can directly go ahead with them. You know, silhouette directly with the help of the brush and pains. If you are confident enough. So for the board and post adding in the silhouette, outline using in the brown color. Then closer to the sun, I'm going to use in the light tone of brown color and dab it with this, with needed to create the light effect. And towards the right side of the board, I'm going to go ahead with the Payne's gray color, but given the darker effect. So first one to the entire board, I'm going ahead with the new Europe, the brown red color. You can go ahead with any medium tone of brown. Now using the Payne's gray color onto the right side of the board, you can see I'm beginning to add in the Payne's gray darker details and also just wet on wet onto the brown color. I'm adding in the Payne's gray detail. You can see closer to the sun still the brown color is too dark, so I'm going to quickly be lifting up little color to create the glowing effect of the sunlight falling on to the board as well. So from your just using the brush, I'm lifting up the color to create the light effect. I'm using a damp. I will blend in well with the Payne's gray color as well on the edges. So you can see how beautiful the glowing effect onto the board is looking because of the current lifting technique that we did out. Now I'm just trying to give him little finishing touches to this board. And then we are only left to adding in the book effect and even be ready with our painting for D24 as well. Now for the bokeh effect, I'm shifting into the white wash and I'm shifting to a bigger size brush. So we learned about adding in the book effect in one of the previous class project and in the technique section of that class, I discussed everything in detail about adding in the bouquet effect, how we're going to add in the bouquets indifferently or using different consistency of the whitewash. From a very light diluted donor phi plus two medium to a thick tone to create the bokeh effect. I'm first going with a light layer in case if you feel the need, you're also, you can use a tissue and dab it quickly to create the lighter tones. In some cases, when you dab and if the pressure is too much, then the Naomi go in completely done an invisible. In that case, you can go ahead with another layer on top of it to get the perfect consistency again. So I'm first going ahead with a very light consistency of the white goulash. So now in this one you can see when I tapped it with the tissue since the pigment was too liquidy, the entire background seems to be a little dull, so I may go ahead with a second layer on top of that as well. So I'm going ahead with very random or book a fact that places you need not follow the same placement for the bokeh effect. You can go ahead and have your own placement for the book effect. Now, as these dried in, idealize that these are two dull. So I'm going ahead with another neuron again so as to get it in little visible, at least. The three level of consistency's also need to be such that each layer is still visible. So right now you can see it's a very light consistency of the white quash. The next field is going to be a medium consistency, and the final layer is going to be very dark consistency with very less of water are born. White bread, white color. Now for the next set of fact, I'm going to add in a little tinge of the yellow color to the white wash and adding one to two circles with a mix of yellow and white wash, it's going to be very little and very light yellow touch that I'm going to give into a few of the book, a fake cow. So for this also to make it a little dull for the first layer, I'm just going to give it a little dab quickly so you can see very little light yellow touch that we have it. I'm just going to give him little yellow attached to this bottom one here as well. I'm going to blend it with the rest of the book effect that I added in this yellow color mix of whitewash I'm going Given been more bokeh effect closer to the sun space out here. And I guess this would be the last one for this layer. And then I'm going to go ahead with the second consistency of the white gouache. So I haven't just forehead width two to three more into this layer and then shifts to another consistency. So I'm just going to go ahead with one more overlapping the previous funds out to you or at the bottom left side. So you can see how dabbing with the tissue quickly helps in creating and lighter tones if you have darker tones and also this will aid up the drying process and make the triangle little faster because you pick up the excess pigment and water with the help of tissue. Now wherever you see, you can just drawn a damp brush giving in the finishing touches to your bouquet effect. Now, for the next set of I'm going ahead with article consistency of white gouache, as you can see. Now this ER as well, I'm just going to dab it a little because you can see it's quite dark completely and I want to go one bone DACA only then the previous layer. Now to the previous year at places you can see I'm just creating little effect so as to give it a little blended look as well. Now, both of the book effect you can see look blended into each other and have disappeared in the so-called forms. I'm just going to read on the white brush and get both of the circles looking at typically overlaying on to each other. Now if you want, you can just go ahead with another, another layer of the whitewash onto a few of these circles and darken them itself into the second layer. Or you can keep adding in a little more off the surface. Now, this left side set out your, I'm going to darken this one out your, which is overlaying the first two out here on the left side. And I'm going to give this only in the second layer. So you can see how slowly the book effect is bringing out a picture effect into this painting. Giving in the light effect falling because of the sun. Light that is falling on to the sky species pleading in the book effect in the picture. Now lastly, I'm just going to pick up a light consistency of the yellow color. I'm just going to give him a wash of the yellow color on the sun's peace. So it's like ninety-nine percent water and just 1% of the yellow light pigment that I'm using it and giving in a light wash. If you feel that this wash is also gone darker, you can quickly dab it with a clean tissue, make sure that tissue does not have any other darker color. Otherwise that would get lead onto the sun and ruin the entire growing space that we have achieved by leaving those spaces blank. So that is it. Let's remove the masking tape and see your final painting with those clean edges. You can see how beautiful the bouquet effect is looking for just very little of the dark consistencies that we've added majorly on the lighter side, we have more of the bouquet effect. Be very careful when removing the masking tape because the edges may have a lot of color of the base which may get laid onto the edges if the masking tape is not removed. Perfectly. Final painting for the 24 of this type dd watercolor challenge. I hope you guys enjoyed painting this beautiful sunset with me today. I will see you guys soon into the day 25 class project. 82. Day 25 - Soothing Sky - Colors & Technique: Hello everyone. Welcome back to day 25 of the 30-day watercolor challenge. Today we are going to be painting this beautiful light fixtures sky with the beautiful reflection into the CEJ. So let's begin with the colors first before moving to the final class project. First, let's have a look at the class project. Close the, if you see the skies are pretty light color and you're closer to the green space. You can see the yellow and the pink creating in the sunset. Magic happening closer to the sun fade. So let's begin noting down the colors first one-by-one and then swatch them. We'll move on to the techniques a little bit and then move on to the final class project. For the yellow, I'm going to use in the permanent yellow deep color in a very light, watery consistency, you can see a very light touch of the yellow. Then I'm going to use in the Carmine color. And for the rest of the entire sky I'm going to use in the city didn't do color. If you see this guy is of very diluted tones, very light color, then we're going to move on to the greens out to you. So far. The greens I'm going to be using in the sap green color, the olive green color. Then next time we're going to be using in little of the Payne's gray color to add in some darker highlights. And I'm even going to use in a little bit of the yellow coat color in the field space to give it a little more, touch off the field by mediating the colors out to the sea area. You can see is a reflection of this guy colors, again used in a very light consistency as you can see. Now in the sea area, we're even going to be adding in some reflections, which are going to be with the greens and very little touch of the yellow and permanent address. Then using the same permanent yellow deep color we are going to add in this bright sun out you're also, you can see the effect of the San Carlos out you're in the sea areas but very little, but very closely, if you'll notice, you can see those colors. So you can even use it a little bit of the cobalt blue color. If you do not have to sit in in blue color, then you can use the same cobalt blue color up in the sky as well. Now I didn't quit. Please watch out these colors first and then move ahead further. Now, for the greens as well, if you do not have the exact same sheets, you need not worry. You can go ahead with a medium and dark tone of green, whichever it is available in your palette. Maybe many of you may not have the olive green color in your basic palette. But you can always try and forming different greens by mixing greens with either browns or blues and try to vary the shape. If you want to create night it on these, you can add in ghetto to your existing beans to get in different lighter tones. So just as we had two color options for blue, same way you can either use yellow ocher, whichever is available in your palette. Now, I haven't just show you a rough little space for the sky or for the lighter colors. But before that, let me show you the process, how we will be painting this entire class project. So first we're going to begin painting in this beautiful light colored sky. You can see the beautiful sunset effect with the little yellow and the Carmine color popping closer to the greenery area. So those two colors out, you're closer to the horizon line. And then our tour at the bottom space because it's a reflection of the blue pallor is more closer to the horizon line costs. And then just below we have the deflection of the yellow, orange color as well. Then you can see just behind the greens, we even have a little blue dots. Here as well. You can see I've given a little darker shadow effect using the Payne's gray color. So this is going to be when we add in the details, so very little reflections that we will be adding in wet on wet. Not much of the detail things, but little things to make the entire project look pretty. So let's begin just understanding the lighter tone of the sky that we are going to be painting. So first we're going to go ahead with a very light layer of the yellow color. This is still a little darker as compared to what we will be using it. Next, we know the yellow we're going to add in a very light touch of the Carmine color. So basically for painting in the sky and the sea, it's going to be like 80 per cent, just to 90 per cent water, and just around ten per cent of the pigment. Now on top of the yellow color, I'm going to add in the blue color. You can go ahead with either cobalt blue setting or a mix of both the blue. And you can see I am using more of water, lots of pigment. Because of which even the green and the yellow, we're not forming any greens because there is very less pigment to even form another color pigment. Now here you can see the blue color tone seems a little darker, so I quickly depleted up. And this is how we are going to create the entire sky. In this also, you can see at the bottom I have not added the blue color for now because I just wanted to show you the consistencies in which we are going to be using these paints to create the entire affecting the painting. So make sure to use the colors in a very indict consistency diluted with water so that you get these light lockout chip and then these deflection in the CNS, but we will be adding wet on wet. So that is about the colors and basic techniques about this class project. In the next lesson, let's begin painting today's class project together. I absolutely love how this small thin painting has turned out. 83. Day 25 - Soothing Sky - Sky : So let's begin with our findings class project for deepened faith now. So I will first beginning with the pencil sketch. So at the bottom of the page, I first marked out the horizon line. On top of the horizon line, I added in the green bush space that we are going to be painting. And not below the horizon line. I'm marking out the river or the lake area that we are going to be adding in. So very roughly on the edges, I'm going to leave in the beans. In the center, we're going to have in a small water body area. So this center space is going to be the lakes piece, which is going to be the reflection of the sky area. I'm just of the deviance or closer to the horizon line is all going to be the beans peas. I'm first going to go ahead with a clean layer of water onto the entire myspace and paint the sky first. So make sure to add in an even layer of water throughout so that your paper doesn't dry unevenly. Also, run your brush multiple times that will help in keeping your paper stay wet for a little longer time. And in case if you're using a twenty-five percent cotton paper, you can add in a layer of water, let it dry a little, and then come back again, adding a layer of water and then begin painting. In this way it went keeping up people stay wet for a little extra time than usual. So I am done adding in a layer of water onto the entire sky space. And now I'm going to begin adding in the fellows into the sky. So you know, the three colors that we are going to be going ahead with is the carmine, yellow, and the blue stone. So far I started beginning with a very light layer of the Carmine color out you closer to the green bush detail area. Now next, just about the pink color. I'm going to add a newton of the yellow touch. Now in case if you feel that the pink color is too much, you can even lift up the pink color. But since I added the carmine Gallo in a very light consistency, although I'm going to just lift up a little from the bottom side because I am still left to add in the blue color. And if I will have more of the Carmine colored out there, then the blue halo and added it can create a purple color, which I do not want. In this way, you can see how using a bigger size brush, you can quickly lift up the colors plan if you feel that there is excess of paint or pigment that has dropped in at any specifics. So now just behind the bush space, I have little space for the blues to be added in. I'm just going to add a little more of the yellow color. Again. You can see I'm going ahead with very high consistencies of the color and it's more affordable, very less of pigment. Now in the rest of this guy here, I'm going to go ahead with the blue colors have shifted to a bigger size flat brush to fill in the spaces quickly. So I'm using in the setting and blue color first mixed in with it. That is the cobalt blue color in-between. You can see I'm just giving you a very light layer, turn off the blue color. And as I reach closer to the yellow color, I'm leaving a very fine white gap for the blue color too slow in and blending on its own. Now closer to the bush space, I'm going to go ahead with the cobalt blue color. Again. This was a little darker tones. I'm just going to quickly blend it and split the cross and get it into a lighter color. Now using the cobalt blue color, I'm just going to give him little touch of the cobalt blue color at the top of this guy and blend it out quickly. So I'm using the smallest size brush now I'm just adding in a little layer of the cobalt blue color. And I'm just going to try and blend it down smoothly and get the transition from the cobalt blue to the setting in blue, the yellow color. So you can see at larger spaces how using a flat brush mix the task easier and also makes the blending goes Moodle as well. So that is it for the sky area, just a pretty simple quick sky. Now, I'm just going to begin adding in the colors into the area for now. Now the greens are going to be off the darker tones. Let's see colors moves into the green area as well. It's perfectly okay. We'll be able to cover them up easily. But as far as possible, run these colors into the lake space that you have added in. So far as to have begun in with the cobalt blue color closer to the horizon line in the water bodies face. And I'm just diluting the cobalt blue color till the water space force. Then we're going to add a little yellow and carmine highlights as well. So beginning from the bottom space, I added in little of the Carmine highlights and just about that now, I'm adding in the yellow highlights. So you can see I picked up the yellow in such a dark consistency, which is not exactly what I want. I'm going to quickly be lifting up the colors. So you do not have to worry if by any gates able you happen to drop in the darker tones, you can quickly lift up the colors while they are wet and get them into the lighter tones. So you can see again, using it in a bigger size plaid brush made my task easier and helped me lift up the color a little quicker. Now I'm just going to go ahead with little bit of the cobalt blue color and get the blending score much more smoother. Now, while this is still wet, I have to add in little after reflection details. So I'm going ahead with a little lighter tone of the Payne's gray color. Now when you're beginning to add in this deflection details, make sure you do not have excess of water in the Payne's gray color or excess of pigment, otherwise the Payne's gray color, we'll begin to spread a lot and create an entire batch. And you will not be able to control the spread of the Payne's gray color and that may ruin the entire deflection and the water space. So make sure when you are adding in the Payne's gray color, there is no excess water on your brush. You can see the Payne's gray color that I'm adding in is automatically having in the soft edge, it's not spreading beyond the limit. And it's also being able to read in the reflection details that I'm trying to add in your you can see just by adding in the reflection as well with the Payne's gray color, the CEO or the water area already begins to look much more nitrogen, Andrea. Because after reflection, even without adding in the green details at the top of it, if you want, you cannot add in the green details and rather create the rest of the entire space as an Osmo loop. And go ahead with a snowy landscape here suggests some option details that I'm sharing with you that you can go ahead with. Now at the bottom side of the sea or the water space, I'm just going to add in little deflection with a mix of underpins the color, just showing some reflection of the greenery spaces as well that we are going to be adding in the rest of the spaces. So now you are, I feel that the reflection is too dark, so I'm going to quickly dab it with a tissue and turn it a little lighter because closer to the yellow side, I wonder reflections to be a little on the lighter side to depict the light effect passing through the reflections as well. I've just given a, taking my brush and just, you know, ran across the reflection interests class method giving him those are unfinished lines creating in that effect. You or you can even use a white pen later on that we will be adding in the DTLs to given facts in their reflection, to show the reflection because of the moving water. Now, let's wait for the sky and see to dry. And then we will add in the further details into this painting and complete the class project for day 25. 84. Day 25 - Soothing Sky - Lush Green Details: So now my sky and the water area are completely dried and I'm going to go ahead with further details. So let's begin adding in the green details one by one into this painting and compete this class project. First, closer to the horizon line just below the sky. I'm going to go ahead with the olive green and then add in little darker details using the Payne's gray color. So now I'm going ahead with the technique of wet on dry because it's a very small space and there is not much DVDs to add in. The little wet on wet details with the green and the Payne's gray color. We can add in wine, adding the colors directly onto the paper, because it's quite a small space as well. So we don't want the people for, oh, wait for an extra longer time to add in a layer of water. Suppose using in the sap green and the olive green color, I add mix of both colors. Now using the Payne's gray color closer to the horizon line, I'm just defining in the horizon line and blending it out with the sap green color. Again, you can see if your Payne's gray color, we'll have extra water. It begins to merge into the green color in such a way that it will cover up the entire green color and create the concrete Palette directly without letting in all the green pillows be visible separately. So it's very important to understand the water content while working wet on wet with the details. Now using the olive green color, I'm just beginning to dive in and create some texture onto this bush space. I'm even going to be giving a very rough shape to the top of the bush, defining it and giving it to the moon. Actually look. Now on their age you can see I'm just dabbing my brush and creating in some greenery Bush effect of debt. So just wait a while, this is still wet. You can go ahead with a mix of olive green and Payne's gray color. I'll just go olive green color and create such bush and the texture details. Now in this scene VM going ahead with a little bit of the Payne's gray color D beans onto the bush area, creating the effect here as well. So just tapping in with the Payne's gray colored out your effects for the post details. Now, do this top bust cycles in a little. I'm going to paint in the bottom space with the pink color. In the color section. I forgot to mention the lighting color that we will be using R. Now in case, as I told you, if you do not have a lighter green shade or a darker green shade, you can create the shapes by mixing in some way. So far and I didn't shade you can mixing yellow with your existing greens and for darker green shades you can make sense a little bit of blue and rounds to your existing sheets to get in the darker tones. Now below the light green color, I'm just adding in lots of the sap green color. You can see how beautifully I've blended the sap green and the light beam, letting both the carlos be visible as well. Now, just going ahead with a little more of the sap green, add the top line to define it and distinguish it from the water area. Now I'm going to shift into a smaller size brush. And using a smaller size brush, I'm just going to give him some class td, moving closer to them. What does piece, so some of your using my brush perpendicular, I'm just going to pull out little grass. So you can go ahead and use any smaller size brush or a pointed tip brush for doing so. So you can see how beautifully I pulled up. Let's look at the class two. Now using the Payne's PayPal and is going to further begin a little more darker at the bottom space. Now, let's wait for all of this to dry completely and then even paint this little green space out to you. So now everything is dried completely and I'm just going to begin adding in the last teens out there. So you will, if you want, as I told you, you can hear this entire painting into a window, eyes. The Snow's cape kind of a painting. If you want, you can feed a lush green landscape like this. Now I'm first going ahead. Local color closer to the horizon line and roughly onto the other edges as well. Again, you're going ahead with the wet-on-dry technique is because there is not much detail to add wet on wet. Now along with the yellow color palette, I'm blending in the sap green color out to undo the entire whitespaces that is left. I'm giving you the viewer of the sap green color, blending it with the yellow ocher color. Well, now onto the horizon line I'm going to pick up little Payne's gray color to show good blending happening between the transition between the two bush to the Greenfield at the bottom species. Now again, this is just the force near out. You're going to add a lot of wet on wet the deans out, you're on to the gallows itself. Now, why is this using the Payne's gray color? I'm just going to begin adding the darker there. Again. You can see if there is excess water in your pains piccolo or for that matter, any color with which you are adding mediums wet on wet. You can see how the palace President's Weekly pelvis up the entire space. Now, wherever in there. What you had added in the reflection with the Payne's gray color about that, make sure to add in little of the Payne's gray at the top space in the green areas for which you are added in the reflection. So you can see on the edges of the green spaces I'm giving him the Payne's gray colored detail for reflection, which we have already added while we were painting the water space using the wet-on-wet technique. So you can see simply just adding in Dhaka of Payne's gray dB HL or they just feeding in the darker color there. Now, using in the whitewash, I'm going to add in little details. Giving him those cut into the reflection to show the reflection as if it were moving water reflection. So before moving to the reflection, I'm going to add in the sun out there closer to the bushy area on the right side. For that, I'm mixing in whitewash along with the permanent yellow deep color just a little so as to make the logo opaque and bright enough. So using this color mix I'm going to add in the sun or very small company drown son trying to show in the setting sun effect. So it's closer to the yellow palette, the days that we have added into the sky. Now using the smallest size brush, I can just pick up the permanent yellow deep color without adding invited to it. And from the age of this, I'm going to add in a layer of this yellow color. I'm going to create a brighten up effect for the sun as Ben. Now the green spaces around 50 per cent dry. So using in the olive green color, I'm just going to create a little bush effect out your reflection for which we already added in the CAD. Yeah. So with one tone darker color green that you have using the basically around this, go ahead with one tone darker and adding this little bush effect because we've already added in the reflection, as you can see in this area, when the green spaces around 50 per cent, right? So you can see it's retaining the shape, but as well as having a soft edge as well. Now instead of using the white quash, I'll rather using a white gel pen and quickly add in little details into the reflection. So in case if you do not have the white gel pen, you can use a fine liner brush and the white goulash and adding these details. So to show that these reflections are into lifting moving water, I'm giving you a little line with the white gel pen in-between the reflection that you've added in. This shows the movement of the water creating in the past, the reflection spaces as well. So that is it. Let's remove the masking tape and see your final painting for the Twenty-five. We are just five days away from closing this 30-day watercolor challenge. I hope you guys are enjoying painting these beautiful, easy watercolor landscape. Each D and learning in the new techniques for creating these beautiful landscape. Rather than going ahead with the same Paolo, it's more important to learn the technique to change the color scheme if you need as per your choice. So you as the final painting for day 25 of this type of watercolor challenge. I hope you guys enjoyed painting this beautiful landscape with me today. I absolutely loved the lush green effect in this one. Thank you so much to each one of you for joining me into this class and painting along with me. I will see you guys soon into the next lesson. Till then, happy painting. And thank you once again for joining me. 85. Day 26 - Misty Mountains - Colors & Technique: Hello everyone. Welcome back to day 26 of the 30-day watercolor challenge. Today we are going to be painting this beautiful sunset by the mountains. So let's have a look at the colors that we need for today's class project. The sky and the C is going to be having almost the same color tones for the mountain range we are going to be using in the Payne's gray color. So these are all the colors that we'll be looking into. So first let's break down the colors for the sky. You can see the shades of yellow, orange coming into the sky. So for the yellow, I'm going to use in the Indian yellow this time. Alright, and then for adding in little details, I'm going to go ahead with the new color. I'll say if you notice closely there's a little touch of the brown color as well. For that I'm going to use in the brown red color. And I'm also going to use and a little of the permanent yellow deep color to lighten the tones at certain places. So these are the colors that I will be using for the sky and the sea as well. Apart from that, I'm going to use in the Payne's gray color. And I'm going to create this in tonal values of the Payne's gray color using in water diluting in the color form, the mountain ranges. And even in this area, I'm going to have in certain waves with the Payne's gray color. So these are the same colors that I will be using for the CSS when we will be working wet on dry as well for the wave effect here, you can have a close look and see the wet-on-dry waves detail that we will be adding. And then the bottom grass detail with the Payne's gray color. So I'll just quickly first begins watching out the color in the previous class projects wherever I have used in the Indian yellow color, I have discussed the color mix for the Indian yellow color as well. But in case if you've missed any of those, I will again discuss the mix for the Indian yellow color here as well. So this Indian yellow color is from the brand White Nights. So you can, if you do not have the exact same sheet, we will quickly show mix where you can create this color from your basic palette. But first, let's watch out the other colors as well. Now in case if you do not have the woman in new color, that you may have the shade of orange or any other shape similar to an orange sheet that you can go ahead when you need very little of it. Not much. The brown, red color again, it can be in the name of red-brown, of light red or reddish brown by whichever name. You can simply go ahead with a lighter tone of the burnt sienna color. Nine case. If you do not have the Payne's gray color, then surely you can use in the black color just adjusting that I knew, depending on the color tone. Now, let's discuss in the Indian yellow color. So you have these three colors out, you're mixing these three forms, the Indian yellow color, That's the woman you, brown, red and the yellow deep color. Not only trickier for mixing these three colors, is the proportion in which you need to mix the three to get into color right? Now, getting the proportions right will only be through trial and error. You will never get it right by a fixed proportion because your color concentration may be quite different than mine. So depending on the consistency of the vibrancy of the colors plus the consistency in which you mix them, it will create the difference. I'm going to go ahead with little trial and error mixing in the vomiting. You rounded and the yellow deep color to create the Indian yellow color. So for the first case here, you can see I've created a mix. Now in this mix you can see it's a little on the darker side as compared to hello. So I'm just going to add in a little more off the water and a little more of the yellow color. And try to see if the color dilutes a little more. So you can see even just by adding in a little water to the mix, you can understand whether the color is near to the original color. So let me swatch it out. You're closer to the original color. You can see there's no difference between both the colors. It's exactly the same mix using in the three colors. As mentioned below. So this is how you can create your own color mixes. You can see the pigment number of color on any of the websites and then understand which color is you need to mix in to get a particular color. Now underneath the mountain ranges are sure if you'll see we have a little yellow coming in to show the sunlight effect falling below the mountain ranges as well. So when they begin painting in the mountains, we are going to add in the little touch of yellow as well. So I'm just going ahead with one layer of the mountain O2O to show you. So we beginning with a very light consistency of the Payne's gray color. It's much of water, very less of pigment. Then picking up the Indian yellow, I'm just going to add a little touch with the Payne's gray color at the bottom space here. Now after this will dry completely, only then will be going ahead with the second mountain range. At the top of each mountain range, you need the Payne's gray color to be on the highlight, but make sure on the edge you have the Payne's gray color and not the yellow color highlights. So every mountain defining the top as well, giving a little tree details on the mountain range, trying to show Bosch going on to the mountains as well. So this is how we will be painting each mountain range, waiting for it to dry completely. Then go ahead with the second mountain range. Now, whenever you are going to paint in the mountain ranges, we are going to fill it completely till the horizon line. So say we painted the first mountain range closer to the sun space. We are going to go ahead and paint it completely, fill the horizon line. Otherwise in-between you will be having in patches when you begin painting in the second mountain range. Because the second mountain range will already have a halfway underlying color, which will create a rough patch. We will Please be covering it up till the horizon line so as to get a perfect blend between the mountains and no rough patches because of the first player. So always make sure whenever you are going in creating these misty effects, you just dilute the color with water till the bottom space where you have to add in these misty details. Now I will quickly swatch out the Payne's gray color in two to three different tonal variations. So fast is much more of water, very less of pigment. Second is littleness of water and little of pigment. So 4060 ratio. Then after that you can go ahead with a 5050 ratio. And then you can go ahead with the darkest consistency. So you can create the mixed with water, then keep adding in only the color into it and no more water. In that way, you can get in various consistencies for each particular color as well. This is very helpful when you want to create monochrome paintings using limited colors. I'm creating in all the details with one color highlights. You can see I've created and five tonal values for the Payne's gray color for painting mountain ranges, and then the bush detail on the horizon line as well. So this is how little practice by understanding the tonal values, by diluting the color with the help of water, you can understand how to create in the different tonal values for painting in the class projects or painting in monochrome paintings. So we're going to go ahead with for mountain ranges with diluted color tones of the Payne's gray color. And then the duct is consistency to paint along the bushes detail. So that is it about the technique section for this class. Let's begin painting a final class project in the next lesson. And create this beautiful sunsets by the mountain for D26. 86. Day 26 - Misty Mountains - Sky & Sea: Now let's begin then with the class project for day 26. I'm first going to go ahead with the pencil sketch. It's going to be a very limited pencil sketch. We're not going to be marking out the mountain range. In the pencil sketch. We will directly be adding in the mountain ranges with the paints because I do not want any charcoal marks as the mountain range are going to be very light. So the only pencil sketch is just mapping out the horizon line for understanding till where is it going to be your C space? So now let's begin in with the clean layer of water onto the sky completely and begin painting in the sky. Now I'm going ahead with a layer of water completely till the horizon line. So I'm going to dilute the colors till the horizon line. As I told you for the mountain ranges, we are going to have in little yellow as well inside the mountain range with the Payne's gray color. So it's a little of this guy Carlos, go closer to the mountain range as well. It's completely okay. So first beginning in with the Indian yellow color, this guy space is going to be this guy colors and restaurant is going to be the mountain ranges. Accordingly, just taking the colors approximately to that space. Next, going to begin adding in little streaks with the brown red color. Now, make sure you have a tissue audit of clot handy because in case if the colors go into that, you can quickly clean up your brush, lift up the colors as well. And also when you're working with such life consistencies, it's important to keep dabbing off the excess water as well. Now you can see I'm trying to dilute the color almost closer to the horizon line so as to have that perfect slope from the sky to the mountain ranges. That is the reason even in the mountains space you can see I'm going ahead with a very light undertone of the yellow color so as to get the perfect transition effect. Now, again, giving you a little layer of the Indian yellow color darkening up the sky. Now in between, I'm just trying to lighten up little of this guy spaces as well. Again, some glowing effect. I will be adding in the sun detail later on. But if possible, you can try creating in the sun detail using the lifting technique. I'm going to dab in with the help of a tissue. I have discussed all of these techniques with you previously when we created in the glowing sun spaces in view of the previous class projects. Now, I'm just going to define this circle which I created using the lifting technique with the help of a tissue quickly. Remember this has to be done by new layer of the paint is still wet. Another thing to be kept in mind is that your pigments that you're using in for this guy shouldn't be the staining pigment. Otherwise again, it will be very difficult getting the perfect look for the sun out there. Now I'm just going to go ahead with little more details out. Your first with a little yellow color and then I will add in little vermilion color highlights. Now again, you are closer to the mountain range. I'm giving in a clean line and diluting it with water so that I have the perfect transition. Now, I'm going to pick up a little of the vomiting color. I'm just going to add in some highlights strokes very little, just a little on both the sides. You can see. Now until this dries, I'm going to go ahead and paint in the area. We are done with the sky. Now beginning in with the clean layer of water in the complete seat area. And then we will add in the mountain details one by one when everything dries in. For the C, we're going to use in the same colors that we used for the sky. That's the Indian yellow, brown, red, and the woman in new color. We are going to add in little details wet on wet and then little details wet on dry as well. So in the sea we are going to have the reflection of the light glowing sun space as well. We will add in later on, we'll try to maintain little lighter space in that area as possible. So after the New Year of water, I'm beginning with the Indian yellow color, just underneath the sun space. I'll try leaving in whitespace. Or if you are unable to leave in that white gap. Go ahead with the layer of photo. You can add in the baby effect with white gel pen or white quash later on. Now. Beginning in with the brown, red color, you can see I'm covering up the whitespaces as well in-between. I'm leaving in little gaps if needed. So I'm just beginning ahead adding in the details you can see creating in the depth as well. Now when you're working wet on wet, again, remember to have the perfect Water Control. C, if you have pick up a lot of water with the brown, red colored, it will spread completely and cover up the entire Indian yellow color, which we do not want it. So be very careful that you are adding the colors in such a way. Wet on wet such that you do not do enough to look. Now, I'm just creating little glowing space, but you can see it creates rough edges. Using the tip of the brush. I'm going to run in the brush in such a way that in-between I have some white that I lifted up the pallet and just run a damp brush because everything is bad. You get in those white lines. Now I'm going to pick up the paints gray color and adding little details, wet on wet. So as I told you some of the details, we are going to be working wet on wet. Now when you're working with these wet on wet wave details, you got to go very carefully. If you will pick up excess water in your pigment, colors will begin to spread out completely and you will not be able to achieve in the clean look. Also, you can see the color closer to the horizon line has CP little into the sky space. But at the bottommost area we are going to have in the dark is consistency of the Payne's gray color creating in the bush effect. So all of it will get hidden up completely. So do not worry or do not give up. If you mess up at any stage, there is always a way to correct things and get it back. So I will just lift up a little of the color with the help of the tissue. You can see I've added in wet on wet waves detail with little of the Payne's gray color. Now I'm just going to add in for the more little details with the Payne's gray color. I'm just using majorly the tip of the brush adding in simple lines, having in the water control. Hence these V's have a soft edge but still they do not spread. I'm giving the waves look as well. So that is it for the wet on wet details for the first layer of the sea as well. Now let's read through all of this to dry completely and then we will begin ahead adding in the further details. So now everything has dried completely and I'm going to go ahead with the first layer of mountain. So I'm using the Payne's gray color in the most diluted consistency. That is much more a photo, very less of pigment. So beginning first, almost from the center of the sky space, going in with a very rough shape for the mountain range. I've only drawn redefining the shape at the top of the mountain as well. Now remember, I told you to fill in the space completely till the horizon line so that you do not have in the patches in between, or at least completely the second mountain range, also a little below and second mountain range. But since we do not know tell where Villa mountain range becoming into, it's better to get it closer to the horizon line. Now just adding in little touch of Payne's gray color at the top and beginning to define in the shape at the top as well. So from this, you already know we had obesity or yellow which was there in this post mountain range. So I'm not going to add an additional yellow this time because you can see this guy yellow color already been visible underneath this light layer of the Payne's gray color. From the next layer onwards, I will begin adding in the yellow color D. D is as well to the second range of mountains as well. Now till this post range of mountains rising, I'm going to begin adding in the wet-on-dry waves team. So make sure that your area is completely dried as well. So now just using the tip of the brush, I'm going to begin adding in very simple, straight short lines out you're closer together. Leading in the wave de do. Make sure to go in with the smallest size brush so that you do not add in the thick of it. We want in very thin waves out. Shifted to us for the smaller size brush. This is a sights Ido pointed tip brush and just beginning to add in simple leaf details first, with the Payne's gray color. I'm going to add in little beams with the orange colored as well later on. But for us it's filling up the spaces with the Payne's gray color. Now I've picked up a little of the brown color and closer to the horizon line, I'm going to give him more of the details with the brown and the orange tones. You can see I'm using the brown color as well in a little diluted consistency, not too dark enough. So make sure you go in with little lighter tones and not too dark tones. Even for the Payne's gray, you can see I've gone ahead with a medium tone and not too dark tone. Now in-between the bottom Payne's gray leaves as well. I'm going to give him little of the wave details with the brown color as well. Now you are in between, I'm going to add in a few of the takeaways as well to give him little balance in between and create little details out. You're now with the Payne's gray color as well. I'm just going to add in something called Venus medially at the bottom space, heating in more depth. So you can see now as we are approaching the bottom space, the leaves are turning darker as they are closer to our view. So I'm giving them more and much darker consistent of the brown and the Payne's gray color. Most of these leaves is going to get covered up with the grass details that we will be adding in, but makes sure to add these details out here in a little darker consistency compared to the ones what we added closer to the horizon line. Now that is it for the layer of leaves as well. Now we will wait for all of these to dry completely, let the mountain range dry completely. Then we will begin adding in the second layer of mountains. 87. Day 26 - Misty Mountains - Final Details: So now the first mountain range has strident. So let's begin adding in the second layer in the colors and the technique section I discussed with you the tonal variations of the gray color that we are going to be using in. Now, beginning with the second value for the Payne's gray color. I'm just going to begin by adding in a line first defining the mountain range. Now using a damp brush, I'm just going to glide the color till the horizon line and get at radiation data as well. Now, the second mountain range we will add in a little yellow highlight, adding in the yellow color while this is still wet. So fast using the Payne's gray color again, I'm just going to begin defining the top edge as well again. Now, just below the dark consistency of the Payne's gray color, you can see I've added in the little touch of the yellow color and I'm dragging it well till the town so as to get the perfect blend and do not have any sharp edges when I begin adding in the next layer. Now, this layer of mountain dries and I'm going to get T begin adding in the foils for the bottom space here, my waves are completely dried and I can go ahead and add in these details now. I'm going to go ahead but simple grass strokes and simple leaf details out you're filling in the space and the bottom space out here. So it's going to be approximately till the half length of the area that we haven't do not completely cover up the z-space with this. Make sure to keep it a little till the center line of the C. Only. So far, I've added in a few of the leafs out there. Now. In-between later on, I'm just going to fill in with the grass strokes has been so far. You can also go ahead with adding in both at the same time as I add it on the right side. Or even you can go ahead, fill in one kind of detail first and then in the remaining spaces, filling the other kind of details that you're going to be using it. So you can see slowly, I'm building up everything out. You're at the bottom space. Now going very slowly. Do not overdo the details here. So I would recommend filling all little by little then see if you need to add in more details. Only then go ahead and keep adding in more. It's always possible and easy to add more later on rather to erase what you've already added in. So I always recommend to go ahead with the detail part slowly and in proportion so that nothing seems out of proportion in your painting. Now, in-between these grass leaves, wherever I feel that I need to add in a few more of the leaf details. I'm just going ahead and adding in a few more of the leaves randomly. Now next, using in the white gouache, I'm going to add in the shadow for the sun space as well. So you remember we were trying to keep the space blank, but we were unable to because if the colors flowing in, so I told you let them flow and we will given these details either with white gel pen or white board. So now using in the white gosh, I'm just giving in very fine lines in alignment to the sun space. The reflection is going to be in the area exactly below the sun area. So I'm just adding in very small lines out you are to act as the reflection. So that is it for the reflection as well as the area is completely ready. Now, let's wait for this to dry completely. Then we will begin painting in the third range of mountain. So wait for it to dry completely and then move ahead further. So now my second mountain range has dried completely and I'm going to begin with the third mountain range. For that, I'm picking up the Payne's gray color in one tone, darker consistency than what I've used in the previous one. You can see how my mountains are overlapping each other in a very natural way. There is no fixed shape or pattern to be followed along. You just have to go in and create the nature looking details out. You're now using the Payne's gray column first filling in the space at the bottom completely. Then you can begin adding in the shape at the top area. All of this you have to do in wet on wet only. That is why your layer is still wet. You have to define the edge given the darker depth at the top spaces fill in the bottom space completely so as to not have sharp edges in the next clip. So now I've got the earlier completely blended tilda horizon line. Now again, I have to wait for this to dry and then begin ahead Further adding the last range of mountains and the bush detail. So I'm just getting in the blends, right? You're lifting up the colors wherever I feel they've gone a little out of proportion. So it's very important to get the blends right. Otherwise, you may see in sharp edges in-between your entire painting. So now let's wait again for this to dry and then move ahead further. So now my third mountain range is also completely dried and I'm going to begin ahead and add in the fourth mountain range, which is going to be for the 1to1 darker than the third one. And then we'll be using in the dark is consistency of Payne's gray color and adding in the final mountain tree oh sorry, the final Bush detail at the horizon line. So very gently, I'm filling in the color now completely to the horizon line. Make sure you do not run into the sea space. So going very slowly and carefully closer to the horizon line. Otherwise everything may go out of proportion. Now one last time we'll have to wait for this to dry completely and then add in the bush detail at the horizon line. But before waiting for it to dry, I'm going to quickly define everything. You're given the shape to the top of the mountain range and then wait for it to dry completely. So just using the same color consistency, I'm beginning to add in the shape at the top of the mountain range. You can see just creating in that spiky grass detail for the mountain range as well. Now let's wait for this to dry and then add the final Bush detail. So now the last mountain range has also dried up completely and I'm going to begin adding in the further detail into this painting. Using the Payne's gray color in the thickest consistency you can see it's such a bold, dark consistency of the Payne's gray color. And I'm beginning to add in the bush DT so fast I'm creating a black color patch or TOO, that's the Payne's gray color patch. And then at the top of it, I'm just going to begin dabbing the brush and create the texture out there for the bush details. Again, going very slowly out here so that you do not run out of proportion because it's the horizon line. And if you by mistake, we move into the sea area. There is no going back. Now at the top you can see I'm just dabbing the brush and creating that texture out. So I'm just going to create this and then we are ready with our class project for D26 as well. So that is how we are ready with our class project for the 26. Let's remove the masking tape and see your final painting with those clean edges. Be careful by removing the masking tape and always remove the masking tape against your paper so that you do not dare of the edges. So here's this gorgeous sunset by the mountain change. I hope you guys enjoyed painting this beautiful sunset mountain range painting with me today. We are just four days away from closing this 30-day watercolor challenge. Thank you so much to each one of you for joining me into this class and painting along with me. I will see you guys soon into the next lesson. Till then keep painting. So see you hi soon into the next lesson. 88. Day 27 - Farm Field - Colors & Technique: Hello everyone. Welcome back to day 27 of the 30 day watercolor challenge. Today we are going to be painting this beautiful farms eight sunset. Before diving into the finance class project, Let's have a look at the colors that you would be needing for today's class project. So first for this guy, you can see we have a sunset effect. So closer to the horizon line we have the yellow and the orange tones. And then the rest of the sky, you have the blue and a little tint of the Payne's gray color if you notice closely. So let's note down the colors that we need for painting in the sky. I'm going to be using in the cobalt blue color for the yellow and the orange I'm going to be using in the vomiting and the yellow light color. Now if you notice closely here, I am going to give it a little bit of the orange streets in-between the blue as well. Or you can go ahead with a little bit of the violet strokes as well. And last thing you would need the Payne's gray color to pay it in the cloud effect. Then for the bottom side, some details you're going to need in the shades of green and brown. So I'm going to go ahead with the olive green color first. Along with olive green, I'm going to use in the sap green color, a little bit of the yellow ocher color. Also, I'm going to use in the brown red color mixing in with the greens here. And you would be needing in the Van **** brown color for adding in the darker details, even painting those but in dogs in-between to create the fence details. Also, you need the raw umber color to create the bottom or grass strokes out your that is the rod, right? That we will be creating onto this fall. We are going to mix it with white gouache to create the opaque look on job of these wooden logs as well. Now let's watch these colors before moving ahead further. So I'm going to begin swatching into colors one-by-one. Now, covariance blue is such a color that would basically be there in almost all the color palettes. But if by any chance This does not have to cobalt blue shade, you can go ahead with the serine in blue color. Next is the vomiting new color. Now in case if you do not have the woman in new color, you can go ahead with any shade of orange, or you can even go ahead with a yellow orange color or an orange yellow color. You can even mix some red with a little bit of your yellow to get a little orange-ish tone. For the yellow, you can go ahead with any medium tone of yellow as you can dilute the color tone by adding in water and accordingly adjusting in the tone. The violet colors is an optional color to add in the details into the sky. So you can see if you want, you can add it with the orange troops or the violet strokes. But we're going to use the violet color in such an icon to create in the next you would need in the Payne's gray color as we discussed. Now, I'm going to swatch out the greens and browns that we are going to use it out in the bottom from space. Now, not have the brown, red color, you need not worry. You can go ahead and use either reddish brown color or you can mix them permanent color with a little hint of brown to get reddish brown tint. Or simply you can even go ahead with your bunt sienna color. If you do not wish to create a reddish brown tone for the vendor, Chrome, you can go ahead with any darker brown tone. It may not be the exact same shape and further along, but you can mix in your bond, combine yellow ocher to create a little drum book kind of a color. And then we will be mixing it with white gouache to get the opaque look here for the grass details in front of the hood and not nice. You'll notice the sky we are going to create in a beautiful cloudy sky. So let's go and look a little into creating in the sky. So I've added water to a small patch out. Now I'm going to go ahead with the cobalt blue color. Go in with a very niche layer of the cobalt blue color because as you can see, the major Cloud space is going to be white and then we're just going to add in the color streaks. So when you begin adding the colors into the sky, you have to leave it in those white gaps. And while the paper is still wet, we're going to add in those lights streets to create the cloud effect. Now at the bottom side are closer to the horizon line. I'm going to go ahead with the vermilion color. Now when the orange and the blue mixed together, they begin to form a muddy tone. Hence, make sure you'd not blend the orange and the blue. Rather you keep a little space in between for the colors to bleed and blend automatically. Even when the yellow meets him with a blue color, it may form a greenish tone. So again, between the blue and the yellow as well, he'd been a little gap using a damp brush and create the effect out there. Now in the white gaps that you have left using the lightest consistency of the colors and just adding these strokes to create the cloud effect, which we are keeping it light in the past year while adding in the blue color. And you can add in little darker depth with the cobalt blue color as well. So we are going ahead with a very light consistency as you can see, and with a very small space. The final painting, Sky is double the size what we are creating right now. So it's very important to understand that how you need to have the water control while adding in the detail. Also, you can see when you add in the dark pigment, you can quickly lifted up with the help of a damped brush. So it's very important to understand what a control, because if you will not have water control while adding these torques, then the colors will spread and you will not be able to achieve in the cloud effect that we are trying to achieve by keeping those pieces, right? So when you are adding in the blue color, when you have to have in little water control, only then you will be able to achieve in these details with the Payne's gray colored as well. You can see I've hardly picked up a little bit of the pigment. It's such a nice consistency. It's around 98% water and just two per cent of the pigment that also in a very diluted consistency to create the effect of that is all we will be painting the sky and then we are going to create these are wooden logs into the field. So the dog, if you see you are standing at the right side view and when you are looking towards the left, the wooden logs are diminishing in the height because of the perspective that what you are standing. In the next lesson, when we begin painting, hide and show you the reference picture as well for a better understanding of the perspective. So this is how you are going to create this entire painting. In the next lesson, Let's begin creating in this beautiful class project per day, 27. 89. Day 27 - Farm Field - Sky: So let's begin with the final class project for D 27. I have my paper taped down and we're going to begin in with the pencil sketch, mapping out the details before beginning in the painting. First, let's begin with the horizon line. So now I'm going to begin adding in the fence TTN, that is the bottom lock, the feet, the fence loop. First, I'm adding in the tallest pins. This fence is more just in the center but a little towards the right side. Now, this is closest to our view. That is the reason this is the tallest and the thickest one. Good rest of the movement is going to be diminishing towards the left side. We're standing closer to this first block. And as you standard the perspective ends our tour. So this is the diminishing point for the entire fence that we are trying to create it. Now these bigger fence though, sorry, the background fence that are there are going to be all closer to each other, stuck to each other because you are doing it from one fence. And then you will see from a perspective view, you all have to look closer to each other because of the perspective. Now to these pens, I'm just going to add in the fence biding as well. Now the fence by adding you are against standing near to the biggest wooden fence. And from that point, if you see than the background fence, will move closer to each other because of the diminishing point. And the pens towards the right side will widen up. Oh, perspective, view again. So now let me show you the reference that we are referring for this picture so as to help you understand the perspective better. So I'm going to be using in this reference out to you. So now when you see this, there are a lot of other ideas as well in this painting which we will not be adding in industry in space. But just to understand the perspective, you are standing towards the right, rightmost edge, LTR, that is the wheezing yo-yo can see this view is closer to you and it begins to diminish it as it moves towards the left end because of the perspective. Now let's begin painting. So let's begin, I mean here of water into the sky completely. And then moving ahead further, we will begin painting the sky first. For now you can go ahead with a layer of water onto the wooden block. Spaces in the sky has been because of wooden logs later on are going to be off the darker brown color for all of the fellows that you add right now, we'll get covered up easily. So let's begin with the colors for the sky now. Now before beginning with orange color on the horizon line, I'm going to mix in a little white cross to the orange color because I want a little lighter tone by cosh, oh sorry, orange colors. So that is the reason mixing it with white gouache so that it stays opaque as well as I get a little lighter consistency, a little towards the pace to say, I think early on of the orange color, you can see it's a very small layer. Now on top of it, I'm going to go ahead with the yellow light color. Before that, just adding in little darker strokes with the orange palate directly without adding the white gouache. So you can see you have two tonal variations to the orange color highlight as well into the sky. Now before moving to the yellow color, I'm going to shift into the cobalt blue layer. Now you can see I'm just dropping in the color very lightly with a gentle hand. The water underneath can see here create the entire flow in the cobalt blue color. We are going to create more flow into this color, but going very slowly, adding in these strokes, leaving the white gaps for the Cloud details that we are going to be creating it. So you can see I'm going with a very rough flight time and the color is also in a medium tone consistency. Now closer to the orange color, you can see I'm adding the blue color with a very light hand such a way that the orange and the blue do not mix together. They automatically bleed into each other and create a smooth line. Now in between the blue and the orange color, I'm adding in the yellow stroke. And you can see because of the blue color, I've gotten a little bit of the green tint, which I do not want. I'm going to quickly lift up the palette from there and create the yellow space looking out perfectly. So again, you can use up the lifting technique and quickly get rid of those fallow mixes and get the blends right easily. Now I'm just going to use a damp brush and soften the edges of the cobalt blue color and adding a little more depth with the cobalt blue color as well. And a little touch of the yellow color for the clouds. Now for the clouds, the yellow color you have to use in a very light consistency. So it's almost like just a touch of the pigment and more of water. You can see I'm dabbing my brush onto a paper towel so that all of the excess pigment and water is absorbed by the paper towel before we move adding it onto our final painting. Now wherever you feel that the color has dropped in even darker, you can quickly again lifted up from that spaces as well and created the lighter blue. Now let's add in some darker that with the cobalt blue color again as well. Now the darker depth is going to be off lighters pieces of little less pieces. So you can see I'm adding in the cobalt blue color on very little spaces. I'm not covering all of the light blue layers. You have to let both the color tone visible of the same palette that you are using in. Now, using the Payne's gray color. Again, you can see so much of water, very less of pigment. Again, keep a paper towel in hand. You dab off the excess pigment and the water. And only adding a very light wash in the whitespace is to create the flower details. You can see so slowly adding in the details, you can create the depth. And now I'm just going to get in with the blends right out yours. I'm quickly going to lift up the color and get the blend stride without a widening into getting those muddy colors because of the blue and the orange color tones. Now just going to add in little cloud details with the orange color, but I'm using the mix of the orange with whitewash that will help in avoiding the muddy colors because of the blue color as well. Again, you can see my brush does not have excess water or pigment. That is the reason when I dab it, I'm able to lift up all of the excess pigment. Sorry, I'm able to add in the pigment and a very night consistency. Also, you can see the pigments are not spreading because there is hardly any water that I'm laying onto the sky. That is the reason. And the shape that I'm adding in is getting retained because so water control while adding the details wet on wet. Now just using the Payne's gray color, I'm going to add in some final details into the sky space. And then we will be ready with the sky for this class project. Then we'll wait for this to dry completely and then move ahead and add in the details once the sky is completely dry. Now I'm just going to add in little more of the orange highlights with a darker tone. I'm just going to blend them with the yellow and the orange strokes. Now, make sure you add in all of these details only when your paper is still wet. So I'm working on adding in little details because my paper is still wet. In case if your paper has already begun to try in, then do not go on to adding these highlights. Otherwise you may begin getting into sharp edges. And in case if you are someone who like some sharpening Indians and do your sky, then you can go ahead and keep adding in these details. I just took the yellow color a little up into the sky and again, added indigent highlights into the orange piece of the sky with some darker strokes. So that is it for this guy. Now I'm going to wait for it to dry completely and then we will begin painting in the details into the field space. So now my sky is completely dry and I'm going to begin adding the details into the field. So first we'll add the base layer for the field, then add in the details to the wooden block for creating in the fence. And then add the violence to the fence and then the final grass detail at the bottom of the fence. So first let's begin with a clean layer of water. Now if you would've seen the reference picture, you could know in the field we had a loss of lot of grass effect. But by creating in this, I prefer not going with so much of the grass DT, rather, I just created some rustic looking grass eating closer to the fence area. Now, every reference that you can see Do you need not copy all the same elements exactly as it is? You can go ahead and change the details and little according to your preference. So to keep the class project within a good time limit, I wanted to skip up to grasp part because somehow adding in the detail would take longer. It will take in a lot of layers which I do not want to go ahead with. So I kept the entire field simple with the green and the brown and then add it in the final drastic Ras looking closer to the fence area. So now I'm done of water and I'm going to begin in with the yellow ocher color first. So closer to the horizon line, I'm forced adding in little touch of the yellow ocher color. Now, most of the inaugural fellow will get filled in with the greens that we will be adding it. But still in-between the little touch that you will be having in with the yellow ocher and the Romberg color. That is the reason why I'm going ahead and adding in little detail mix of the yellow ocher and the Romberg color for adding in the detail, so forth and defining the horizon line. When you can see I'm adding in a good doctrine closer to the horizon line, defining the horizon line well and Shaw. Now onto the left edge of the horizon line, I'm going to take up the brown red color. I'm going to dilute that as well, a little suggest to very little tones you can see now major of this will get covered up with the greens. But to define the horizon line, I use these colors. Now using in the olive green and sap green color, I'm going to fill up the rest of the spaces. We are going on with the wet on wet layer. We had added in a layer of water. Now with the wet paint, I'm going to begin blending all of these. Now at the moment, if you see the greens out of a very light consistency, we're going to darken them with layer on layer. So now you can see I'm mixing the olive green with the raw umber color and creating in the green details automatically. Now as you move forward with the greens again, I'm adding in a little layer of both color. And I'm going to go ahead with a good pipe inconsistencies of green. Again on top of this, also the red brown color that we added on the left edge. You can see I've kept it limited to our left space only because I do not want to cover the fence with this space because the fence is already going to be off the darker tone. And I do not want this piece around the fence also to be a much darker tone. Otherwise, we will not be able to distinguish the details by adding the details for the fence. Now at the bottommost space, I added in a little touch with the Payne's gray color. Now in the same spaces, I'm going ahead with a layer of the same colors again to make the space go vibrant. Because if you would leave it to dry into this color consistency, it will dry out a lot lighter because watercolors tend to dry or tone lighter. So if you're adding a light layer of colors and wait for it to dry, you can see that you will get a very light consistency of the colors, which is not what we want. We want a good vibrant effect for the field. So going ahead onto the same space with the same colors in a second layer to create the vibrancy when it dries out. Now you can simply go ahead and play with the greens, browns and Payne's gray color and create your effect in the field. But just be sure about one thing that closer to the fence area in the top space, you do not have the darker colors because the fence is going to be off a very dark consistency and we want the fence to stand out apart from the field. If you will have the darker colors closer to the fence, then the pens colors and the background color will all blend into each other. We will not be able to achieve the look for the fence. So now keep running with the colors until you feel that you've achieved a good vibe, inconsistency. You can see I'm just adding the colors randomly now and blending them into, into each other. Because I want a good vibrant look to all of the layers that we added. Now while this is still wet, I'm just going to add in little grass detail out. You're at the bottom space with the red brown color. So just two very simple wet on wet fast it is. David stand out a little in the background when you add in the front glass detail. So just add a little touch of it. If you want to skip this part, is completely your choice because when you are going to add in the foreground grass is with the white quash. All of this will just give a little highlight to the background. So randomly using in the browns and the raw umber color, you can see I've given him middle of the grass effect at the bottom space. Now just at the bottom, I'm going to cover up little of the spaces because there seems to be quite a lot of light-speed, which I do not want. So just going to run over it because the class effect is almost blended and because of the wet background. Now we'll wait for this to dry completely and after this dries, then in the next lesson we will add in the fence TPN undefined in the raw glass detail that we are going to add in and complete the class project for the 27. 90. Day 27 - Farm Field - Final Details: So now everything has dried completely and let's begin adding into further detail. So I've picked up the Payne's gray color and I'm going to begin adding in the wooden log details, but the entire wouldn't log out here is not going to be off the Payne's gray color. We are going to add in little touch off the ground as well in between. So towards the left side to give him the darker depth, I've added in a layer of the Payne's gray color. Now completely towards the right side, I'm going to fill it up with the brown red color. Alright, and you will see that the shape of this wooden log, I'm not going ahead with a simple straight line. I'm trying to keep it a little crooked and unfinished to give it an actual look of the wooden block. Now these background for logs, you know, they are all connected to each other, so I'm just connecting them all together. Now, at the edges. Same vein, I've had to deliver it to the dark god didn't have the Payne's gray color. And now the rest of this basis I will blend in well with the browns. You can see how wife Linda background layer off the green and the brown has turned out and especially the horizon line is defined solvent. Now let's add in the wires to the fence out your wires as well. I'm going ahead with the Payne's gray color. And you can see I'm going ahead with a very twisted via loop. I'm not going with this straight wire. As we discussed in the previous lesson, the perspective that is the reason the wire is becoming broader towards the right side. And as you move towards the left side, you will have a diminishing due to these pens because it's the perspective. Now to this. I'm giving him the intervened look of the wires a lot closer to each other. I'm even going to add in those book details, basically goes off. Pointed edges. Those are there onto these white lines so as to avoid people to cross the fence or something. So those details that I'm going to add in here to make this look more natural. So you can see I've given it a good enough twisted line of virus out. Now we'll wait for this to dry, then we'll add in little highlights with the white quash as well. Let's mix in the white quash along with the raw umber color for adding the further details. So with the raw umber color, I'm going to add in the white goulash. So I'm going to mix in a little bit of the yellow ocher and brown red color as well, so that I get a little more brownish tint to this. So just a little touch of the yellow ocher and a little after brown, red color along with white gouache and the Rambo color. Using this rusty brown color in a good opaque consistency. I'm going to begin adding in the details in front of the fence. Now I see a wooden fence is still wet. Make sure that you do not add these strokes on the fence for now. We'll add them once though, within logs are completely dried. Apart from that, you can add it on to the left and right of the logs and at least begin filling in those spaces because now this is the major, the deals that we are left to add it. So you can see I'm just adding in simple grass strokes are TO filling in the space, creating in the depth. I'm using a size 0 brush because it's page I'm able to achieve. These are minute strokes giving in the rustic grass lookout TO and because it's the right words that we have makes along with that brown, we are able to achieve an opaque look despite it being on the darker tones. Now as I told you, we're going to add these onto the wooden box as well. But we're still less to add in some details onto the wooden door. So I'm wondering quickly dried with the help of a hairdryer. And then I will begin adding in the details onto this wooden log as well. So now that we're done, logs are dried completely because I just speed up the process by using a hairdryer. Now on top of this as well, I'm going to show in some of the grass strokes passing around. So didn't have that height of the fence. You can see I've taken up these strokes, adding in some leaves us when we'll still be adding in a little more highlight to this creating in the depth. So you can see randomly, I'm just copying out a few of the rustic looking leaves as well. Now I'm going to pick up a little more of the white gouache and add it to this mix to get one done lighter color for adding the highlights onto these grass areas out here. After feeding in all the details for the grass out here, we will only be left to add in the details with white gouache onto the fence and the via pins as well. So now, with a lighter mix, you can see how I'm creating in some leaves strokes and some grass seed in very roughly just moving my brush quickly is exactly around. I'm painting in the detail into this field out here. Now using in a white gel pen, I'm going to begin adding in the detail. If you do not have a white gel pen, you can go ahead and use white gouache, but having a white gel pen heads and adding the details quickly and it also becomes handy right now adding in these minute details. So under the wire line I've just given him, Let's love the highlights with the white gel pen. Now onto the wooden log as well. I'm going to add in little of the details. Now before that, I'm just going to quickly add in a small mountain range on top of the horizon line. So I'm going to use Payne's gray color, but not in a too dark consistency. In a medium dark consistency, I'm going to add in a very small mountain range onto the horizon line. Also using the Payne's gray color, just giving him little dry brush stroke onto the wooden blocks that we've added in. You can see, would it not being of such a dark brown color when you add in these tropes off the dry brush technique, they still adding a little texture to your logs and also create a little more detailed look. Now, lastly, just using the white gel pen, adding in some highlights into the rest of the class look as well. And also going to add in some highlights onto the wooden logs as well. Just adding in those details onto these are via fans that we added in. So let's remove the masking tape and see your final painting. I missed to add in the white details onto the wooden law, but after removing the masking tape, I will add those because there are no edges that will be affected by this. So in cases you have not removed your masking tape. You can either add or remove your masking tape and then add those details. So I'm just going to quickly pick up my white gel pen again. I'm going to add the details on top of the logs as well. So that is it yours or final painting for the 27 just three days more to close this challenge. Thank you so much for joining me for this class. 91. Day 28 - Green Field - Colors & Technique: Hello everyone. Welcome back to day 28 of the 30-day watercolor challenge. Today we are going to be painting this pretty greenfield that this beautiful sky and the clouds. So let's have a look at the colors before we move on to the final class project. So fast, Let's begin writing down the color names for the sky that we will be using in. The first one is going to be the civilian blue color. You can see we've used a very light consistency of the blue color in the top sky ignore. Then you leave the shades of yellow and orange. And lastly, you would be eating in the Payne's gray color to add in the cloud effect into the sky. The field details you would be needing in the shades of green. I'm going to use in the light green sap green, olive green color. Then for adding in the grass strokes you would be needing in the shades of brown. I'm fighting in those small little daisies at the bottom space you would be needing in the white gouache. You can go ahead with any combination of the lighter than that of these if you do not have the exact same shade of green as mine for the browns, I'm going to use in the brown, red and the vendor brown shade, you can go ahead with any two tones of brown, a lighter brown, and a medium tone ground. Now for adding these flowers out here, I'm going to use in the wash because only then it will be visible. Also I will be mixing in whitewash along with the greens to give him the details of photographs at the bottom stroke. So you can see we are going to paint the field area in file system patches creating in five different flow of the feet. Before moving ahead, let's quickly swatch out the colors. Now for this guy, we're going to use in more or less of pigment. You can see the colors are very night and they are more diluted with water so as to get them in the light consistency. So I'm going to go ahead with very light tones of the colors this time for the sky. Now in case if you do not have the exact same shade names, then you can go ahead and just have a look at the reference section of this class. I have shared in all the pigment number of the color tones that I'm using from the branch in and add. You will get in all the pigment number of the 32 colors of which I have even tell us out on my palette out. And some of the fellows and directly use from the tubes whenever I need for a specific painting. If you want to refer the pigment number and accordingly search for similar pigment in any other brands. You can go ahead and search it into the reference section to get the exact pigment tools. Now with the Payne's gray color out, you are, you can see I've used it in a medium consistency to be the lighter effect. Then using in little darker, then I will add in little darker. So you would need it. Hello into different consistencies. Now let's begin to watching in the greens quickly. So as I told you, if you do not have it Specific same green shade, you can go ahead and use any three shades of three. If you want to create a lighter tone, you can mix in a little bit of yellow to green to get a little lighter green tone. If you want to create a darker tone, you can either add blue or black to your green to get a darker tone than what you already have. Even with one being color, you can create multiple tonal values by using yellow and blue. We're done swatching all the colors. Now if you have a look at the sky, we painted almost a similar style in the last class project. So the technique that we followed in class projects Twenty-seven for painting the sky, we are going to lose in the same method that is creating in the spaces, leaving in white gaps and beginning to create the cloud effect into the sky. Plus having in the water control while adding the details. In the same vein, we are going to be painting in the sky for this one as well. So you can again before the technique section of class project 27, that may be off a little hair on the horizon line. We have a small mountain range and then we will be painting one field at the time, waiting for it to dry completely. Then painting the next one is you can paste paint 1 first and then leave a gap in between. Then go ahead with the third one, and so on. Then on the fields we will even be adding in little detail diversity days and some dry strokes and flowers as well. So that is it about the technique section for this class project. Now in the next lesson we will begin painting the class project first, beginning in with the sky and then moving ahead further. So go grab all the supplies and see you buys into the next lesson. 92. Day 28 - Green Field - Sky: I have my paper taped down and we're going to begin in with a light pencil sketch before beginning to paint. I'm first going to go on at the horizon line, marking out the horizon line in the center space. Below this we're going to have in the field partitions. So around four to five of the different field of positions that we're going to add in. We're going to show the flow of the fields from top, bottom, bottom, top like this and create a little cubby feed detail out. So I'm just going ahead with four partitions for now. So I added one more smaller one out there. In total, I have five partitions to my feed yard. You can see we are going to make each of these standout separately from each other painting one at a time. At top of the horizon line, I've added a small mountain range. I'm going to begin painting in the sky first. So we're going to go ahead with a layer of water onto the sky and then begin adding in the colors one-by-one. Now, I'm going to go ahead and use a little of the pastel tones. You can either use the colors in a very light consistency or using the piston colors. So you can see here, I have a palette which has all the pastry colors in it. I'm going to go ahead and use these basic colors creating in the lighter tones. Do not worry, you can use your basic colors, just dilute it with water and gets into a light consistency. Or if you want, you can add another little patch of white watercolor to lighten the tone and get it onto one, onto the face test site. Just it's completely free on your site to go ahead and use the basic colors you need not have the same base. They're shades in your palette to go ahead with this class project. So the first color that I'm using is this pace to royal blue, kind of a shade. It's nothing but a pieces don't often sit even blue color. If you use this blue color, very diluted consistency, you will get the exact same shade. So do not worry. Repeating it once again so that you do not have to worry or think about that you do not have the exact same sheets. How will you get in the result? Now closer to the horizon line, I'm first going ahead with a layer of yellow for in-between the yellow and the blue, I've left enough space for the colors to bleed in and flow naturally and have a very genuine blend without getting in any greens into action. Now we're going to use in the orange color as well from this set, you can use in a yellow orange sheet. It's kind of a tasteful orange color. That's the yellow orange sheet. Now we're going to add in the orange highlights or to the yellow color. Now as you're beginning with the wet on wet details, you have to be careful about the water control. If you will have excess of four, do you know that your things will begin to flow a lot because of which you will not be able to achieve in the look that you're trying to add it. So whenever you are adding the details wet on wet, it's important to have water control that your pigments and paints do not slow beyond the place that you're trying to add in and maintain the cloud shapes that you tried to achieve using the wet on wet technique. So very carefully you can see now I'm beginning to see it in the cloud shape first with the orange color, closer to the blue color, I'm going in very carefully so that I do not get in any muddy tones or any loans being formed because of the yellow. Kansas didn't do this yellow, orange color. Now randomly I'm leaving in some spots and center as well with the orange clouds. So just going ahead very slowly building in the sky layer on layer. Now in between the gaps, I'm again going ahead with the blue color, but you can see in-between that as well. I'm leaving in the whitespaces so that the colors do not need into each other and forming muddy tones. Because orange mixed with blue creates muddy tones and orange mixed with yellow. Yellow mixed in with lumi created in the green color. So in order to avoid all of these color mixes, I'm going in very carefully leaving in white gaps in-between each of the color blends. Now next I'm going to use in a little bit off. Oh, lavender color. Now do not worry if you do not have this color. I missed discussing this color as well in the technique section. So you can use violet mixed in with white to get a lavender color. Now, to this color, I'm going to add in the Payne's gray color and create a pistol Payne's gray tone. That is the reason I'm using this color. In the technique section, I already showed you two consistencies of the Payne's gray color. So you can use the lightest consistency to get a basal tone of the Payne's gray color, it will give you the same result. For the darker tone, you can use the Payne's gray Catalina medium consistency that will also give you the same result. Mixed in with lavender will give you. Now using this mix of the lavender and the Payne's gray color, I'm just beginning to add in the cloud effect with this color. Now again, the important thing is water control. If you will have excess water or pigment on your brush, it will begin to spread and give you patches of this lavender, Payne's gray color mix. Instead of giving it to you the cloud shapes that you're trying to add in. So whenever you are working wet on wet, it's important to have water control only then you will be able to achieve in the details that you're trying to add in. And let all of the details be visible in the shape that you tried to add in. Now closer to the mountain range as well. I'm going to head with this makes us the lavender and Payne's gray color and adenine little cloud effect far behind the mountain range. So the mountain range we haven't painted type now. We're going to be adding it with the Payne's gray color later on. Now you're at the top. Last credit, so mass and one too quickly lift up a little of the color so that it does not need much more beyond and cover the entire yellow color. So you can see even in excess water how it spreads and power up the entire species. So I'm just going ahead with a little of the yellow light color. I hope to cover up the Payne's gray color again. Now giving you little orange highlights as well onto the yellow color to create the net effect for the cloud's going very slowly. Again, you're the technique, the control. Otherwise you will not be able to achieve in the detail. Look for the clouds. Now with one tone darker mix of the Payne's gray and the lavender color. I'm going to go ahead and add a little depth to the Payne's gray clouds that we've added in. So this time it's a little more of the Payne's gray color and less of the lavender color. Now you can create this color by ad losing in the paints. They follow darker consistency and adding the data that the doctor that you see, I'm not covering the entire lighter clouds. I'm just adding in little highlights onto the lighter clouds with the darker tone. Details we have been adding in wet on wet, my sky is still wet so you can see when you use a 100% cotton paper, your paper stays wet for much longer time for you to add in the details wet on wet and creating the depth into your sky or the painting. Now using the blue color and just beginning to add in the last highlights, I'm creating in more depth into the sky on the blue places. Now this space out your again seems to be bleeding a little more time quickly lifting up the color, blending all of them well into each other. I'm going to Color and get the plains and rough edges. So I could use the tissue and dabbed off all the excess paint which is flowing. Now weekly using a damp brush, I'm going to blend this. Otherwise my sky will have a sharp edge which I do not want to quickly running in a damp brush out there and blending it with the rest of this guy. So just add in little blue touch there again to cover up the sky. Now let's meet for the sky to dry out completely. Then we even begin moving ahead further, adding in the detail. Now I'm going to begin painting in the first part of the fields. So you remember we have the field in five different partitions. So I'm going to begin with the first one. Mummies try is not completely dried yet. But between this guy and this evening, we have a very thin mountain range, so we will not be adding in the pain's there. So then this guy tries, we did not wait. We can directly begin adding in the layer for the field one by one. So far the philosophy of them beginning in with the sap green color. So far the first path I added in a mirror of sap green color entirely. I wanted this to begin giving him the depth losing in the late teen and olive skin color. So this started in little depth with the light green color. Now I'm going to use in the olive green color and just begin adding in some more details into this. So you can see when I'm adding in the olive green color I'm having in the water control, hence able to maintain the flow of the green color. So just adding in little flow into the theme space out here. So that is it for the first one. Now I will begin painting the second one here. So actually I should have waited for it to dry completely, but since I just randomly thought to begin it, I started it off, but later on I will be giving incorrect. It's because by the time it begins to dry up, all of the colors blend into each other. So I recommend you to read via first gap to dry out completely, then move on to the second one. Otherwise you will have a little messy look into your feed. So far this again one at the top, I'm beginning with the yellow light color. At the bottom of it. I'm going to blend it with the sap green color. So going ahead with a layer of sap green, I'm going to blend it with the yellow simply. Now at the bottom of every part of the field, we're going to give him the darker debt to show in the shadow effect for that, using in the Payne's gray and the olive green color mix to give him the darker that at each of the ending of the section that you are painting with a yellow color just running over a little more because you can see the sap green color has almost covered up the yellow effect. We're still going to correct it once everything dries out so as to give it a distinctive look from the first part and not so both of these blended each other. Now before beginning ahead with the next part, I'm going to read through all of these to dry out completely, then move on to the next one so that I'm not mess up the next one again and have it completely dry. 93. Day 28 - Green Field - Final Details: So now everything is dried completely and I'm going to go ahead with the next little small space out here on the right side. So I'm going to begin in with the dark green color at the bottom space. And this one little fill, I'm going to keep it more towards the darker side because you're as it is, the space will get covered up with the grass strokes that we will be adding in with the brown color. Now beginning with the yellow color, I'm going to give in another layer. Again, as I told you in the last lesson, that I'm going to run with the layer of yellow so that it stands out distinguished. So now when this is dried, I'm just running with the layer of yellow and blending it in the bottom space. You can see it's perfectly separated from the next one. Now, I'm going to just take in a little bit of the green out here. Now be careful that this male can get blended with the bottom one. But since there we're going to have in the grass stalks, it will not make much of a difference yet going little carefully out there. Now on this line I'm running in with a little bit of Payne's gray color you can see, but it had a little excess water. So I'm going to quickly lift up a little from your this is the background for the grass strokes that we are going to be adding in. So for that I'm creating in the background little blurry look out here and blending it into the bottom layer. Now just blending it well here you can see how beautifully the blends is happening between the colors. Now both of these patches out your look of well-matched into each other right now. But when we even add the grass strokes, we even have the distinction there as well. Now these dry, I'm going to go ahead with the Payne's gray color and paint a mountain range. So my first layer of the field is completely dry. I can paint the mountain range now and wait for it to dry up. Till then even the bottom layer fields will get dried out and I can begin painting the bottom up sections of the field as well. Now this mountain range looks a little dark, so I'm going to quickly use a tissue and lift up a little color from the bottom spaces, creating in some lighter effect in the mountain range. So just from the bottom space you can see I've quickly lifted up. Let's lift the color now using a damp brush, I will blend the rest of the mountain range. So just at the top you have a little darker death and at the bottom a lighter look. Now then the rest of the fields pieces dry in. I can paint this bottom-most range out here because this is not connected to the top one which is still wet. So I'm going ahead with the yellow color first at the top, you can use any light shade of yellow, but you can see I'm using them in a good vibrant consistency. Now at the bottom, I'm going to go ahead with a little bit of light green as well and then move to a little darker green at the bottom space. Blend all of three well into the background. For this layer. Later on, we're going to even be adding in the DC field effect, if you remember. So we're going to add in little grass strokes later on mixing in the white and the green. White and white quash and the green color for an opaque look for the grasses as well. Now you can see here at the bottom I'm again running with the darker tone, blending it well with the greens creating in the plane smoothly. So make sure you have to be very careful that you have perfect blend and you do not have a simple flatly of the color. So you can see how using the yellow color, I'm running the darker green tone till the top of the yellow, blending all of them showing in the perfect transition, moving from the lighter tones to the darker color. I'm going ahead with a layer of yellow color on the top field out there because again, it looks drying a little dull out here. So I want to give it one more layer of the vibrant color. This time I'm using the pistol yellow color out you are to give it more vibrant blue. Now, do not worry if you do not have to paste in yellow color, you can just mix in a little bit of your white color to the yellow color to get a little piece to look, which we'll standard vibrantly on the green background. Since the background layer was of the green color, that is the reason the previous yellow color layer dry down, it'll done. So this is a technique that you can use when you want a little brighter outlook. You can mix in white quash to your base layer pains and getting the look. Now I dried up everything quickly using a hairdryer so I can now quickly painting this last block of the field out here. You can see how each block is looking distinguished from each other creating in the flow in the field from bottom, top, top to bottom. So same way you are as well. I'm going to go ahead with the yellow and the green is creating in that debt. So at the bottom most part of this path also you can see I'm adding in the dark or depth and at the top we had the lighter that using in the yellow color. Now I'm going to blend all of these as well. So fast I added the darker green depth with a sap green color. Now I'm using in a little bit of olive green color to add in more darker green. And then blending it well with a yellow color to have the perfect transition happening between the yellow and the greens. Now again, I'm going to pick up a little of the basal green and run it at the bottom fields part again. Because I want to make this one as well a little more bold and brighter. So running with one more layer will help me get into 1to1 brighter color than the previous layer. I'm going to blend it with a little damp brush till the bottom space you can see I just added little yellow color. And using a damp brush, I'm blending it in the bottom so that I do not have any sharp edges in between. Now I'm just going to give him little touch up to these fields spaces out here again, just using in the yellow and the green. At the bottom of each of the parts, you can see you have the darker green debt to show in the shadow and the movement as well. So at the top you are, I'm still not satisfied with the bright consistency of the yellow. So running with one more layer and again going to blend it and see if I can get a good vibe inconsistency this time. So quickly using a damp brush, I blend it till the bottom space so that I do not have sharp edges in-between the movement. Now we'll wait for all of these to dry and then add the final details into the painting. We are done with the basic layers. So now everything has dried completely and we are going to begin in with the brown color forced to adding in the grass strokes in the center right side. Let's begin adding in the details in the center right side using in the brown red color first. So we're just going to add in simple grass strokes out your self separated those two parts which were mixed together. I separated it with the brown color now on top of it, just beginning to add in the brown strokes. So this is the first layer of the class strokes that I'm adding in using in the Van **** brown color. I'm going to begin adding one more layer. I'm just blending the bottom brown color as well into the bottom part you can see using a damp brush so that you have a movement and flow between these grass strokes as well. Now till the first layer of the brown stroke strikes in, I'm using white gouache going to mix it with the green color and use this green color mix to add in the grass strokes at the bottom space you're using in this patient mix of the sap green and white gouache. I'm going to begin adding in the grass strokes at the bottom space here. Make sure you're using a smaller size brush and add the grass strokes only didn't have p of this, but do not take it much taller. So very simple grass strokes. You can see I'm adding in, this is just again the phosphate of classes. We will still be adding it with one more tonal variation. So I've added in a little more of the white gouache. Now you can see how bright this has turned out. Now I'm adding in again some highlights strokes with this lighter tone. So the background darker green strokes look as though shadow to these lighter tones that we add on top of it. So make sure you first add it with a little darker tone and then create a lighter tone and add it in front of it. So very randomly you can see I've created in the entire effect using in these two tones. Now on top of this, we are going to add in the little daisies using in the white gouache. Before that, I'm going to shift into a little darker tint of the sap green and Payne's gray color mix. And just going to begin adding in some grass strokes in-between these browns out here, you can either use a darker brown color or a darker green color or directly the Payne's gray color to add in some highlights strokes here as well. But using a mix of green will give you a little balance with the rest of the field, giving him the green defect out there as well. Now on top of the fields out you're just giving you a little of the grass effect just in lighter tone mix of olive green sap green and Payne's gray color. Now wherever you feel that it's a little extra that you can quickly dab it with the help of a tissue. So in the bottom field here, you can see I'm dabbing it with the tissue so as to give it a little lighter effect. On top of this fourth part out here, I'm going to give him little dry brush effect as well later on. These are just little details that I'm adding right now with this darker tone. Now on top of this, I'm beginning to add in little dry brush effect. You can see how using in the dry brush technique you can give in detail to the field as well. So I'm just using the sap green color, dabbing the brush onto a tissue so that the excess pigment and water is absorbed by the tissue and then begin adding in this dry brush detail immediately at the bottom side of this part out here. Now if you want, you can add in little of the dry brush detail into each of the section, but I wanted to keep it light. So to the first section, the added little small bushy effect to the second, we added little grass effect with the brown color. To the third one out here we added little dry brush and add the bottom. We have the class talks and the disease. Now using the white gouache, I'm just adding in simple daisy flowers out you're quickly. Then we'll just be left to add in the stem to these flowers and the center. But then we'll be ready with this class project per day, 28 as well. So very small, tiny daisies that I'm adding in different angles as you can see. So you can quickly add a few of these before moving ahead further. Now here, the dark green looks a little dark so quickly using a damp brush, I'm just blending it a little into the background so that the dry brush goes down a little because at places it's seeming to dark as compared to the rest of the field details. Now quickly using in the brown I'm going to add in small stem to these flowers and the bad details as well. So you need to be sure that your flowers are completely dry before you begin to add in these. Otherwise, the white quash effect will be lost and the Parliament began to bleed into each other. Now lastly, I'm just going to splatter little of the white quash out here at the bottom space to show in some filler flower details here. So you can cover the rest of this piece and just add in little splatters with the white quash closer to the flower details. So let's remove the masking tape and see your final painting for the 28. We are just two days away from closing this 30-day watercolor challenge and two more painting to complete the 13 nature landscape. I hope you guys enjoyed painting this beautiful 30 paintings with me. Two more to go. I know. And I'm loving to see all of your class projects as well. Make sure to keep them coming into the class project section. Thank you so much to each one of you for joining me into this class and painting along with me. If you like this class for whatever reason, make sure to drop a review so that it can reach more students. Thank you so much once again for joining me. 94. Day 29 - Cherry Blossoms - Colors & Technique: Hello everyone. Welcome back to day 29 of the 30-day watercolor challenge. Today we are going to be painting this beautiful scene from the cherry blossom seasons in Japan. So let's have a look at the colors that you would need for today's class project. Before we move ahead. So fast for the sky, we are going to use in the civilian blue color along with it. If you want for the darker tones, you can either use this ADD and blue in a dark consistency all use a little bit of the Prussian blue are the indigo color for the greens I'm going to use in the right green and the sap green, all the olive green color, you can use any mix of a lighter green and a dark green color. For these cherry blossoms out you're on the right side. I'm going to use in the carmine and a bright opera pink color, mixing it along with whitewash to get it in an opaque consistency so that it stands out onto the right background that we have in a fight from that you would need a little bit of the yellow ocher and the Payne's gray color as bell Payne's gray firing in the branches and the dry brush detail on top of the mountain ranges as well. So these are the colors that you would be needing. Your, you can see if you need a little bit of the white quash as well for adding in little of the VFC tail and the dry brush D1. So that is about the details about the colors that you need for this class project. Let's begin swatching out these colors before moving ahead further. So as I told you along with the civilian blue color for some darker consistency, if you want, you can even use in the Prussian blue or the indigo color to get in the darker highlights at the top space. For the light green. If you do not have the light green color, you can mix some yellow along with your sap green to get a light green tone. And in case if you do not have a darker green color, you can mix in blue or brown to any of your darker, medium tone of green and getting us up king, or a darker green color. Now in case of the carmine and opera pink color, you can go ahead with any tones of pink that is available in your palette to create two tones of pink for adding in the flower details. So we are done swatching out all the colors that you would be needing for this class project. Now before baking in the final painting, let's go through how we will be going through the process of painting this entire class project. And I'll just see how we will be adding in that gradient wash using just one single color. So let's begin understanding and breaking down the entire class project. So the first one being the sky. The sky is a gradient wash of the civilian blue color. As you can see. We're going to begin with the dark consistency at the top and moving downwards using it, damp brush, we are going to try to get the gradient to this color. Even at the bottom we have in the civilian blue color to that, we're going to add it a little bit of the Payne's gray or indigo color you can use in your, you can see we have the reflection for these greens out here in that area. While this is still going to be wet, we're going to add in little of the details with a green color to create the reflection of the greenery in front of the mountain. So that is going to be wet on wet. Then we will be adding in the flower details as well as some white gouache details and the dry brush technique. As you can see, these are the details that we will be adding wet on dry later on with the help of white gouache. Now let me quickly discuss with you how we are going to add in the dry brush stroke. So first we're going to add in little dry brush with this ideal in blue color. So you can see I did not dip my brush into water. I only picked up little pigment from the brush directly and started it on the paper. Since my paper has a little rough texture, it helps him getting in the dry brush detail easily. If you will have excess water than pigment on your brush, then you will get in patches instead of getting in the dry brush stroke. So fast in the first two layers, we're going to add in little of the patches like this as well with the lighter tones of the blue and Payne's gray color on the mountain range to create the effect of snow on the mountain areas. Like this. We are going to add in the first layer, giving him little dry brush and patches with the lighter color. Then on top of it we are going to run a little bit later, either the indigo color or the Payne's gray color and given little patches and dry brush with these two colors as well. And then in the last layer we are going to add in the dry brush t-tests and a little of the white Dutch in case if you have a lot of color in between of the mountain, you can see we've even maintained right patches to show the glowing snow effect as well. So for all of the dry brush detail we are going to use in the white gouache, even in the vase and a little on the mountain ranges for these flowers as well to give him the opaque loop. So these are all the colors that you would be needing in and the basic technique for painting this class project. So let's begin painting in this beautiful cherry blossom field today. In the next lesson. 95. Day 29 - Cherry Blossoms : I have my paper taped down and let's begin with the pencil sketch. So I'm going to begin marking out the horizon line. On top of that, we are going to have in the little green space and the snowy mountain for the flowers in the tail on the right. We are not going to go ahead with any pencil sketch because we are going to directly be adding them with the help of the veins directly. Now I'm just going to lower them horizon line photo because on top of this, I still have in the greenfield space. So the space is approximately 0.75 inches. And on top of it I'm going to add in the mountain range moving in the center of the sky. So now I'm going to begin in with a layer of clean water into the sky and the mountain range. For the mountain range, I haven't just forehead with a very light layer of the blue as the first year. By painting this tight said, I will not be into the green spaces, but if the pins go in there, we'll cover them up with the dark green towards, but as far as possible, I'm trying to read in that shape of the space that we want it. Now for the sky, we are going to paint in a gradient sky using in the setting in blue color. You can add anything that pertains with either the indigo, Prussian blue color, whichever you wish to. So as we move down what's closer to the mountain range, we are going to lighten the color a lot and getting almost equal to, well, a light blue tone that we are going to use in there. Now from the mountain, I'm going to lift up the color because you can see it's quite dark for the mountain range as we want in the snow effect. So you can quickly lift up the colors from these pieces, either using a brush or dab it off with the help of a tissue. Even if you've been having dark patches when dabbing off with the help of tissue. Do not worry because on the mountain range when we add in the patches and the dry brush, all of those patches will get covered up. But make sure you dab only inside the mountain and not into the sky. Now I'm using a little of the Prussian blue color, which is on my palette already, and just giving in some darker tint at the top. I hope you can see I added the darker tint and I quickly lift up the brush. Now using a damp brush, I'm just going to blend it into the bottom space so as to get the perfect blend between the gradient in the sky. So just running, I added in that gradient. Now I'm just again lifting up, lifted up the color from the mountain chains. You can see we have a very night that of the blue color on the mountain veins which acts as the first layer. Now when this dries in, I'm going to paint in the first layer for the sea as well. Support that as well. I'm first going to beginning with a layer of water. Make sure you add in an even beautiful ADA so that everything spreads out evenly and you have the perfect flattening and the veins flowing in 3D. So beginning with the blue, she said even blue color just beginning in Wikipedia, wash. And I'm just going to run it as a green space carefully. This time it's not much of the gradient as you can see in the sky closer to the mountain. It's almost a light tone that we have tried to achieve in, but in case of the mountain range, we are not going to keep it that light because we need to show in the reflections as well. So using little touch of Payne's gray color, just adding in little highlight out, you're at the top space. Just a fine line so as to define the C line perfectly. So this helps him giving him the precision and distinction between the details at top of the horizon line. Now very carefully, I'm just beginning to add in the reflection for the grass details which we will be having at the top. So that's less clear for the reflection. I've added it with the help of the Payne's gray color. Now, I'm going to pick up the greens which are out here. On my palette and begin dropping it there. Now when you are adding these details, but on where you have to go in very carefully. Because if you even have excess water, the paint will begin to spread out completely and you will not be able to control them and the spread of them. So it's very important that when you begin adding in these details, you do not have a lot of water on your brush. Otherwise the paint will spread and give you a batch of color instead of the loop that you want to achieve it. So you can see I'm just using the tip of my brush and dropping in darker green layer by layer. I started with a medium tone of screen, then began dropping in little darker tones. Now in this ESBL, I'm going ahead with a little bit of the lifting technique and using the smallest size brush, I'm just creating some waves effect giving in some depth. Even in the reflection space, I'm giving in some part so as to show the flow of the water in-between the reflection as well. So quickly lifting up with the help of a smaller size brush and cleaning after every store so that the Palo that is lifted does not get laid back. So it's very important that with every lifting you clean your brush. Otherwise, hello, it's me. Just begin laying on each other instead of giving you the clean spaces with the help of the lifting technique. So that is it. Now I'm going to wait for all of these to dry in. You can see the darker depth at the bottom space is giving such a beautiful loops and the reflection looks saturday. Now we'll wait for this to dry completely, then move ahead for adding in the further details into this painting. So now everything has dried completely. I'm going to begin adding in the second layer for the mountain range. And for that I'm going to use in this setting in blue color and begin adding in patches, which is going to be just one tone darker than the base layer color of the mountain. So it's going to be still more of water, less of pigment. I'm using a smaller size brush so that I can add in the details gently. Now from the bottom, begin adding in patches of the color, giving in different strokes. But as you reach towards the center of these torques, then even be adding in little stores moving from the top as well. So basically, you will have in more of the snowy white loop. Also you can see when I'm adding in these patches in-between, I'm letting some lighter places also be visible and also adding in these talks in a little dry brush method. So make sure to go ahead very slowly adding these details. Do not rush and add these with much darker tone altogether. And make sure to leave in white spaces in between, as well as to not take these torques on the entire mountain altogether. So with adding in the details with the blue palette, you can see I've tried to make out the shape for the green videos that we will still be adding it as adding in the 0 of the blue color. Now at the top of the mountain range as well, I'm just defining the top and going to give him little patches moving from the top as well. But I'm going to make sure that I do not take it completely till the bottom stroke. So it's going to be very small strokes in such a way that in-between you have that white little ploys space as well. So you can see I'm diluting first the Palo giving us spread so as to make the shape of the mountain be prominent and have the perfect edges as well. Now, out of the mountains, I'm going to go ahead and add in the branches for the cherry blossom. So we're going to use the Payne's gray color and I'm just going to add in a few of the rough branches fast and keep them to dry. Because only after that we will be able to add in the cherry blossoms. We can add in Fargo smaller branches needed on, if needed in between the flowers. So I'm just going ahead and randomly adding branches using the Payne's gray color. You can see I have a pointed tip brush, which is helping me adding those fine branches as well. So across the mountain range and the greenery space, I haven't added much of the branches for now because they have me, I get to add in some details. So I'm just adding in rest of the branches a little into the z-space as well. And majorly you will see the branches are more towards the right side and moving downwards major league. So I'm going to leave the left side more focused towards the mountain and the CDD, the right side of the painting showing in the cherry blossoms. Now next let's begin adding in the green. It is pasted other details dry in so far that I'm going to go ahead with the light green color which we have on our palette. So I'm going to begin adding in this light cream color out into the entire shape I've added in the layer of light. Now after this, we are going to begin adding the details with the dark green color while the space is still wet. As I told you, you need not have the exact same shades of green that I'm using in. You can go ahead with any three combination of the beans, one litre, one medium, and one darker tone to begin adding in depth into this space. Now with this green color, you can see I'm adding in detail in such a way that the light is still visible. So majorly with the sap green color, I'm defining the top edge of the greenery space. And I'm going to give him little patches in the center and the bottom space defining in those spaces as bad. But in-between I will make sure that the lighting patches are still visible so as to make the greenery visible with different tonal values. Now when you are adding in these details of greens as well, It's important to have in the water control. Otherwise, the darker green color will begin to spread completely if you have excess water and then cover up the night of incompletely, in that case, when you will not have in the lighter green look visible. So in order to have all of the details visibility, It's important to keep the water control perfectly. Now using the darkest consistency of green, I'm just adding in little details on top of it again. Now I've mixed in a little screen along with the city didn't blue color. And using this color, I'm beginning to add in some darker details on top of the mountain range. Now this time majorly, I'm using the dry brush technique instead of the patches because we already have two layers of the color underneath. It's majorly the drivers stroke that I'm using in your. Now you can see from the left side my strokes are diagonal, moving towards the right and from the right side my dry brush strokes were diagnosed moving towards the left and in the center they are moving upward. Movement and the direction of the dry brush strokes also make a flow of the mountain and the details of the mountain or the friends. Also in case if you're not confident about adding in the dry brush easily, then add the green space later on after adding in all the details on the mountain. Otherwise, the green color from the bottom spaces may move into the mountain range and you will not be able to control them. So depending on your convenience, you need to decide whether you need to add the green spores are first add in all of the details on the mountain and then had the V is now onto the right side. I'm just adding in little darker shadow to the mountain ridge, spreading the base layer colors and blending and creating a shadow space. So now the little of the green just spread it out. So I quickly dab it off and I've given him the darker space on top of this, I will give him middle of the drivers detail again that we created in the shadows piece. For now, I'm just adding a little of the greens again. Now let's begin adding in the flower details. So for that I'm going to mix in the whitewash along with the bad mine color. So I have a little of the Carmine already on my palette and I'm going to mix it along with the white gouache to get an opaque consistency. So as I told you, we are going to be adding in the flowers into tonal values. One is going to be a lighter pink and one is going to be a dark or medium pink, the V-shape. So some of the flowers with the lightest pink color. Now you can try to understand the tonal value for the flowers by trial and error. You may add in a few flowers and see whether you need to increase the consistency or the tonal value. All you need to lighten the tonal value. So you can see false, I'm adding in a few flowers with such a light consistency. On top of this, I'm going to run along with some darker flowers as well so as to give it a balanced. Otherwise these light flowers will not stand out onto the painting. These flowers are very simple. You can see I'm just dabbing them in random flower shape, creating in little better look. Now on to the mountain range and the green space, adding only if they're dried completely. So at the places that they've dried in over there, I'm adding in the details for now. If any places still wet, make sure to wait for it to dry out completely and then add in the details. So now in this ESPs as value, I didn't, a few of the flowers with this lighter tones are now going to be adding in a few of the flowers floating as well onto the sea area, trying to show some of the fallen flower look as well as when in-between these flowers, we're still going to add in a few of the branches. Because you can see some of the flowers are looking as if flowing into the air. Now just adding in some pollen flower look into the Z space out your symbols lover and some petal look giving in just little patches of the color. So now we will wait for this past year of the flowers to dry out and then adding the second layer of flowers. Then I'm going to begin using in my white gel pen and added middle of the wave details into the z-space. Now in case if you do not have the white gel pen, you can use white gouache. And in case if you have the white gel pen, you can use in the white gel pen because that becomes quite handy. Adding in the fine details. So I'm just going to add in little wave details out here. So you can see very fine lines that I'm adding in also made sure to not add much of them because we've already done the lifting technique, giving it some white details, some more flow movement of the water, and then the reflection spaces as well. I've given them little card details to show the flow of water moving through the reflection as well. Now using it. Gel pen as well. I'm just giving it a little dry brush detail onto the mountain range as well. So again, this also you can either using white gouache or with the help of a white gel pen. Wherever I'm feeling that the white cap is little less or a lot of darker spaces there. I'm just lighting up the space with the help of this white gel pen. Now in-between these cross piece as well, just adding in little strokes out sure. To give him some peekaboo type of detail of the snow. Behind. Now my first layer of the flowers are completely dried and even the green spaces on the mountain ranges are all completely dry. We're going to add a little more of the flower. Now using the Payne's gray color, I'm going to add in the branches in between the flowers that are hanging out in the era of their false to each of the flower. I'm adding in the center, but as well using the same Payne's gray color, you can either using a very dark consistency of the Carmine color or using the Payne's gray color. So I'm going ahead with the Payne's gray color and a little mix of the Carmine colorist adding in the bud. So very carefully you can see just using the tip I have with adding in the connections to those flowers which were hanging out out there. Alright, so very quickly, once everything is dried out, you can add in these buds and the branches. Now I'm just pulling out a few more of these branches to add in some more flowers out there because we are still left to adding flour with a little bit of a darker tone of the carmine and the white gouache mix also be, I get to add in which lots of D then with the yellow ocher color as well. Now, using the Carmine color, I'm just going to add in some of the darker flower death. So just directly using in the car main color in a good poll consistency, I'm adding in these flower details. You can see how simply you can achieve the darker depths as well. Just not much in-between these lighter flowers that we've added in. So you can see the darker flowers are quite less as compared to the lighter flowers that we've added it. So make sure to not go out of proportion and add bunch of the darker ones altogether. Now I had forgotten to add in the details with the yellow ocher color. So after removing the masking tape, I have added in the details with the yellow ocher color. So in case if you have not removed your masking tape yet, I would recommend you to just move a little forward and seeing the details that we've added in with the yellow ocher color and then remove the masking tape so that you do not tear off. That is not ruin off your white edges while adding in the yellow ocher details. So now using the yellow ocher color, I'm just going to add a little of the yellow flower details as well, trying to show in some yellow cherry blossoms as well. So just mixing yellow flower details in-between the cherry blossom seeds very little as compared to the cherry blossoms that you've added in. So major lead to the center of the bird. I've added in little yellow touch and in-between just adding in randomly some yellow touching between to give it a little Calibri. Now, I'm just going to give it a little more color touch with the light pink color again, because I guess I need more of the yellow ocher spaces, which I do not want. So I'm going to quickly cover them up again with the help of this. Now, since we're using in the Carmine mixed with the white quash, it's an opaque color and can cover up any of the color spaces that you haven't. So you can see how quickly you can cover up if you do in excess of the yellow ocher color anywhere. So that is it. We are ready with our class project for the 29. A beautiful cherry blossom. See, I hope you guys enjoyed painting this beautiful cherry blossom with me today. We are just left with one more class project to close this challenge. Thank you so much to each one of you for joining me into this class and painting along with me. 96. Day 30 - Nature's Calling - Colors & Technique: Hello everyone. Welcome back. Today, we are finally on the last day of this 30-day watercolor challenge. I hope you guys have enjoyed so far painting all 29 class projects. And today has the 30th class project. We are going to be painting this beautiful landscape, peaking the sun peeking from behind the mountain range. So first let's have a look at the colors for the sky that we're going to be painting. So you need the shade of yellow. I'm going to use in the yellow light color and the yellow deep color for the things you would be needing in Carmine, brighter and a little bit of the vermilion color as well to give it a little orange touch for blending between the yellows and the pinks. Next, for the mountain range, for the first mountain range, I'm going to use in the cobalt blue color. For the second Mountain Dew. I'm going to use in the indigo color. And then at the bottom you can see me how little of the plenary species for which I'm going to use in the light green, olive green color. And for the darker tints, I'll mix it either with Payne's gray or the indigo color, whichever you wish to. Now, before moving further, let's quickly swatch out all of these colors sheets that we are going to be using in. Now in case if you do not have the exact same sheets, you can go ahead with whichever tones are available in your palette to save for the yellow light, you can go ahead and using any light shade of yellow and a medium tone of yellow. But given the yellow highlights in the sky, instead of the vermilion color, you can go ahead and use any shade of orange for the pinks. If you do not have to appear up pink color, you can use in the carmine or any bright pink color to give him that effect into the sky. For the mountain ranges, you can either paint both the mountain ranges with the one blue tone giving in different tonal variations. Or you can go ahead and using ultramarine blue, cobalt blue for the first mountain range, instead of surrealism, blue, indigo or Payne's gray for the next mountain range. Now for the greens, if you do not have the exact same sheets, you can go ahead with any tone of light green and our medium to dark green tone. Now, for the greens, if you do not have to like clean, you can pick up your sap green color, mixing a little bit of yellow to get a lighter green tone. And mixing indigo color to your sap, green color to get a darker green tone. So now if you see the sky, we have all these colors blending into each other in a little circular manner. If you can see the brush strokes are going to move in, in a little circular shape. We are going to be using these mix of two things to give him little depth in between and at the top and bottom, closer to the mountain we are going to have in the yellow and the orange highlights. Now closely if you absorb in the first mountain range here, we're given a little highlight to show that sky effect falling in as well to which we add in a little Carmine touch. The mountain range is basically going to be a gradient color. So at the top you're going to add in this darker tint and then just using water to blend it tells the bottom so as to give it a gradient looks. So this is how you're going to create the gradient. First with the civilian blue color for the first strange and with the indigo color for the second mountain range. So this is how we will be creating in the pins for the mountain range. Alright, and at the top you can see we are going to add in some pine trees with the darker tint. And then again at the bottom we are going to mix in the greens. And then using in the darker green and the indigo mix, we're going to add in three to four of the huge pine trees out. You're now at this point to see the effect of this guy falling onto the mountain range, which we are showing in your giving it a little light effect with the Carmine color. So that is about the entire technique and the color selection for the last and final class project of this 30 day challenge. So now the next lesson, let's begin painting our final painting and close this 30-day watercolor challenge. So I will see you guys into the next lesson where we begin painting. I find the class project together. 97. Day 30 - Nature's Calling : So let's begin with a little pencil sketch before we go ahead and begin painting our final class project. The pencil sketch is just going to be marking out the smalls and space and the mountain ranges so that we know the flow of the light and the flow of the Sun as well. So just beginning to mark out the mountain range out here first, the mountain range, I'm going to take it a little in from the left till the center. It's a little downside and then moving towards the right, I've taken it a little towards the top site. And this is going to correct it a bit. I know the pencil sketch may not be much visible to you. I'm trying to keep it very light because I do not want the pencil marks to be visible underneath the watercolors that I will be using because the shades are going to be a little lighter consistency and the lighter tones. So it's very important to have a control over your pencil marks as well. You can quickly use a kneadable eraser, rabbit or what before beginning your final painting. Now beginning in with a layer of clean water into the sky first, I'm not going to run into the mountain range, around the edge of the mountain range going very carefully. Also the sun space that you have mocked up. Make sure to not run the water there as well because we are going to leave it white and create that bright glowing sun effect. So I'm done adding in a clean data for running my brush multiple times. Now I'm going to begin in with the pinks forced and add it in the center space, and then moves to the orange and the yellow to add it at the top and the space closer to the sun. I'm mixing in the carmine and a brighter para. And using this mix of both the colors, I'm going to begin out in the center. Now alternatively, you can see I have altered between the bright opera and the Carmine color as well. So as to get the blends right. Now closer to the sun space for now I've added in a light layer of this, what makes up the pink color. Later on I'm going to pick up the yellow color and adding a light layer of the yellow there has been in the entire space. You can see I've added in a light layer of the pink color as the first layer. But as we move ahead further, we will create in the depth at the top side with the yellow and the orange sheets giving in much of Ivan consistency. So now I'm picking up the vermilion color and using the dominant color and beginning to add it at the top space. You can see I picked up the 1 million color in such a bright consistency that even the pink card covered up easily and you have a vibrant vermilion look at the top space. Now using the yellow deep, I'm beginning to add it closer to the sun first, and then I will again shift into the pinks to blend it well with the yellow color. I picked that, the yellow light color and a little flowy consistency and using the tip of the brush, I just dropped it closer to the sun space and spread it across into the pink color. Now again, using the bright opera, I'm going to blend it all well. Now again, running with a layer of orange at the top space, blending all of it well too with each other. Again, in the center, I'm going to run with one more layer of the pink color to give in a vibrant effect of the pink color as well. So now using the yellow light color, I've just added it below the orange color you can see it's giving a little yellow effect. The reason of using the yellow light color here is because the orange color is already on site and in case if you will use the yellow deep color, it will not give you much of the lighter effect and the yellow dash. So it's important to use the yellow light color because when it automatically blends with the base layer orange, it will give you a yellow, deep kind of a color. Blending all of these step-by-step. You can see we've created such a pretty glowing space. Now on the edges define the mountain range well so that when you begin adding in the mountain range, everything is crisp and clear. Now I'm going to wait for this to dry out, then begin painting in the mountain range and creating the glowing spaces and the rest of the details. So now this guy is completely dried and I'm going to begin adding in the first layer of the mountain range. And for that I'm going to use in the civilian blue color. Now as I reach closer to the sun space in the mountains piece, I'm going to not add in the blue color there for now. I'm going to leave that space Brighton glowing so that you can add in the Carmine color there for the effect. So in the center you can see I've left that little gap for now and I'm going ahead with the wet on dry technique because it's already small space of the mountain range that we have to paint in. Now this blending of the mountain range, I'm going to take it. You can either take it till the bottommost space that is completely in the bottom of the painting. Or otherwise, you will have to go in very carefully and restricted only to the mountain range that you want to add it to go in feeling I'm going ahead and going to blend it till the bottommost space. Now in that little gap that we have left in there, I'm going to go ahead with the smallest size brush and using in a little tinge of the orange and the Carmine color, I'm going to blend in that space. Now when you add the orange color, you can see it mixes with the blue and gives you a little muddy tone. So going very carefully, plan just using a little bit of the Carmine color in case if it becomes a little difficult for you only go ahead with the Carmine color instead of shifting to the yellow and the orange, because the Carmine mixed in with the blue will give you a little violet shade, which will not create any muddy tone. I'm going to be easy to handle as well. So I quickly that does that space because it was turning to dark and just now picking up the Carmine color, I'm going to run it. You're again. I'm going to make it go easily and softly out here so that I do not have any sharp edges. You can even go the other way round that is false, beginning in with the Carmine color space and then add in the blue closer to it. I have added in the blue force. And now when blending in the carmine, and you can see we've asked her dabbing then I added the main color. It was easy to blend it. Now using the city line blue color, I'm just going to define the top of the mountain range, giving in some details at the top using the tip of the brush. So you can see I've added in the darker that now one last time I'm just going to blend all of this very swiftly closer to each other gently. And then we wait for this mountain range to dry out completely. After this dries up, we will add in the second mountain range. Now, make sure you have a gradient wash that is only closer to the top of the mountain range. You have in the darker depth. As you move towards the bottom side, you lighten up the color. Now you're also closer to the sun space. I'm just trying to lift up little of the color and creating little more glowing effect. I'm going to blend the bottom space well again with each other, just trying to lift up little color. Now using the yellow color, I'm going to just define the outline of the sun as well. Alright, a very fine line which will not even affect the sky space and give it the perfect definition to the Sun as well. Now every time you go ahead with the lifting technique, make sure after heavy lifting you clean your brush and then go ahead lifting the color again. Otherwise, the colors will get lifted and laid onto each other. In the blue space. I'm again blending the blues. I've just lifted up little of the light dawn of the pink color to create little glow. Now I'm just going to add in little effect there again and blending. And I'm almost done. You can see now we have our top mountain range, which is of the darker tint. And as you move towards the bottom side, it stoning lighter in tone and blended it the bottom so that when we add in the next mountain range, we do not have sharp edges. Now we'll wait for all of this to dry out completely and then move on to the next layer of mountains. So now everything is dried completely and I'm going to begin in within exchanges Mountain, which is going to be using the indigo color. So I'm just going to squeeze out a little of the indigo color out here. Now using the indigo color, I'm going to go ahead with the next mountain range. So the next mountain range also, beginning from the left side, it's going to be below the blue mountain range. And as we move towards the right side, we will increase the height of the mountain range. Then after that, while that will still be wet at the top, we will give it a little smaller pine tree details in this mountain range. So add it in the layer of the indigo at the top space. Now as we move towards the bottom side, I'm going to blend this. And while this is still going to be wet in the bottom space, I'm going to add in the greens. So at the bottom you can see I've left a little of this piece. Now. I'm going to quickly blend it with the green wet-on-wet only. That is the blue layer, that's the indigo color layer is still wet. And with that, I'm going to blend in the bottom greens. Now. Next on top of the light beam, I picked up a little indigo color and blend it all of this. Well, now again, I'm going to use the lighter skin color giving the effect. We're still going to add in a lot of details out your class, a lot of details in the top mountain range. So make sure that all of this stays wet or else keep running your brush there so that it will help in keeping your space stay wet for a little longer time. Now using the smallest size pointed tip brush and the indigo color, I'm going to begin adding in small pine trees at the topmost space. So all of this is still wet. So the mountains, or sorry, the pine trees and the mountain range but both blend into each other swiftly. So you can see I'm adding in very small, tiny buying cheese across the entire mountain range in this second layer. If your paper does not stay wet for much time, you can go ahead with a layer of water before adding in the colors in that way or people will stay wet for a little extra time. And that will help you in adding all the details. Wet on wet, much longer. But since I'm using a 100% cotton paper, my paper does not dry off quickly because of which I can add in the details, wet on wet for a longer time. Hence, I'm not going ahead with the wet-on-wet technique and violence. A mountain range is still wet. I'm swiftly able to add in this mountain pine trees. I'm done adding in the entire range of the pine trees now using the lighter tone, I'm just trying to dilute and give the blends right for the indigo color and get a good transition from the darkest tone at the top of the mountain ridge to the lighter tones moving downwards. Now, my green space is also still wet. We have to add in little details wet on wet onto the greens as well. So in-between you can see I lifted up little color to give him the lighter effect and show the transition effect of the indigo color moving from the darkest at the top towards the lightest tone. Now using the indigo color in-between the meeting point of the green and indigo. I'm just going to add in little bush effect with the indigo color to give him the darker depth. So this is how we've built in the last layer and the greens as well together so that they all have a soft edge. Now, once all of this dry out completely, we will add in the final pine trees at the bottom most peace and be done with the painting. So now everything is dry it off completely and you can see how beautiful the small pine trees on top of the mountain range are looking in. Now using the olive green color, I'm going to begin adding in some bigger pine trees at the bottom space. Also the blending between the indigo and the greens. You can see it's so smooth and soft because of the veteran technique that we used in. So let's begin adding in some smaller pine trees out fear. We're going to go ahead with very simple pine trees. So the far left you can see I'm adding in quickly moving across both the sides. I'm not going ahead with much detail. Look for the foliage. Now it's on. I want to go ahead with much more detail. You can go ahead with that as well. Plus you can even use a mix of different kinds of pine trees. Some Scots pine trees, some fulfilled up for an age. Some are very sharp edge it pine trees. So it's completely up to you. You can go ahead and search for references of pine trees and add in any kind of pine trees that you wish to here. But go ahead with a darker tone so that it's visible here. So in between along with the olive, I'm alternatively dipping my brush into the indigo color as well. So you can see you have some darker debts as well as we move downwards to add in the foil age. Now at the bottom you are to blend the G moving from the glass piece, I've added a small line of the indigo color and using a damp brush, I'm quickly blending it into the bottom space, trying to show that the tree is coming out from that green space. Same way I'm going to quickly keep adding in a little more of the pine trees. Now this left most pine genome adenine directly with the indigo color because it's much darker on this side to the olive green color will not stand out that right onto this side. Now adding another pine tree out, you're in the center space as well. Again, you are. I'm going to use a mix of both the olive green and indigo color. And for the foreign aid again, you all, you can see, I'm going ahead with very simple foliage this time and it is Kaslow. And also make sure that the fine tip at the end should look have a triangular shape. So beginning with a thin pointed edge at the top and moving down what's keep increasing the width of the tree. Now again, to this tree, he has been at the bottom. I'm just blending the roots into the bottom grass field space using the indigo color to show as if the G is well grounded into the bottom fee. Now you're adding another small pine tree at the bottom-most piece. And I'm just going to add in one more pine tree and then we'll be ready with this class project as well. So you're in the center. I'm just adding one more smaller pine tree. Again, it's going to be all mixed either of the indigo and the olive green color, or you can use any one color separately. So that G as well. I've given it a very blended into the bottom space using the damp brush technique. Now lastly, I'm just going to pick up a little of the indigo color and adding little splatters at the bottom space. Same way I'm going to add in little splatter with the indigo color as well. Now, make sure these platters are only in the bottom greenfield space, not under the mountain ranges. So cover up your mountain ranges if you feel that these platters may go into the top space as well. I'm just covering up and lift it off the top space. And I'm just going to give him some olefin splatters as well so that it does not move into the top sky space. So that is it. Let's remove the masking tape and see your final painting. A 30-day challenge is now over and we are finding the removing the masking tape for our last painting. I hope you guys enjoyed painting that 30 different nature landscape learning different techniques, understanding different color compositions plus walking with very different color tones, walking in together, deviating in beautiful clouds and nature films. So here's the final class project for this 30-day watercolor challenge. I hope you guys enjoyed painting all of the 30 paintings with me. In the next lesson, I have shared a walk-through. All the 30 paintings together. Do not miss to have a look at it and enjoy all the 30 paintings that we've painted out together. Thank you so much to each one of you for joining me and painting along with me. I hope you guys enjoyed the class and learned a lot about watercolors and nature landscapes with me throughout the 30 day challenge. I hope to see you guys soon into another 30-day challenge whenever it comes up. Thank you so much for joining me. 98. All 30 Paintings at a Glance & Thank You: Yours, a collection of all the 30 paintings that we have painted in this Saturday watercolor challenge. I hope you guys have enjoyed painting each of these beautiful nature landscape painting in different flowers, mountains, skies. And I absolutely love each of the painting from this collection. I love creating in the misty glows, the soft look, the clouds and the fields altogether. I hope you guys have enjoyed equally painting all of these with me through the 30 days. And I would love to see all of your class projects into the project section. If you love this class, make sure to drop a review so that it can reach for the students. Thank you so much for joining me.