30 Day Watercolor Challenge : Learn to Paint 30 Spring Landscapes with Watercolors

1. Welcome to 30 Day Watercolor Challenge : Spring is the season off New Beginnings. Flowers blooms for the first time in many months. The sunshine, again, bringing an end to the end-to-end darkness of winter. In charge. Spring is the season where the landscape comes to life after a cold winter. Hello everyone. My name is Anna. Anna. Anna, I'm a mother, an artist and architect and an instructor. I'm originally from India and I'm currently residing in TBI. So today I'm here to invite you all to try new totally watercolor challenge, where we're going to paint a series of coal, just plain landscapes for the next 30 days. It's a season of new beginnings and I think it's a perfect time to start a new hobby or in the same time, improving your skills. And trust me, there is no better way than shining a watercolor. Paintings will be doing this challenge is absolutely unique from each other. We have colorful and vibrant and will make you feel so much close to nature. Before we start with the word class physics, we will have a fun color story that went together, curate a spring color palette exclusive for our 32-bit. Let's watch. This section will also help you understand how you can choose violin, colloquial classic physics to make them really stand out. Every day, we will start with a quick sketch book exercise to understand the color palettes as well as the techniques you will need for that particular T is painting. This exercise will make you confident when you're attempting the class protect. This class is not just about creating 30 spring landscapes, but it is more about understanding different techniques and how you can work with vibrant colors. Throughout this 30-day watercolor challenge, you will learn to paint different kinds of Skies, mountains, reflections, and so much more. If you're allowed to build a creative routine as well as you want to improve your watercolor skills. I'm here to help you join me on this 30-day watercolor challenge, and let's go together. 2. Class Overview: Thank you so much for tiny. I'm super thrilled to have you here and the study of watercolor challenge baby will be together painting, coating called your spring landscapes, have put a lot of effort and choosing the class projects so that you have plenty of techniques to learn from each of the painting. This class is designed as a daily challenge which will run for 60 days actually. So starting from today, every ordinary day, we'll be painting a spring landscape for the next 60 days. So by the end of this class, you will have 30 cardia spring landscapes right in front of you. All the projects will do in this class will take you somewhere 30-40 min or maybe a bit tomorrow. I don't want the procedure tie you. Rather, I want you guys to enter the process and be there fully. And that's the main reason why I'll be uploading the class predicts every alternating. So you can either do them on the same day or you can do them as a whole at the end of every week or whenever you find time for the creative break. Before we start, I will give you a quick overview of the subsidy watercolor challenge. First and foremost, I will take you through all the materials you will need for this anti-authoritarian watercolor challenge, starting from paper to pencil. From there, we will jump onto a quick color study where I'll be explaining about each and every collaborative using this 30-day watercolor challenge. While I'm explaining the colors, I'll be showing the real class project. So you will have a better understanding of what the colors factory biggest thing in the coming days. So when we have an understanding about the materials as well as the color palette, we will start on the work first-class protect. Each and every project is divided into two sections. The first section will take you through the colors as well as the techniques you will need for that particular project. We will talk about the colors, their properties, as well as partner cheats if you don't have those colors. In this section, we'll also try some techniques so that you can approach the class predict with a lot of confidence. The anterior classes for London realtime, given a lot of importance to minute details, you'll find all the information in this class, even if you are starting out with watercolors. So don't worry if you're a beginner, I'm here to help you out with each and every minute detail. As you all know, this course isn't a daily challenge format. So it is ideal to follow them daily to get more comfortable and confident with the medium. But you're welcome to come back and finish this at different times. You can choose to upload your paintings every day, or you can upload them as a collection of paintings. At the end of the challenge, either wave, aggravating to see your beautiful spring landscapes. So without wasting any more time, Let's get started. 3. Art Supplies: Alright, now let's take a quick look at the materials you will need for this anti-authoritarian Watercolor Challenge. Have everything ready here. Let's start with the watercolor people. So according to me, watercolor paper is the most important aspect of any watercolor painting to get the best results as well as to enjoy the process. It is really important to work on a good-quality artist grade watercolor paper, which is how quantum percent cotton, if you're getting frustrated with particulars, the main reason could be using the wrong kind of art supplies, especially the watercolor paper. So good-quality watercolor paper has a lot of impact on your interests. And compared to student grade watercolor paper, they can be quite expensive. Trust me, it is going to make the whole process a lot more easier and more than that, when you're using the right kind of paper, you're going to enter the process to the last, which is really important when you're spending some creative time. So the paper that I'm going to use for today's class as Canson Heritage cold press watercolor paper. This paper is or 140 LP thickness and it is 100% cotton. Canton has a lot of varieties of paper, but this one here is one of my most favorite from their entire series. This works perfectly for watercolor landscapes. I'd ask all the right amount of texture. You can go with any brand. It doesn't need to be canceled. It can be archosaur, Fabriano or any other watercolor paper that you're comfortable with. But be sure to go with an artist grade watercolor paper. Don't use student grade watercolor paper. When you're looking for watercolor paper, you might see different varieties of papers. Some of them say is 25% cotton and some of them say 75% cellulose. Those are not the right kind of paper. Go with the paper which is of 100% cotton had is the paper that you should be going with. Student grade paper is inexpensive compared to artist grade watercolor paper. It is just because student grade papers made out of cellulose or wood pulp. For the same reason, it cannot stand multiple layers of paint and makes it really difficult when you're trying different watercolor techniques I use to integrate people mostly for experimenting the techniques and testing the colors for my final artwork, I always go with artist grade watercolor paper. Alright, so here's your checklist. When you're buying a watercolor paper, it has to be 100% cotton, which is the most important thing. It has to be at least 140 LP thick. This means the paper is quite thick and it can handle multiple layers of water without making the paper buckle. And the last thing is that people should be cold pressed. Cold pressed has the kind of people that I prefer for watercolor landscapes. It is just moderately texture, which makes it perfect for watercolor landscapes. Now for this entire series, I'm going with a portrait orientation for all the paintings. And the size of each of the painting is 14 centimeter by 17 centimeter. You are free to choose any size that you prefer. It can be much more bigger or smaller. Okay, so that's all about the watercolor paper. Now, everyday before we start with our painting, I'll be explaining some techniques as well as we will do a color study. And for that, I will be using a sketchbook. You can just try them out on a scrap piece of paper. It doesn't need to be a sketchbook. This one is a handmade sketchbook with artist grade watercolor paper. Now, these exercises that we're doing every day doesn't need to be documented like this. You can just use scrap piece of paper or it can use the backside of any of your older findings every time when I'm not too sure about the tonal value of your color, whether it's too dark or too light, it is really important to try them on a scrap piece of paper. So keep a scrap piece of paper like this right next to you. As I said earlier, it can be the backside of any of your older painting. This is just to try the colors before you apply them onto your main painting. It's a very simple step, but you can have a lot of mistakes by doing this. Be sure to keep a scrap piece of paper next to you. Okay, so that's all about the watercolor paper. Now, let's take a look at the next art material. In order to get a clean border, as well as to prevent your paper from buckling. You will have to fix your people onto a packing code or onto your table. For that, I'll be using a masking tape, this one as a half-inch masking tape. And I'll be fixing my paper directly onto my table. If you prefer fixing your people onto vacuum board, you could do that. So this one is a very normal masking tape. I caught it from a stationary shop. You can use any of the normal masking tape that you normally use. Now let's talk about the watercolors that I'm going to use for this challenge, for this anterior challenge of using watercolor tubes. If you have got both watercolor tubes and watercolor pans, I would recommend to go with watercolor tubes that particular pans. Because at sampling, since you will have to use that thick creamy paint to get the right consistency. This might be a little difficult with your watercolor pan, so it is better to go with particular tubes if you have them. So these watercolor tubes or from the branch in him, It's a Korean vertical upright. And these are their premium quality watercolors. It's been awhile since I'm using the strands and I really loved the equality. It is a bit cheaper compared to the other artist grade watercolor. And they are really vibrant as well. So you can go with any of the normal watercolor brand that you use. It doesn't need to be the same for. All you do is just try to go with the similar colors to get a similar result. I know I haven't spoke about the colors you will in which I'll be doing in the next section. From that section, you will get all the necessary information about the colors they have, pigment number and how to create a similar color if you don't have the same color. Okay, So you will get all the necessary information from there. And not just that at the beginning of each day's painting, I will be explaining about the colors you will need for that particular thing to make the process a lot easier. The next thing you will need a mixing palette. I'll be using ceramic mixing palette to mix the colors. I written law ceramic mixing palette because they're quite easy to clean and it doesn't stain the palette. I also have a plastic palette, which I use for my practice. I never used to clean this palette because it's a huge task. So I just leave it as it is. But then ceramic is quite easy to clean. You just need a wet wipe and you can easily clean them. That's main reason why I love ceramic palette. You can use a plastic or a ceramic mixing palette, which will you have God with you? Now, let's take a look at the watercolor brushes. I'll be using colored brushes for this verdict vitamins that are six of them. The black ones are from Silver Brush and the red ones are from Princeton. Now let's take a look at each of them. The big red rushes see here is a one-inch brush, brush. This is mainly to apply an even coat of water on the entire background. You can use any of your bigger brush for this purpose, but be sure the brush is clean before you apply water onto your paper. The bigger the better so that you can apply water onto a larger area quite quickly. Okay, so that's the first brush. Now let's take a look at the restaurant. The brushes. I have four on brushes here. The first one is size number 12. I'll be using this brush to apply paint onto a larger area, especially for the background. It have a bigger brush. You'll be able to apply paint ontologically real quickly before the background tries. Okay, The next question I have here, a size number eight round brush. For the background and foreground elements like adding some droppers are adding the mountain sand similar details. Then the next question I have here, a size number four round brush. This one is for the smaller elements. Then finally, I have one around race was a size number two round brush for the minute detail in this brush comes back to a very nice pine, which makes it perfect for detailing. Like adding some flowers, leaves or any other mining T2. This brush is really important as we will be adding flowers on almost all the paintings. So just go with any of your detail and brush or use a brush which has a pointed tip. Now the last pressure happier as a half-inch flat brush. This is also for applying paint onto the background, especially when I want a gradient wash or I need to blend the colors. Okay, so those are the brushes you will need throughout this challenge. You will need a wash brush to apply water onto your entire background. Then you will need a bigger size term, fresh, medium sized round brush and a smaller sized round brush. Then you will need a detailing brush as well as a flat Trish. The next important art supplies we'll need for this class as a masking fluid. This one is from Art Philosophy. I'll be pouring a little off masking fluid onto this plastic cap. And I'll be using one of my older brush to apply masking fluid onto the painting. This one is a brush which I badly use. We will need masking fluid everyday. We'll just use it for three or four paintings. This one is a really old brush. It has got synthetic hair. Doesn't really work for my watercolor paintings, so I had kept it aside. But it really works for applying masking fluid. So it has got some use now, in case if we're using masking fluid for the first time, there's one thing that you need to keep in mind. Masking fluid doesn't work on all watercolor paper. Especially if it's a handmade paper or It's a paper which has lot of texture. So it is really important to try out the masking fluid on the watercolor paper that, uh, using before you go to your class project. This is about the painting. There will be using masking fluid. We will mask those class and we'll paint the background. Then when it dries, we will remove the masking fluid and paint loose flowers. If you don't have masking fluid, don't stress out. I will be giving you an alternate way to work around if you don't have masking fluid, the next thing you will lead us to jars of water. I prefer using glass jars for my watercolor painting. This is mainly because I can see when the water is getting dirty. So first jar of water, servants of the paint from your brush and the other child has to stay clean. We'll be using the second jar whenever we are in need of clean water. If you're using just a single jar of water, be sure to get it from your seat and replace the water whenever it is getting 30. Because in order to get clean and fresh colors in your painting, it is really important to use clean water as well. Last but not the least, you will need a pencil to make some sketches. Then you will need an eraser in case if you make some mistakes. And finally, you will need a paper towel. You can also use a cotton cloth or paper towel. Okay, so that's some rice. All the materials you will need for this anterior 30-day watercolor challenge. Go get them ready and time in the next section. 4. Spring Color Palette: Okay, Now it's time to do a font color steady before we start with our class projects so that we have a better understanding about the colors we'll be using in this 30-day watercolor challenge. I have taken a whole sheet here. I'm going to pass the colors on the sheet. You really don't need to do it alone. Maybe you can try the colors on a piece of paper. Or if you're really interested to do it, just go ahead. Okay. So whenever you think about spring, there are few colors which comes to your mind is obviously green. I'll start with the greens. I'll show you some of the paintings will do in this 30-day particular challenge to get you into that spring mode. So here are a few of the painting. You can see that bright and beautiful green here. So first I'm going to introduce to the greens that we'll be using this 30-day watercolor challenge will be using green in different ways. In some paintings, we'll use it in its original form. And in some paintings we'll add some indigo or taco blow into it to turn that into a darker green. This is just to bring in different modes and different look TO painting, but then the base color remains the same. Now, let me show you the green colors that I'll be using. So the first one is leaf green and the second one is sap green. I'm not too sure if you all have leaf green. It's a yellowish green, which is really easy to make. And the second column is saccharine. Now, along with these two colors, especially for the middle, I'll be using integral to turn the current into a darker one. For most of the green paintings, I'll be using these three colors. I'm going to quickly swap these colors for you. As I mentioned earlier, maybe you may not have lifting. The other two colors are quite common. Sap green comes in almost all the basic watercolor sets. And if you don't have indigo, you can use any other taco. Blue will be just using that to make the green taco. We won't be using that directly. So instead of integral, you can also use Prussian blue. You can just mix a little of that with saccharine to turn yellow, green into a dark Homer. I have taken out all the colors onto my palette. Now, I'm going to quickly switch them on my paper. First, I'm starting with leaf green. It's a very bright yellowish green which can be used for your spring coronary. I really love this color. But if you don't have this color, It's absolutely okay. You can just use a little bit of lemon yellow, or you can just mix a little of lemon yellow with sap green to create a light green. I'll be showing that in some time. So don't worry if you don't have the screen, you can see how pretty that green is looking. Now there are few paintings where I'll be using this green asset is, you can see that college is cream. I'll be using that for the background mostly. I'll be showing you how you can create this color in some time. So don't worry if you don't have the screen. As I'll be using this quite a lot. Maybe you might be thinking, I won't get my painting right if you don't have this color note, there is nothing like that. You can just use lemon yellow. Or as I said earlier, you can just mix a little of sap green with lemon yellow to create some Locrian. Next, I'm going to swatch out sap green, which is a very common color. Sap green is a really pretty color. I love to use that in my landscapes. I'm not a fan of viridian green. I don't use it much. Maybe if I'm painting an evening or night, sometimes I use that in my landscapes. Otherwise I always stick to sap green. So that's a second color. Next, I'm going to swatch out in the cold. Indigo is one of my favorite color, especially I allow indigo from Sennelier, the brand of the watercolors that I'm using for this 30-day watercolor challenge is called Sheehan. It's a Korean brand. I'm not a fan of this integral. It's a really dark one. So sometimes I used to add a bit of blue into it to turn that into a bluish color. So anyway, you can use any of the integral that we won't be using. That acetone will be just adding some green to turn that into a darker tone. Now, the next color that I'm going to swatch out a school of green. You can see the color I have used for the mountain here. It's brownish green, which is like the name says. I'm going to mix a little of burnt sienna but Sap green to create that olive green color. So first I will spice out burnt sienna acidosis because we'll be using punchy. And also in our paintings. I'll show you some of the paintings that we'll be doing. For this one, for that pathway will be using burnt sienna. And for this painting here, for the background, we'll also be using a bit of burnt sienna. I'm going to scratch out burnt sienna. Then I will mix alert, love, sap, green to it to turn that into all the green, burnt sienna. It's also pretty common. So I'm guessing you all have phones in our tool. You can use brown or burnt sienna, both of them with Bach. I'm going to swatch out buoyancy now. It's a beautiful, earthy brown. Next I'm going to show you how you can create olive green. Olive green is a beautiful color to use for mountains as well as for metals. So let's try that out. And picking like love sap green and mixing that with some brown. Olive green is unhealthy green asset as some brown tone in it. It's a beautiful color, especially if you'd like to use muted greens in your landscapes. I just mixed a bit of bonds in how exactly to create that olive green. I already have an olive green color with me. This one is from vanco, but I don't use it much. I always prefer mixing and creating my own olive green. So in case if you already have only bring the theory, you can readily use that you don't need to mix and create a color. The next color, I'm going to show you a survey in blue. This is one of my most favorite color to use for sky. So for almost all the painting where we are using blue for the sky, using this color. If you don't have saline blue, you can use Prussian blue or cobalt blue or any other blue that you prefer. I really love this guy, especially for that too bright blue, cloudy skies. So this is certainly in blue. You can see how private equity that blowers. But if you don't have three in blue, that's absolutely okay. It is not going to affect your painting. You can use any of the other plutonium car. Okay. I will quickly show you few of the paintings where I have username blue for the sky. This is the first one. I have another one here. You can see how colleges that blows looking and how use the same color for this cloudy sky as well? Yeah, I have used it for quite a lot of paintings. The next color I'm going to show you is neutral. Send. This one has more or less similar to paints gray. You can see those fluffy clouds here. I'll be using this color to add those clouds. The watercolor brands I'm using here, Shinzen, it doesn't have Payne's gray. Instead they have nutrients and that is the reason why I'm using neutral term instead of Payne's gray. But you can use Payne's gray if you haven't. It's a beautiful color. I used to use it for my monochrome paintings. You can use neutral terms or Payne's gray. If you don't have both the colors you can use a bit of plaque will be using this color only for the clouds. So even a lighter value of plaque will work. So don't worry if you don't have Payne's gray or neutral scent. I missed to show you this painting. For this one as well. We'll be using cerulean blue for the water, will be just using a Pareto value over here. And for this guy, let me use a lighter value. Okay? So that's early in blue. Now there are few paintings where we will be painting water. This I just drew from the collection. And as you can see here, we will be painting a beautiful ocean. And over here the color you see is cobalt green. So that's the next color. I'm going to show you a subdued fruit pistol, bluish green. It's a wonderful color to use for tropical beaches. I use this quite a lot for my light as well. I love to use it against indigo as well as violet. If you're a frequent student of my classes, I'm very sure you might have seen me using this color quite a lot. It's a beautiful color to add a new color palette, you can use it for a basal sky as well. Okay, so that's cobalt green. Now there are few paintings where we will go with a dramatic sky, insert off a soft blue sky. These are few of them. We will learn to paint beautiful cloudy sky with a vibrant color combination. My main motor with this class is to help you understand different watercolor techniques, as well as how to use vibrant colors together. In the coming days, we'll explore some dramatic and beautiful skies. And this is one of the color that I'll be using quite a lot. This is called Naples yellow. It's basically a loop and it is really does not like the other bright and vibrant yellows. You have seen. That a few more colors I'll be using for this guy, which is vermilion, red and permanent roles. So right now, I'm just going to scratch all these colors just to make you understand how they're gonna look like. So for this guy you see here, I have gone with a violet and opera pink color combination. In the coming days, we'll mix and match all these colors and we learned to paint white trans guys. I don't want to kill the surprise, so I'm not showing all the painting fat we'll be doing. But trust me, you'll be surprised by your own skills that are so many ECB to paint a car, just sky, which you will see in the coming days. I'm swatching out Naples yellow here. This is one of my favorite color to use for skies. I love to use Naples, yellow with blue and violet. You can create a beautiful moody sky with those colors, will see that in the coming days. So the color that is passed here as well, Merlin, and now I have titled red here. This one is a bold and bright red, will be using this to paint the flowers, and we'll also be using this for the sky. It's not a common color. If you have any kind of red, you can use that instead of pyrrole red, or it can just use vomiting for this painting here to paint those flowers, we'll be using fido tread as well as brilliant orange. These two are really bright and vibrant. You can see that from the painting here. First I will splash out brilliant orange at something similar to vermilion, but it is more bright and vibrant. Exactly how to name things. So that's brilliant orange. But if you don't have this color, that's absolutely okay. You can just use glomeruli. But if you have red, it's going to be really helpful when you add those flowers. If you don't have pyrrole red, you can use permanent red or not, red or cadmium red instead. If you don't have any of them, you can just make fell in love crimson with vermilion to turn that into a little more brighter. If you don't have any of the colors that I'm using here, don't stress out. We'll find a way around. Now for this painting here for the sky as well as for that lavender fields, I'll be using opera pink, oprah pink, which brings in that vibrant and bright look for this painting. Again, this one is not a common color. So if you don't have it, you can just use crimson. So obviously, if you are not using the same colors you're painting is going to look slightly different from mine, but that's absolutely okay. We are here to learn the techniques and we are here to understand the process. So a slight difference in your painting is not going to affect the intracellular. The color you see here that vibrant fingers are wrapping. Along with that. I love to be using permanent violet for the lavender field as well as for the sky. So don't worry if you don't have any of the colors that I'm using here. I just wanted to show you this is not going to affect the anthracite. You're still going to enter the process and you're still going to love your painting. Okay, so that's permanent violet. And it's not really necessary that you should have a violet in your color palette. You can mix and create your own violet by mixing any of the blue with crimson are rules. There are few other paintings where I'll be using valid for the flowers. So you can see this painting here. We'll be mixing a little of white quash with violet. And for this one, I'll be using opera pink for those bright pink flowers. If you don't have opera pink, you can use crimson or rows. For this one here, I'll be using violet for the flowers again. So right now, my intention is to make you understand about the colors that we're going to use. And this 30-day watercolor challenge, I'll be talking about the colors in more detail at the beginning of each day's painting will have a thorough look at the colors will need for that particular day. So don't worry if you missed out any color and if you don't have any of them, I have here is permanent rose. I absolutely love this color. For most of the time. Instead of crimson, I used to go with this color because it is more vibrant. But if you don't have this, it is very similar to crimson. You can use Chrome cell. I'll be using this color for the sky as well as to paint some flowers. Now the last color I'm going to show you is cadmium yellow. The coming days we'll paint a beautiful yellow till upfield. This one here. It is one of my most favorite painting from the whole series. And this an asphalt. We'll be using cadmium yellow for those flowers. I love how simple and pretty these two paintings are. It's a gorgeous color compensation for that. The yellow you see here, I'm using cadmium yellow. You can use a dilute that have caught. It can be gambled yellow or Indian yellow or any other yellow. We just need some kind of yellow. That's allows colors in my color palette. We have splashed out all the colors that I have included in my spring color palette. You can see how vibrant and bright and pretty they are. Now there is one important color that you will lead, which is white gouache or white watercolor. If you have a white gouache, I would prefer to covert white gouache because it is more opaque. We'll be using this to add the highlights as well as some details. You can see those wild flowers here. For that, I'll be using white gouache. Now I'll show you another painting that I'm using, white for the flowers. This one here, not just for flowers, we'll be using vi to paint those waves and to add some highlights for some other paintings, we'll be mixing some white gouache with violet and other colors to create a lighter and opaque version. And we'll be using that for the flowers. So obviously white gouache is more opaque than watercolor. So if you have wash, I would prefer to use gouache or watercolor. But if you don't have gouache, It's absolutely okay. You can just use white watercolor. And finally, before wrapping up this section, I want to quickly show you how you can create leaf green if you don't have the same color, It's really easy. You just need some sap green and lemon yellow. Now, there might be some other colors in your color palette like greenish yellow or light green or green. Or there are so many colors similar to leaf green. There is another color called green gold, which can also be used to interrupt leaf. So we just need a yellowish green, which is bright and vibrant. But all the colors that I mentioned and greenish, yellow, green, green, cool, these colors are not really common. So the easiest way to create a leaf cream as just by mixing some lemon yellow with sap green. So let's try that out. So this is my lemon yellow from Sennelier. I'm going to squeeze out a bit onto my palette. I already have some sap green over there. I'm just going to pick a little up sap green and mix that with lemon yellow. It is really easy, depending on the color that you want, you can adjust the amount of green or yellow. If you add more green, the color will be more drainage. If you add more yellow, it will be more yellowish. So depending on the color that you want to use in your painting, you can adjust the amount of green and yellow. So that's the color as a vibrant yellowish green. Maybe we can try adding a little more green into the same color. And let's see how it is looking. I'm picking some more sap green, mixing that with the same color. Wow, that's a pretty color. See that? Beautiful, right? So these are some ways how you can create a leaf green if you don't have leaping or any of the colors I mentioned earlier, it's an easy task. And we'll leave this color for quite a lot for paintings. Give it a try. I think I will add a swatch of leaf green right next to this so that it can understand the color. That's leaf green. I think I like the other ones better than live screen. The one where we have added lemon yellow and sap green. The colors are mixed and created. It looks more fresh and vibrant and leaf green. So yeah, there is nothing to worry if you don't have the cream, you can mix and create your own color. All right, so that summarize all the colors you will need for this 30-day watercolor challenge. As I mentioned earlier, we'll be using these colors in different ways and different paintings will mix and match the colors according to the mode of the painting. For some painting we'll use violet and blue for the sky. For other one will use violet and pink. Before I end the session, let me tell you, if you don't have the same colors, don't worry about it. At the beginning of every day's painting, we will talk about the colors in detail. And we learned to create an authentic color with the colors we have in our palette. That's on me. Don't worry about it now. Okay, now we're almost ready to start with the first painting. Check out the next section to understand about the colors as well as the techniques you will need for the first painting. The mountain Jacqueline. I'll see you there. 5. DAY 1 - Mountains are Calling: Hello, Hello, welcome to day one. And here is the car just painting that we're doing today. You can see that beautiful based on sky that caused his Green Mountain, that beautiful meadow flowers. You just need to follow the steps. It is really easy. I think by the end you'll be surprised to see the car just painting that have created. Now, I'm going to walk you through the colors you will need for today's painting. You can already guess most of the colors that we've made. But in this section, I'll also be explaining some techniques which is going to make the whole processes here. First, let's start with the sky. I have my sketchbook ready Here. I'll be switching the colors as well as I'll be doing the techniques in the sketchbook. For this guy, I'll be using three colors. As you can see here. It's a yellow and an orange sky. Yellow that I'm using as Naples yellow. This one is a pistol yellow. It is not like the normal yellow like gamboge yellow or cadmium yellow. It has some white in it, and for the same reason it is not as bright as the other yellows. Now, along with Naples yellow, I'll also be using vermilion as well as pyrrole red. So I'll be applying yellow onto the background. Then onto that, I'll be adding some clouds using formalin as well as federal rate. If you don't have red, that's absolutely okay. I just wanted some brighter tones. Your head there. Especially over here, you can see that brighter red, that's pilot. But in case if you don't have it, that's absolutely okay. You can just use a brighter tone of one-millionth and Naples yellow. That will give you a good result. So forget about right, if you don't have it, you can just use Naples, yellow and family. And now I'm going to swap these colors quickly. Let me squeeze out all the colors. I'm starting with Naples yellow. That's Naples yellow. You can see the color. It is not like the normal yellow. It's a pistol to Edison that right, It's adult color. And also we can see that small blacks quo, that indicates the color is opaque. I will take another yellow and show you the difference. So this one is cadmium yellow. You can see here this one is black. That means it is opaque. This one is just half black and half white. And that means it is semi-transparent. And this one is vomiting. That is an empty square, which means it is transparent. The reason why Naples yellow is opaque is because it has some white in it. Now I'm going to take out the other colors and let's take a look at dispatches. The woman will need to take out a bit of bread as well. As I mentioned audio, this red is optional. If you don't have it, don't worry about it. You can just use yellow and orange for your sky in case if you'd like to add those deeper values in your sky, you can use Chrome some instant. This is where I'm going to use the red. You can see little brighter tones here. That is pirate read. The rest is all vermilion and yellow. So feel free to skip that if you don't have red. Now, I'm going to scratch out the colors. I'm starting with Naples yellow. The swatching exercise. You really don't need to repeat it. You can just watch over the colors and keep them ready. You can see that color. Just paint some yellow. It's a beautiful color to use in sky. It's a dull yellow, not like a bright yellow, so you can use it against some purple or blue or even orange, like the one we're doing today. Now, I'm going to swatch out vermilion, which is a very common color. I'm very sure you all have it. So that's 4 million. Next color we have humourous pattern would read. This one has a really bright and bold red. I love to use this for evening skies. But today they're not using that intense rate will be just using a letter and we'll be turning that into a paste or dread. So those are the three colors I'll be using for the sky. Now, in case if you don't have Naples yellow, you can use any of your other yellow. It can be cadmium yellow or Indian yellow or gamboge yellow or yellow. I would suggest to go with a warm yellow. I'm going to squeeze out a bit of cadmium yellow here. Then I will show you how you can turn that into a pixel, the yellow, you might be wondering, I can use gamboge yellow or chasms and look for the sky. Why am I using Naples yellow? The reason is I want a softer and softer look for the sky. I don't want it to look too bright. If I use cadmium yellow or Campbell cello, the sky will look really bright and vibrant. But I'm looking for some patient tones in my sky rather than flight colors. And that's the main reason why I'm using Naples yellow. Now, I'm going to add in some white watercolor into cadmium yellow. And I'm going to turn that into a pixel color. So this is the method you should be following if you don't have Naples yellow. As you can see here, there is a small black square which indicates whitespace and opaque color. This is same thing happened with Naples, yellow. It has some white pigment in it. And this cave and opaque and beta tilde character Naples yellow. I'm mixing a bit of white, cadmium yellow, and I'm turning that into a pixel below. Now, let's pass that out. You can see that call just pixel below. See that? Looks too good, right? If you have never tried Naples yellow or a Paisley, a loop for in your sky and the ratio you're going to love to the sky. So we'll be using this against 1 million ads by red. And that automatically turns all the colors we'll be using in the sky into a pixel one. So I'm really excited to give it a try. This is the one we're gonna do today. You can see that called your soft sky. Before we start with the woman project, I will quickly show you how we're going to do the sky. So this will give you a better understanding value during the sky and you won't make any mistakes. I've made a small section here. So the first task was to make that area wet. I'm using my one-inch brush brush and applying a clean CO2 water over there. We're gonna go with a baton wet sky, new brush multiple times to make sure that entire area is wet. Now, I'm going to use my round brush. I'm using my size number eight brush for our class project. I'll be using size number 12 round brush asset is quite big. Now I'm picking some Naples yellow and I'm F9 back onto this anterior division. You can leave some white gaps in between if you prefer. Otherwise just apply that onto the entire area. Okay. So I have applied Naples yellow. Now, I'm going to pick some watermelon. Just too little. You don't need a lot. You're just adding some clouds. You can add them. How will you want? Maybe at some places you can go with some lines, and at some places you can go with some irregular shapes. This will make your scale of more beautiful. So as you can see here, the orange turned into a pistol, orange as we have yellow in the background. So this is the reason why I applied yellow dots the anterior background. This will turn the entire sky into a pistol one, no matter which will be the colors we're flying or to the sky. Now, I'm going to apply some red onto this corner to make it a little brighter, but that looks really bright. I will pick some yellow and turn that into a lighter to see that even that red we have applied here as looking like a place to two. So this is the magic of that Naples yellow we applied in the background. All the clothes we're applying on the sky is turning into a place to shade. It does not really looking at Pride. This is a really easy and colleges sky. You can use it in your future paintings transform. Now just in case if you feel like any of the colors have blended properly or if they're looking too strong, you can just pick a little off Naples yellow and try to blend that into the background. Okay, so that's the sky. I really loved that top-right corner. This is exactly what we're going to do on our painting. Give it a try and be confident before we start with our main class project. For the class project to paint the sky, I'll be using my size number 12 round brush. When you're painting a sky, it is better to go with a bigger brush. With a bigger brush, we'll be able to get better shape for your clouds. And also you'll be able to apply the paint onto the background quickly before the background Reiser. That's all about the sky. Now let's take a look at the colors you will need for the mountain, the metal asphalt, asphalt flowers. It is quite obvious that you will need some grains. So these are the four colors I'll be using for the metal as well as for the mountains. You will need leaf green, sap green, indigo, and burnt sienna. The slip ring is not really a common color. If you have checked out the color palette section, you will know how to create this color. Are they explain that again. The rest of the colors are quite common and very sure you all have Sap, Green, burnt sienna, and integral. If you don't have indigo, you can use any of your darker blue mixing, let love indigo into sap green to turn that into a darker green. So instead of integral, you can use any other blue caught, especially along the bottom where you have those flowers over there will be using a darker green. Now let's fetch all the colors. I will quickly squeeze the colors and we'll split it out. I'm just using a wet wipe and I'm cleaning the palate. This is the main reason why I love ceramic mixing palettes. It is so easy to clean and there is no stains. It just looks as knew. Anyway, I'm squeezing out the colors, that leaf. Then you have Sap, Green, burnt sienna, and indigo. So those are the four colors I'll be using for the mountain, as well as for the metal. Out of these four colors, only leed green is quite uncommon. The rest of the colors are quite common. So I will quickly scratch out, lift cream. It's a beautiful green. It can be used for that fresh and tender greenery. It's a very refreshing color. This is the color. You can see how pretty it is. Set both a color we can use for spring. Now, I'm going to quickly swatch out saccharine, been seen as an integral. Alright, so those are the scratches. Now there's one more color that we need to scratch out with, just olive green. You can see the color, how useful the mountain here. It's not sap green or it's not C. Now, how it makes sap green and plants interact together to create an olive green. So that's what we're going to try next. I'm just picking some sap green and mixing that with one Sina to turn that into an olive green. It's a gorgeous color which you can use for your mountains to bring in that earthy feel into it. Look at that. It's a pretty green. This is the color we'll be using for the mountain. You can experiment with the same color. If you add more green into the same mix, it will turn into a different tree. So just try different mixing options and learn about the color. Right now I have added more gray into the same mix. And this is the color have gone causes cholerae. So I had only bring with me, this is from Bangkok. It's a gorgeous color, but for some reason I always loved to mix my color. I haven't used it much. But in case if you have an olive green color but you already, you can use it as it is. You don't need to mix and create your color. Now, as I said earlier, leaf print is not that a common color, but you can easily create a similar color using sap green and lemon yellow. So let's give it a try. I already have lemon yellow and sap green here. I'm going to squeeze out both the colors onto my palette. We need to use more yellow and less green. So we already had a look at the same exercise and the color palette section. This is just in case if you missed that one. I'm going to make it real quick. I have some lemon yellow on my palette, and I already have some sap green here. I'm taking a bit of sap green and I'm mixing that with lemon yellow. In your mix, you should be using more yellow and less clean. I think we already cut a leaf green here. Now let's back that out. It's a beautiful green. You just need to use lemon yellow and sap green. This is more like a greenish yellow, so you should be adding more yellow into the mix. Now maybe we can add some more yellow and see how the curve is gonna look like. Now, in case if you don't have lemon yellow, you can use any other yellow you have caught, preferably a cool yellow. The code may look slightly different from this, but then that's absolutely okay. You don't need to worry about that. We'll be using this color against Sap green. So it wouldn't affect your painting a lot. Okay, so here's the color I made. I think this one is really looking like the leaf green. Alright, so those are the grains you will need for today's painting. Just give it a try and understand how you can make the screen using sap green and lemon yellow will be using this color quite a lot in the coming days. So it's gonna be really helpful if you can give it a try and understand how we can meet this color. Our next task is to try out that beautiful mountain before we go with our main class project. First, I'm starting with a sketch. I'm going with a tapering shape, adding some ups and downs here and there. And going with a very beautiful shape for the mountain. Now I'm adding an irregular lines starting from the tip of the mountain and I'm taking it down. It's a very messy initial color line. We will apply some olive green and some brownish tones onto the anterior mountain. For that, I'm mixing some sap, green and brown, just like how we did earlier. Now I'm simply going to follow that outline and I'm going to cover that mountain and this color in case if you would like to use more of a greenish color or a brownish color, just adjust your color mix. Maybe you can use more crane and less brown. And in case we want a brownish color, you can add more brown and less green. So feel free to go with any color that you prefer. You just need to follow that outline and fill that up. Now, I'm picking some brown at adding some brownish tones as well. Going back with olive green. Now picking some sap green. So my intention is to use different tonal values of green and brown in the mountain to make it look more realistic. And that is the reason why at some places I'm adding color green and at some places I'm dropping some brown and sap green. You can see how colleges that is looking already. This is the base Bosch. Now we'll have to wait for this to dry. And once it dries onto that, we'll be adding some details which is going to make our mark and look more realistic other than the color. In order to make your mountain look more realistic, you should be going with interesting shapes as well. Don't go with the normal curvy shape, as you can see here. Adding some little ups and downs here and there. And also you can add a point, the papering shape. Okay? So that's the basic shape of the mountain. Now I'm going to leave it for drying. Meanwhile, the mountain dries. I think I will add the names for these colors I have added here. So it looks like the mountain has dried. Now we're going to add the remaining details for that. I'm using my size number four round brush. You will have to use any of the brush which has a pointed tip. It can be a smaller sized brush or a detailing brush. Now, I'm picking some grain and mixing that with a little off into code. I want to create a darker green. So just make some indigo or any other darker blue with green. Now first task is to add that irregular line at the center. This line is really important. This is what gives you a mountain or a realistic look. So if an A2 confident, maybe you can add that with a pencil first and just follow that line with your brush. Now before we add on this line, you will have to make sure the background has dried completely. Otherwise, the line you're adding will have a blurry look. We want a sharp and clean line. It shouldn't be blurry. Just wait for a few more minutes if you feel like the background hasn't dried yet. I have added that irregular line. Now. I'm adding some more paint along the same line. Right now, we're going to focus on the left side of the mountain. This is where we'll be adding more taco values. We're going to leave the right side acetals. We wouldn't be added more taco values over there. So I added some taco values along that irregular line. Now I'm going to do the same thing. Wherever I have these pointy end, I will add a little darker values over here. But I'm not going to take the line completely down. Maybe I will stop at somewhere here. Similarly, I'm going to add some darker values here as well. You can add them. How will you want to? We just need some darker values here and there. So that is the first step. Now I'm going to push the paint from my brush and I'm going to switch to a brownish green. I'm just mixing some sap green with brown. I'm using less green and more watery paint. And now I'm going to apply that on the left side of the mountain. You don't need to worry about the darker tones you apply the earlier. Just follow the shape of your mountain and apply that brownish color. Earlier, we just apply them as some rough patches. We randomly added some darker tones here and there. Right now, when we're applying this brownish tone on top of it, it will have a blurry look. It wouldn't really stand out and that is exactly what we need. We can see the results. We have some taco values here and there. But it's not really prominent. Mountain is already looking so beautiful. It should be sharp and clean like this. So you'll have to wait for your pattern to dry completely before you do this step. Now, I'm going to wash all the paint from my brush. And I'm switching back to that light brownish color we made. Again, I'm going with the watery version. It isn't that torque. Now in a similar way, how we add a darker tone tone to the other side. We're going to add some medium tones on this side as well. So when we add a deeper tones on the left side, we concentrated on those pointy area in a similar way, contemplate on that pointy areas and add some medium tones. All I need to do is just add some random lines. You can see the color I'm mixing here. It isn't that hard to medium tone. I have just mixed sap, green and brown to create this color. And I'm just adding some random lines onto the right side of the mountain. The only thing you need to keep in mind is that it shouldn't be a darker value. Go with a medium to lighter tone. And just add some broken lines onto the side. Just randomly add few lines. And whenever you feel like you have added enough, you can leave it there. Okay. So that is about Green Mountain. We'll be adding a similar mountain onto a painting. So if you have tried this now, it is going to be really helpful when you're doing your class project. You will have a lot more confidence and you will make any mistakes. So we spoke about the background and the foreground elements. That is one thing missing, which are these flowers. It's a very simple flower. I'm going to quickly show you one or two flowers so that you will have a better idea before you go with the main class project. To add these flowers, I'll be using white gouache. If you don't have white gouache, you can use phi two articles, but you'd have to go with a thicker consistency to make them look opaque. I'm just adding a patch here. I just mixed integral and sap green. In our main class project, we'll be adding a taco down at the bottom. And that is exactly where we'll be adding these flowers when you use a taco tone for the background, those white flowers we are adding build really stands out. And that is a main reason why they're making the bottom area and darker. I'm just dropping in some more integral onto this patch. Now, we'll have to wait for this to dry. You can see the flower. It's very simple one. I don't think I need to show this, but anyway, I have added a green patches. They're at a single flower. I will show one or two. And then we can start with the word class project. Let's give it a try. I'm taking out some white gouache onto my palette. My first preference is white gouache. In case if you don't have wide quad, you can use white watercolor. The main reason is that white quash is a lot more opaque than white watercolor. When you add in those flowers, it will really stand out. It won't fade away when the painting dries. That's the main reason why I'm telling you to use white gouache instead of white watercolor. But if you don't have it, that's okay. You can just use white watercolor. Now to add the flower, I'm using a smaller size brush. This one is a size two round brush. You should be using any of your smaller brush, which has a pointed tip. Otherwise your flower will look to pick and your painting will go out of proportion. Okay? So I'm just adding some petals. Look like the background hasn't dried yet. Never mind. I'll just go ahead and add in the flower. It isn't that complicated. It's a very simple one. This is exactly like how we used to draw flowers when we were kids. So that's my first flower. This is the kind of size I'll be using for our main painting. Asphalt. Maybe one or two can be slightly bigger and few of them can be smaller. So when you add in your floss onto main painting, play with different sizes. I will add one more flower here. In a similar way. I'm just adding petals and I'm filling up that shape. Okay. Maybe we can make it a little bigger. I'm just following the same shape and making those petals speaker. I have added two flowers here. Now at the center of this class, we need to add those stigma and filament. I hope I'm using the right word for that. I'm picking some yellow. I'm using cadmium yellow. You can use any of the yellow data used earlier for your sky. I'm going to pick some paint directly from the tube. And I'm going to add an oval shape at the center of these two flowers. It doesn't need to be perfect oval. It can be an oval around just dropping some yellow right at the center. You just need to press your brush and add in some yellow color over there. It doesn't need to have any particular shape. So that's the yellow. Next, you will need bond C. Now, we have already used this color for our painting. You just need to listen. If you have some leftover paint on your palette, you can just use that. You don't need to squeeze out new paint. Now using the same brush, I'm going to add some taught right at the center. We have, we have added that to yellow. Just some random dots. And that makes our flower complete. If a single shot. Alright, so this isn't really how we will be adding travelers onto a wall painting. You can add how material you want to. I'll just be adding few here and there. I won't be adding a lot. Alright, so that's some rice, all the colors and techniques you will need to know for our first painting. I hope you all are total with the colors as well as the techniques. Now without wasting any more time, Let's talk with all of his painting. 6. Mountains are Calling - Part 1: Alright, so I have my paper ready here. I have applied masking tape onto the full size of my paper and have properly secured it. We already had a look at the colors you will need. And also they had a quick look at the techniques. Now it's time to add the pencil sketch. So as you all know, we'll need to add a mountain. I'm going to add it somewhere over here. We'll just add one tall mountain. As we only have one single mountain. I want this to look very interesting. I'm going to tapering shape and you can see the mountain here. But if you'd like to go with a different shape, if you want a low-lying mountain or if you want under mountain, you could do that. So that's the sketch. So we're trying to make it look like this mountain is in the background and we have a beautiful meadow and the four count will be going with a more brownish and Ollie Green kind of a color for the mountain. And we'll go with some fresh and vibrant green for the foreground. I'm going to add on the line on the right side just to make the different divisions for our metal. This will make our painting look more interesting. And over the bottom will be adding some colleges flowers. Okay, so that's the ventral catch. Now it's time to squeeze out the colors. We already had a look at the colors, so we are very well aware of the colors that I'm going to use for the sky. I'll be using Naples yellow, as well as a bit of vermilion to add those clouds. If you would like to use a different color combination for your sky, that's absolutely okay. You can follow the method and you can paint a sky in any of your favorite color combination and doesn't need to be a yellow and orange sky. So I'm squeezing out some Naples yellow. We already discussed about the properties of Naples yellow. If you want to try out this guy in a similar way, you can add a bit of white to any of your yellow. The next color that I'm going to squeeze out as formalin will just need a little, we're not going to use these colors for anything else, so don't squeeze out a lot. That's it. This kind that we're doing today is going to be really different from the ones who have done earlier. And the main credit for that goes to Naples, yellow. So that is the color which is going to make the sky more beautiful because it has a pixel tone in it. So how squeezed out Naples, yellow and vermilion. I think I will need a bit more right. Asphalt just to make some areas a bit more brighter. So I'm going to squeeze out a pyrrole red. This one is optional. If you want, you can use a darker tone of vermilion interrupt read. We can use any of the red that you have caught. We just need a little just to make some areas a bit more brighter. So we have the colors ready. These are the three colors we'll be using for the sky. So first I'm starting out by applying a clean coat of water onto the sky. I'm using my one-inch wash brush. I'm applying a clean even coat of water. You can apply the water on top of the mountain. That's absolutely okay. You don't need to worry about leaving that are here. So keep running your brush multiple times just to be sure that the word has rays travel anywhere and go to water is even. So my skies evenly wet. Now I'm going to go to my size number 12 round brush. Just cleaning my brush just to be sure there is no other paintings on my brush. As they're gonna go with a yellow. The brush that I'm using here, a size number 12 round brush from silver black velvet brush. And I'm starting off with a medium tone off Naples yellow. So we can simply apply yellow onto your sky. How will you want to? There is no particular order or there is no particular shape that you need to follow. Simply apply that onto your background. You can leave some white gaps in between. But again, that's optional if you want to cover the entire sky in yellow. That's also okay. Now I'm taking a bit of orange with the same brush. I haven't washed the paint off from my brush. Now I'm just dropping in that orange on top of the yellow. I'm running my brush in a linear way. Maybe I will add some clouds onto this right comma. You can add them however you want to, whether you want to add some lines or whether you want some clouds, you could go by a Chinese as you're applying that orange on top of the yellow, how will you apply? It is going to look really beautiful. I think you should give it a try. Now, I have taken some red and I'm dropping that onto the background. I want some areas to be a bit brighter to make our sky look more dramatic. So whenever you feel like your colors are not blending properly, you can take out some yellow. And using yellow, you can try to smash the colors to make it look smarter. You really don't need to look at what I'm doing here. The base color has to be yellow. You can apply yellow onto wet background however you want to. Then again, onto that you can add some vermilion as well as some red that also you can add and how will you want to enter? It depends on how we have added paint onto the sky, whether you have conduit more yellow or more orange, those things are absolutely okay. You can add a new color. How will you want to? But just follow the process first, you need to make your back on wet. Then you need to drop in some yellow onto that wet background. Then you can go with your second and third color, which is 1 million Android. Then you can add some clouds, some rounded guns are some linear ones. How will you wish? So that's this guy. Now, we need to wait for this to dry. The main color I used here as Naples yellow. It is because of this color we got that beautiful pixel sky instruct this color if we use the normal yellow gamboge yellow or cadmium yellow, the sky is going to look entirely different from this. This yellow sky. A more soft and a scepter look. If you have gone with some cadmium yellow or Campbell cello of a sky will look more brighter. That's the only difference. But if you'd like to have a practice guy, you can use your normal low interrupt Naples yellow. Now we'll have to wait for this to dry completely before we start with a mountain. So let's take a small break. Okay, so this guy has dried completely. Now I'm going to squeeze out the colors for the mountain. First I'm going to take out some burnt sienna. I'll be mixing this with some sap green to create a fully green kind of a color. So that's the color I'm going to use for the mountain. We don't need a lot of burnt sienna just a little. Now the second color I will need for the mountain as sap green, for the metal will be using sap green Tacitus, we won't be mixing that with town. But for the mountain we want more of a brownish cream rather than a fresh green. And that's the reason why they're mixing that with balancing. So here's my sap green. Let me squeeze out a bit of sap green as well. The next color you will need is a fresh and a vibrant light cream. For this entity class, I'm using watercolors from the brand called Sheehan. It's a Korean brands. And these are their premium watercolor. So they have named this color as leaf green. But I'm very sure the other brands doesn't have the same name. A hacker, light green, lime green than May green, and so many different color. So the name doesn't matter. We want a fresh and vibrant light green like this. If you don't have a similar green, you can just use some lemon yellow and mix that with and love sap green. The next color you will need this integral to add some deeper tones. We'll be using this mainly over the bottom where we're adding those flowers are also, we'll use the same to add some medium tones onto the mountain. Okay, so we have the colors ready. Now, I'm going to take out my size number eight round brush. You can use any of your medium-sized strong crush. You can use size number eight or ten, or any medium-size. As we discussed earlier, I'm going to make some sap green and brown to create an olive green color. And that is a color I'm going to use for the mountain. I'm just following that shape and I'm adding the paint. I will start from the tip of the mountain. That's the bit of brown. I'm picking some sap green Mexican Pet world to create an olive green as a brownish green. And I'm going to add that onto the mountain. Looks like the paper has dried completely, still slightly wet. So I may have to wait for couple of more minutes. We want a really clean and sharp shape for the mountain. You have to make sure your sky has dried completely. Okay, I use a blow dryer to speed up the process. Now, I'm going back with that olecranon, picking some more sap green, I'm mixing that with brown. Now. I'm just following that shape. Looks like this guy has dried completely now. Hello, that shaped properly. And adding your color. Be very careful. It should have a beautiful shape. You can try out the color on a scrap piece of paper, if not too sure about the color that have created, we have simply mixed a bit of brown as well as sap green. And that's the color you're seeing here. For the top of the mountain, we are using an olive green color. So you can use this color almost three-fourths of your mountain. And just along the bottom, you can go with Sap Green. Be sure to give it a good shape because this is a main focal element of our painting. The rest is gonna be a metal. So you can call this as a major element of your painting, are the major substance. Okay, so focus on the shape of the mountain. Now, I'm going to switch to sap green, and I'm going to blend that with this color. You don't need to wash out the paint from my brush. You can readily covered sap green. Apply that right where you stopped your olive green and just blend pattern. It doesn't need to be cleaned blend. It is just that we shouldn't be seeing any strong separation between these colors. Now as you're coming down, you will need to switch to your third color, but just that leaf green. For the mountain, we have used a brownish green as well as a bit of sap green along the bottom. Now for the rest of the area, I'm going to go with that light cream. We want a fresh green for the metal and then brownish green for the mountain. Applying a bit more lifting over the bottom. Then I will switch back to sap green. You can see how colleges that color is. It is perfect for that tender and fresh greenery. Look at that. Such a particular right. Okay, maybe I will add a little more towards the bottom, then I will switch to sap green. That looks nice. Now I'm going back at Sap green. So towards the bottom, I want more of a darker green. This is the area where I'm going to add the flowers so that the background has a really light color. Those flowers doesn't have any focus. So in order to make the flowers stands out, we need to make them sit on a darker background. And that is the reason why we're making this area taco compared to the top. So drop in some medium tones and darker tones along the bottom, I'm still applying some sap green. But right after this, I'm going to add some indigo asphalt to make the bottom even more darker. Just keep in mind, we're not looking for a smooth and fluid gradient here. We just want some taco tones at the bottom. The only thing is that we don't need a sharp separation. It shouldn't look like different blocks of colors. So that's the only thing we need to keep in mind. For that. You just need to simply keep on applying the paint onto the background while it is still wet. This way the colors wouldn't look like different bands. It will have a really smooth look this way. So start off with your leaf green or lemon yellow or any other lighter cream. Then as you're coming down, switch to sap green and try to along the bottom, you can go with some indigo and make it even more darker. So I have added enough of darker tones at the bottom. But you can see here it is looking really via some washing up the paint from my brush. And I'm going with some fresh cream, Picking love sap green and mixing that with leaf green. I'm just running my brush back and forth to make it look better. So as I said earlier, we are not looking for a smooth and clean blend here. We don't want a strong separation of colors. That's the only thing we need to keep in mind. So keep pulling the paint in and out and make it look better. I'm happy with the weight as TomTom. Now, I'm switching to a smaller size brush. Before the background dries, we need to add some medium tones of green on the top asphalt, some using some sap green mixing pad with a little off lift frame. I want a soft green. That's the reason why I'm mixing a little of leaf being but saccharine. Now I'm just adding some lines along the top. Remember those notions we have added? Right now, those pencil lines are not visible. So just go with an assumption and add some lines like this. Background is still slightly wet, so make yourself the time and add some lines. Now there are chances that your background is starting to dry or it has dried. So there is a trick that you can follow. First, you need to add them, those lines and those medium tones using green onto that background. Adding those lines and make those divisions. Once you have added that, wash out the paint from hemorrhage and go back with the leaf green or any of that brighter green you were using. Now using that color, you can simply keeps matching color into the background. So this will give you a more smoother look in case the paint has dried already. Okay, so once you have added those lines, go back to your leaf green and keep pushing and pulling the paint into the background to give it a more smoother look at is really easy. This is just in case if the background has dried already but is still wet, you are on the safer side wanting to worry at all. You can keep on adding those medium tones and add those divisions. So as you can see here, just following that line, and I'm adding some deeper tones along that top line. But my background has started to dry. It is not really wet. So I need to go back to leaf green. And I need to keep pulling and pushing the color into each other to make it look smarter. I think it is going to be better if I use a medium-size brush, does match the colors rather than a small brush. I'm taking out my size number eight brush and making it smarter. This way it is easier for me to smash the color as the brushes quite big with the smallest size brush that will be too many brushstrokes and it meant I've looked at mode. Okay, So how might this area wet? Now, I'm going to go back with my smaller brush and I'm going to add those lines. Again. Our intention here is to add some medium tones onto the metal, especially over the top. And we're going to make it look like a valley. So we'll need to add some lines to make it look more realistic. Otherwise it will look quite plain. I have added a menu as two sections, and I'm just adding some medium tones along the top line of those sections to make it visible. Technically, it is just have lines that I'm adding along the shape of those valleys. And whenever I'm feeling like the background is dry and the paint is not blending properly. I'm going back but some leaf green and I'm blending that into the background so that those lines wouldn't look really rough and sharp. Just add in some lines. Let's make those shapes visible, be shown, or to use a really dark tone of green. You can either use sap green acidosis or you can mix a little laugh leaf green or lemon yellow to sap green to make it a little softer. But be shown how to use indigo or any other taco green over here. I have added some lines. Now I'm using my bigger brush and I'm going with some leaf green. And I'm just running my brush on top of those lines to make it look smoother. There's nothing complicated here. You just need to keep on pushing and pulling that paint into each other to make it look smoother. If you use a bigger size pressure, it is going to be a little more quicker and easier than a smaller brush. So go with any of your medium-size brush when you're doing this. Right now you can see how soft it is looking. I'm adding some more lines from the top and maybe I will repeat the same step to make it look smoother because I don't want those lines to be too sharp and prominent. I want them to look a little soft and smooth. Although it is bottled the of lines I'm adding, I'm just following the same profile up tos valley, bringing them down in an inclined to wait. Okay, So this is the way you should be adding them. Don't go for straight lines or any other kinds of lines. Just follow the same profile of your Valley. I'm really happy with the way it as Toronto, but I also want to add a bit more deeper value of cream along the same lines I have added. I won't be adding a lot just along the same lines we did earlier. I will drop in a medium tone of cream, maybe a little more over here, dragging it towards the top so that we have a clear separation between those two sections. In case if it is to draft, you can pick some more leaf green and try to blend that into the background. I'm really happy with the weight as downtown. Now, I'm going to keep my precious down because I'm really worried I may owe will come from backgrounds. So let's not make that happen. I'm really happy with the way that stands out. So now we have to wait for this to dry completely. So once this dries completely, on, the next step is to add some details onto the mountain. Right now it is looking quite plain and flat. It doesn't have any life. So we're going to give it some life by adding some tuple values. We have to make sure it has dried completely. Because the details that we're going to add onto the mountain should look really sharp. It shouldn't be blurry. So you have to make sure the mountains has tried 100 per cent before you call the next step at a still slightly wet. Meanwhile, the mountain drives. I'll just explain what we're going to do next. We'll just take all my pencil and I will show you roughly how are we going to add those lines onto the mountain. So our intention is to give a good shape to the mountain and make it more prominent. So starting from the tip of the mountain will be adding an irregular line. We will continue that line to the bottom. It's going to be a really odd and irregular line. So that's what the beauty of this mountain. I'm not really sure if you're able to see the line properly because of the colors here. Now, mine is a very simple irregular line. So what I did here is that I divided the mountain into two sections, one on the left and one on the right. And we'll be adding more deeper values and more shadows onto the left side will be just adding few lines using a lighter value on the right side. So that's all we're going to make the mountain look more beautiful, Andrea, elastic. It's a very simple step, yet it is going to have a huge impact on the mountain. This depot values are going to define the shape of the mountain and it will automatically define the shape of the metal as well. Right now you can see the metal is not really defined as we have similar tones of green on the mountain as well as on the metal. When we are adding both Depot values on the mountain, the metal will also get automatically defined. Okay, so let's give it a try. We need a darker value. So I'm mixing some integral with sap green. I'm using my smallest size brush. This one is my size number four round brush. You will need to have a brush which has a pointed tip. First, I'm going to add in that irregular line. So be very careful with this. We need a really strange irregular line. Maybe you can watch out the way I'm adding it. And you can add it with a pencil first, then you can copy the same shape with your brush. Okay? So that is the line. Now using the same brush, I'm going to add some deeper values onto the left side of that shape. I'm not going to fill that entire shape. I will just add few patches. Just follow that line you have added there and add in some color. Okay, So that's the first step. Now we have another tapering and here, this one you see here. Now from the tip of this part, I'm going to add another small irregular line. I'm not going to continue that till the end, just adding some tuple values there. And over here as well. Now I'm going to wash the paint from my brush. And I'm picking some burnt sienna. Mixing that with a little olive green. But in the mix I'm using more of points in a and less of sap green. And I'm going to fill the anterior area and bad color. At some places you have a darker value and at some places you have a brownish tone. This will automatically make your mountain look more beautiful and realistic. Okay, so onto that in-between areas drop in some brownish tone. Once you have added that brownish color, try to smudge it and to each other. While you're doing this, try to define the shape of the metal. Right along the bottom. There you can use that darker value. Now, go back to that brownish color and fill up the remaining area. Your major focus should be on that. It'll align you have added at the middle. The rest of the lines doesn't really matter as your NAV going to smash the color. But you have to be really careful about the line you're adding at the center. It should be really sharp and clean force. You have to make sure the background has dried completely before you add in that line. Now, you've seen that brownish tone. I'm going to add some lines on the right side as well. Just some thick and thin lines in-between, but makes sure the color is not too dark. You can see the color I'm using here. It's a medium tone. It isn't too dark and it isn't too light as well. It has to be visible flexor point, but it shouldn't stand out a lot. I hope I'm making sense here. Okay, so go with a medium tone of that brownish color and added some lines over here also, you can create some pockets to make your model look more interesting. Now you can keep on adding some lines. Be very careful not to make them too dark. Go with a medium to lighter tone. You don't need a lot, just few here and there, so that you can see how pretty mountainous looking. I'm really happy with it. Now the anterior painting has caught a life or there it was looking to plane and flat. It is the beauty of that irregular line we have added that made the whole difference. Now there's one more thing that I'm going to do before we cope with the next step. Right now the mountain looks really defined. It is looking so beautiful, but not the metal. The metal doesn't look like. It has a defined shape. To give it a defined shape, I'm going to go back with a little leaf green. First, I'm going to add that over here. This is just to make this area slightly lighter. So you can see that two dimensions properly. Right now, even though we have added the metal as two separate sections, it doesn't look like that because we use the same color throughout. And that's the reason why I'm making this area lighter. Now. I'm going to wash the paint from my brush and I'm dabbing it on a paper towel. I'm simply dragging those color towards the top to make it look smarter. Now I think that looks a lot better than before because the metal was really defined. You can clearly see those two sections, one on the top and one over the bottom. And it is really looking like a valley now. Okay, so feel free to add lighter values wherever you want to. I have just used leaf green assets. I haven't added any whitewash or in watercolor into it. For this task, you don't need an opaque green. Which green that you were using before. That really works for this. Or we can simply use a lot Lachlan and green and add a pinch of sap green into that. Okay, so once I have defined that shape, if it is looking Ralph, wash out the paint from your brush and go the slightly wet brush and try to smudge the color to make it look smooth. Okay, so that's nearly done. Our next task is to add some flowers at the bottom. 7. Mountains are Calling - Part 2: So we already had a look at the flowers in the technique section. I'll be using the exact same method to add floss in our painting as well. I'm going to squeeze out some white gouache onto my palette. As we discussed earlier, if you don't have white gouache, you can use white watercolor. So let me just write this area and make some space for white gouache. This is the main reason why I love using ceramic palette. It's so easy to clean. So we have the color already here. Now for the flowers, I'll be using my smallest size brush. Before that, I will just clean this brush and keep it aside. Okay, so here's the brush I'm going to use for the flowers. This one is size number two, round brush. It has a nice point, which makes it perfect for adding those flowers. You can use any of your smaller size brush which has pointed to, or you can use a detailing brush. I just flipped my palettes that it is easy for me to work. And I'm adding a few drops of water. I'm starting with my first flower. I'm going to add that on the left side. So you can add as many photos as you born, but focus on the area that you have taco tone in the background. Otherwise your flour and be really visible, focus mostly on the area at the bottom. We have added those deeper values. Maybe you can add one or two on the top, but focus more on the area that you have deeper values so that the flow goes will really stand out. These are very simple flowers. I thought we can start with simple funds and creditability. We can level up the cane and we can go with some complicated flowers. So I'm adding my first flower in a similar way. I'll be adding five or six of them. Some of them will be bigger and some of them will be smaller. And in-between. Are we adding some parts asphalt? Now just in case if you don't want to add this kind of a flower and you want to go with a different one. That's totally okay. These are very simple flowers, but this is a very simple flowers. But to add them all, it might take some time. So don't rush. Take it slow. If you want to take a break in-between, just go ahead and go for a walk or have a cup of coffee and come back when you are in your creative mode. Because if you don't put 100 per cent heart here, even though it's a very simple step, you won't get it right. So if you're not feeling like doing it, always take a break and come back when you're up for it. Okay. Now, I'm picking up some yellow. I have some Naples yellow here, so I'm just using the same yellow. I'm not going to take out any other yellow. And I'm adding a small irregular oval shape at the center. The thing they probably discussing the technique friction. And after that I'm picking some brown and I'm adding some towns. Okay, so that's my first flower. Now in a similar way, I'm going to add few more flowers. I'm going to switch back to white gouache. I think first I will fix the shape of this flower. I'm not really happy with the pattern because this one is quite big and it will be really visible. Let's fix the petals first and then I will go with the second flower. As I said earlier, you can add as many as you want. I won't be adding a lot. I'll just add five or six of them. I'll also be going with different sizes, but not because until now let me add a second one. So once we add me flowers, we'll be adding some crazy pattern. So right now the flowers may look like they're floating in the air. By just don't worry about that. I'm adding my second flower a little about the first one. Let's make it a bit smaller than the previous one. To make it look more natural. You don't need to follow the exact same location that I'm adding my flowers. Just go with your cuts and add the variable you want to. Maybe you can stop looking at the screen and come back when you're finished adding your flowers. Okay, so that's my second flower. Now I'm switching to yellow, adding some yellow at the center. We calculated earlier. So that's yellow. Now I'm picking some brown and I'm adding a few dots. So that's it. That's our second flower. For the rest of the class, I will first add the byte shape. Then once I'm done with that, I will come back to yellow and brown and add the remaining details. So I'm going to quickly add few more flowers. You can add them variable you want to, as I said earlier, you don't need to follow the exact same locations, but I'm adding them. So just ignore what's happening on the screen and add in your flour. The flower I added right now, I didn't complete the shape. I just added half of the petals and I'm going to leave it as it is. So this will make my painting look more interesting. I will have different kinds of flowers and it will add a natural value to the painting. Let's add the next one. You can see the way I'm adding them. I'm adding some of them at the bottom and some of them at the top. I'm playing with different sizes. So just keep those things in mind. Don't add them in a similar way. Go with different sizes. And Adam in a very random order, don't add them in a line or in a particular pattern. Okay, So some of them can be bigger and some of them can be smaller. And add them in a very random way. Alright, so I have added enough of flowers. Now I'm just adding some dots. Maybe just three or four of them. Again in a very random order. These are going to be the buds. Again. So I have added four of them. Now, I'm going to wash out the paint from my brush and I'm going to switch to yellow. Right now. We have just added the shape. Now to make our flowers look complete, we need to add that detail at the center. So go with any of the load you were using earlier and add a dot at the center. Do that for all the flowers you have added. Once you're done with the yellow, golden, brown, and add in some dots and make your flowers look complete. Okay, so that's our next task is to add in some crazy lines at the bottom. Now you can see the flowers are just floating here too. And this graphing lines, we need a lighter green. So I already have some Naples yellow on my brush, which is a place to lay low potassium white. So I'm just mixing that readily with sap green to create a lighter green. You can just mix a little of white quash that saccharine to turn that into a lighter tone. Now, using that color, first, we can add a stem for all these flowers we have habit. Go with a thin line. Don't make it too bored. So be sure to use a brush which has a pointed tip. Just add a curvy line for all these flowers as well as for the buds. This is the first step. Now along with this, we'll also be adding some grassy lines and some leaves. So first let's finish up this. Pick all the flowers we have added, and add in a line using a lighter value, queen. If you use a darker tone, it won't be visible as we have a darker tone in the background. That's the reason why I mixed a little bit of Naples yellow with green. We have done adding the stem for all the flowers. Now, we need to add some grassy lines as well as some leaves. I'm using the same green. And I'm going to add some random curvy lines as well as on grassy patterns. I'm going to fill up the bottom. Right now you can see it is quite planned at the bottom. So we're going to fill up this area by adding these kind of lines. So it does just some freehand curvy lines which can be considered as grass or long pointy leaves. Now when you're adding to the grassy lines, at some places you can deliberately skipped the floss and some places you can add them on top of the flowers. This will make our painting look more beautiful. The step is really important to make your painting look complete. Otherwise, tours flowers will look really weird. So choose any of your smallest size brush, or any other breakfast as a pointed tip and go with a lighter value of cream and add in some crusty lines. It is just some freehand lines. You don't need to worry about how they're looking. You just need to make that area dense. So keep on adding some lines like this and fill up that enter your bottom line. Okay, So I have enough of lines using a lighter value of green. Now, I'm gonna go with a slightly tackled value and I'm going to add some more lines. So some of them can be longer and some of them can be shot to make them as interesting as possible. You can take them a little into the middle. This will make your painting look more beautiful. Try not to restrict your hand at them in a very free hand curve. This will make your painting look even more beautiful. So try not to break those lines in between Adam in one go. So using that darker value, I'm going to add few more crafty lines. Maybe I will take them a little into the metal to make the painting look more interesting. I'm adding some integral with sap green to turn that into a darker green. And I'm going to randomly add some more grassy lines. I'm deliberately making some of them overlap the flowers. In a similar way. You can add as many as you want until you feel like you're happy with the result. You can see how pretty is looking right now when we added those scratchy lines earlier, it was looking quite empty and it was really looking like the flowers for floating in the air. It didn't had any realistic value to it. But now those grassy lines has changed everything or pleadings looking so beautiful. For this painting, we went in with a very prominent shape for the flowers. And they're quite big castle. And that's the main reason why I added the grassy patch. After I have added the flowers, The paintings where the size of the flowers are quite small and they're not too prominent. We'll be adding a grassy pattern first, then we'll be adding the floss on top of it. But for this painting, the flowers are quite big and they're prominent. So we need to make them go with the background. So we need to make some of the crazy lines overlap with the flour to make them look like they're going there with the background. I have added in a grassy lines, you can keep switching from taco value to lighter value and adding as many as you want until you feel like you're happy with the results. I'm happy with the results. I think I can call it done. Now I'm going to wash with paint from my premise and I'm going to switch back to white gouache. Now, I'm going to add few dots here and there. Just some teeny tiny dots to make it look like there are some smaller flowers and between I'm using the same size, number two brush, and I'm adding some teeny tiny dots in a very random way. At some places you can add three or four dots together to create some smaller cluster. And at some places you can add one or two in a random way. These doesn't need to be too prominent, so be sure to make them too tiny to go to pick a size. Now in a similar way, I'm going to create another cluster over here. I'm adding some white dots close to each other. They are super tiny. You can see the size of them. If you're not too confident and adding them, you can skip this step. But in case if we're adding them, they have to be super tiny. You can see the files. These are quite far from us, so we shouldn't be making them too prominent. So you'll have to use a brush which has a pointer to any of your detailing brush will really work. We can add some similar ones here as well. This is really optional. If you don't want to add them, you can totally skip this step. I would just add two more here. And we'll be done with our painting for today. Alright, so I have added some white plaques in the bathroom, asphalt. I just loved everything about this painting. The color combination, the sky, the mountain, the meadow, the floss. I think everything is just going so well to ketones. Now it's time to peel off the masking tape and stare at a record just painting. When you pick the Moscow day, be sure the painting has dried completely. If it is still wet, leave it for some more time and let it dry completely. And we're pulling it off remotely periods at an angle. This will prevent your people from ripping off. Be very gentle and period at an angle. All right, so here several first painting. I cannot tell you how much I love the sky. I'm very sure I'll be using this guy in one of our upcoming painting, asphalt. So here it is. You can see that colleges mountain, the metal and those beautiful flowers. Everything is looking so pretty. I hope you all enjoyed our first painting. Thanks a lot with China today. I'll do it tomorrow, but I will skip painting. 8. DAY 2 - Purple Corn flowers: Hello, Hello, welcome to day two. Here is the gorgeous painting that we're doing today. It is pretty easy and quick asphalt. When I first tried this color combination, I wasn't really sure how it is going to look like, but I was so surprised to see the results, how well that green and violet is complementing each other. So let's have a look at the colors you will need for today's painting. I'm very sure you guys can guess half of the colors that I'm going to use for this painting. Obviously, you will need some blue for the sky and that leaves green for the landscape. Also some sap green then violet for the flowers. Yes, that's right. Those are the colors I'll be using. Any way. I will quickly surpass those colors on my sketchbook. Then we can start with the techniques right away. The background is going to be a wonderful exercise. We're going to paint the interior background in one single layer. Will first make the background white. Then we will apply blue and green onto the background and will create those graphic pattern. It's a very interesting one. I'm so excited to show you how you can create this background for this guy. I'm going to use certainly improve. I already mentioned this in my color palette section. You can use any other blood type code. We just need a medium tone off any of the blue. Then for the landscape, I will be using leaf green. You can use any of the lighter green you have car, or you can use lemon yellow asset is. Then to add those long leaves and grassy pattern. I'll be using sap green as well as a little of burnt sienna. Okay, So these are the first set of colors you will need to create that background. I will take a little off all these colors onto my palette. Then I will swatch one by one. Just like I mentioned earlier, for the sky, I will be using cerulean blue. You can use Prussian blue or cobalt blue are any other blue of your child's? We just need a medium tone and we will be applying a solid bars for the sky. Now for the grassy background, the main color, I will be using a cliff cream. You already know how you can create a similar color. If you don't have like cream is roughly print or any lighter green, you can also use lemon yellow acids. The next color you will need a sap green. We'll be using sap green to add some medium tones as well as the final details. Now along with this, you will also need some glancing at some places to make our painting look more natural. I'll be using olive green. So we'll be using a little of burnt sienna along with sap green to make our pattern look more natural. I have squeezed out four colors. Cerulean, blue, leaf green, sap green, as well as burnt sienna. Now, I'm going to space out the colors one-by-one. So this exercise is mainly focused for beginners. If you're an intermediate artist or if you're an advanced artist, you can skip this exercise. Maybe you can directly go with this technique section. You can skip the color swatching exercise. So my focus here is mainly on the bigness who might not be that familiar with the colors. To be honest, until three years back, I never knew about a color called sirloin blue. I just knew Prussian blue and cobalt blue because those are colors which comes in the normal watercolor set. So I think this exercise is really important for beginners who are just starting out with watercolor that is serene blue. Now I'm going to swatch out lifting. You already know how to create this color if you don't have a similar one. And also you can use any other color which is similar, like green, gold, or migraine, or any other color. Next, I'm going to swatch out sap green, which is again a common color. For the background, will be mostly using leaf green. We will first apply that until the entire background. Then we will add some medium tones using sap green, and also a bit of burnt sienna. So that's how we're going to create that soft and subtle queen background. We won't use any taco values. Okay? Now finally, I'm going to pass out burnt sienna, which is again, another common color. It comes in all the basic watercolor sets. So I'm guessing you all have it. Now, just in case if you don't have one, you can use a bit of vermilion or any other kind of orange. We wouldn't be using brown asset is where we mixing a little of that leaf green as well as actually to create a brownish green. You can see that color here. We'll be using that mostly for the bottom. So that brown color is not really visible. So just in case if you don't have bones in our, any other problem, you can use boolean or any other orange. So I just mix a bit of brown with Zachary. That's the clue will be using for the bottom. So this is the reason why I said it is okay not to have one Tina Brown. I hope that is clear. And also we don't need a lot of brown. Just quiz out a teeny bit of burnt sienna. Don't squeeze out a lot. Okay, so that's some rice, all the colors you will need for the background. So just like I mentioned earlier, we'll be playing mostly bit lighter and medium values. And only for the flowers and for those parts we will use a taco value. You can see those leafy patterns here, even for that, will be mostly using medium tools. Okay? So before we start with the class project, I'm going to quickly show you how you can create that background. Because painting that background is really easy, but at the same time, it can be a bit tricky. We'll be using wet on wet technique for the background. And you have to apply all the colors onto the background in a quick and consistent way so that we can apply them before the background drives and also we can get that blurry background. So I'm going to quickly show you how you can do this. I have created a small section here. Now, the first step is to make the backroom wet. I'm using my one-inch wash brush and I'm going to apply a clean coat of water onto this anterior area. The anti-tobacco has to be evenly wet so you can take out any of your bigger brush and clean water onto the enter your background. Keep running your brush multiple times just to be sure the water has raised her everywhere. Okay. So how I made my background, but now I'm switching to my flat brush. You can either use a flat brush or a round brush. It doesn't really matter, but go with a medium to pick a size. Now, I'm adding a few drops of water and I'm turning back serene blue, intermediate tone. You can see the way how I have applied paint onto his car. It's just a solid wash. It is plain and simple. Just apply a flat wash off surly and blue onto the sky. I'm going to apply the paint will almost center, or maybe a bit about the center. Okay. Now from here, I'm going to switch to leave Crete. Water, the paint from your brush properly, especially green. Now, apply this onto the leftover area. You can also use lemon yellow or any other greenish yellow or yellowish green. Now when you're almost reaching the bottom, switch to that brownish green and apply that at the bottom. It doesn't necessarily need to be a clean blend. Our intention is to dropping the colors before the bathroom tries. So start with the sky. You can use any blue have caught. Then quickly switch to your second color, which can be any yellowish green. And towards the bottom we can introduce a bit of sap green or that Philip Green. Okay, So that's the background. Now we've talked about on dries out, there's one important thing that we need to do to create that blurry background. For that, you should be using any of your smaller to medium-sized brush. I'm using my size number four round brush here. And I'm just going to drag that yellowish green into the sky. I haven't taken any paint on my brush. I'm just dragging my brush towards the top. I'm just using the paint which I already have in the background. See that this has the effect we're going to create here. We don't want the sky and the landscape to be seen separately. We want a seamless blend here. That is the main reason why we are doing this while the background is still wet. So keep on dragging your brush towards the top. There is nothing to worry here. You can simply keep on dragging your brush towards the top until you feel like you have got a seamless field over there. We have used a lighter tone for the sky as well as for the landscape. So even if you pull the blue down into the clean, it wouldn't really affect your background. So don't worry about such things. Those are not going to affect your painting. Now, I'm going with a medium tone of sap green. I'm using the same brush and I'm adding some leafy patterns or maybe grassy pattern at the bottom. Again, I'm just dragging my brush towards the top and I'm adding some long and thick lines. Are packing industry wet. So we have to make yourself the time and make the bottom area more denser. Otherwise, your background will look really plain and lifeless. You can see the way how I'm driving my brush towards the top. You don't really need to worry about the shape of these lines. Just keep on adding them. Even if you put a lot of effort as the background, the sweat, then they tries, it will look blurry. So there is no point in putting a lot of effort here. At some places you can use a bit more brighter tone of cream. And at some places you can use that olive green. So these things will add a lot of natural value to 0 painting to make it look more realistic. This is the exact same method we'll be using to paint our background. You can see how pretty it is looking. Then we added those leafy patterns as well as the flowers. The major thing we need to keep in mind is the tonal value of the colors. You shouldn't be using darker values, even for the sky as well as for the background, go with lighter values. In case of fields, darker values for the background, these flavors that we're going to apply, it won't stand out. So be sure to use lighter to medium tones for your background. Next, I'm going to show you how you can add these leaves as plastic flowers. Adding those long leaves and grassy pattern, you should be going with a medium tone of green. Don't make it too dark. And also to light, it should be visible from the background. And also you should be a bit careful about the shape. These are going to be the full count elements. So they're going to be really visible. Now I'm mixing some water and I'm turning my sap green into a medium tone. The background hasn't dried it. So I will quickly show you some leafy pattern on the right side. For this exercise, you will have to use any of your smallest size brush or any brush which has a pointed tip. So press your brush against the paper to make the lines thicker and then make it cool way at the tip. That you can make it in different shapes and different sizes. And also different tonal value. Some of them can be shorter and some of them can be Lanka. And also some of them can lean on to the right and some of them can lean out to the left. So make it as interesting as possible. Be confident that your brush and tell yourself, I'm going to get it right and adding a beautiful freehand line. To be honest, this is a very simple line and if just one or two, it won't look nice, you should be adding a lot of them. So that is what brings some time density in your painting. So in a similar way, you will have to add lots and lots of leafy patterns at the bottom and make your painting look more interesting. You can see how pretty that line is looking. Let's add few more. Maybe for the next one, I will use a slightly lighter tone of green. See that? So that's a lighter tone of cream. In a similar way, you should be adding these lines using different tonal values and different kind of green and olive green. That maybe I will pick some brown. And I will add another one using a brownish green. Play with different tonal values is the easiest thing you can do to bring in some interest in your painting. I have squeezed out some brown, mixing some green with them to create an olive green. Now using this color, I'm going to add in some more leafy patterns that have used a greenish brown here. Maybe we can add one or two more. Shorter one here. So try to make all these lines different from each other. Don't add them in a similar way. Some of them can be more curvy and some of them can be straight. You can see how I have played with different tonal values as well as different shapes. Just keep that in mind so you know how to approach your class project. Now, I'm going to add some similar leafy patterns onto the background we painted earlier. Right now, it has dried completely. So just add in some long leaf in lines. You don't need to worry at all. I had them. How will you want to? As I mentioned earlier, some of them can be longer and some of them can be shorter. And some of them can be using a medium tumor and some of them can be using a taco value. Be as confident as possible, and add in your line. It is okay, even if you mess up the shape of your lines, there is nothing to worry about it. But just be sure not to use a darker value. Concentrate mostly on medium and lighter tones. Because we want the background to be soft and subtle. We don't want it to be too busy and board. So that's the only thing you need to keep in mind. There is nothing much to worry about the shape of the leaves. Okay? So let me quickly add some more leaves onto this background. Okay? So this is how it has two on top, will be adding more leafy patterns onto our class project to make it more dense. So right now we haven't added much. And for the same lesson, you can find it a little blank and empty. But never mind, I'm here to make you understand how to approach the class project. Let's try not to focus on perfection, and let's try to understand the process as well as the techniques. Now before we wrap up this session, we'll need to try out how to add those flowers. You already know the color that we're going to use. I'll be using permanent violet. I already have wild watercolor with me in case if you have one, you can use that directly. Otherwise you can mix and create your own violet. You just need to mix Prussian blue and crimson or any other blue and crimson. We just need some violet, whether you mix and create your violet or whether you use a ready-made Violet doesn't matter. I've taken some violet now. I'm going to take out some white quash as well. We need to turn the violet into an opaque ocean. So for that, we need to use a bit of whitewash. If you don't have white gouache, you can use white watercolor. But my first preference would be white quash asset is more opaque than watercolor. I have taken some white gouache as well. Now to add the flowers, I'm using my size number four on crush. The flowers that we're going to add onto our painting is called, its original name is century as sinus. I'm not really sure if I'm pronouncing it right. Anyway, this is the flower. So it seems like in the past it often grew as a weed in conflict, and hence it got its name. Whenever painting we'll be going with a very abstract shape. We won't be adding a lot of details. And also I'll be using a wider sheet for the flowers. You can use violet or blue. It can be either ultramarine blue or blue or pretty blue or any other blue. So this is a color that I'm going to use. Before I decided to go with violet, I tried both violet as well as ultramarine blue. And I was convinced with a wide adoption as it had a better contrast compared to the blue. But the choice is yours. You can either go with blue or violet. Other than that bright color, there is one more thing which attracted me towards this flower. It is nothing other than it's upright posture. It seems like these flowers can grow in any type condition as they always keep themselves upright. I think this is something that we should learn from contrasts. We should always stand tall and stand proud. Always keep in mind, you are unique and magnificent. I think now is the perfect time to try these gorgeous flowers. As I said earlier, I'm gonna go with violet. You can choose violet or blue for your flowers. Use any of your smaller to medium-sized brush. First, I will space out the color and I will make the color palette complete for this painting. So that is permanent violet. It's from the branch hand. It's a gorgeous color. I use it quite a lot for night sky. This tube is almost over. I think it's time to get a new one. The other violet allow us from White Nights. That's another pretty violet is really vibrant, just like this one. Okay, Now let's try out the flower. I'm going to add a bit of white quash to violet to turn that into a lighter and an opaque one. No matter whether you're using white gouache or white watercolor, you're going to follow the same method. So if you're using white watercolor, just add in a bit of white into violet and turn that into a lighter tone. Now let's try out the flower at a very simple one. So I already have some violet paint on my brush. Now I'm just going to add some lines, some curvy lines close to each other. At the bottom you can make them closer. And at the top you can leave a little gap in-between. So just keep on adding some curvy lines starting from the bottom towards the top. That's the basic shape of the flower. Now we can clean that shape. I'm just running my brush along that lines I added earlier to give it a better shape. The one I added right now, it is quite big for our class project, we'll be using some medium-size flowers. It won't be this big. So that's a basic shape. Now, I'm going to pick some white gouache and mixing that with violet to make the color lighter. Now using this color, I'm going to add some highlights on the top. So I added some white gouache with violet, and I turn that color into an opaque version. It was a medium tone. And I added that basic shape using that medium tone. Right now, I'm using a lighter value violet, and I'm adding some highlights on the top. If you look at the flower, right now we have different tonal values of violet. And now I'm washing off the paint from my brush and I'm going with a much more deeper value of violet and try it at the bottom. I'm just adding some people value. So just add that at the bottom. You simply need to drag your brush towards the top. We don't need a lot of darker value here just to let us all we need. So we have three different tonal values of violet in that flower. And that is what makes it more beautiful. Earlier it was looking very flat and lifeless. Right now when we add a different tonal values, it is looking more cautious. Now, I'm adding some blue with green to create a darker value. And I'm going to argue for shape right at the bottom of this flower. See that? Now our flower is complete. We'll be using the same method to add flowers onto the background as well. So maybe you can give it a try so that you'll be really confident when you are attempting our class project. Now just in case if you want to make your flower more detail, you can check out any of the images that I shared earlier and try to replicate that shape in your painting. Otherwise, you can go with a very abstract shape like the one I added here. Now the next task is to try out some birds. I'm using the darker value of green, which I use to add that U-shape at the bottom of the flower. And I'm adding a long curvy line. You can understand how will you want to, you can make it more Kirby, or you can call it a straight line. Now I'm making it Coby and I'm bringing in town. And over here I'm adding a U-shape, an inverter Dequeue. So that's the basic shape. Now I'm adding some multiple value here using the same color. I will add one more over here. So this one is facing up. So we have added that U-shape. Now I'm going to wash all the paint from my brush. Now I'm picking a lighter value of cream and I'm finishing up that shape. So at the bottom we have a darker value of green, and at the top we have a lighter value of cream. I'm gonna do the same over here. But onto the top, I'm going to introduce a bit of bonds now. Just to make it little different from the other one. Because I love bonds. And add that at the top of the bud. That's it. So those are two kinds of birds we'll be adding in our painting. Let me just take the class project. So you can see here for these two buds on the left side, I have added a brown tone on the top. And for the others, I have simply added a lighter green on the top. So that's how we'll be adding the buds and the flowers in our painting. I'm gonna just add the name of this color. It is permanent violet. All right, So data set, I hope you guys have the colors as well last year our total with the techniques. Now they're all set to start our second painting. As I mentioned at the beginning, it's simply get an interesting painting. I really love the color competition as well as how the battle totally ready to give it a try and join me the next section, Let's start with our second class project. 9. Purple Corn flowers - Part 1: Before we start with the class predict, I want to remind you a few quick things. I hope you guys had a look at the technique section. If you haven't, it is really important to have a look at it. We're going to paint the entire background as one single layer. We'll start with the sky and will together paying the middle. So there's going to be really helpful if you can try out the technique on a small piece of paper. It doesn't need to be perfect one, just grab a small piece of paper and try it out. To be honest, it is a very simple painting. There is no much complicated techniques involved in this. We are going to use wet on wet technique to paint the background will be dropping the colors onto the wet background one after the other. So we're planning to paint the anterior background in one single go. That's the reason why I told you to try other technique first, this will give you a better understanding and a clarity about the class project and how to approach it. Alright, so here we are. We have all the colors ready, and I have already taped on my people onto the board. Now, I'm starting off by applying a clean coat of water onto the entire paper using my one-inch wash brush. We are going to paint the entire background in one cool. It's going to be a very interesting painting. I'm beautiful one as well. So first apply a clean coat of water onto the entire background. Okay, so I have made the people wet. Now, I'm going to switch to my flat brush. Let's press a half inch flat brush. You can also use it on fresh. It doesn't really matter. We just need a medium to, because I splatter brush. Now I'm starting off with a medium tone of cerulean blue. It shouldn't be too light and it shouldn't be too dark as well. I'm going to apply the blue almost to hear about the center of the paper and can use any blue of your choice. It doesn't need to be certainly in blue. So I made the bathroom wet and I'm using a medium to another cerulean blue and I'm applying that onto the sky. Okay, so that's the sky. I haven't added any clouds or I haven't went with a fancy sky. It's just a solid wash. Now I'm washing off the paint from my brush and I'm switching to light green. This is the color that I'm going to use. You already know how to create this color. If you don't have a similar one, you just need to use lemon yellow and a bit of sap green, mixed them. Well, I will get a similar color. Now. I'm applying that onto the leftover area. I'm not leaving any cap and applying that right next to the blue, where you have your sky and the meadow meeting, you will have a slight greenish color, but that's absolutely okay. You don't need to worry about that. Just go to the flat wash and apply that on to almost the anterior area. You can leave a little gap at the bottom. Over there. I'm going to introduce a brownish green. I'm just picking some sap green and mixing that with a bit of brown. I want an olive green color. I'm not going with that fresh sap green. So I just mix a little of brown with sap green. This is the color that I'm going to use. That. Now I'm going to apply this onto the leftover area. In case if you have an olive green color with you already, you can apply that directly. You don't need to make some make the color. Okay, So that's the background. We have settled in blue for the sky and try to have this top sirloin blue. We have started off with lift cream. And towards the bottom, we used a holocrine. So that's the base layer. Now before the background layer drives, there are few more things we need to do. So right in the middle and the sky is meeting, we need to apply some grassy patterns to make it look more natural. I don't have any leftover sap green on my palette, so I'm going to squeeze out a bit first, just a little. Okay. Now I'm going to switch back to leaf green. The color from the sky has gotten down into the grassy meadow and you can see a patch over there. I'm just trying to make it clean. Just running my brush back and forth and trying to get rid of that, we'll patch. Alright. Now comes the fun part. We're going to create some graphic pattern on the wet background using the paint The only have on the meadow. You can use any of your medium-sized round brush. Maybe you can take a look First. I'm just dragging the brush towards the top and I'm pulling that green paint into the sky. And I'm creating a grassy pattern where the sky is meeting the metal. So my index here is to get a blurry background over here where the sky and the metal is meeting. So I'm just dragging my brush towards the top. If you feel like there is no enough paint and if the background is starting to dry, you can pick some paint and keep on dragging the brush. And in-between you can switch to sap green also that will open and keep repeating the same steps. Don't go with any darker tones, go with a medium tone. We want the background to be really soft and subtle. So let's not try to use darker values. Over the bottom, you can use sap green as well as a bit of olive green. We wanted to make as natural as possible. So mixin use the colors if you only use sap green. Look that natural law at some places you can use that will have green, and at some places you can use sap green. Bailey's up quick, we need to do for the background tries. If your background dries, you won't get that software so big as quick as possible. These doesn't need to have any particular size or shape. You just need to keep on pulling your brush towards the top and add an *** many crashy patterns as you want. It's really simple. Maybe you should give it a try and understand that by yourself. Don't be scared. Just keep on repeating the same steps until you're happy with the result. So right now you can see here, I went in with a bit of brown venues, different tonal values of sap, green, and holocrine. It will automatically make your background look more natural. We're nearly done. I'm quite happy with the background. You can see that blurry look where the sky and the metal is meeting. This is exactly what I had in my mind. Now onto this background when it dries, we're going to add some flowers. If you use darker values for your background, the flower that we're going to add won't really stands out. And that is the main reason why I use lighter values for the background. You can see the colors I have used here. They are looking very soft and fresh. So try to go with a similar color palette and be sure not to add any more lines if the background is dry. Now, just in case if you couldn't add lots of grassy lines, if you're back on track quickly, that's absolutely okay. You don't need to worry about that. Once the background dries, we'll be adding more grassy lines. So don't worry if you couldn't add a lot at the moment. Okay, now, let's take a small break and let's wait for the background to dry completely. Alright, so the background has dried completely. For the next step, I'm going to use my size two round brush. You will have to use any of your smallest size brush, which has a pointed tip. We're going to add more grassy lines onto the background. I'm starting off with sap green. I'm using a medium tone. Even for this term, we are going to use any taco values. We are restricting ourselves to medium tones. What are the color that you're using? I haven't mixed any blue or any indigo into cream. I'm just using sap green acids. Looks like my background is still slightly wet. Never mind. I'm going to continue with the grassy lines. So this time I'm making them much more long code. You can just go with one single line or it can add some more leaves onto that. But go with those long lines. We are trying to make it look like those are long leaves. Again, I'm just dragging my brush towards the top and I'm adding some long lines. You can make it more wavy and kiwi to make it look more natural. You get added as many as you want, but just be sure not to use a darker value and go with a medium tone. See that you can see the kind of lines I'm adding. Some irregular long lines. There's nothing much complicated here. Some of them you can take a bit into the sky. God, different kinds of lines. Some of them can be more COVID and some of them can be a bit straight. And some of them can be longer and some of them can be shorter. Again, put this to pass wall. You can use sap green as well as full of grain, but try to use medium tones, don't make it too dark. So this is actually the second layer of crazy lines, if you remember, we first added them on the wet background. Right now the background has dried and we're still using a medium tone off sap green as well as what Ukraine. And we're going to add some old crusty lines and some leafy pattern. All these crazy lines we're adding right now, they all our background elements. For the foreground elements, we should be going with a much more darker value of cream. So that's gonna be the last step, will be adding one more round of grassy lines using a slightly darker tone of green. Okay, so for now, you can use the medium tones and add in some long irregular lines. So there is no particular number of grassy lines that you need to add and there is no particular limit. Whenever you feel like you're happy with your background, you can stop it there. I will be adding few more, especially onto the left corner and to the right corner. I haven't added Mitchel what they're high concentrated mostly on the center. So I'm going to add a few more and I'll be done with the second round. Okay, so here we are. This is how our painting is looking right now. Now, as I said earlier, I'm going to go with a third round of grassy lines. So this one has to be slightly more darker than the color we have used in the background. Go with a bit more darker value of green. You still can use sap green asset of zero need to add an any blue are integrated to that. You can just reduce the amount of water and go with a slightly brighter tone of cream. Also, you should be using a brush which has a pointed tip. So go with any of your smallest size brush or any brush which has a pointed tip. Now, I'm loading my brush with sap green. I'm going with a much more brighter tone than earlier. I'm starting off the first-line. So these are the foreground elements and that is the reason why you should be going with a much more taco value. Otherwise they won't be visible. We'll be adding some flowers onto this. So this one has to be really frighten. You can see the color that I'm using q, it is really visible from the background. I have made some mistake over here. I'm going to cover up that with the crusty line. Just covering that with a darker value of green. Looks better. Now, I'm going to add in some more grassy lines using that same tonal value of sap green. As you could see here. Right now, I'm going with a much more defined shape. Earlier, I will simply dragging my brush and I'm creating some long lines. But right now I'm giving them a good shape as this a foreground elements. And they have to be slightly more detailed than the background elements, give them a good shape. Just like I said earlier, you can switch from suffering to olive green. Some of them can be with sap green, and some of them can be with all the print. And also you can go with different lengths and different shapes. Some of them can be longer and some of them can be shorter. And in a similar way, some of them can be leaning towards the right and few others can be leaning towards the left. So bringing different kind of leafy lines and make it as interesting and as natural as possible. Some of them can be overlapping as well. All these little details will add a lot of realistic value to your painting. Okay? So this is our next task. You can add as many as you want. But whenever you feel like you have added enough, you can leave it there. You really don't need to look at the number of leaves and adding. And also the way I'm adding, you can add them how you want to just patch or the color that you're using. It should stand out from the background. So go with a slightly darker color than what we used for the background. That's the only thing you need to keep in mind once we are done. But those will be picking few lines from this and we will be adding flowers onto them and planning to add three or four of them. I won't be adding a lot. And also in-between we'll be adding fuel, What's as well. So right now your task is to add an *** many cross the line size you want and make it as interesting as possible. Okay, so here we are. I think I have added enough off there. I tried my best to use different shapes and different heights. And I'm pretty happy with the way you test on top. Now, our next task goes to add in the flowers for that, I'm using permanent violet color, which I really love from my collection. And I think you can see that by the condition of the tube, it is nearly over. I've switched out some violet onto my palette. Intensive how Violet watercolor, you can use it as it is. If you don't have a wild world, that is absolutely okay. You can just mix and create a violet using Prussian blue and crimson. Are any blue and crimson. So don't worry if you don't have Violet watercolor. Now the next color you will leave it as white. It can be white gouache or white watercolor. How white gouache? I would prefer using white gouache or white watercolor as it is more opaque. 10. Purple Corn flowers - Part 2: Before we start adding the cone flowers onto a painting, I just want to remind you, it is absolutely okay to use any kind of blue or violet. You don't need to stick to Allen just because I'm doing it here. You can either use ultramarine blue or any other brighter blue of your choice instead of violet. Also, I'm gonna go with a very abstract shape for the flowers. I'm not making it too detail. So you can take a look at these images here. And if you'd like to add more details, you could do that. Okay, I hope it is clear. Now we can start adding the flowers onto a painting. This is the color that I'm going to use for my painting. I tried both the colors tonight really loud. How the wild I've looked on the screen background. There's a reason why I thought of going with pilots rather than blue. I tried both of it. So this is what I like to give it a try before you're choosing your color for the flowers. Maybe you may like Blue Button and Violet. Who knows? So give it a try. Alright, so I have squeezed out some violet as well as white gouache. Now, I'm going to mix these colors well. And I'm going to create a lighter version of violet, which is opaque. So you're adding white gouache into your paints. So that will turn your pins into an open question. As you all know, watercolor is a transparent medium. So when you use it acetals, there are chances it may fade out when the painting dries. So when we turn our paint into an oblique motion by adding white gouache, even after the painting dries, those flowers will really stand out. And that's the main reason why we're doing this. When you're adding white flowers, you can use your white gouache acidosis. But when you want to add those colorful flowers, like violet floss or yellow or orange flowers. You will have to mix a little of white gouache to any of the color that you want to use for your flowers. So that's what I did here. Now, I'm going to add my first flower IN your floss. Try to add them at different height. As you can see here, for my first flower, I use the longest line. So this is the longest green line I have in my painting. The rest of them are much more shorter. So I'm trying to add them at different height and this will make my painting look more natural. So I have added the base shape is the same way how we try in the technique section. First, you need to add that base shape at a very simple flower. You just need to keep on dragging your brush towards the top and try to get a similar shape. Okay, so I have added the beak shape using a lighter value of violet. Now I'm going to pick some taco tune. And I'm going to drop that right at the bottom. Again. I'm dragging my brush towards the top. At the bottom we have some taco value. See that? That's our first flower. Is he right? It's not too confident. You can try it on a scrap piece of paper and pen to get that shape right. You can add that on your main painting. So start off with a lighter tone or violet. You just need to make some white gouache into wildlife to create that lighter value, which is an opaque version of violet. And an attorney with that you can use violet acids and add some deeper values at the bottom. That is set. It's a very simple flower. Give it a try. I'm very sure you're going to love it. Okay. Now to make it complete, we need to add one more detail. For that. I'm going to switch to green, but this time we need a darker value of green. So I'm picking some cerulean blue and mixing that with sap green to create a darker tone. Now using that color, I'm just adding an oval shape here. That is a vessel first flower. Now in a similar way, I'm going to add three more flowers. You can add as many as you want. There is no limit here, but then add them at different heights. This will make your painting look more natural. And planning to add my second one over here. I'm trying to go with the smallest size. Are they adding all of them at different heights to make it look more natural? Okay, so just like how we did earlier, start with the base shape. Once you have that V-shape and add some taco value right at the bottom. It's a very simple yet a beautiful flower. Just give it a try. If you haven't tried it yet. Don't be scared. Just give it a try. I'm very sure. I'm very sure you're going to get it right in your first try itself. So the second flower is almost done. I cannot tell you how much I love the color combination. As we used a lighter value for the background, those wildflowers are really standing out. And this is the exact same reason why I used a lighter tone for the background. If you use taco values, those flowers wouldn't really stands out. Right now. Those colors are complementing each other. Okay, so that's my second flower. Now I'm going to screws out of the integral. I don't have any cerulean blue on my palette. So integral to turn the green into a darker one. I'm mixing that with a bit of sap green, small oval shape. It's not a complete oval. Maybe I should call it small gu. Okay, so that's our second flower. Next, I'm going to go with a darker value of green. And I'm going to add some leaves as well as some parts onto the painting. I'm just mixing a little laugh integral with Zachary to create a darker value. It isn't that dark. Maybe slightly darker than the color that I used earlier. Now I'm just adding some leafy pattern. Maybe let's add some highlights as well using the same color. Now I'm going to add a few leaves using the same color. Then I will add some parts asphalt. I would recommend not to add lot of Legos using that taco value. Maybe you can add one or two here and there, but not a lot. Let's concentrate more on medium tones. If we add lots of depot values in the foreground, it will make opening look busy and it will automatically kill that fresh and soft Luca for painting. So just to add few leaves using that taco value, I'm going to take this line and I'm going to add a part onto this. Does exactly the same way how we tried in the technique section. First, we will add a U-shape. Use a darker to medium tone of green, and add in that U-shape. Fill that with some color. You can just add some paint in a very good look closely. At the bottom you have an ice cube, and at the top we have some watercolor paint. Now I'm painting some burnt sienna. Again, a lighter value. And I'm finishing up that shape by adding some burnt sienna on the top. So that is all first two. But now in a similar way, I'm going to add another bird. You can add your boards wherever you want to. You don't really need to follow the same location that I'm adding here. Just follow the technique. You need to add a Jushi using a medium tone of green. Then to finish on that shape, you can either use a lighter value of green or brown. I'm planning to add my second one here, right next to this flower. Adding that U-shape. Filling that top area in Iraq, low-wage. Now I'm washing off the paint from my brush and I'm switching to bonds in a lighter to meet internal funds, sienna. And I'm adding that on the top and I'm finishing off that shape. That is, it is really easy. It has a different look when you add green and then you add brown. So let's try to use both the Batson about painting. A few of them can be with green, two of them can be with brown. This will make your painting look more interesting. I'm trying to see how it will look like if I add some brown leaves as well. So I just picked on a lot of white gouache and I mix that with burnt sienna to create a lighter value. Really light. Now I'm trying to add some leafy patterns in the background using that light tone of brown. I just wanted to see how it will look like. We can add few here and there using that lighter value of brown. See them. It's a really light tone of brown. I just added a little off white and some green into it. It's not a fresh brown. It's a very dull and muted brown. Okay? So if you want to add few more leaves using that brownish tone, you could do that, Otherwise you can completely skip the step. I just wanted to know how it will look like. If you look at a painting, you can see some brown leaves in-between. That's what I added right now. I think it is looking nice. It added a different feel to the painting. Maybe you could add them to, but don't add a lot. Just a few here and there. They are trying to make it look like they are in the background. So go with a lighter value. I'm really loving the way the painting is progressing, especially when you have that different tonal values of brown and green in the background, those wildflowers are really popping out. I never thought this color combination will work, but I'm really surprised. Anyway, let's add few more flowers and let's make the painting more beautiful. Now, I'm going to add few floss onto the right side, especially towards the bottom. I won't be adding any of them towards the top. So I'm switching back to that violet and I'm adding my next flower over here. So this one is going to be slightly smaller, maybe something similar to the second flower. I won't be adding any big flowers. I'm just adding some curvy lines from the stem. The first step is to make that shape complete. Add some lines close to each other. At the bottom, they can be closer towards the top. You can lay some cap in between. So that's a base shape of the flower. I'll add one more here. This one is going to be much more smaller. I think I will just stop with this one. I wouldn't be adding more flowers. But if you want to add more flour, you could do that. Maybe you can add a big one or a smaller 12 at the bottom. Now when picking a darker value of violet, and I'm adding some darker tones of that bottom. I think it is looking too dark. Maybe we can pick some white and added some highlights at the top, just like how we did for the first two flowers. Okay. That looks better. Early it was looking too dark. Just a few highlights here and there. And that is the same for this one asphalt. Those highlights I added are looking quite strong. So I'm going to wash the paint from my brush and using some water. I'm just matching the color. To make them less prominent, that one is done. I'm going to do the same for this one as well. Just matching the color. All right, so that's done to maybe let's add some more Depot value at the bottom as it isn't really visible. And we added those highlights. Now to finish off the flower, we need to add that U-shape with the pattern. So I'm switching to a darker value of green. And adding that small u over here. That's complete. Same for this one. That's done to. Finally, I'm going to add some birds using the same color. I already have some darker green on my brush. And I'm going to add some buds at random places. I'm going to add the first one here. And I'm taking the line a little into the sky to make your painting look interesting. Now, I'm adding that U-shape. This time, I'm going with a darker green, washing up the paint from my brush and going with a lighter green and a flourishing of that shape. That at a very simple step. In a similar way, Let's add few more, but you can add them variable you want to and how will you want to. Maybe some of them can be facing down to make your painting look more interesting. I'm going to add another one over here. Facing down. These two are really small parts, so I'm just using that medium to dark green to complete that anti O'Shea. Maybe we can add one more. Alright, so data set, I have added in a four flowers and birds. But in case if you want to add more, you could do that. You don't need to stick to the same numbers. So I just stepped up from my seat and I had a look at the painting. And I felt like I should be adding some more leafy and classic pattern at the bottom. Especially towards the right side. I feel the right side is quite empty. So I'm going back with a medium tone of green. I don't want the color to be too dark, so I'm just adding some leaf green. I want a pleasant green. That's too light. Let's pick some more sap green. Okay, that looks fine. Now using that color, I'm going to add few more leafy lines over here. This is what I felt was missing in my painting. If you look at your painting, you may feel like you have added enough of fluffy lines. In that case, you don't need to add any extra lines. You can leave it as it is, but you may feel like you should be adding one or two extra flowers if you fail, so just go ahead and add them. Or if you're 100% happy you don't need to add an inhibitor. You can just talk and you can call it done. Okay? I'm going to quickly add few more leafy lines. I'm not sure if I'm going overboard any way. I would just add one arc tool and I will call it done. Alright, so here we are. I'm really, really, really happy with the way this paint has turned out. I know I said this multiple times, but I'm really happy with the color combination. Now, I'm going to quickly peel off the masking tape, but I will show you the finished painting. And here it is. Look at those colleges details. I cannot tell you how much I love this kind of companies and those flowers and those parts, everything has come out just perfect. I hope you all had a lovely time. Pinellas, beautiful spring landscape. Thanks a lot for joining me today. I'll be back tomorrow with one extra in landscape. 11. DAY 3 - Yellow Tulip Field: Hello my dear friends. Welcome to deeply. Today we are going to be in the car just yellow till upfield. You can see how simple and we'll also try this cloudy sky, which you can use in your future paintings as well. You can see those colleges details. It is really easy to create again. So without wasting any time, let's have a look at the color palette. By looking at the painting. Can already guess yellow is gonna be the major color that we are going to use for this painting. The yellow that I'm using is cadmium yellow light. You can use gamboge, yellow Indian yellow primary law or any other yellow will have caught. The difference in yellow is not going to affect your painting, so don't worry about that. That's a major color. Now for the sky, I'll be using cerulean blue. You can use any of the blue you have caught. It can be Prussian blue, cobalt blue, or any other blue will be just using a medium tone off this blue. Along with that to create those clouds, we will need either Payne's gray or neutral scent. So this is a blue which I really love. I use it quite a lot in my paintings, especially for those discard. This one is a great addition in your color palette, especially if you love to paint the sky. Now, along with the blue, you will also need either Payne's gray or neutral scent or plaque will just need a really, really light tone of either of these color. You can see that shadow of the clouds. If you have Payne's gray, you can use that. If you don't have Payne's gray on Eutelsat, you can use a really light tone of plaque, will be using these two colors only for the sky. So we don't need a lot. You will just need to squeeze out a letter. The next important color you will need a sap green, which is quite obvious from the painting. Along with this, I will also need a little love integral to add the deeper tones will be using integral mostly at the bottom where we have those yellow tulips have to create a darker background for the yellow flowers to be visible. Now, if you look at the painting closely, you can see some orange tones here and there, especially in the background. We'll need a lighter tone of orange to add some details on the background. Otherwise, it will look quite plain an empty. So to bring it back tap, we will need to add some details onto the field using a lighter tone of green as well as an orange. For that, I will be using a little laugh Palmer and yellow orange. You can use any of the yellowish orange you have card oregon, just mix a little loud woman in with any of the yellow you are going to use. We just need a soft yellowish orange. You can create your own or you can use any of the orange you have cut already. Along with these clothes, you will also need some white gouache. We will be mixing white gouache with the yellow to create an open question. And we'll be using that to add in these tulips. That's summarize all the colors you will need for today's painting. Now, I'm going to quickly spat out all the colors from my sketchbook. You are already familiar with these colors. There's nothing complicated here. The only color you may not have as neutral tent. I think I already mentioned this in the color palette section. The brand of the watercolor that I'm using here, which is called Sheehan. It doesn't have a color called Payne's gray. Instead they have no salts. And so that's the reason why I'm using neutral tint here. Payne's gray is the perfect color to add in the shadow for your Clouds. So if you don't have neutral tint, that's absolutely okay. It says use your paints gray or black. I wouldn't really recommend using black. It is only if you don't have Payne's gray, you can use a lighter tone off black. Okay. So I have squeezed out cadmium yellow and permanent yellow, orange. Now, I'm going to squeeze out the other colors as well. That is thoroughly in blue. Now, a little off neutral. We just need a little dance crews out a lot. Now that sap green. And finally we have indigo. Okay, so we have all the colors ready here. Now just like how we did in the previous days, I'm going to quickly swap these colors from my sketchbook. This exercise is mainly to help beginners understand the color. If an intermediate artist or an advanced artist, you can skip this excise and go directly to the technique section that is serene blue at the structure. I'm kind of obsessed with this color. Next, I'm going to swatch out some neutral zone. We'll be using a really, really light one of neutrophils and dark Payne's gray, which is hardly visible when you're painting. Just be sure to keep a scrap piece of paper next to you to test out the color. That is neutral term. So these are the two colors we'll be using for this guy, we're going to paint a beautiful soft, fluffy, cloudy sky, which you can use in your future paintings. Next, I'm going to scratch out yellow. This one is called cadmium yellow light. It is such a pretty vibrant yellow. You can just use any of the brighter yellow you have COPD. It is this bright yellow which will make our painting really special. So good. Any of the brighter yellow you have caught the next ambulance patch or permanent yellow, orange. As I said earlier, you can use any of the yellowish orange you have caught, or you can just make that thing yellow with vermilion. Now, I'm going with sap green. This is a common color. You all may have it. I think for almost every day we will be at SAP clean and integral. So the last color I have here is obviously indigo will be using indigo to add some deeper tones at the bottom. Instead of integral, you can use the same blue you use for the sky. Just mix that with sap green to create a darker green. We'll summarize all the colors you will need for today's painting. Now let's have a look at the techniques. I have created a small section here. We will start with the sky. So we're going to try this call, just fluffy, cloudy sky. It's really easy to do. We're going to use the wet on wet technique, obviously because step is to apply a clean coat of water onto that anterior area. So whenever you're attempting a baton wet technique, I'm in a baton wet sky or a baton wet background does really important to make your colors ready before you apply water onto your background. This way you can keep your back on wet for a longer time. It's a very silly mistake we all make. Some times we might have applied a nice shiny coat of water onto the paper. Then we might take some time to squeeze out the paint. So by the time you add the paint onto your background, it might have slightly dried. So always keep the color ready on your palette. Now, I'm gonna go with a medium tone acetylene clue. Go with a medium to light it on Australian blue. I'm using my size number eight brush here. You can use any of your medium two because size brush, if you're doing a cloudy sky for the first time, this might be a bit tricky, but then it is rarely seen. Give it a try. You will know how to approach it. The first step here is to apply blueprint onto the background. Leaving some gaps in between. The gaps are going to be the clouds. We'll just take a look. You can see the shape I left in between. That is, well, first Cloud. Now in a similar way, I'm going to leave some people white in-between. You can go with any kind of shape for your Cloud. When you're doing this, you have to be a bit quick. You need to add them before the Bactrim tries. And also will need to add the shadow for the clouds while the background is too wet. So make it really quick. Don't worry about the shape of your clouds. They're going to look pretty by the end. You can see here my sky is looking or really messy and the clouds are in a very rough shape. But that's okay. Task is to apply that blue paint before the backend dries. Now, I'm going to wash the paint from my brush and I'm switching to a lighter tone off neutral send. It's a really, really light tone. Now we're going to drop in a really light tone of Payne's gray on your total along the bottom line of the clouds. Just follow the shape you have added there. And add an, a really light tone of nutrients and dark Payne's gray or black. Do this for all the clouds, you can see my pattern does too wet. So be quick, adding before your bactrim tries. Now I'm going to dab my brush on a paper towel. And I'm going to just match the color upward. Don't do it towards the bottom, do it only towards the top. Towards the top, we only have the paper why we haven't applied any paint over here. So it is really easy to match the color that is set. This guy has tried and this is how it has turned out. We'll be doing a similar Skype for our painting. And we'll be going with a bigger cloud and few smaller clouds. So depending on the size of the clouds you want in your painting, you need to live that whitespace. And also to get the best results go to 100% cotton watercolor paper, which is at least 140 LB and that is cold pressed. The sketchbook that I'm using here for the techniques is made of 100% cotton watercolor paper, which has handmade, handmade paper has a lot more texture than the normal hundred percent cotton watercolor paper with this machine made. For the same reason, I'm not really a fan of handmade paper because sometimes it is really difficult to get the technique right with that grainy texture of the paper. For my landscape paintings, I always prefer cold press paper, which is 100% cotton, which is machine made. But that's just a personal choice. You can go with any paper that you prefer, but just be sure it is 100% cotton and as an artist grade watercolor paper. So this guy has dried completely. We're going to use the same technique for our class project. So just keep in mind how you want your clouds, whether you want them as big or small, you should believe in those whitespaces according to how you want your clouds. So keep that in mind. Now let's try out the tulip fields. As you can see here, it's a very abstract one. We aren't going into a lot of details. Only at the bottom we will add some flowers. Okay, so let's give it a try. I already have created a small section here. I'm starting off with cadmium yellow. I'm going with a fresh, vibrant yellow. And I'm just applying that onto the paper. I'm not adding any water. I'm applying the paint directly. So here we are going with the wet on dry technique. Now I'm mixing that yellow with some sap green to create a lighter tone. And I'm randomly adding some small lines and some patterns on the scale of background. The matrix or the background still has to be yellow. We can just drop in some green here and there. It can be some lines or some dotted pattern or any kind of random pattern. We just need some green tones on that yellow background. Now, I'm going to go with a medium to deeper tone of sap green. And I'm adding that at the bottom. Now what will pick some integral and it will make the green darker. We'll be adding the two lips over here where we have the start codon. So it is really important to have a darker background so that the tulips will stand out. If the background is really light and all those tulips won't stand out. So make this area really dark compared to the top. Keep in mind, they're not looking for a clean blend here. You can just apply yellow on the top. And as you're coming down, you can switch to saccharine and then to a darker green. We just need some darker values here. It doesn't need to be a clean blend. It can be really rough and messy. You can see the background I have added here. Maybe we can add some more darker values. Color we used here is kind of down. So let's make it a bit more darker. You can see it is really rough and messy. You can leave it like this. It doesn't need to be perfect. Now, let's wait for this to dry. Once it dries, we'll be adding the tool of flowers. And we'll also be adding some more details in the background to make it look more realistic. Okay, so it looks like the background has dried completely. Our next task is to add in some tulips. For that you will need some white gouache will be mixing white quash with the yellow to create an opaque version. So that is our next task. Squeezing outlet loved squash. Now I'm switching to my smallest size brush, this one as my size two round brush. And I'm mixing that white gouache with cadmium yellow. So we just need an opaque yellow here. It can be any yellow. All you need to do with just add some white quash into it and turn that into an OP question. If you don't have gouache can go with watercolor. This is how we're going to add the flowers, right where the yellow is transitioning into cream. So go with an opaque yellow and keep adding some small flowers here. I'm just pressing the tip of my brush and I'm adding a very random shape. I'm not focusing on the shape of the flower. To me, I feel you don't need to put a lot of effort in detailing the shape. We can go with a very abstract shapes. We're going to add these flowers along this anterior line. So at the end it is going to be really beautiful. But if you want to put more effort in detailing the sheep, you could do that. There is no problem. Once I finish this, I'll quickly show you that as well. So let me add few more flowers and let me finish this. You can see how rough and messy though, Salazar. Our intention is to fill up that area. They're not really looking at the shape of each of the flowers. Now, I'm going to switch to a lighter green. I already have some yellow paint on my brush and opaque yellow. And we've seen that with love sap green. Now using the sap green, I'm going to add some stems as well as some leaves at the bottom. For all these tulips. Foods, you can add a straight line or inclined line, which is the stem of each of these flowers. Along with that, you can also add some point D long leaves. So according to the position you want for your leaves as well as for those lines. You can go with the smallest size brush or any other brush which has a pointed tip. So yeah, if you're too keen about getting them thin and delicate, you can use any of your detailing brush. Otherwise you can just use any off your normal brush which has a pointed tip. You can see here, I'm not really looking a lot into the detail. I'm just adding some lines. So first I added a stem for all the tulips. Now I'm just adding some long pointy leaves. You can simply fill up this entire area and some stems as well as some leaves. I think the color we used for the background is slightly dull. So for our main class project, we'll be using a taco value. Otherwise those tulips, one reversible. So we'll fix this value, are doing our main painting. Now I'm switching to a darker tone of green. I'm repeating the same step. I will just add field long leaves and some stems with a darker tone of green. I just mixed a little off integral with sap green and I created a darker green. I felt like there is no enough Taco terms over here. So that is a main reason why I'm using a darker tone here. Simply add some more long leaves and stem. We need to make this area look really tendons that insert it the same way how we'll be adding flowers in our main painting, but then we will find two unit. You can see the taco value I used in the background. It is looking far better than the exercise. It is just because I used a really darker tone of green for the background. So those tulips are really standing out. Now I'm switching to a little laugh pulmonary yellow, orange. And I'm just adding some highlights for all these flowers here. There's just a simple touch of orange. It doesn't have any particular shape or size. Just had a simple orange highlight for all these flowers. Now, using the same color, you can add few dots in the background, some small dots. Then you're adding these dots in the background go to a really light tone. It shouldn't be too prominent. So go to really light tone of orange and add some dots in a very randomly. We are trying to add some texture in the background. So we don't need a loan. Just add few here and there, and make sure to go with a lighter tone. Now, I'm going to wash out the paint from my brush. Repeat the same exercise with a lighter tone of green as well. Again, I'm adding some thoughts. The green also should be a lighter tone. It shouldn't be too dark. See that? Now we have added enough of texture in the background. We are trying to make it look like these are all tulip flowers and this area is quite far from us. So we shouldn't be using a taco value and those patterns should be really small. So you have to make sure you're using a lighter tone as well as a smaller size brush. We just need some texture in the background which is not too prominent. We are only concentrating at the bottom where we're adding those to live class. Our next step is to try out those mountains. It's a very simple mountain. There is nothing much complicated here. First, we will add a big shape using a lighter tone of green. You can use any light green. I'm going to use the same green that I used for those grassy lines. And I'm going to add the basic shape of the mountain. As you can see for the class project, I added the mountain only on to right-side. I left half of the horizon as a straight line. I think that's a better way of doing it. You will have a different composition for your painting. But for now, I'm just going to fill up this entire horizon line so that you guys can see how I'm doing it. No matter whether you're adding a mountain onto the anterior horizon line or just half of your painting with a straight line at the bottom. You can see on our main painting, I have cut a clean line. So that's how it should be. Okay. So decide on the shape of your mountain. Don't make it too high or low lying mountain and fill up that entire shape in a lighter tone of green. I have the shape here. Now. I'm going to pick a darker green. I'm just adding a little off integral. I'm going to add some dilutions onto the same mountain. We have just applied that green so it is still wet. Now onto this wet background, I'm dropping in some taco tones. So basically I'm creating some divisions here. Now. I'm going to go to the vet brush and I'm smudging that into the background. So depending on how you have additive mountain, you can add in some divisions. You can smart stores taco values into the background. It's a very simple mountain, as it is quite far from us. We're not going to add a lot of details. First, add in your shape using a lighter tone of green. Then onto that while it is still wet, add in your taco value. Then it's much that into the background. So that is set. I just wrote down the name of these colors. Now before we wrap up this session, I'm going to quickly show you how you can detail out these tulips in case if you want to go with a more detailed look for your tulips. So let's give it a try. First, I'm going to create a darker patch of green. I'm going with a really dark tone. The color that I used for the technique section is quite dull. We should be using a much more darker tone of green. So we should be going with the color which is similar to the one I'm adding right now. Added enough off dark blue or indigo into sap green and create a darker tone of green. That is the color you should be using. Over the bottom. I have created a patch here. Now we'll have to wait for this to dry. And I'll be adding some tulips onto this background. This is just in case if you want to add a more detailed version of tulips, you can see these ones are really rough and messy. The main reason why I didn't go with the display shape is that we'll have to add quite a lot of them. So it is time-consuming. Even to add these little flowers, it may look really simple. But then to fill up that entire area will take a lot of time. So that is the reason why I didn't go with the detailed shape. But no mind. I'm going to show you how you can add them. Just in case if you want to go with a detailed flower, you could do that. So I'm mixing some white gouache with cadmium yellow. I'm using my smallest size brush, the same brush which I used earlier. This one a size number two. Now I'm going to add the flowers. So basically you will just need to add three lines. That's the first line, second line, third line. Okay? So that is your two lips. Just in case if you want to make them look a little more like tulips, you can use this method. You just need to add three lines and overall shape needs to be something like you. And on the top you will have three lines. Okay? So this is the way it should be adding your two lips. If you want a more detailed look, I'm just pressing my brush and I'm creating some random shape for the tulips. I don't have the patience to add in these many tulips. I prefer going with a simple abstract shapes. I have added my second to look at is just a combination of three lines, too curvy lines on either end and a straight line at the middle. I will add few more. And maybe we can add a stem as well as toes pointed leaves. Okay, so I have added for tulips here. Next, let's add those ten as well as those pointy leaves. I have some yellow on my brush and mixing that with sap green. This the same way how we did earlier to create a lighter tone of green. This time they will be really visible as we have much more darker value for the background. So this is going to be really interesting. First we will add this TIM, which is a straight line on an inclined line, a long pointy line. We can add that for all the tulips. We have added this term. Now using the same color, I'm going to add some long pointy leaves. You can add them towards either direction. And you can add them at any height. Okay, so keep on adding such leaves onto either direction and make the bottom area look more denser. Let me tell you, I wouldn't be putting this much attention and adding those tulips as well as these lines. I'll be adding them to quickly hand. I wouldn't be looking at each and every flower and each and every line. Okay, so just keep that in mind. I just wanted to give you guys an idea how to add them in a neat way. Okay, I hope the idea is clear. Now. I'm going to quickly add more leaves over here, and I'm going to finish this off. I really can't wait to start with a world-class predict. So let's quickly finish this. Just keep in mind to use a darker tone at the bottom, you can see the difference here of our main class project is looking too bright and pretty. But the technique section is looking quite dull. So be sure to use a darker tone for the background. Next, I'm going to pick some orange and I'm going to add some highlights for these flowers. We use the same technique for the previous flowers as well. But then they were mostly refined abstract. This is how you should be adding them onto all the levels. Add some orange highlight. It is just some thick line on the right or the left side. Tools for all the flowers to make them interesting. Now using the same orange, you can add your two lips as well. Okay, so I hope you guys have a better clarity and better idea about how to approach this class project. In fact, you can try out the same painting with any other colors. Maybe you can go with an orange to live or a red tulip. Tulip. You can use the same step and just alter the color. Okay, So we have checked out all the colors as well as all the techniques to master this car, just spring landscape. Now let's give it a try. 12. Yellow Tulip Field - Part 1: The spring landscape has to be the easiest. Infinity is one. I have ever played it in my life. You can see those cards are details. It is very easy to create. So we already had a look at the technique section. Now we're going to incorporate that in our main painting. If you haven't checked the previous section where we explain about the color palette as well as the techniques. Please have a look at it, especially if you're a beginner. This way, you will have a better clarity about the project as well as you will make any mistakes. So the main motor of the technique section is to make you confident when you're attempting the class project. So give it a try if you haven't tried it yet. So I have my paper ready here. I have a clean palette, two jars of water, and the colors are also already know before we start painting, I'm going to divide people into two sections. I'm going to apply this almost three-fourths of the paper. So three-fourths of the paper is gonna be the sky, and just one-fourth of the paper's going to be the tulip field. Take a small piece of masking tape and apply that almost over here. Okay, So we have divided the sky and the chiller field. First, we will paint the sky, and once the sky dries completely, we will paint a tool upfield. So this much is going to be the sky and this Manchester to look for guilt. Now, I'm going to use the same colors that I mentioned in the technique section for the sky. As I said earlier, I'm going to use cerulean blue and add the shadows. I'll be using neutral tint. Instructor in blue can use any other blue that have caused it can be Prussian blue, cobalt blue, ultramarine blue, or any other blue will be working with a medium tone of cerulean blue. So I'm going to squeeze out these two colors onto my palette. We're gonna go with a wet on wet sky. So once I've taken the paint, I'll need to apply a clean coat of water onto the entire scar, will be dropping in the colors onto the wet background. We would need a lot of paint because we'll be using this only for the sky and we'll be working with a medium tone, even neutral tint. We don't need a lot, just a teeny bit of these two colors are all we need. Let's quiz this onto our palette. As I mentioned, the technique section neutrals and is very much close to paints gray. You can use Payne's gray instead of neutral tint. Now let me squeeze these colors onto my palette. We just need a little of both the colors. So that's serene blue. Now we need a bit of neutral atom. If you don't have neutral tint or Payne's gray, you can just use a teeny bit of black or integral will be using this color to add the shadow of the clouds. So any of those colors will really work. It doesn't need to be Payne's gray on your Tolson. We just need a little so we have both the colors ready. We're gonna go with a wet on wet sky. So we'll have to apply a clean coat of water onto the anterior sky. I'm going to use my one-inch wash brush. You can use any of your bigger sized brush. We just need an even coat of water onto the sky. It doesn't really matter whether you're using a flat brush or a round brush. This is just in case if you don't have a flat brush, have a flat brush, you can use that. You can make the coat of water even apply for water onto the sky and make it completely wet. Keep running a brushy multiple times just to be sure that what has raised everywhere because the pattern has to stay wet for a certain time in order for us to get those fluffy clouds. So we just run your brush multiple times and make sure the papers and tally wet. Okay. I think I have applied paint onto the anterior sky and it's evenly wet. Now I'm going to keep this pressure side and I'm going to switch to my size number eight round brush. You can use any of your medium two because size brush don't make it too big. If your paper is too big, yes, you can go to a bigger brush, but depending on the size of the paper, choose your brush wisely. I just cleaned my brush thoroughly just to be sure there is no painstaking from the previous painting. Okay, so that's clean. Now we are going with a medium tone of cerulean blue. You can use any other blue. You have caught fewer drops of water and create a medium tone of acetylene blow. It shouldn't be too dark and it shouldn't be too light as well. As we're gonna go with a wet on wet sky and the color dries, it will look slightly lighter. Go with a medium tone. In the technique section, I used a really light tone of cerulean blue. And when the bathroom try it was looking even more lighter. So I don't want to make that mistake here. I want the sky to be really bright and pretty. And not just that, almost three-fourths of our painting is going to be the sky. So it has a lot of prominence and this painting, let's make it bright, vibrant and pretty. I think the sky has dried a bit. I kept talking and talking. I'm going to grab my one-inch brush pressure King and I'm going to apply some water onto the sky, especially at the bottom. I think it's almost dry. Now we're good to go. Just like how we did in the technique section, I'm going to leave some spaces, which is gonna look like clouds. So it can be some random, irregular shapes. It can be big or small according to what you prefer in your painting. So keep applying the paint onto the background, leaving some spaces in between. You can see the shape I'm living here. The background despite the pain may spread into each other. So make sure to leave enough space in between. You can see the size here. It's a pretty big cloud. Go the similar size for one or two clouds. If you make it too small at the beginning itself, by the time the background dries, it will become even more smaller. I'm going to make the color lighter. I'm just picking some water and I'm making the color lighter over here. You can see those Bihar looking clouds. I have a bigger one on the top and a few smaller ones here and there. I think that a lot of pins stuck at the middle. I'm just going to dab my brush on a paper towel and I'm trying to push and pull the color. You don't need to do this if your sky is looking perfect. I just felt like there's a lot of painters were there, so I'm just trying to Smart Start into the background. Looks fine now. I'm going to wash out the paint from my brush. Doubling my brush on a paper towel just to be sure the brush is clean. We have to call it a really light tone of Payne's gray or neutral tint or plaque. We're going to add the shadow of the clouds. This color has to be really light. It's not a medium tone, it's a really light tone. So be sure to check your color on a scrap piece of paper. If you're not too sure about the tonal value of your color, there shouldn't be a darker value. It has to be really soft and subtle. So-called the really light tone off neutral center pane screen. Once you have taken the paint, that baton of paper towel and make sure it is not too watery. Now we're going to drop in this lighter value of neutrals. And at the bottom line of all these clouds we have added here, we are just going to follow that shape and we're going to drop in some lighter value. See that? You can see the color I'm using q. It's really light. This is the kind of color you should be going with. It shouldn't be prominent. You have to use a lighter value of neutral tint or Payne's gray or black. Now keep on following that shape of the cloud and just add that shadow. Don't be scared, just roughly follow that shape in case if you don't get it right, that's absolutely okay. Our indigenous not to follow that exact same shape, they just need a rough shape here. So keep on dropping that lighter value of neutral center paints gray and complete that shape. You can see how messy my sky is looking. But trust me, when it dries, it's going to look beautiful. The only thing you need to keep in mind here is to use a lighter value of neutrals in dark Payne's gray or black. So that's done. I scanned my brush and there's still a lot of paint at the center. Right over here. I'm just using a clean wet brush. For some reason there's a lot of paint over here, especially closer to that bigger cloud. I'm just pushing and pulling that color to capture it off that strong patch over there. Now it looks fine. Now, let's leave it for drying. As I'm using 100% cotton watercolor paper, the background is too fat. And that is the reason why I could do this now. Now it looks fine. I'm really happy with this bigger cloud here. At the bottom. I don't really get a good shape for the Cloud would never mind. Now let's leave this for drying. Alright, so this guy has tried perfectly and you can see those beautiful fluffy clouds. This is the reason why I told you it is absolutely okay if it does not looking great at the moment when it dries, it is going to be so pretty. I will just show you how we just looking before when the background was fed. So here it is. The colors were quite strong when it was wet, but many tries, it is looking so soft and fluffy. Now our next task is to paint the tool upfield. I'm going to slowly remove that marketing team. I wanted a straight and clean horizon line. That's the reason why I apply the masking t. You can see that call just horizon line. Now it's time to paint the tulip field. You already know the color that I'm going to use. It is cadmium yellow light. As I said in the technique section, you can use gamboge yellow or Indian yellow primary law, any other yellow that air-con, It doesn't need to be this yellow here. We just need to try to introduce yellow. Then along with that law, to need saccharine as well as integral. I'm going to squeeze out all these colors onto my palette. And let's start with the tiller field right away. Alright, so we have the colors ready here. Now to paint a tulip fields, I'm going to use my size number two, I'll round brush. You can use any of your biggest size, strong, fresh. This way you can apply paint onto the background quickly. I'm washing it thoroughly just to be sure there is no other pain stains on my brush. Because we want that fresh and vibrant yellow for the background. We don't want any other color to get mixed with the ClO. It should be fresh and vibrant. So take out that yellow paint on any of the pressure using and apply that along the horizon line. Be very careful. We need a straight line here. I haven't applied any water onto the bathroom. Straightaway going with yellow paint, you can apply yellow onto almost three-fourths of the section. We just need to leave a little off cap at the bottom to apply sap green as well as integral. We want the bottom to be darker and the top to be really bright. And Turkey. Apply a load on the top of your to love freedom. You can see the color I have used here. I haven't added any other paint onto it. It is looking so bright and protein. You're going to get almost the same result even if you're using Campbell cello, I think that is the most common yellow you might have. You can also use primary yellow or Indian yellow or any other bright yellow. The difference in the yellow is not going to affect your painting much, so don't worry about that. Okay, So right now we can see we have simply applied yellow on to the account. We haven't added any details onto it. It is looking quite flat and empty. The next step is to add some details. For that, I will need a lighter green. I already have some yellow on my brush. I'm mixing that with a bit of sap green. This one is more like that leaf green color. I already have some yellow here, so I'm not going to take out any screen. You will just need to mix that with sap green. Now you've seen that lighter tone of green simply add some random lines onto a background. You can see the color I'm using here that is really light. It is not that prominent. So simply keep on adding some highlights here and there. There is no particular order or shape that you need to follow. We just need some greenish tones and that yellow background. The major color, has to be yellow. So you shouldn't be adding a lot of green and be sure to use a lighter value. So simply keep on adding some highlights here and there. We can see that small amount of green on that yellow popcorn made a lot of difference. Polykleitos looking very empty and plane, but that small patches of green, but a lot of difference. Okay, Now I'm going to switch to a smaller brush and I'm going to keep pushing and pulling the color into each other to make it a little smoother. Some of these lines are looking quite strong. These are really far from us, so it should look really subtle. I think now it looks fine. Now we need to fill up the bottom area. For that. I'm going to pick some sap green. We don't need a smooth blend here. So wherever you have stopped your yellow from there, you can start adding green. You can leave it as a rough patch. That's absolutely okay. Okay, So we'll start with a light green, olive sap green. And with the same color, you can simply keep on adding some thoughts and some irregular patches here, some small ones. See that I'm using a light green here. And I'm just pressing the tip of my brush. I'm not really worried about the shape or the size. I'm just adding some dots here, right where these two colors are meeting. Okay. That's enough for now. To fill up that remaining area. We need a darker value of green. Some just mixing a little of integral with sap green. I'm just going to fill this video using bad taco green. It can be really dark. That's absolutely okay. Just like I said earlier, we don't need a clean blend here, which is dropping that darker color. At this point you're painting might look a bit weird, but that's absolutely okay. It is part of the process, right? Where we have this transition from yellow to green will be adding some beautiful yellow tulips. And that is going to cover up all the mess we have created here. So just don't worry about how it is looking right now. This is how it is that it is part of the process. So keep on adding those darker values at the bottom. On top of the dark green background, we will be adding some yellow tulips for them to stand out. The background has to be really dark. I have applied enough of Taco values at the bottom. Now, I'm going to dab my brush on a paper towel, and I'm going to switch to a medium tone of green. Now I'm just pushing and pulling the color into each other. So basically I'm just matching the color. I'm picking some more medium tone of green. And I'm gently running my brush and matching the color. Again, this doesn't need to look perfect. It can be messy. That is absolutely okay. So just keep on pressing the tip of your brush and add some greenish patterns over there. Now using the same brush you can add some at the backroom passport is a medium tool and I'm just adding some smaller patterns. It is not too huge. Just wash out the color that you're using. It shouldn't be dark. So go to the lighter to medium tone of green and add few dotted pattern here and there and a very random way. Please keep in mind, we don't need a lot, we just need a little. And also be sure to use a lighter to medium to large screen. Okay? Just go ahead and add in few patterns here and here. Okay, so that's time. Now for the next step, I'm going to switch to a smaller size brush that specifies number two brush. And I'm taking some yellow. Now you see this yellow color. I'm going to add some graphing lines over here. The background is already wet. So when you're adding these grassy lines using a loop, they will turn into a lighter green. So that's the trick. Keep on adding some lines. It doesn't need to look perfect. I know the background is still wet. So when you're adding them, they may not really have a problem in shape. That is absolutely okay. We're just building the density over here. We'll be adding a final round of grassy lines and leaves at the end. Once everything dries. For now we can carelessly add some lines on the sweat background. Now, just in case if your background has dried already, you don't need to worry. You can go with a lighter value of green, mixing yellow with saffron and create a lighter value. And keep on adding these lines. They don't need to be perfect. As I said earlier. They are just building the density will be adding more lines when everything dries. So yeah, they can be very rough and messy lines. You can clearly see what I'm doing here is looking absolutely messy. So don't worry about it. Keep on adding some lines. This is also part of the process. I think I have added enough. Now we'll have to wait for this to dry completely before we go with the next step. 13. Yellow Tulip Field - Part 2: Okay, So that has dried completely. Now our next step is to add in the tulips. For that I'm going to take out some white gouache and I will be mixing that with the yellow. Otherwise the tulips won't be visible. We need an opaque version of yellow. So in case if you don't have white gouache, you can use white watercolor to add the tulips will need a smaller size brush. I'm using my size two round brush and I'm mixing a little white quash, but the yellow to turn that into an opaque yellow. Just like how we discussed in the technique section, I'm gonna go with a very rough shape for the tulips, will need to add quite a lot of them. So it is impossible to give them a good shape. We need to add them along this anterior line, starting from left to right. So I'm just going to press the tip of my brush and I'm going to create a random shape. Here's a closer look of the flowers I'll be adding. You can clearly see it's a very rough and basic shape. I haven't detailed it. But when you add so many of them close to each other, it has a beautiful effect. And that is exactly what we're going to do here. Okay, So let's add them. I'm starting from the right and I'm going towards the left. And I'm adding some lighter green area as well as on the darker green area. My intention is to fill up this band where we have that transition from sap green to dark green. We're going to cover this section and jelly in yellow tulips. So we will start from left or right and keep on adding these flowers. The step might take a bit of time as will need to add quite a lot of them. But this is what makes your painting look beautiful. It is what brings tactile upfield character to your painting. So this step is really important. If you are feeling Lizzy or food, just leave your painting there for now and take a break. Come back when you're feeling refreshed. What I'm trying to say here is, don't push yourself to be creative. Do it only when you feel like doing it. Okay, So I'm going to add more flowers and I'm going to fill up this entire area. As you can see, I'm adding few on the darker green asphalt. Go to the smallest size brush or any other brush which has a pointed tip. We don't want these flowers to be toothpick. You can see the size I'm adding here. This is optimum size. It can be even smaller, but don't make it much bigger than this. And also you should be using an opaque version of yellow, otherwise they won't be visible. When it dries, they may fade out. Just mixing the white gouache or white watercolor with any of the yellow that you're using. And turn that into an opaque version. Then you can keep on adding these tulips, right where these darker green and lighter green smoothie. Okay, so let's do this. Also when you're adding these two labs, you can add some smaller dots aren't at that yellow pack on asphalt. Just to have a continuation, it can be just some dots. It doesn't need to have a proper shape. Okay, So I'm hopped down. You can see the difference between the right side and the left side. You cannot really make out what is happening in the background, whether you are having a clean blend or refine this trunk fat. This is why I said earlier, trust the process. When we add the two lips over here, everything's going to look okay. Now we can see that in Rio. Now I'm going to quickly add more tulips and I'm going to finish this line. Alright, so that's done. Our next step is to Admiral Graf Spee Lyons asked for less and leaves for these tulips. Earlier, we added these lines when the background was fed, so they're not really prominent. Now, I already have some yellow paint on my brush. I'm going to mix that with some cream and a few drops of water. And I'm creating a nice light green here. That yellow already had some wide questionnaire. So the green that I'm creating right now will be opaque as well. If it does not really open it, you can add a pinch of white quash. Now we're going to find a stem for all these tulips we have here is nothing but a thin line using a lighter tone of green. You can see the color I'm using here. It is visible from that tap background. That is exactly what we need. So add in some yellow and white gouache into your sap green and create a similar color. Now, along with us, we'll also be adding some leaves, some long curly leaves. Just the same way how we did in the exercise section. This step is also willing to take a bit of time asking me to add this throughout this entire area. So be patient. As I said earlier, if you're not feeling like doing it, take a break and come back when you are relaxed and refreshed. I think for us we can be called the tulips here and add a stem for them, which is nothing other than at ten straight line or an inclined line. So first let's finish that. Okay, that's a stem. Now, let's add some long pointed leaves. Some of them can be cool, we, and some of them can be straight. And some of them can be lean more to the right and some of them can be leaning on to the left. So go with different kinds of arrangements and make them as interesting as possible. We're adding these lines on a darker background. So you will have to use an opaque version of green for them to be visible. Into the same game that we created earlier, by adding an globe white gouache, you can add a little sapling asphalt to turn that into a light cream. Now using that color, adding this term as well as those leaves. Okay, So this is how it is looking right now. I added enough off stems as well as leaves using a lighter tone of green. Now, I'm going to go with a darker tone. I'm just adding a little off into code sap green. Now, I will add some stems and some leaves using this color as well. This is just to bring some density here. So we'll have to use different tonal values of crew to make this area look more natural and realistic. Middle need a lot of lines using this dark green, you can simply add few in-between those light green lines you have added. So we'll just need few darker lines here and there. About prominent color should be that light cream. Okay, So that is it. I have added enough darker lines. Now using the same color, I'm going to add some taco values around some of the tulips just to make them stand out. This is a very fun and interesting stuff. Just use add taco value of cream and clean up the shape of your tulips. So all you need to do was go with a slightly darker value of green. You can just make them laugh integral or any other blue into sap green. And using that color, we're going to clean up the shape of the tulips, which means you're just adding some taco value around the tulips. Okay? So this is more like that negative painting technique. We are adding some darker values around the yellow tulips to make them really stand out. We just need to do this at the areas where you feel like your two lips are very dull and lifeless. And Alienware, you already have a taco tool. You don't need to do this, especially over the bottom. But along the top there we have that lighter green. You can do this in order to make your flowers pop up at the simple step, but it has a huge impact. You can clearly see the difference between the right side and the left side. The flowers we have on the right is really standing out that color and the shape is clearly visible. But on the left side you can clearly see they're very towel. So you just need to take a darker value of green on your brush. You will have to use any of your smallest size brush or a breakfast as a pointed tip. And keep running your brush around the tune of flowers. To make the flowers prominent as well as to make them stand out. So technically you should be doing this for the flowers at the bottom line that you have that taco green in the background. For the ones on the top there, we have a lighter green for the backyard. They be doing the same step using a medium to another screen. For now, concentrate on the flowers at the bottom line and add a darker value around them. So this one is actually an optional step. If you're already happy with your background and you don't want to add this darker values around the flowers. It is absolutely okay. For the technique section, we didn't add this darker value around the flowers. So maybe you can take a look at your practice piece and understand whether you want to add it or not. This is just to make those flowers pop up. Okay, so I have added darker values around the flowers at the bottom line. Now I'm washing off the paint from my brush and using that slightly wet brush, I'm just matching the colors. So bad we double values are not too prominent. Maybe we can take a lighter green and maybe we can repeat the same exercise using a lighter value of cream for the flowers which are not too prominent. So just run your brush around those flowers and make them prominent. But this time using a lighter to meet him to now cream. It is not as dark as before. Okay, So this is how our painting is looking right now. I think I'm in love with the readings. Turns out, I hope you guys are happy with your progress to now, our next step is to add some highlights for this tulip flowers. For that, I'm going to take out some permanent yellow orange. You can use any of the lighter orange or I can make that a woman in with cadmium yellow or any other yellow you were using? We just need a teeny bit. I'm just mixing that with the yellow to turn that into an opaque quotient. Okay, now I'm going to pick up all these clubs we have at the bottom. I'm going to roughly add some highlights for all these flowers. And using the same color, I will add few more tulips, Asphalt. Okay, So using orange, add some highlights on these flowers. It is just a line on the right or the left side. So all we need is just an orange tones on these flowers. We try this exercise and the technique section in a bigger scale. So I hope you guys are clear about it as a simple step, but this will make your flower look more prominent and more natural. Just go with an opaque orange, a light orange, and add some highlights for all of these flowers here. Okay, So that is nearly done. Now using the same brush, I'm going to add some teeny tiny dots in the background. Just like how we did using that green color. We can add few right behind the skeleton, as well as in the background. To make your painting look more natural, it has to be a really light tone of orange, otherwise, it will be too prominent. We want a really subtle and soft look for the background. So be sure to go with a lighter tone of orange, which is hardly visible. Keep on adding some teeny tiny dots in the background using that orange color. Maybe with the same color, we can add some tulips as well. At the bottom. I was planning to do earlier, but then I missed it. So I'm going to add few tulips using this orange color at the bottom where we have that darker tone in the background. I will add one here. A small orange, Julian. I will add one more on the right side. Yeah, another one over here. Okay. I'm going to add some teeny tiny dots in the background. Just to bring in more natural field TO painting, it has to be teeny tiny dots and you should be using a lighter value of orange. It doesn't need to be too prominent. We want a very soft and subtle field for the background. So just be sure not to use a darker tone. Okay, So this is how our buildings looking right now. We have added some teeny tiny dots using orange. Now I'm going to show the paint from my brush. And I'm going to repeat the same exercise using a lighter value of green as well. I'm switching back to green and I'm going to add some teeny tiny dots in a very random way using with lighter tone of green to bring some depth in our painting. Let me tell you there is no particular order or rule for this. You can add too many or too little. So you can keep on adding them until you're happy with your painting and concentrating mostly at this area where we have that transition from yellow to green. I'm missing the smallest size brush here, and I'm adding some teeny tiny dots using a lighter value of cream in a very random way. So just like I said earlier, we are doing this exercise to bring in some depth in our painting. Otherwise the tulip fields will look quite blank and flat. Okay, so add some teeny tiny dots using a lighter value of cream in a very random way. Okay, so here we are. I'm really happy with the way it is right now. Now, I'm gonna go with that lighter green. Again. This time I'm using a slightly thicker and creamy abortion. And I'm going to add some more leafy lines over here. The ones we added earlier, we're looking to Dow. They are not possible. So I thought of adding few more. I think the color I used earlier wasn't really opaque. So all of them fade it out. Right now I'm using a much more opaque and creamy version of green. I'm hoping this will stay. Here it is. Now the last step is to add a mountain. I'm using the same green and I'm going to add a low lying mountain onto the right side. I'm leaving half of the horizon line empty. I want a clean line on the left side. And I'm adding the mountain only on the right side that there was a very small mountain. Don't make it too huge. We're trying to make it look like this is really far from us, so it has to be really tiny. Go with the low lying mountain. You can make it even more smaller. The smaller the better. So once you have decided the shape of your mountain, fill that entire shape and light green. I'm using the same color that I used for the grassy lines, so it has some white Internet. So you can either use that color you use for the classic pattern or you can simply use a lighter tone of sap green. Tried to go with the clean line at the bottom. So maybe a smallest ice pressure would help. I know we went back and forth with adding those teeny-tiny patterns at the bottom. But I think at the end, it was all worth it. It has turned out so beautiful. We added this mountain. It is really looking like a call just to look. Earlier. There was something missing, but then I think the mountain made it complete. Okay, so I have added the base shape of the mountain. Now, I'm going to pick a darker value of green. I'm just taking a bit of indigo and I'm mixing that with the screen. We're going to add some deeper tones on the mountain to make it realistic. Right now it is flat. I'm going to pick all these junctions and I'm going to add some taco values over here. So depending on the shape of your mountain, you can decide on where all you want is taco value. Our background is still wet. Right onto it. You can add these darker value of cream as this mountainous do small and just really far from us, we don't need to add a lot of details. You can simply add some deeper tones where you have these junctions and just merge that into the background. You don't need to put a lot of effort does all we need. Okay. So that's the mountain as this acid blast that you don't need to put a lot of effort here. Now I'm washing off the paint from my brush. Now there's one last thing I wanna do, please don't hate me for this. I'm going to switch back to orange and I'm going to add few more dotted pattern closer to the horizon line. I feel like the area closer to the horizon line is quiet plane. But this is absolutely optional. You don't need to do what if you're already happy with your painting? For me, for some reason, I feel like it would be nice if I add some orange tones over here as well. It is a lot yellowish over here. I'm just going to quickly add few taught at patterns. And then we'll be done with the painting. Alright, so that effect, with that, we're done with our painting for day three. It was a very simple step and I used a really light tone of orange. Now it's time to peel off the masking tape. I really loved the color company share the simplicity as well as the beauty of this painting. I hope you all had a great time painting. Good car just to look for you. Thanks a lot for joining me and I will see you soon with the next print landscape. 14. DAY 4 - Spring Evening: Hello, hello, Welcome to day four. And here's a painting for the day. It's a very simple one. You will learn to paint this call just sky and that call just middle. You can see those details in the horizon. It's going to be a simple lyric, pretty painting, which is really easy to do. Okay? Now let me take you through the color. For the sky. I will be using three colors. You get already guessed them by looking at the paintings. So I'll be using a blue, then a parent, and a yellow. Here's the colors. I'll be using, cerulean blue, permanent rose, and Naples yellow. You can go with any blue, any rows and any yellow, instead of civilian blue channels, Prussian blue, cobalt blue, ultramarine blue, or any other blue. We just need some kind of bright blue. Then over the middle, the color you see there as permanent rows. Instead of permanent rose, you can also use crimson. We'll be using that over the middle. You can see that color over here. So that is permanent rose. I'll be just using a medium tone of this color. Then over the bottom, over here, the color you see here as Naples yellow. It's a pistol yellow. It's not that bright. It's a dull yellow. But if you want to use some criteria, you could use that. So you can go with cadmium yellow or any other yellow that you prefer. Instead of Naples yellow, you are sky will be a bit more brighter than mine. That's only the friends. You can go with. Any yellow hinges need to be Naples yellow or any other base level. Now, I'm going to swatch out these colors on my sketchbook compared to the other days to spending doesn't have much of details and it will take you hardly 30 min. So it's gonna be a quick one today. Now, I'm going to squeeze out all the colors onto my palette. I'm starting with cerulean blue. For the majority of the sky, we'll be using blue and we'll be using very little Permanent Rose and yellow. So don't squeeze out a lot of paint. We will need these three colors only for the sky. Now, I'm going to space out permanent rose. Just like I said earlier, you can also use crimson or any other color that you prefer. And finally, we will need Naples, yellow or yellow. You have caught. We spoke about Naples yellow in our first painting. So this was a basal yellow. It isn't as bright as a normal yellow. It has some white paint in it. I will show you the pigment number and make you understand more about this color. Here is Naples yellow. If I look at the pigment number, you can see here it says BY 35 and PW six. So this means that our two pigments in it to pave I35 and P w and P W6 is a pigment number of white. Let me take a white watercolor tube. You can find the pigment number on your watercolor tube. So I have my white watercolor tube here. Now let's take a look at the pigment number. So this one is titanium white. Pigment number as PW sex and hence proved. So the Naples yellow I have here is a combination of white and the pigment nimble PW 35, which should be a yellow. So it is quite obvious that there are some white pigment and Naples yellow, and that is what makes it a pixel color. Now I have a cadmium yellow here. And for this one, the pigment MOOCs, PW 35, and that's the same pigment number. We have her Naples yellow. That means Naples yellow is made of cadmium yellow and titanium white. So it is not at all necessary to have a Naples yellow in your color palette. You can mix a lot of white with any of your normal yellow and create a, basically a low which is going to be exactly like Naples yellow. Okay, now I'm gonna spit out all the colors. I'm starting with cerulean blue. You can use Prussian blue interrupts rule in blue. Now I'm going to wash the paint from my brush and I'm switching to my second color, which is permanent rose, internal permanent rose. You can use crimson, which is a common color. And if you have quinacridone, rose or any other rules, you can use that as well. Okay, so that's my second color. Now I'm washing off the paint from my brush again, and I'm going with a third color, which is Naples yellow. So in case if we would love to use a basal yellow in your painting, you can mix a little white watercolor with any of the yellow that you're using and create a basal yellow. Otherwise you can use any of the yellow acids. It will just make your painting a bit more brighter. That's the only difference. Okay? So it has spaced out the three colors I'll be using for the sky. You don't need to stick to the same colors. You can use any other color of your choice. Now let's take a look at the colors you will need for the metal. It's quite clear you will need some sap green, integral and leaf green for the metal. Over the top, I'll be using sap green and towards the bottom I'll be using indigo to make it more darker. And for those details as well, I'll be using integral then to add some final touches of using leaf green. Those are the other three colors you will need. I'm going to quickly surpass them onto my sketchbook. You guys are already familiar with these colors, so I'm making it really quick. Alright, so it has flashed out all the colors here. Now I'm going to show you a quick color mixing exercise just to make sure the colors you have chosen will work perfectly. I'm going to apply the colors in the same order that I have used for the sky. So I'm starting with cerulean blue. And then applying that over here. You should be following the same order and apply that color onto your paper. That's really in blue. Now I'm washing out the paint from my brush and I'm switching to permanent rose. Taking a little off permanent rose and applying that right next to the blue. I'm washing my brush again and I'm picking some clean permanent rose. Now, let's go the third color with this Naples yellow. And I'm applying that at the bottom right next to the permanent roles. These are the three colors I'll be using for the sky. And if you use them in this order, it will save color combination. They won't create a muddy mix in between. So it's a very safe color combination to use in your sky. Now just where you are mixing cerulean, blue and permanent rose, you might end up creating a violet, which is absolutely okay. It will add a lot of beauty to your sky. It is not a muddy mix, so that's absolutely okay. Blue and crimson or blue and roles as a safe color combination. So just in case right after yellow, if you use blue, again, you might end up creating a gray sky. So that is not recommended. So in a similar way when we add clouds, want the yellow part, you may end up creating a muddy green over here. So are we only added the clouds only on to the area where I have pin can peel. Now, if I take some blue and add that right next to the yellow, you can see I have created a green in-between. The spy I said earlier, you shouldn't be using blue right next to yellow, or you shouldn't be using it for adding clouds as well. So it is quite obvious this order of colors is not safe. This is something really simple and easy. You should be trying this exercise whenever you're trying a new color combination, which you are not really confident about. Take out a scrap piece of paper and try a different mixing options and understand they won't create a muddy mix or green or any other color which is not really recommended for a sky. So we'd be going with a top order, blue, pink, and yellow. We won't be adding any clouds onto the yellow area. We just add them on the top as it may create some thin clouds. We had a look at the colors we'll be using for the sky. Now, I'm going to take you through a quick exercise. We will try a simple variegated wash of these three colors, as well as we learn to create those clouds. Which way you are comfortable with, you can go with that. I have divided my paper into two sections. Now the first step is to apply a plane could have water onto the entire sky. We're going with the wet on wet sky. So I'm going to grab my one-inch wash brush and I'm applying a clean coat of water onto the entire paper onto both the divisions. I'm applying water onto both the sections and I'm going to paint them together. My papers evenly, right? So first I'm going to apply a simple variegated wash off the three colors I have chosen here, which is a brilliant blue, permanent rose, and yellow. And to apply the paint, I'm going to use a size number 12 round brush. I'm using a bigger brush so that I can apply paint onto the area as quickly as a bigger brush can hold quite a lot of paint. I'm starting with cerulean blue. I'm going with a medium tone, and I'm applying that onto the top part of the paper. So applying the paint onto both the sections together. You can go with any blue of the child. It can be Prussian blue, cobalt blue, or any other blue. It doesn't need to be certainly in blue. If you don't have saline blue, that's absolutely okay. It is not going to affect your painting. I have applied serene blue, almost half of the paper you can see for the painting as well. I'm going to go with the same proportion. Now I'm going to walk through the paint from my brush. And I'm going with my second color, which is permanent rose. In your case, it might be crimson if you don't have permanent rose. Now I'm taking enough of paint on my brush and I'm applying that right next to the blue. If you can try to make it a small kind of clean blend, keep running your brush from left to right in a horizontal way and make it a clean planet. I'm just washing out the paint from my brush and I'm picking some clean paint. Again, adding that over here. Now let's wash out the paint from the brush I came and cool with yellow, which is the last color. Now, apply that on the remaining area. We have applied yellow, rose, and blue. Now let's try to make it a clean black. I'm running my brush from left to right in a horizontal way. And I'm trying to make it a clean blend. Washing up the paint, making the brush clean, picking some more pink. Again, try to make it a clean blend where the blue and pink as meeting patterson, we have beta two sections here. I'm going to leave the first one assets onto the second one. I'm going to add some clouds. I would recommend you to try all the same exercise on a scrap piece of paper. You can take a small piece of people and divide that into two sections and go in a similar way. Apply the paint onto the background, the anterior background, then onto one section. Let's try adding some clouds. This exercise is purely for beginners who haven't tried wet-on-wet technique much, especially adding clouds. If you're already an expert in wet-on-wet technique, as well as adding the clouds. You can skip this exercise and start with the class project or I can just give it how much? Now let's add the clouds before the background rise. For that, I'm using a size number four brush. You can use any of your medium to smaller size brush. Depending on the size of the clouds you want. If you are looking for a bigger cloud, you can go to pick up brush. Now I'm creating some bluish violet here. I'm just mixing some blue with permanent rose. Now using that color, I'm simply adding some lines and some random shapes onto the wet background. See that There's absolutely nothing to worry here. Just make sure your background is still wet. Now using a bluish violet or a dark blue, keep on adding some clouds. At some places you can use a darker tone and at some places you can use a medium tone. You can go with any shape, but don't add a lot. We still need to see that background colors. Just add few, leaving some space in between. Don't add them too close to each other. And also when I'm adding these clouds, I'm not adding them towards the bottom, especially where I have yellow. I'm stopping when I'm reaching the pink part. I'm just adding a few lines here. I'm not making them too prominent. So when you are closer to this area, be little careful. Don't add a lot onto the yellow area. So this is how it is. Now if you want to add more clouds, you can go back with a darker blue and add few more here and there. I'm already happy with the way it has turned out. So you can compare the left side and the right side is the same background. Onto the second one, we add some clouds. I'm picking some more darker violet. I think it's more like a glue, Maybe not really violet. Now. I'm just adding some more clouds just to make it more traumatic. And now I'm washing up the paint from my brush and I'm dabbing my brush on a paper towel. Now using the same brush, I'm just matching the colors to make them look more smarter. Right now, they're looking quite strong. Okay? So I'm pushing and pulling the color using a clean brush to make them look soft and sub two. So that is it. That's those Kai, I hope you guys enjoyed this exercise. If you're an absolute beginner who's still trying to figure out wet on wet technique, I would really recommend to try this exercise. You can try with the same colors or any other color of your choice. So make your back on wet, then apply any color onto the background, then add some clouds and see how it works. So we're going to try the same sky painting as well. We'll be using the same colors as well as the same technique. If you're planning to use any other colors for your sky, just try the color mixing exercise on a scrap piece of paper. And we show the color combination you are using us safe. They don't create a magic mix. Now just in case if you want to make your sky look more brighter, you can use cadmium yellow, Indian yellow or Campbell shallow. You don't need to go for a pistol yellow. You can use any of your yellow without mixing white into it. And if you'd like those muted yellow for your sky, you can try mixing white watercolor with any of your yellow to create a pistol yellow. Just decide on what are the colors you want to use for your sky and get them ready? Bow, this guy has dried completely and I have added all the names. You can see how pretty that color combination is looking and those clouds. This is exactly what we're going to try in our class project. Now before we start, there's one more thing that I want to talk about, which is this nice curly lines. You can see those thin, delicate lines. I found some of you have trouble in getting those lines clean and precise. What is absolutely common? When I started out, I still remember. I was really nervous. My hands were shaking whenever I tried those clean, precise lines. I never got it right. And it took me a while to get them right. I try different brushes thinking it is purely the problem with the brush. But then I realized I need some practice as well. So I decided to put some time every day and I tried practicing some freehand lines. And finally, after many practice, I started getting a decent result. So give it some practice. Whenever you find some time, take out a scrap piece of paper. It doesn't need to be an artist crepe paper and try adding some freehand lines using any of the brush you have caught any pointed brush. So that's one thing you can do. Now there are some types of brushes available in the market called script liner, rigger brush, like the one you see on the screen. This one is a size number to recur brush from Zen art supplies. You can see the long hair of this brush and it has appointed to pass both. These type of brushes are mainly used for straight lines or to add precise lines. A rigger brush is also called as a liner or a scrub brush. So sometimes you may find them with the name script liner at the same brush, it will have longer hair than our normal brush. I have taken out a scrap piece of paper. Now, I will show you how you can add line to sing this fresh. See that you can add long lines, which can be straight or chart or code. It's quite easy to add lines using this brush. You can add those grassy lines. As for super long pointed, curvy lines. It is quite easy to have these kind of lines using this brush. But I have been practicing tie lines using my other smaller brush, and I'm quite comfortable with that as well. So if you want to give it a try, you can get a rigger brush or a script liner. But before you jump and make that purchase, I want you to try the same with your normal brush. Any of your brush which has a pointed tip. And keep practicing these freehand lines. The first step here is to letting go of the fear. When you're adding these lines, you may feel like stopping them in-between. Or your hands might be shaky or you feel nervous. So first thing is to conquer that fear and learn to add these free hand lines and Embry way. Obviously, a rigger brush or a liner brush will be really helpful. Asset is commonly used for hassle-free long lines. They can be streamed chapter code. So there is no doubt getting a rigger brush will help you in your so there is no doubt getting a rigger brush can really be helpful. But I want you guys to try it using your normal brush as well. So whenever you find some time, take out any kind of paper. It can be a Xerox paper. And try practicing these freehand lines. That's something you have to do before getting fresh water brush you're using. You need to get your hand muscles free. Otherwise you will still have that friction in your hand even when you're trying these lines using recompression. Now before we start with our class project, I'm going to quickly show you how you can add these teeny tiny trees. They are really symbol at a small irregular shape. I'm going to pick some integral that is the color I'll be using to add these trays. So first you have to add a small irregular shape. It can be how you want to, but don't make it too huge. So that's a shame. Now we can add the tree trunk, which is just a straight line. Again, a thin straight line. So that's your tree. If you want to make it more beautiful, you can add some dotted pattern along the outer shape of the tree. So that will make it look like to saddle leaves. I'm going to try another one. I'm just randomly adding the paint and I'm creating a shape that, so that's a tree cover. You can add it. How will you want to, if you want a big tree, you can make it big. If you want a smaller tree, you can make it smaller. It's a very random shape. Now I'm adding a thin straight line, which is the tree trunk. So that is how we will be adding the trees. Just add a line here so that it will look like three. Alright, so that is it. I think we have discussed everything you need to know to create this painting. We learned about the color palette as well as the techniques. Now it's time to give it a try. 15. Spring Evening: Okay, so here is the painting that you're doing today at a simple one. Unlike the previous days today we're not adding any class. It's going to be a beautiful green meadow. The main highlights of this painting, as this beautiful sky, will be using three colors for the sky will use yellow, some rows and some blue. You can see that contrast between the yellow and the green. The color palette is really courageous. I absolutely love the transition from the sky to the metal. We already had a look at the colors you will need. Now, I'm going to squeeze out each of those colors onto my palette. So as I mentioned earlier, for this guy, I'll be using cerulean blue. This is a major color I'll be using for the sky. Then along with that, I will also be using some permanent rose, as well as some yellow. Just like I mentioned earlier, instead of permanent rose, you can use crimson. And instead of Naples yellow, you can use any of the yellow you have caught. Or it can mix a little white with your normally allowed to create a pistol yellow. Now I'm adding the horizon line. It is just a line, a little bit of the center of the paper. So more than half of the paper is going to be the sky, which means this guy is the prominent feature of our painting. So just try other techniques section if you haven't tried it yet, so that you'll be lot more confident when you're painting the sky. I'll be using a bigger size brush for the sky. And I'm not really sure whether the screen, no. I sometimes miss to clean the brush. This is a very bad happened. This will really affect the life of your brushes. So never do that. Always clean your brush right after you're done with your painting. Now, I'm consequence or the colors onto my palette. I already have some saline blue there. So next one is permanent roles or crimson. And the last color as Naples yellow or yellow, you prefer. We already talked about Naples yellow. It's a pistol yellow. If you don't prefer using a pixel yellow in your sky, you can use any of the bright yellow you have caught. But just be a bit careful not to mix that directly with the blue. If you do that, you might end up creating a green in your sky. So this is the color that I'm going to use for the sky. I'll be using a little of yellow as the last laugh rows. The majority of the sky is going to be in certainly in blue. We have the colors ready. Now the first step is to apply a clean cut to water or to the entire sky. The agreement about on wet sky, use any of your bigger brush and apply a good amount of water onto the anterior sky. Keep running a bridge multiple times just to be sure the coat of water is even. We don't want puddles of water in-between. We want a nice shiny CO2 water. Now I'm going to use my size number to a damp brush to apply paint onto Sky. Because with a bigger brush, it is easy to apply the clouds. So don't use a smaller brush. Try to go with a medium to bigger size brush. We're going to apply the colors from top to bottom. Some starting off, it's really in blue. I'm going with a nice medium tone. Almost will three-fourths of your sky you can apply serene blue are pushing blue or any other blue data using. I'm not trying to paint in a horizontal way. I'm just going with some random shape and I'm adding some blue like this. I don't want this guy to have some horizontal bands are different colors. That is the reason why I went in with our random shape. We have added blue. Now it's time to go with the second color. Wash the paint from your brush properly, and go with your second color. In my case, it is permanent rose and I'm applying that right when I stopped the blue. You can see how we've got a light violet tone over here. Now, I'm washing all the paint from my brush and I'm going to clean rules. I want the sky to be really bright and vibrant at that almost 234 of your sky. Now again, wash the paint from your brush and go with your third color with this Naples yellow. And adding that onto leftover area at the bottom. I feel the colors are looking really dull. I want them to be pride. I think I will add one more layer on the top and have it make the colors more vibrant. So I'm washing all the paint from my brush and I'm starting off with blue again. So it is exactly the same way how I added paint earlier. I'm starting off with blue and I'm applying blue on top of blue. Go with the same order and apply the paint in a similar way. I mean, light blue on top of blue and grows on top of rows and yellow on top of rows don't mix up the colors. My background is still wet, so there's nothing to worry here. You can keep on applying the colors on the previous layer. In a similar way. I'm doing this step just to make the colors more vibrant. I think the previous layer was really tough. You are very well known watercolor tends to fade when it tries. So when we have lighter tones in the background, when it dries, it will look even more lighter. That is the reason why I'm going with the second round to make them look pretty okay. Now I'm switching to permanent rose and I'm applying that right next to blue in a similar way how I did earlier. So it created a white in-between. I washed the paint from my brush and I'm applying some more clean rolls over here. That looks nice. I'm really happy with the colors. Again, washing up the paint, clean your brush properly, and go with yellow. When you're applying yellow, your brush has to be completely clean. Otherwise you will end up getting a muddy color in the sky. That is the base layer, which will be the colors you have chosen. Apply that onto a sky. I decided to use more blue and less rules and less yellow. You can go with any kind of arrangement that you prefer. If you want to add more yellow or more rules in your sky, you can reduce the amount of blue and add the paint. How will you want to? That is the base layer. Now before this dries, we'll need to add some clouds. To add the clouds, I'm using a size number four round brush. You can use any of your medium to smallest size brush depending on the size of your painting. First I'm using a bluish violet. So I'm plugging a lot of rules and mixing that with Shirley and blue to create a bluish violet. Now right where I have this rose color on the sky. Over there, I'm going to add some clouds. The patron be too dark and it shouldn't be too watery. With a medium tone, which is not too watery because the background is already wet. If you go to really watery paint, it will start spreading into the sky in a vigorous way. So we don't want that. Now you can use the same color and add some clouds on the blue area as well. It is just some to Canton lines. You can go with bigger shapes are smaller shapes. But just make sure the background, the silhouette. Now onto the corners, I'm going with much more darker tone feedback. So you can play with different tonal values of the same color when you're adding the clouds, this will make your sky look more beautiful. But before you add the clouds, just be sure the background is still wet. If you feel like the background is starting to dry, don't add more labour Tacitus, you might end up ruining your sky if you add more when the sky is starting to dry. Now, I'm gonna go with a little more darker tone and I'm adding some more clouds. My background is still wet. I'm going to make use of the time. So I am adding some more clouds using a darker blue to make my sky look more traumatic. Concentrating more on the blue area. I'm not adding much over the bottom, especially the yellow am leaving a Tacitus. I'm not adding any clouds over there because when the yellow and the blue comes in contact, it will create a muddy green, but does not really recommended for the sky. So let's be very careful at the area where we have jello. Don't add any clouds over there. I'm really happy with the way it has turned out. The only thing I regret is I should have gone with a brighter pink. It is looking slightly dull but no mind, but the overall sky has come out really nice, so no complaints. I think I will add some more clouds, maybe a little onto the top corners and feel more onto the pink area. This is actually optional if you're already happy with your sky, you don't need to add more clouds. I just have to have it of overdoing everything. The back on the silhouette. So I just felt like adding some more. But just ignore what I'm doing here. If you're already happy with your sky, just leave it as it is and be sure not to add any clouds onto the yellow area. Okay. I think I'm calling it done. I don't want to ruin it because I'm really happy with the weight of total. I'm going to wash out the paint from my brush and I'm going to leave it for drying. Whenever you're doing a sky using wet on wet technique, it is really important to know when to stop adding paint onto your sky whenever you feel like the background is starting to dry. That's your hint. Don't add any paint after that. I have ruined quite a lot of paintings by all working on the sky, which is something that I do quite often, even though I know when to stop, I obviously like, maybe if I add some more color, it will look nice. But no, it used to end up spoiling my painting. So what I'm trying to say here is, whenever you're happy with the results, don't add more paint. Watercolor is a transparent medium, so if you make a mistake, especially the sky, you cannot really fix it. So it is better to start whenever you feel like you're happy with the result. So these are the three colors I used for the sky is blue, permanent rose, and Naples yellow. Even though it didn't turn out the way I imagined, I'm still happy with the way it has turned out. So let's leave it for drying. This guy has dried completely. Our next task is to paint the middle for the two colors. I'm going to use a sap, green and integral. This time I'm not using any light cream directly going at sap green at the bottom, I will use a really dark tone off integral. If you don't have integral, you can use Prussian blue or any other taco blue. Just mix that with sap green to create a darker green. Are indigenous just to get a darker green at the bottom, it doesn't really need to be integral. Okay, So I have the colors ready on my palette. I'm starting with sap green. And to apply the paint, I'm using my size number 12 round brush. You can use any of your medium two because size brush. If it's a bigger one, you can apply paint ontologically real quickly. And I'm not applying any water onto the background. I'm directly going in with a paint. I'm using a very intense and try turn off sap green. And I'm going to add tat along the horizon line first. I'm taking it down. Try to get a clean line at the horizon. You can see the color I'm using here. It is really pride. It's not a light tone. For this painting compared to the previous one. We are going with darker colors. So we'll start with a really bright tone of sap green. You can see how the sky is lighting up when we added sap green as a gorgeous color combination. Now I'm going with indigo and I'm going to fill up the rest. So we have a nice and pretty Sap green at the top and a darker green at the bottom. Just like I said earlier, you can use any darker blue and mix that with sap green to create a darker green. It doesn't need to be integral. This is the way how you should be painting your background. Knowing and applying these paint, it doesn't need to be a clean and a small plant. We just need some sap green at the top and a darker green at the bottom. I just want to remind you there's nothing to worry if you didn't get a clean blend. Looks like the top video is starting to dry. So I'm picking some more sap green, a slightly what revulsion. And I'm going to add that on the top. I want this area to be red. That's the only thing I'm worried about. Not a clean blank. So just like mine, if you feel like you're back on the starting too wet, you can go for one more round of sap green and apply that onto the top. Now I'm picking some more integral and I'm applying that onto either corners. You can see here, I'm not really worried about a clean blend. I just wanted some darker tones on either side. And also at the bottom, maybe we can drop some more darker tones over here. A little background is really bad as we have just applied the paint. Now, I'm going to wash the paint from my brush and I'm going to keep this brush aside. And I'm switching to a smaller size crunch. This one as my size two round brush. You can use any of your smaller brush or any breakfast as a pointed tip. We're going with a very interesting step. So we already have some wet paint in the background. I'm just pushing and pulling that paint. And I'm creating some grasslands here. For the first round, you don't need to take any paint on your brush. Just keep pushing and pulling that paint you already have in the background. And create some grassy lines here. Don't push that into the sky. The horizon line is on the mat. These doesn't need to have any proper shape. You can randomly keep pushing the paint towards the top at the bank. Understood. But even if you put a lot of effort, the shape is not going to stay the same when it dries. So there is no point in putting any effort right now. For now, keep dragging your brush towards the top and create some grassy lines. As you keep on doing this, at some point you may feel like there is no enough paint in the background. Pulling and tracking business. At that point, you can take out some more paint and keep repeating the same exercise. So right now I took some integral and again creating some grassy lines. I'm going with a curvy shape. They're quite long asphalt. Even though the alarm, I'm being very careful not to add any onto the sky. The horizon line is my lemon. Right now. My idea is to create a blurry background. That's the reason why I'm doing this while the background is still wet. And also focus on the bottom area. Don't add a lot of Taco values at the top along the horizon line. If you can still keep that sap green, well and good. You can keep repeating the same exercise until you're happy with the background. We can make the bottom more denser. So go to Taco value and add some grassy lines only at the bottom. Towards the top, adding very little. You can already see how pretty the resources and the background does not really visible. It doesn't matter whether we gotta clean blend or a rough blend. This is exactly why I said earlier, we're not really looking for a clean and a small trend. You can add in the paint. How will you want to? Right now, I'm going with a much more darker value of integral. And I'm adding some more lines at the bottom. We need this area to be more dental. Come back to the top. So we'll have a nice depth novel painting. Let's add some more. You can see how I still maintain some sap green over here without any grassy lines. Even though it is a small area, it will really add a lot of depth in our painting as we are playing with multiple tonal values. So along the horizon line you have a medium tone up sap green, and towards the bottom you have a really dark tone. That transition is looking really pretty. Now, I'm switching to a lighter green. I have some leaf green over here. I'm not adding any white quash or any yellow into it. I'm directly using leaf cream and onto the same width background, I'm going to add some more crafty lines. So right now the backup has started to dry. It is not as wet as before. So the color that I'm applying will stay much stronger than audio. Even now, you don't need to really put a lot of effort and adding those grassy lines. It can be some random messy lines. Okay, so keep on adding these lines using a lighter green until you're happy with the result. If you don't have leaf green, you can add a little yellow to sap green. And just keep on adding these lines using that color. You don't really need to add any white gouache at the moment. Right now we're not trying to make them look opaque and bright. They are simply adding fuel onto the background to make it really tense, will be adding few more classy lines using an OP quotient once everything dries. So right now, just add some grassy lines using integral as well as a light gray and create some tensity in your background. So this is the color I used. It is called leaf green. I didn't add any white cloth or any other client would. I simply use this color acidosis as a really pretty light cream? I think we discussed about this color and the color palette section. You can also use lemon, yellow, and green, or you can mix and create your own life. Okay, So this is where we have raised. I'm really happy with the way the painting is looking right now. I think it doesn't need much of the material. It is already looking like a pretty painting. Now we'll have to wait for this to dry before we add the remaining details. So let's take a small break and come back and everything has dried completely. Alright, everything has dried completely. Our next task is to add some details along the horizon line. You can either leave it as it is or it can add to mountains or whatever you prefer. I'm just going to add few trees and some little details. For that. I'm using indigo directly. My plan is to add some teeny tiny trees and few landscape. I'm not going to make it too busy. Just watch or the size of the tree that I'm going to add. It is super tiny, so you'll have to be using a smaller size brush. Otherwise, you may end up adding up the tree and everything will go out of proportion. Just like how we tried in the technique section. You can add a small random shape, then add some teeny tiny patterns around the shape. Don't make it to pick. This is a size I'm going, but now along with that, I'm also adding some landscape. So everything that you're adding along the horizon line has to be really small. You can see the size of the tree. Now, the landscape has to be even more smaller. As I said earlier, I'm just using indigo. You can use any of the darker green you have caught, or you can just use integral as status. Now I'm going to add another tree right next to this one. I'm making it a little bigger than the first one. I'll be just adding two trees. If you want to add more, you could do that. Maybe you can add one or two on the left side as well, or maybe three. So that's totally up to you. In case if you are adding more trees, go with different sizes and shape for either side, don't make all of them look the same. You can see how short they are. Now am I in a tree trunk and few tiny branches. Now I'm adding some landscape along the horizon line. You can see the size and shape. I'm just randomly adding some shapes. They are very small. That's the only thing you need to keep in mind. It can be how will you want to? Maybe we can make this tree slightly because I'm adding few more patterns. And I'm making that tree cover slightly larger. Now let's go back to the landscape and add in some more. I'm just thinking, should I add another tree over here? Or maybe no, I will just cover up that and turn that into landscape. But you can ignore what I'm doing here. If you want to add more trees, you could do that by just be careful about the size. Don't make them to pick. And also what are the size of the tree trunk if you're not able to get that teeny tiny line using your brush, maybe you can use your black pen and add a line. Nobody's going to know that. So be careful not to make your treatment too thick. I'm so happy with the way it has turned out. The right side looks pretty complete, but the left side is looking quite empty. So along the horizon line we can add some more teeny tiny patterns like this. You can see the size I'm adding here that's too tiny. This is how you should be adding them. Maybe in-between you can go for a bigger cluster, but be sure that is not to pick the brush. I'm using a size number two. It has a nice pointed tip. And the color I'm using curious integral. I'm just pressing the tip of my brush and I'm creating some random irregular patterns which are super tiny. It's a very simple step, but then it will make your painting look complete as well as it will give you that sense of distance in your painting, you can see the size of the tree is we have added here there are two tiny, the size is really important here. If you make it really big, it will look like it is closer to you. And if you go with the smallest size, it will feel like they are really far from us. So that's how you bring in that sense of distance by playing with different sizes. These are some very basic, simple tips to bring in that sense of distance in your painting. You can try that in your future paintings as well. You can clearly see the difference in those tiny details meet, I will just show you a comparison before and after, so that you will understand the importance of small details. Okay, So here it is. If you look at the left side and the right side, you can clearly see the difference. The painting is looking a lot more complete and a lot more pretty by adding those teeny tiny details. There are well details, but even then you can really see the difference. It has brought a sense of distance in our painting. And it easily made about painting look complete. Now there is one more task left, which will make your painting look more complete. Orbital is nothing other than adding some more grassy lines over the bottom. So right now, our background has dried completely and I'm going with a lighter green to add the grassy lines. So I mentioned this earlier. We are going to add some classy lines on the white background. Earlier we were adding them on the wet background. I'm picking some Naples yellow as well to make it a bit opaque, Naples yellow has already gotten brighten it, so I don't need to squeeze out any white quash. If we're using a normal yellow or a normal cream, maybe you can add a bit of white gouache or white watercolor to turn that into an opaque one. But we don't want them to be 100% opaque, so don't add a lot of white gouache or white watercolor. That looks really opaque. That's not the color I want. So I'll have to make it lighter. So my intention here is to just make those grassy lines slightly visible, but I don't want them to be too prominent. Mix and create a green which isn't 100% opaque. And go with a brush which has a nice point at two, and add some nice curvy lines. You can add them all towards the same direction. So it will look like there are some nice weekend and please hitting the grass and they are leaning towards one side. Adding in a form of grassy lines like this, if you can make them Kirby, otherwise we can add them. How will you want to? You can see the way I'm adding them and making them cogwheel. The human cool way to the right side. So as I said, if you can make them go away well and good, otherwise also there's no problem. Be comfortable and add them. How will you want to? I know some of you have trouble in creating this point at thin lines. So the first step is to identify a brush which you are comfortable with. This one I'm using here is a size number two round brush. I use it quite a lot. And I'm really comfortable with this brush. I use it for all these minute details. I showed you another brush in the technique section. You can also get a rigger brush or a script liner. Maybe you can try with a cheap brush and understand how it works. And then maybe you can invest on a good-quality script liner or watercolor brush to add these kind of thin, delicate lines. So this is something that comes good when you practice a lot. Whenever you find some time, take out a scrap piece of paper and take out a small brush which has a pointed tip. And keep on adding these grassy lines. Make your hand free. So when you're adding thin, delicate line, there will be some kind of pressure in your hands. We need to conquer that. We need to let our hand muscles free and we should learn to create these lines in a very brave way. It takes some time. Keep practicing on a scrap piece of paper. It doesn't need to be an artist grade watercolor paper. You can take out any people and some leftover paint and keep creating these freehand lines. Trust me, you're going to get it right. Maybe you won't get it right on the first try or the second try. But gradually you are going to get there. I still remember when I used to try this exercise in the beginning, like 23 years back, my hand seems to be shaky. I used to be really nervous. Then whenever I used to find some time, I used to practice the hand lines and I think I'm good at it, but there's a lot more practice left to master it. Hopefully one day I'll get there. Okay, So that's our painting. I think I have added enough traffic lines. Are painting looks really complete right now. So once you're sure you're painting has dried completely, you can peel off the masking tape, pilot at an ankle and be very gentle so that you want to pop your paper. Okay, so here's have a painting for day four. I hope you guys are happy with your painting and it was really quick one compared to the other paintings with it. I'm really happy with the way testing allows, especially the color compression we have used here. And that beautiful sense of distance we captured in this painting. Alright, thanks a lot for joining me today as a backup zone width of an expert in landscape. 16. DAY 5 - Wildflower Meadow: Hello, hello, Welcome to day five. And here's the gorges wildflower meadow that we're painting today. The meadow in today's painting is actually a modified version of the one we did yesterday. So onto a similar background will be adding some yellow wildflowers. But today we are going with a very soft sky. And also for those details, in the last case, we'll be making it a little more detail. And bachelor yesterdays, you can see those beautiful detailing and those beautiful wildflowers. Okay, so let's give it a try. Unlike the previous day's, I'm not going to show any techniques today because this painting is quite simple. We just need to know the colors will need. We're going to paint the middle in a similar way like yesterday is fun. So you guys are already familiar with the approach. So without wasting any more time, let me quickly introduce you to the colors. I'll start with the sky. As you can see here. It's a very soft and subtle sky. And the colors that I'm going to use, our integral and permanent yellow, orange. Let me take them out. Here they are. I'm going to use integral and permanent yellow, orange. I'll be using watercolors and a really light tone. You can go with any other color of your choice, or you can go with a different color combination. Maybe you can go with a single color as well. So those things are totally your choice. So that's integral. Instead of integral, you can also use Payne's gray, a really light tone of Payne's gray. Or you can use Prussian blue. We'll be using indigo quite a lot on this painting. We'll use that for the metal, especially over the bottom, and also for those trees and landscaping the background, the base color is going to be integral. So you will require a lot of integral for today's painting. The next color I'm going to swatch out is permanent yellow, orange. This one is a beautiful yellowish orange. But I will be using a very light one of the scholar as well. As you can clearly see from the painting, it's a really light tone. So you can go with any yellow, orange, yellowish orange, or even a whole range, but just use a very light tone. I'm going to squeeze out of bed. Now I will quickly ****** out. My idea here is to make the foreground prominent. That's the reason why I'm going with a very soft and subtle sky. I don't want the sky to be too prominent. Okay, so that's the second color. You can see that color at the bottom. Now, let's go the third color. We spoke about the colors you will need for the sky. Now, let's talk about the colors you will need for the metal, which is quite obvious, you will need leaf, green, sap green, and integral. You guys are really familiar with these three colors as I'm using them every day. So badly. Let me quickly, as fast this out. Just to complete the color palette. It's a beautiful green. You can either use lemon yellow instead of this color, or you can mix and create light green of your own by adding a little bit of sap green to lemon yellow or any other yellow. I'll be using that color to add the details as well as for the area along the horizon line. The next color we will need a sap green, which is a really common color. And it's one of the most important color for this painting. We need to create that fresh cream metal here. So you will need quite a lot of sap green for this painting. Okay, so that's sad. Now heading on to the last color for this painting, which is the color for these beautiful wild flowers. I'm going to use cadmium yellow for these flowers. You can use any of your choice or any eluted have caught. It can be gambled yellow Indian yellow or yellow to make them really opaque. Mixing a little of white quash to it. Otherwise, it will be slightly transparent. So right now I'm just washing out the color in its original form. I'm not adding any white gouache into it. We can try that out and we are doing the painting. So I'm going to space this color. It's a beautiful yellow. And there you go. That's the last color. You don't need a lot of colors for this painting. It's a limited color palette and a beautiful or Nashville. It will really fresh and vibrant and makes you so much closer to nature. So these are the flowers that we're going to add. It doesn't have any particular shape. I'll be just pressing the tip of my brush and I'm going to add some teeny tiny random flower just in case if you don't have white gouache, you can also use white watercolor, will be just mixing these two colors to get an opaque yellow. You can see the shape of the flowers. See that they are super tiny and they're super messy. Alright, so that's summarized all the colors you will need for today's painting. Now without wasting any more time, Let's get started. 17. Wildflower Meadow: Okay, so here is the painting that they're doing today. We already discussed about the color palette. It's a very simple painting yet a pretty one. We won't be using any complicated techniques for this painting. I think it's a pure beauty of sap green. Okay, so I have my paper ready here. Now first I'm going to apply a piece of masking tape almost a little about the center of the paper. So the top part is going to be the sky and the bottom is going to be the middle. And it's going to be very simple sky, as we discussed in the previous section. I'm going to use a little lab integral as well as permanent yellow, orange for the sky. But I'm going to use a really light tone of the colors. I have bought the colors ready here, let me squeeze out a bit onto my palette. You just need a teeny-tiny bit of further commerce as we're going to go with a very light tone. In case if you want to try a different color for your sky, you could do that. If you want to skip the yellowish orange and just add a lighter tone of integral. That's also okay. Or if you wanna go with plain blue, even that is also okay. I have taken some indigo on my palette. Now, I need some yellowish orange. So we have both the colors ready. Now the first step is to apply a clean coat of water onto the sky. For that, I'm taking my one-inch wash brush and I'm applying a clean, good water onto the entire sky. Don't add a lot of water just to shine equal to war to solve we need, okay, so my sky is evenly wet. To apply the paint onto the sky, I'm going to use my size number eight round brush. I'm just cleaning it properly just to be sure there's no other paints, tints on my brush. Now I'm adding a few drops of water to integral, and I'm turning that into a lighter tone. You can see the color I created here. It is really light. Now I'm going to apply this on the top of my paper. So it's gonna be a variegated wash off, a light tone of integral as well as permanent yellow, orange. Towards the top. You can use a light tone of integral or any other color that you prefer. It can be a blue asphalt. It doesn't need to be integral. Now I'm washing my brush and I'm cleaning it properly. Make sure your brushes thoroughly cleaned before you go to second color. Now, I'm going with a light tone of permanent yellow, orange. And then applying that on the bottom, towards the top. You can see the way how I'm applying the paint. I'm not taking it till the blue. I'm just leaving it in between. That's a sky. I went in with a really light tone of indigo and permanent yellow, orange. It can be any other color that you prefer. It doesn't need to be the same color. That's the sky. We don't need to wait for this guy to dry. We can straightaway start with the middle. As we have applied the masking tape at the middle, we're not removing it right now. We will do that once we paint the metal. Okay, So these are the three colors I'll be using for tomato, leaf, cream, sap green, and indigo. You can use lemon yellow sap green and indigo or any other taco blue. So I already have some paint on my palette. I think I will need to squeeze out a little more onto the same areas. So I'm squeezing out some sap green. Now I need some lift crane. And I think I already have quite a lot of integral on my palette on the previous painting. The colors are ready. I'm going to apply these colors onto the metal. And for that I'm using a size number 12 round brush. You can use any of your bigger brush so that you can apply paint onto a larger area quite quickly. First-time going with leaf green, you can use any of the lighter green card, or you can just use a little lemon yellow. Now, apply that along the horizon line. I mean the masking tape, you can apply that over here. So we just apply a little. Now you can switch to sap green. You don't need to wash the paint from your brush. You can readily COVID sap green. As I'm using a bigger size brush, I'm able to apply the paint onto a larger area quite easily. Now I'm switching to integral. Again. I'm not washing the paint from my brush. Now for the remaining area, I'm going to apply integral. You can make it really dark at the bottom because this is where we'll be applying the grassy pattern as for elasto flowers. So in case if you want them to stand out from the background, we will have to set darker color. This is how the background has turned out. I think my paper is really wet, so I'm going to wait for a few minutes so that the water can then settle down. I don't want a lot of water on the background right now. It is really floating here and there. I think it has settled. Now I'm applying some more integral at the bottom. You can see the color I'm going with. It is really dark. I'm using integral and its strongest form. Now I'm switching back to sap green, the green column I crush. Let's pick some more sap green. I think the background is quite light, especially over here, bashing up the paint from my brush I can, and I'm picking some leaf green. And I'm making it smooth. So we don't need a clean gland here, you can simply apply a light cream than sap, green and indigo onto the background. You can apply TO YOU want to. It doesn't need to be a clean blend. Now, I'm switching to my size number to Ron Fresh. And I'm simply dragging some color into the background to create some grassy lines. Just the same way how we did yesterday. This is a very cool technique which you can try when the background is still wet. You don't need a clean blend for the background. You can see the way how I have applied paint. Now I'm simply dragging my brush towards the top and the bottom. And I'm just randomly adding some long lines. This is your first step. In case if your background has dried, you can pick some paint as well. Simply keep on dragging your brush back and forth. And Timothy long lines. This is definitely to look perfect. You can add them. How will you want to don't be scared, be prey, and add in a fourth long lines like this. I want to say this again. We're not looking for a perfect background. We are just trying to build some density here. You can simply keep on dragging your brush and add some messy lines like this. You can go into carefree manner. Please don't worry, you're not going to spoil your painting. So just keep on adding some lines using your smaller brush or any other branch which has a pointed tip. You can add some along the top Aspen. I'm just making use of that pain that I already have in the background. I haven't taken any paint. If you feel like you're back on the starting to dry, you can pick some paint as well and keep on adding some random lines like this. As you can see here, I'm randomly pushing and pulling the paint into each other and I'm creating some messy lines. So at some places I have a darker green and at some places I have a lighter cream. I got this just because it was randomly pushing the paint from top and the bottom without really worrying about the result. Even though it was a random results, I'm really happy with the way it has turned out. So no complaints. Now the background has dried. There is no paint left on the background so that I can push and pull. So I need to pick some new paint. I'm starting with leaf green. And I'm again going to add some grassy lines. Maybe I will add that at the bottom. So it is just a watery motion. It isn't an opaque one. At this stage, we don't need an opaque paint. You can go the watery version of a light cream and keep on adding some long grassy lines on the background. You can see how messy my lines are. So you don't need to worry about perfection. You can keep on adding these messy lines. We're just trying to add some depth and density to the background so you can keep on adding them how you want to. We'll be adding a final round of grassy lines at the end using an opaque version of cream. So at that point we can put some more attention, but for now you don't need that. I will quickly add some more lines to the bottom where I have a darker tone in the background. So I'm starting right from the masking tape and I'm dragging my brush towards the top and I'm just adding some lines. You can use any lighter green or you can use lemon yellow. Or it can just make some sap green with lemon yellow to create lighter cream. And you can use that color. As I said earlier, it doesn't need to be opaque. So when we're adding these grassy lines using a lighter tone, and we're adding that on a taco background. So the color will stay a bit even though it is not opaque. This is what we need for now. It doesn't need to be super prominent at this point. Okay? So keep on adding some lines until you're happy with the density. Okay, so we have added enough offline Sanders how it has turned out. Next, I'm gonna go with the same color, but this time I'm not adding a lot of water. I want it to be a little opaque than earlier. Slam using a thicker wash, not like cream. I'm not adding a lot of water. If you feel like it is really dull and transparent, maybe you can add a little white quash into it. So just like I said, I haven't added any white quash or any right into it. And just using the same green unethical form. So maybe you can try in a similar way first. And if it's not really opaque, you can add some white gouache or white watercolor integrate. Now using this color, I'm going to add some irregular lines, which are going to be the stem of the flowers. Just some long Pinter, irregular lines. You have to use any of your pointed brush. Otherwise, this line to be really thick. You want some thin and delicate lines. Some of the lines can be thin and pointy and some of them can be cool. We got with different kind of arrangement for your lines. And also some of them can be long as modem can be shot. Okay, so go different kinds of lines. This will add a lot of realistic value to your painting. Please don't make all of them look the same. Okay, so go ahead and add an enough of lines. Does your sentence stems and trenches, we'll be adding the flowers onto this. So concentrate on the bottom area. I can thin and delicate lines like this. Be sure to use a brush has a pointed tip or a detailing brush. Otherwise these lines may turn thick and it will affect the proportionality of your painting. Be sure to use the pointed brush or a detailing brush. Now go back and add in a fourth lines, especially at the bottom, start on the masking tape. And at some places you can add some smaller lines. And at some places you can make them taller. For some of these lines, you can add multiple branches. And for some of them you can just add one or two branches. So this will also bring a lot of interest in your painting. Okay, now, go ahead and add in a fourth lines. I'm almost done with the right side. I have some area left on the left side. So I'm concentrating on this area and doing the same exercise. Alright, so that's done. This is how our painting has turned out. I'm really happy with how vibrant it is looking. Now, we are going to remove the masking tape. Be very gentle. Don't put a lot of pressure and move it at an ankle. Now we're going to add the landscape in the background. Don't worry about the white band we have at the horizon line. We are going to cover why the ad, the landscape. And for that, I'm using my size template, Ron Fresh. And I'm starting with indigo. I'm using indigo and its strongest form. It's a really dark and vibrant color. And I'm going to add a thick and dense landscape over here. And since that's more like the previous painting, this time I'm going with a thick and bigger landscape. You can fill up the entire horizon line and similar shape. So just keep on adding some random irregular shapes at the horizon line using a taco tone of green or just use integral. Fill up that entire line in a similar shape. You can see how pretty of opinions looking already. It is looking complete, starting to have some depth in there. And I think the colors we have to send is going fell together. I'm nearly finishing this line. I just used a darker tone of integral to add the shape. Now I'm going to switch to my smaller brush, my size number two brush. You can use any of your smaller brush and go the lighter green are sap green. We're going to add some highlights onto this using a lighter cream. So how big some light cream. And I'm just adding some dots and some random patterns onto the background, especially onto the top. I mean the outer shape on that landscape we have added here. I think you can already see the effect we got here. So I applied the base shape using a darker tone, I used integral. Then out of that, especially onto the outer shape, I'm adding some lighter tones. I'm just adding some highlights using the tip of my brush. You can clearly see the difference between the right side and the left side. The right side is looking super realistic. So all you need to know what's first add that base shape using a darker green or integral. Then out of that, while it is still wet, you can add some highlights using a light cream. You just need to keep on pressing the tip of your brush and add some random patterns onto that taco background. Will have to do this until the entire line. I'm going to pick some more green. Progressing towards the other side. It is starting to dry, so I will add some bigger petals first. Then I will keeps marching band. Okay, so I have added some bigger patches of light cream on the top. Now I'm just running my brush along that patches and I'm smudging that into the background. Along the top, I'm adding some dotted pattern to make it look like those other leaves. Lovely technique, which is really easy. You can see how easily we created that landscape. And it is looking super realistic. So you just need to add some shapes for the background using a taco tone of green or integral. Then onto that you can add some green highlights. Then onto the outer shape we can add some leafy pattern that is set. So until now we add these highlights when the backroom was wet. So it was easy for us to smash the colors. Now the barcode has started to dry. But again, using the same color. I'm going to add some dotted pattern towards the lower area. I'm just pressing the tip of my brush and I'm adding some more leafy pattern. This will make your painting look more realistic. We are actually using the same approach that we use for the metal. We paint the background in a darker tone of integral. Then onto that we added those long graphing lines using a lighter tone of green. But here, we first added that background using integral. I'm in the landscape. Then onto that right now we're adding some leafy pattern using a lighter green to bring in some depth. And it's basically the same approach, a resistor different shape. So this is how it has turned out. I cannot tell you how much I loved that landscape. It is looking super realistic, using the same color. I'm going to add some more grassy lines in the background. I think earlier we didn't concentrate at this area. And now let's add some more classy lands over here using a medium tone of sap green. You can see on the left side, I haven't added any grassy lines. So let's just add few. Now these lines doesn't need to be as long as the previous ones. You can go with some short lines. Also use a medium tone of green. Don't use a darker tone. It doesn't need to be too prominent. We just need to see them in the background. And a very subtle way. Focus on the area where you haven't added any of these lines and add some and add some along those areas. And also when you're adding these lines, they can overlap with the landscape in the background. This will make your painting look more beautiful. So just don't worry, if the lines are overlapping with the landscape. That is what we need. So if you look closely, you can see the way how I'm adding those lines, intentionally taking them little higher and I'm overlapping them with a landscape. I think we should go with a lighter tone of green and add these lines I can, especially along the horizon line so that it will be really visible right now that overlap is not that visible through that use lighter tone of cream and again, add some lines along the horizon line. You can intentionally make some of them HIO and make it overlap with those trees and landscape in the background. To make your painting look more natural. You can clearly see the way how I'm adding them. Use a lighter tone of green and keep adding some short grassy lines along the horizon line. You can add them. How will you want to? Maybe at some places you can leave some gap in-between. And at some places you can add them close to each other. So go with any kind of arrangement that you want to go what? And also using the same color, you can add some grassy lines over the bottom asphalt just to bring in some more interests to our metal. When you do this, there will be lots and lots of different kind of tonal values in the background, which will automatically add a lot of beauty to 0 painting. So keep on adding some lines wherever you want to. But just be sure to use a breakfast as a pointed tip. We don't want these lines to be too prominent and too thick. Okay, So let's finish this off. If you look over here, you can see how I deliberately made some of the lines taller. And it is really looking pretty. So this is what I said. Some of them can be taller and some of them can be shorter. And go What, a very random arrangement. Now let me finish this off. Alright, so I have finished adding those lines along the horizon line. Now using the same color, I'm going to add some crafty lines over the metal as well. In a very random way. I'm not adding a lot just to bring in some more density and picking some random places and I'm adding some more lines. I think that a synapse, we don't need to add a lot. It is looking really pretty. I don't want to make it too busy. So I'm going to call it down and I'm going to go with a final step. We're just adding those colleges yellow flowers. For that you will need some white gouache. We need to turn the yellow into an opaque one. So you will have to either use white gouache or white watercolor. And we'll have to mix that with any of the yellow dots are using cadmium yellow here, you can use gamboge, yellow, Indian yellow, primary yellow, or any other yellow you have caught. Or if you want to try a different color, you could do that as well. Maybe you can use orange or white, or maybe pink or violet. So go with any color that you prefer. Now, I'm going to mix a little of white gouache with a yellow. This one is cadmium yellow. And I'm turning that into ethical form. You can see how thick and creamy it is. I just mixed a little white quash with cadmium yellow. And here is the consistency. It's thick and creamy. Now using this color, I'm going to add some branches and flowers onto these terms. I won't be adding a lot. I'll just add them here and there in a very random way. And also, I'm not following any particular shape for the flower. I'm just pressing the tip of my brush and I'm creating a very random shape. These are really small. So I'm not going to add any highlights or any further details onto it. I'm going to leave it as it is. I don't know how to explain the shape of this class. I'm just pressing the tip of my brush and I'm creating some random tiny flowers. All of them are of different shape. So we're just press the tip of your brush and add some teeny tiny floss. I would recommend not to make them too big and not too detailed. You can use any color of your choice, but then make them really small. So first I'm going to add some travels in a very randomly. I'm not focusing on any particular area. I will add some water to the top and some more to the bottom. Okay, so that's the first step. Maybe you can concentrate more on the area that you have taco tones. Over this area, the flowers will be really bright and pretty. Because you have a really nice contrast here. Okay, so concentrate on the darker area and add more flowers over there. Along with us. I'm also adding some teeny tiny dots. You can see they are a group of dots. I'm adding three or four dots close to each other. This is just to bring in more interest to your painting. Add some flowers, and along with that, you can add some teeny tiny dots. Hospital, you can go with any color of your choice. It doesn't need to be yellow. Maybe you can use white or you can use pink or orange or violet or even blue. So choose any color of your choice and adding as many flowers as you want. As I said earlier, this doesn't have any particular shape. I'm just pressing the tip of my brush and I'm going with any shape that I'm getting there. So some of them are super tiny and some of them arrow for medium-size. I'm trying to make it really random. You can already see how treatable paintings looking at the right side. So gorgeous right? Now in a similar way, I'm going to add some flowers onto the left side asphalt. First I will pick all these terms. I will add some onto the top tip. Then I will add some random flowers at the bottom. Okay, so let's add in a fourth levels. And along with that, we can add some teeny tiny dots, as you can see the way how I'm adding them. They're super tiny. If you're not too sure about the sizes, maybe you can add them on a scrap piece of paper, then add on your main painting. I'll be adding some similar dots in the background as well. Especially closer to the horizon line, just to make it look like there are some flowers in the background as well. I cannot tell you how much I'm loving this painting, especially those colors are making me feel like running into that metal. And all those tiny flowers. I really want to go. Anyway, we're nearly done. I'm going to add some teeny tiny dots in the background closer to the horizon line. And that's gonna be the last time. So be sure to make them too tiny. We don't want them to stand out. Has to be super tiny to make them look like they're far away. So the size is really important here. And we don't need to add any bigger floss over here. Just some teeny tiny dots using the same color which you use for the flowers. It is actually a very simple painting. There is no prominent element or there is no particular subject here. It's a very simple wildflower meadow. I think it's more of the beauty of the colors we used together. They are going so well together. We have got a nice contrast. And also the way we detail those trees and landscape in the background. I think that also has a lot of impact on our painting. Anyway, I can't tell you how much I love this painting. Everything is just perfect. I think the color we chose for this guy, the landscape, the metal, everything is complementing each other. I think it's time to call it Dan. Otherwise, I will keep on adding more and more flowers and it might become a never-ending task. So let's call it down and let's remove the masking tape. And here are several painting for the day. I absolutely enjoyed painting this phi flowers and the metal. I hope you guys enjoyed it as well. Thanks a lot for joining me today as a Bacchus on with our next spring landscape. 18. DAY 6 - Flowers by the Sea: Hello, hello, Welcome to the effects. And here's the car just painting that we're doing today. At the soft and simplicity is key. You can see those cards is color and a beautiful beach. It's really easy and it is so pretty as well. I hope you will enjoy this process. First, let's take a look at the colors you will need to create this car just painting. I will start with the sky. I'll begin with a simple gradient wash for the sky and the color. I'm going to use a survey in blue. You already know how much allows certainly in blue, and that's one of the color I use the most for my skies. Today, spending is no difference. I'll be using civilian blue for the sky. You can use any other color of your choice. It can be Prussian blue, cobalt blue, turquoise blue, or any other blue. We are going to go with a simple gradient wars, so any color would really work. Okay, so that's the first color. The next color I have here is cobalt green. This is one of the major color I'll be using for the C. It's a pistol, bluish green is a gorgeous color. It's not a very common color. It doesn't come in two basic watercolor sets, so I'm not sure how many of you have it. But no mind. I'll be showing you how you can create this color by taking a look at the pigment number. Okay, so I will teach you that in Schottky. For now. Let's take a look at the restaurant, the colors you will need for this painting. The next colors you will need our sap, green, some yellow for those flowers, as well as orange and integral to add the darker tones have taken out all the colors on my palette. Now, I will switch out one by one. I will start with cerulean blue. By now, you guys are quite familiar with this color because I've been using it almost every day for the sky. Let's tap it serene blue. As I said earlier, you can go with any of the blue you have caught. It doesn't need to be certainly in blue, will be just using a medium tone of this color for the sky. And we'll just go with the basic gradient wash. The next color. I'm going to start out as cobalt green. It is one of my most favorite color. I use it quite a lot for nightclubs and also for tropical beaches. So it's a very cool color to add a new color palette. But now mind, you can create this color by the colors that are available with you. Okay, so that's the second color. Now let's pass out the third color with the sap green. Just watch how the paint from my brush and I'm going to sap green. So obviously we'll be using green for that grassy pattern at the bottom. But along with that, will also be mixing the less love sap green with cerulean blue to create a moraine green color. First, I will finish out swatching all the colors. Then I will show you how you can create that color. Okay? So we have squashed out three colors, cerulean blue, cobalt green, and sap green. Now I'm swatching out integral. This is the color we'll be using to add the depot values, like how we do with the other paintings. So that's integral there. Now what's left is the color for the flowers. I'll be using orange and yellow for the flowers. As you can see here. The yellow that I'm going to use, this cadmium yellow. You can use any of the yellow will have caught it doesn't need to be cadmium yellow. You can use gamboge, yellow Indian yellow, primary yellow, or any of the logo of your choice. When we are adding the flowers, I'll also be adding a little white gouache into yellow to turn that into an opaque one. Right now I'm just fetching yellow acids. Yellow, so transparent color. So in order for them to visible, you need to turn them into an opaque version. So you can either use white cloth or buy toward the club will also be using white gouache to add those waves. You will need either white gouache or white watercolor for this painting. Along with yellow, we'll also be using orange. You can see those highlights here. We will leave a little amount of orange to add some highlights onto all these flowers to make them look more beautiful. But then the choice is yours. If you want to go with a different color for your floss, you could do that. It doesn't need to be the same colors that I'm using q are true. Want to add any flowers that is also totally up to you. I'll be using brilliant orange. You can use any of the orange you have caught, or you can mix yellow with vermilion to turn that into an orange color. Okay, so that's the last column I have on the list. Let's pass that out. I'm washing out the paint from my brush and I'm going a brilliant orange. It's a gorgeous color. I love to use this color for those bright and beautiful sunsets compared to the other orange and vermilion. Just like the name says, the color is really brilliant. It's super vibrant and bright. So that's the color. Now let's take a look at an interesting color, which is blue or green. If we look at the painting closely, you can see a beautiful bluish green towards the bottom. So that's not compile. Crane will be using a color something similar to moraine blue. I already have this color in my color palette, but then it's again, not a common color. So now I'm going to show you how you can create a similar color by the color value already have with you. It is absolutely simple. You just need to make sap green with any of the blue stereo card. So here I'm going to use safranin and cerulean blue. It can be Prussian blue or any other blue, which is called the brighter blue. Don't use lighter blues. I already have serene blue and sap green on my palette. Now, I'm going to mix these colors. You can take equal parts of saccharine and Amy blue that you're using and mix them well, I think I already got that color. I will dispatch it out so that you guys can also see the color, a beautiful color. Try mixing any blue and Zachary, and it will be standard with the color that you have created. This is a gorgeous color that you can use in your seascape paintings. It's a beautiful moraine, blue or green. How you want to call it. Now, I'm taking some water and I'm making the color lighter so that you can really see the color. See that it's a beautiful color, something similar to fellow turquoise or moraine blue. The simple mix of civilian blue and sap green. And you can see the color is color you have created here. Give it a try. I'm very sure you'll be stunned by this color, along with cobalt green. This is the second color that we'll be using for our C to bringing those deeper values, especially at the bottom, and also to add some shadows. This goes very well with cobalt green. So give it a try if you haven't tried it yet. I missed to add one color and the color palette, which is leaf green. So I'm just going to make some sap green with this yellow I have here. To create a lighter green. We will just need some kind of light gray. You can either mix and create your own light green. Or if you have a readily available watercolor too quickly, you can use that directly. This is the color I created. I'm too lazy to squeeze down, lift cream. We'll be using this color to add some grassy lines at the bottom. Now let's see how you can create cobalt green. I'll just clean this section of my palette. And I was quiz out the color here so that I have enough off place to mix the color. This is the main reason why I love ceramic watercolor palettes. It is really easy to clean and it doesn't stay in the Padlet. Okay, so I have my cobalt green here. Now let's take a look at the pigment numbers of these colors. This one assumption hand. And the pigment numbers are BY 53 and p G7. So this simply means cobalt green is made of two pigments, which is P G7 and PY 53. So our task is to find out which are these pigments. And we will try and mixing them to see which is the color that we are cutting. Okay, so let's try which are these pigments. If you look for these pigments, you will understand p27 as a green pigment. The color as well as the pigment number may vary according to the watercolor brand that you're using. For Shin hand. P27 is viridian green. Actually, we just haven't. It's more like a kilo cream. So for now, we have viridian green with us. The next color BY 53 is a yellow ocher, which is kind of similar to lemon yellow. So I'm going to squeeze out these two colors onto my palette. So we found our cobalt green is made of a green pigment as well as a yellow pigment. So I've chosen colors which are closer to those pigment numbers. They are not exactly the same. But still we can manage to make a beautiful cobalt green with these two colors are mixing viridian green and a bit of lemon yellow. You can see that causes color I have created here. Still not like cobalt green because we haven't added any white into it. I will just pass out this color. Looks like I have added more yellow into it. I need to reduce the amount of yellow and add more gradient green. And we'll add a little white gouache as well. It can be white gouache or white watercolor. They're just turning bad. Colonial pixel one. I will take out some white gouache and we'll mix that with this color. Let's see how that is going to look. I have some white gouache here. Let's quiz a bit of that. Now, let's mix that with the color we created. It instantly turned to a beautiful cobalt green. Now let's add a swatch on our sketchbook. That's the color I have created. It's a call just cobalt green. It is not looking exactly like the other one because the pigment numbers we have used here as different, we just use to build in green and lemon yellow. The colors may vary according to the pigment that you're using. But I think it is still a pretty cobalt green. Now I'm mixing a little more viridian green into the same x. And let's see how that is going to look like. So keep trying different color combinations by adding more viridian and less yellow. And decide on which color you want to go. What? So this is the color I created right now by adding a little more of the red and green into the same mix, I think that's a gorgeous color. Let's add some more white and see how it will look like. There it is. It is another piece to blue. So in a similar way, play with different color mixing options. First, you can try adding more viridian green, then add more white into it and see the difference. I think this one is looking more like a cabal crane is looking so pretty. So to create this color, we used viridian green, lemon yellow, and the left lobe, white gouache. You can either use white gouache or white watercolor. We just need some kind of white. Now, in case if you have a turquoise blue, you can create a much more beautiful cobalt green. So telcos blue is made of three pigments. Pg seven, that is viridian green. Then P B20 that is ultramarine blue. And PWC that is wiped. Usually turquoise blue doesn't have white in it, but this one from Shinzen, they have added some white into turquoise blue for some reason. Now, into this, I'm going to have less locked lemon yellow. Let's see how that color is going to look like. I have taken out some turquoise blue and I'm going to take a lead, love lemon yellow. Now I'm mixing that, but turquoise, blue. That's the color. See, it easily turned into a beautiful cobalt green without much effort, as it already has some white in it. I haven't added any white into it. Now you feel a scholar I have created here, I'm going to apply a background wash. Let's try out how you can add those waves. That's only new technique we will need today. We have tried the rest of the techniques. I'm just using this cobalt green I created here. I'm using turquoise, blue, alert love, lemon yellow and mixing some white into it. So that's the color I'm using Q, C back. It's such a pretty color. So in case you have two guys, blue, you can directly use that with a lemon yellow and some white. If you don't have turquoise blue, you can use viridian green and lemon yellow plus some white. Now, I'm taking that marine green we created earlier, and I'm applying that onto a leftover area at the bottom. For our class project as well, we'll be applying the colors in a similar way. If you have cobalt green, you can use a Tacitus or it can mix and create your own cobalt green using the methods we discussed earlier and apply that on the top. And as you come towards the bottom, you will have to switch to this matter and cream. The background layer is pretty simple. It is just a blend of cobalt green and that marine green. It's a perfect color combination which you can use for tropical beaches. I'm really loving these colors. So this is the color we have tried at the bottom. And the one I used here is a little more darker. But never mind, we're just trying it. It can be brighter or lighter as per your toys. Okay, So that's the background. Now, we'll have to wait for this to dry. I'm going to draw us, we can try how to add these waves. It's a very simple technique and you can create a car just escape painting using this technique quite easily. Have never tried this technique, Collier, I'm very sure you're going to love it. Okay, So let's wait for this to dry. Now before we go with the class project, if you don't have a cobalt in watercolor, just try this exercise and create your version of cobalt green and keep it ready. Okay, so here we are. The background has dried completely. Now let's add these waves using white gouache. You can either use white gouache or white watercolor. As I always say, my gosh is mobile pigs. So my recommendation would be white gouache, or only in case if you don't have white gouache, you can use white watercolor. I already have a little of leftover paint on my palette. That would be enough. Now I'm switching to my smaller size brush. You can use any of your medium to smaller size brush. It doesn't need to have pointed tip. The one I'm using here, a size number four round brush. And I'm going to add an irregular line using this white gouache. I haven't added much of water. I'm using a dry paint and I'm adding an irregular line. You can see it is a messy irregular line. It's a broken line. It's not a continuous line. So this is the way how you should be adding your line asphalt. Now what I'm gonna do is I'm going to take a paper towel and I'm dabbing my brush on a paper towel, we need to remove the water content from the paint and that is the reason why we're tapping it on a paper towel. Now using the dry brush, I'm simplest matching the color. By doing this technique, you will have some nice white texture on the paper, which will look like that for me, water. Trust me, it is a very simple technique and I really love this technique. I use this technique. Why a lot of my gouache paintings whenever I'm doing a beach painting, if you're following me on Instagram, you might know what I'm talking about. So that's my first wave. Now in a similar way, I'm going to add another one on the top. All our class project we'll be adding two or three similar waves. If you're adding two waves closer to the horizon line, which means it is really far from you. So they have to be really thin. You shouldn't be adding a lot of details for the waves which are away from you. Like the one I'm adding right now. For this one, I used a thinner line compared to the other one we added earlier. Now I'm smarting the color using my dry brush. Now, let's add another one. Maybe we can add that at the bottom. Let's make it a little more detailed. Maybe for that one we can go with a different shape. I'm going to make this one allergy movie compared to the other ones. So depending on the kind of way we want in your painting, you can go with any kind of shape. It can be straight or it can be maybe like this one. Depending on whether the wave is fine. You can make it more thicker. If it's new, you will have to use more white and you have to make it more thicker. If it's far, it can go with a thinner line, but less texture. So this one has much more closer to us. So I'm making it tomorrow. No, I'm going to dab my brush on a paper towel and I'm adding some tribe rush patterns. So when you dab your brush on a paper towel, the people table will absorb the water content of your paint and it will leave the paint to dry. This way, you can turn that paint into a dry paint quite easily and add these dry brush patterns. And also using the textual people. It is my TCA degree this textures because people already have some texture in it and the white paint we are applying will get trapped on those textures. So compared to non textured paper, you can create this effect quite easily on a textured paper. In the coming days, we'll be trying one or two others escape painting. For those ones, we'll be going with a beautiful splashy waves. So this technique is going to be really helpful in the coming days and also in EOQ to predict. So give it a try. If you're new with this technique. I'm just making it slightly bolder. We're simply as much in the paint using a dry brush and creating some texture on the paper. And you're trying to make it look like a wave using a dry brush effect key here. If you feel like your paint is not too dry, keep dabbing your brush on a paper towel multiple times until you feel like you have got dry paint on your brush. Then you can keep on scratching on the paper and smudging that color to create these textures that are set. Now we need to add a small shadow for this waves to make it look three-dimensional. And for that, I'm going to pick a little of Marin green that we created earlier. We don't need a lot of pain just to let us all we need. Now, right underneath the way, following the shape of the wave. At a medium tones don't make it too dark. Go with the color slightly darker than the color that you have used for the background. And add some shadow underneath the wave falling the shape of it. Then you can merge that into the background. See that it is quite easy. You can see the difference it made. The waves are looking more lively. Now, we'll be using this technique in our painting in a very subtle way. We'll be going with soft colors and we want to be adding a lot of details on the wave. But there are some wonderful class predicts waiting for you in the coming days. And for those paintings, we will use this technique in a much more advanced way. Alright, so that's summarized all the colors and all the techniques you need to know to paint today's class project. Now it's time to give it a try. 19. Flowers by the Sea - Part 1: Alright, so how my paper ready Here? We already had a look at the colors as well as the basic technique. Now, I'm going to start by applying a piece of masking tape about the center of the paper. So the top part is going to be the sky and the bottom is going to be the same. For this painting we're doing today. We're going to focus on soft and subtle colors. For all the paintings we did so far, we went in with Python color combination. The colors that we're using today are com soft and relaxing. It's gonna be really different from the other paintings with it so far. Alright, so I have divided my paper into two sections. The top part is going to be the sky and the color that I'm going to use, the cerulean blue. You can use any other book of your choice. It doesn't need to be certainly in blue. We're going with the gradient wash off cerulean blue. On the top. I'm going to go with a medium tone. And as I'm coming down towards the horizon line, I'm going to make the color lighter. For today's sky. I'm going to go with the wet on dry technique, which means I'm not applying any water onto the paper. I'm going to go directly with a wet paint on a dry paper. We're going with a simple gradient wash. We're not adding any clouds onto the sky. So it is manageable to apply the paint on the dry paper. If you're not comfortable with wet on dry technique, you can apply a coat of water onto your sky. Then you can apply your paint onto that background. Now I'm going to watch the paint from my brush and I'm going with some clean water and I'm making the color lighter closer to the horizon line. So the simple gradient wash on the top we have made him to an Australian blue. And what's the horizon line? It is slightly lighter. So that is the sky. Now the three for this to dry. Looks like this guy has dried completely. Now I'm going to peel off the masking tape. Be very gentle and remote it and ankle so that it won't rip off your paper. Our next task is to paint the C. And the main color that I'm going to use for that is cobalt green, which we discussed in the previous section. And also there is one important thing you need to be careful about. We need the horizontal line to be clean as we're not going to apply a lot of details over here. I'll be adding some small mountains and a very lighter tone. It will be really nice if you can manage to get a clean horizon line. So just be careful when you're applying the paint onto your C. Now, I'm going to squeeze out a lot of cobalt green onto my palate. It's a pastry shade which has some white in it. And we already tried how you can create the same color in the previous section in case if you missed it to have a look at the previous section. Okay, so that's cobalt green, along with cobalt green. The next two colors I'm going to use for the C are certainly in blue and sap green. So I'm going to squeeze out these two colors onto my palette. Interested in blue, you can use any other blue. We'll be mixing that with saccharine to get our moraine blue color. So we have the colors ready. Maybe I'll squeeze out a bit over here as well. For the landscape part. Along with that as quick or some integral asphalt, we'll be adding those grassy lines while the background is too wet. So keep all the colors ready. Now to apply the paint onto the C, I'm going to use a bigger brush so that I can apply paint onto a large area quite quickly. This is the brush that I'm going to use a size number 12 round brush. Go with any of your beaker on trash. And I'm starting out with cobalt green. Maybe I think we can go with, but on wet technique, assets are quite large area. So let's now take a risk. I'm going to go with my one-inch brush pressure. And first I'm going to apply a clean cold water onto the entire bottom part. Be a little careful when you're closer to the horizon line. Don't add any water onto Sky. We need a clean horizon line. Maybe you can leave a tiny gap in between so that you won't accidentally touch the sky. And we can fix that. Well, you are applying the paint. Now it's switching back to my size number to a round brush. I'm going back with cobalt green. And I'm going to apply that along the horizon line. So the color I'm using here is kind of light. It's not too vibrant. That's the color. I have added enough for water into cobalt green. Now I'm carefully adding the paint along the horizon line. Keep it straight and clean. Don't add any paint onto the sky. Okay, so that's the horizon line. Now we can start applying the paint towards the bottom. I'm going back with cobalt green and applying that. Okay, so that's the color. Now I'm going to mix a lot laughs happening with cerulean blue. You can mix any blue. Attacking, can be crushing blow, or any other blue. Now, I'm going to apply that color over here. And I'm trying to blend that with cobalt green. You can see the colors I'm using here. They are not too bright. I'm going with a medium tone. Now you can fill up the remaining area and that color. I love this color quite a lot and I use it in my seascape paintings. You can see how pretty that color is. That's a background wash. I think it can make it a little more brighter. Maybe when it dries, it may look slightly dull. I'm picking some more marine green which is a mix-up sap green and saline. And I'm adding that over here. This time, I'm going with a little more deeper value. Okay? Now I'm going to wash the paint from my brush. And I'm going back with cobalt green. I have taken some cobalt green and I'm running my brush on top of the layer I applied earlier. And I'm trying to make it look smarter. Just be sure not to add any deeper values around horizon line. You can add some over the bottom, but keep the top acids. Okay, now what is looking much more brighter than earlier? So when it dries, it will be still bright and pretty. Okay. Now, onto the same background we are going to add some multiple values using a smaller brush. We need to add them while the background is still wet. So let's take out a smallest size brush, this one as my size four round brush. You can use any of your medium two smallest size brush. And I'm going back with that bluish green which I created earlier. I'm going to simply add some lines and some highlights onto the water just to add some more deeper tones. So the background is still wet and I'm randomly adding some lines, especially towards the bottom. You can see the color I'm using here. It is still not that dark. I'm still using a medium tool. I don't want those lines to be too prominent. So that's the reason why I'm still using a medium tool. Now using the same color, I'm going to add some deeper tones onto the left side, onto this corner. Because I'm going to add a mountain at the end along the horizon line, just onto the side. It's a shadow or reflection of that mountain that we're going to add. The background is still wet so you can simply add a medium tone over here only on to this corner so that we don't need to come back and add any other details. Okay, so that's done. Now, I'm going to pick a little off indigo, and I'm going to mix that with sap green to create a darker green. So just some darker blue or integral mix that is saccharine. Now isn't that color? I'm going to add some crazy pattern at the bottom. So the first step is to create that basic shape. Back on the silhouette. It hasn't dried completely. Urine to wait for it to dry completely, you can apply the green color right away. So it's been awhile since we have applied paint onto the background, especially at the bottom. So it isn't that watery, it is just slightly wet. You can apply the paint directly onto that wet background, does nothing to worry here. You can see the paint is not spreading a lot asset isn't that? The first step is to create a background shape. I'm using a taco tone of green here. I just made exactly in an integral and that's the color I'm using right now. You can go with any kind of shape that you prefer. I just made the left side and the right side a bit higher than the center. The next thing I'm gonna do with, I'm just going to push and pull the paint into the sea. And I'm creating some crafty lines along the outer border of the screen shape I have added here. You don't need to wait for the background to try. Keep pushing the paint into the water and create some soft grassy lines over here. You don't need to take any extra paint. Keep pushing that paint you already have there. And push that into the sea and create similar lines. It can be slightly blurry and messy. That's absolutely okay. This is just the bottom layer. Manner drives will be adding more lines onto it using an opaque color. So I added a little more integral into the same mix and I made the color slightly darker. And I'm again adding those grassy lines. I'm trying to make the outer corners more darker. So maybe we can add more darker values towards the bottom, closer to the marketing team. And we can keep pushing the paint into the sea and create some grassy lines. So there is nothing to worry here. Keep adding these kind of lines they can be missing. That's absolutely okay. So these slides will look really soft and subtle than the background drives aspect applying this on a wet background. So it will have a more natural field when we are adding the final round of grassy lines onto this background. Okay, so that's the main reason why we are adding these lines on a wet background. You can keep on adding them until you are happy with the result. Onto these outer corners, I'm adding some long curvy lines to make it look more natural. You can add them in a similar way. This will make your painting look more beautiful. So just keep on pushing that paint and make some more lines more long-term. Especially on to the outer corners. We have used a similar tone, a value of green for this anterior area. Now, we need to make some of the areas more darker to make it look more realistic. So let's add some more lines using a darker green. I'm picking some indigo and I'm mixing that with sap green to create a darker green. Now let's add some more lines using a darker tone of green. I'm focusing mostly on the bottom corners, the right and the left corner. And from that masking tape, I'm simply dragging my brush towards the top. I'm randomly adding some lines like this. The background is still slightly wet. The brush I'm using here a size number two is the smallest size brush. Even now the backroom hasn't dried completely. So the lines that I'm applying right now, they don't have a precise shape. They are slightly spreading into the background. They're looking blurry. But that's okay. We can come back later and add more sharp lines at the end when everything dries. So at this point, you don't need to worry about the precision and you can add them. How will you want to? For now, you don't need to worry about the shape of the lines you're adding. You can keep on adding them. Go with a nice curvy shapes. Some of them can be longer and some of them can be short-term. Go to very natural and organic arrangement. Okay? I think I will add a little more onto the left side. Okay. So this is their behalf, the East. You can see how pretty it is looking on ready. Now, I'm going to add some water into the same color and I'm going to make it lighter. And the bad color, we're going to add a mountain along the horizon line at the small low-lying mountain, and it's quite far from us, so we won't be adding a lot of details. I'm picking some green and I'm mixing that with integral, adding lots and lots of water and turning that into a lighter tone. So this has to be really light. Maybe you can try it on a scrap piece of paper just to be sure the color is not too dark. As this is quite far from us. We shouldn't be using a darker tone. Once you have created that light to turn off bluish green atom, the shape of the mountain, the kind of shape that I'm going with. You can go with any other shapes that you prefer. I'm only adding this towards the left side. I'm going to leave that right side as it is. Now. I'm picking some water and I'm making the color lighter. And I'm just filling up that shape of the mountain. See that? So that's the color I'm using. It is not too light, but when it dries, it will look slightly lighter. That's the reason why I'm using a medium tool. Once you have decided on the shape of your mountain, that anterior shape of mountain in the color you have created. Be sure not to make it too dark as this is quite far from us. We don't want that to be too prominent case, so that's my first mountain. You can see I went in with a long mountain. You can go with any shape that you prefer. Now to make your painting look more interesting, I'm going to add another small mountain next to this using the same color. So leave a small gap and adding another small piece here. One can have a different shape. So that's my second mountain. I'm not going to add more the system. Alright, so this is where we have the East, I'm pretty happy with the weight has turns out, especially the colors we have used. I can see that there's something wrong with my people, especially towards the bottom. But never mind, it might be some sizing issues. But I'm quite happy with the weight of standard out, so I have no plans to change it. Okay. Our next task is to add some more grassy lines at the bottom using a lighter tone of green. I have cleaned some area over here and I'm going to squeeze out a little love leaf green. Right now the background has dried completely. We want a slightly brighter green. So I'm going to mix a little of saccharine with leaf green. I don't want the green to be too light. So you can mix a little of lemon yellow or any other yellow with saffron to create a medium tone of green. So we're going to use that color to add the grassy lines. I'm picking some sap green and I'm mixing that with leaf green to create a medium tone. I haven't added any white gouache or white watercolor into it. I'm quite happy with this consistency and this opacity. I don't want it to be too opaque. We don't want them to be too prominent. So go the medium tone of green. You can either mix lemon yellow or any other yellow with sap green. All can just makes lifting with Sap green. So the point that I'm trying to make here is it shouldn't be too prominent, but it has to be visible. You can go with any color that you prefer, which is visible from the background. So you can see the color I'm using here, the lines I'm adding right now, they're visible, but they're not too prominent. And also, I'm not still worried about the shape. And randomly adding some lines. Now onto the outer corners, I will be adding more curvy and long lines to make it look more natural. So you can add lines. How will you want to? Maybe you can make some of them longer and some of them shorter. And at some places you can take it a little intro to C. Okay, so go to the very natural and organic arrangement to make it look more realistic. Over here, I'm making the lines more curvy, add more taller. And I'm taking that little into the scene. This will make my painting look more interesting. I will do the same on the other side as well. See that I'm really loving this color combination. The lines that we added earlier at the bottom there we have the green color in the background. So those ones can be slightly messy and it doesn't need to have any proper shape. But the ones that we're adding right now, which we are taking into the sea. Try to make them little prominent. Be a little slow, and try to give them a proper shape. You can see how dense and ticket is looking already because we played with different tonal values of cream. The base color was a darker green. Then onto that we added some grassy lines using a much more darker green. And now they're using a medium tone of green. So everything brought in a lot of density and thickness here. And it is looking so pretty. We'll be coming back with one more round of grassy lines at the end when everything dries completely using a darker tone of green as well as a lighter tone. So those lines will be much more prominent than the ones we added right now. And along with that, we'll also be adding the flaps. So for now, let's leave it like this and let's add the waves on the water. What is going to be a really interesting step to add the ways you can either use white gouache or white watercolor and we'll be adding them over here. It's a very interesting step which adds a lot of beauty to 0 painting. You can either use white gouache or white watercolor. Use white watercolor only in case if you don't have white quash. Because white gouache can be more opaque than white watercolor and it will make it really prominent. Alright, so it has squeezed out some white gouache onto my palette. Now I'm going to use my size two round brush. You can use any of your smaller to medium-sized brush. Don't go with a bigger brush. Also keep a paper towel next to you, which is really important for this step, will need to create some dry brush patterns. So what is really important for us to travel brush on a paper towel to remove the excess water content. Now I'm going to add the first, we'll have taken some paint on my brush. And I'm adding that as a broken line. It doesn't need to be a continuous smooth line. Deliberately break your line in-between and coat the similar line. It's an irregular, broken line. Some places you can make it thicker. And at some places you can make it thinner. So that's our first wave. This is the thickness I'm going with. I'm not making it more thicker. I'm planning to make it look like this quite far from us. I'll be adding other wave right in front of this one, but will be multi-color than this. Now I'm adding either smaller one and the background in a similar thickness. Adding these dry brush patterns from the water to make it look like waves as one of my most favorite technique. I love this technique. It's a very simple step, but the beauty that it brings to the painting as something extraordinary, you can easily create a cityscape painting using this technique. Now, I'm going to add some white over here as well to make it look like there are some water splashing over here as well. So pick some white and add few underneath the mountain. We don't want to make it too prominent as it is quite far from us. So just watch out the amount of white you're adding or show pig very little paint on your brush and add some white highlights right underneath the mountain. So that a cell. Now we need to focus on the other waves, especially the one in the foreground. Have some paid left on my brush, which is really light. And I'm adding some texture over here onto this wave and also onto the way you write about this one. Just adding some white texture here. That is it. Now, let's go with our main way, which is in the foreground, which I'm going to add right over here. This one is going to be slightly thicker than the other two. You can take some more paint for this one and go with and irregular line. As I said earlier, at some places your lines can be thicker. And at some places it can be thinner. Add it as a broken line. Don't add a straight line. So just go with the neuroglia wavy line and adding the base shape. If you're using a text to people, it is really easy to bring in this texture. The paper that I'm using here, It's not that extreme, but still we can do it. If you feel like there's a lot of paint on your brush, dab it on a paper towel, and keeps matching the color using a dry paint onto the top side of your wheel. Don't add any at the bottom. Just match that color. See that? It's nothing complicated. Just keep on dragging your brush and smudge that into the background. If you're trying this technique for the first time, don't be scared. It is really easy. Take it slow. First, add in that basic shape of the wave. Then taboo brush on a paper towel, then go with some dry paint and keeps marching that color into the background to make it a little soft and septum. You can keep smudging the color until you feel like you have got a wave there. So get up from your seat and take a look at your painting. Maybe you might have already got a standing wave over there. Okay, So we're nearly done. I'm simply scrub your hands matching the color into the background to make it look like a wave. Now using the same color, I'm going to add something random lines over here, which isn't that prominent. I have just added a few drops of water. The color that I'm using here is not that opaque. And it is slightly watery so that I can add these lines quite easily. It isn't that dry. Just add some lines right next to the wave. Alright, so this is where we have raised, I'm really loving the soft and coming wipes off this painting. I think the colors are going so well together. So there's one simple tip that I want to share with you all when you're painting and then you're watching your painting too closely, you may not really get the whole perspective of the painting. Sometimes it is really important to pass the process and take a look at your painting from few steps back. When you do this, you will understand whether you need to add more details or whether it is having enough. Okay, so get it from your seat and have a look at your painting before you go with the next step. 20. Flowers by the Sea - Part 2: Our next step is to add some clouds. I'll be adding some yellow flowers over here, but that's the next step. I think maybe before that, we need to add the shadow for these waves. For that, I need to take out some serene blue. I don't have any paint left on my palette. We just need a teeny bit of blue. So don't squeeze out a lot of paint. You can see the amount of paint I took on my palate. Now I'm adding a few drops of water and I'm going with a medium tone of cerulean blue. Now just like how we did in the technique section, I'm adding a medium to an Australian blue light. And then either way, to give you the three-dimensional feel, you shouldn't be using a taco. Don't go the medium tool and apply a thin line right underneath the week. After you have applied that line keeps matching that collapse the background and make it look soft. For the technique section, we used a much more darker tone because the background was more taco. For the class project. I used medium to lighter tones for the background. So that is the reason why I'm using a lighter tone for the shadow as well. So depending on the color you have chosen for your background, choose the color for your shadow accordingly. If you have used darker, don't turn your back on, you can use a darker tone for your shadow asphalt, or if it's like light and medium tones like the one I have done here. Go the assembler sheet for your shadows. Don't make it too prominent. Okay, now our next task is to add some grassy lines using an opec question off-screen. Earlier to add those grassy lines. We didn't go with an opaque paint. We didn't add any white gouache or white watercolor into the color we used. But right now to make them stand out, we need to add a little white gouache or white watercolor. I'm picking that low white gouache and mixing that with the green I already have here. I added a pinch off sacrum to the same mix to make it a little brighter. Now using that color, I'm going to add some grassy lines in a similar way how we did earlier. But this time I'm paying a little more attention on the shape of the lines I'm adding. Not like earlier because the background has dried completely and the lines that we are adding right now will be really prominent. So pay a little attention on the shapes you are adding. Don't make it messy like the ones we added. We don't need a lot. You can just add two here on there. The button is already looking quite dense and thick. We added quite a lot of lines using a taco tone of green. So right now, we don't need to add a lot. You can just add few in-between. This is the shape that I'm going with. I'm being very careful about the formatting here. That one came out nice. So just like how we did earlier, I will make some of them are longer and some of them shorter. And some of them are making more curvy. And I'm taking that into the sea to make it look more realistic. So this way we will have a lot of tonal values over here, and it will automatically make your painting look more cartoony. So that's the main reason why they're adding another round of crossing lines using a lighter tone. So you can add as many lines as you want. Some of them can be long and some of them can be shot. Make it as interesting as possible. If you feel like the color is not visible, you can add some more white quash into it and make it opaque. So right now I have added a little more white gouache into it, and I'm adding some more lines using a lighter tone. This week, we will have multiple tonal values. I wouldn't be adding a lot using this color that is looking really prominent. Maybe I'm in our title block using this color. Maybe I will add few more onto the right side and then I will call it done. In a similar way. Add in as many lines as you want until you're happy within a sentence. If you feel like your paint is too dry, you can add two drops of water and turn that into slightly looser consistently. Otherwise you wouldn't be able to add these lines in a precise way. The lines you're adding little bit try and broken. So don't be afraid to add a few drops of water if you feel like your paint is dry, this won't really affect the opacity of the paint, so don't worry about that. Whenever you're feeling your paint is dry and you're not able to complete a line and just add two drops of water. Now, let's add some more lines and finish it off. Alright, so that's done. Now I'm thinking whether I should add some darker lines also in-between. Maybe let's give it a try. I'm picking some integral. And I'm adding a few lines in between. Just a few here and there. I'm not going to add a lot. I'm just randomly adding few lines on the left side and the right side. I'm not going to add a lot. I'll just add a few in-between these green lines. I don't want to make it too busy. Let's add few onto the left side as well. I just felt like those darker tones are not readily visible. That's written by I'm adding these, but be sure not to add a lot. You can just focus on those in-between spaces and add one or two. Alright, so that's done. Now the last step is to add the flowers in simple, basic flower using yellow. The yellow I'm using here is cadmium yellow. Along with that, I'll also be using some orange to add some highlights. So let me take on board the colors that cadmium yellow. You can use any yellow you have caught. It doesn't need to be cadmium yellow. Or you can go with any of the color of your choice. It can be pink, white, or purple flowers depending on your color choice. So I have decomposed the colors on my palette. I will be adding just a few flowers. I'm not going to add a lot. I'm going with the yellow mixing that with some white gouache. You turn that into an opaque paint. If you don't have white gouache is called white watercolor. And we start with any of the yellow you have cut. Now let's add the flowers. So I'm just pressing the tip of my brush and I'm creating some random shapes. Some of them are bigger and smaller the mass smaller the size of the brush that I'm using here, a size number two. This is the kind of size I'm going but don't make it to pick. If you want to go with a different shape for your flowers, if you want to make it more detail, you could do that. You don't need to follow the shape that I'm doing here. This one is very basic. You can see that quite clearly. So just decide on whether you want to add these flowers or something better and keep on adding them. So I'm just adding some at the center. I won't be adding a lot of flowers. I will add some on the top and some at the bottom, and it will make them really random. Okay? So again, see the ones I'm adding right now they are too tiny and it is just a small messy taught. Okay. So in a similar way, I'm going to add some onto the right side as well. Once I'm done adding these flowers onto that, I will add some orange highlights. So let's finish off the right side. This is how it does turn duct. I think it is looking quite pretty holiday. I'm just confused whether I should add some orange highlights or not. Anyway, let's give it a try. So you'll see the same brush. I'm going to pick some orange the Fallopian to have on my brushes are pig into the same mix. I'm going to add some orange. Now using that color, I'm going to add some random highlights onto all these flowers. So basically the step is not necessary. I just felt like having some orange highlights. If you're already happy with your yellow flowers, you don't need to add them. Or you can try it on a scrap piece of paper and just see whether your liking it. Otherwise, there is one more option. You can go to the end of this video and take a look at the finished flower and just decide on whether you want to keep the mass yellow or you want to add some orange highlights. I'm randomly adding some orange color onto all these flowers. I'm not really worried about whether I'm adding them at the right place or not. My intention is to just add some orange color. Okay, so that's done. Now using the same color, I'm going to add some petals as well, especially at the bottom, to make up a flower look more beautiful. And picking some more orange. And I'm adding one or two petals at the bottom of these flowers. For the big ones, we can leave the small ones acids. They're already too small, so we don't need to add a petal. You can see here, it's a very basic flower. I haven't put a lot of attention on the detail. But in the coming days we're going to focus a lot more on the flowers. We'll be using masking fluid and we'll be painting some big can beautiful flowers. So those paintings or something which I'm really looking forward to now using the same color, I'm going to add some teeny tiny flowers as well. I'm just pressing the tip of my brush and I'm adding some orange floss in-between. They're super tiny. Okay, now I'm going to wash the paint from my brush. And I'm going to pick some integral. Now using indigo, I'm going to add a thin and delicate stem for these plants. At some places you already have a grassy line. So what those places you don't need to add them. Variable, they are missing. You can add a thin, delicate line using a taco tool. It can be a darker green or integral. Okay, make sure they are really delicate. Don't make them to take. So that we are done with double painting for different. Now I'm going to quickly peel off the masking tape and I will show you the finished painting. So here's our painting for days six. I'm really happy with the color that is looking so soft and pretty simple painting. But in the coming days we'll be using the same techniques and we'll be painting a little more details escape painting. Okay, so give it a try and let me know if you liked it. Thanks a lot for joining me today. I look back, is done with our next spring landscape. 21. DAY 7 - Wildflowers: Hello, hello, Welcome to D7. Today's painting is one of my most favorite from this entire spring collection. You can see it was beautiful pink flowers and that beautiful background. To be honest, I really loved how this bathroom turned out more than the foreground. It is going to be a little time-consuming because we need to add little details here and there. But then trust me, this one is going to be the most simplest one. You have Apple painted without wasting any more time. Let's have a look at the color palettes, as well as the techniques. Before I go with the colors, there is one important thing that you will need for this painting, which is a masking fluid. Before I go with the color palette, There's one important thing that you will need for this painting, which was not there for the other ones. With this masking fluid. You can see those fence there will be masking those places and will be written in the paper white using a masking fluid. This one is from Art Philosophy. You can use any of the masking fluid you have caught. And also you need to try that on your paper because masking fluid doesn't work on all papers, especially if it's a handmade paper with a lot of texture. Now just in case if you don't have masking fluid, you can also use a masking tape. I think before we go any further, I will explain how you can use masking tape instead of masking fluid for this painting. So the basic idea here is we need to somehow mask outdoors fences. It can be either using masking fluid or masking tape. I will take you through step-by-step. So first we will add a pencil sketch at a simple scatter. So this is how this cat is gonna be. Because for this fence will be using a lighter tone. And because for this fence will be using a lighter tone and also it has an irregular shape. So it does really easy for us to ignore the fence and paint the background. That is the main reason why we are applying the masking fluid onto it. So will the masking fluid that I'm going to use for this painting is from Art Philosophy. You can use any of the masking fluid you have caught. So I'll be taking out a little of masking fluid onto a lid and then using an old brush, I will apply that onto the sketch. This one is really old brush, which I don't use anymore. It has got some Medicare and have kept that aside for applying masking fluid. Now there is nothing to worry if you don't have masking fluid, it is absolutely easy to masters using a masking tape. Just take out a piece of masking tape and apply that on top of the sketch. Now using a pencil, just copy that outline. This one is really easy because the sketch is simple. But in the coming days we'll be painting some flowers. So at that point, using a masking tape would be a bit difficult. Okay, so I have copied the sketch on the masking tape. Now, I'm going to slowly remove this very gentle. Now using a scissors cut that portion out and then we have to stick it back. I'm just going to show you one, but this has to be done for all of them. If you're using masking tape, you will need to copy each of the shape, then cut the masking tape and apply it back. I'm going to quickly cut this out. Okay, so I have cut that out. Now. I'm going to put it back. Okay. So this needs to be done for all of those wouldn't post if you are using a masking tape. And also don't worry if you didn't follow the pencil sketch exactly acceptance. It's absolutely okay because when we apply the paint, those cats won't be visible. So your masking tape can be entirely different from your sketch. Now I'm going to take out a little off masking fluid onto this lid. This one is a disposable that I just got my kitchen. I'll be using a brush, the one I showed earlier and older brush to apply the masking fluid onto the sketch. Okay, so that's how it is going to be. You can either use masking fluid or masking tape. In case if you're using masking fluid, I would really recommend you to try that on the paper that you're using for your class project. Because masking fluid doesn't work on all kinds of paper, especially if it's a textured handmade paper, the right chances the masking fluid may rip off the paper. So it is really recommended to try out the masking fluid on the paper that you're using. So feel free to go with masking tape. You don't have masking fluid. It is not going to ask to your painting. You can make your fans more thicker or thinner according to your choice. So in this section, while I so in this section where I explain the techniques, I'll be using masking tape, not masking fluid so that you can understand it is really doable with your masking tape. Okay, so that's all about the masking tape and masking fluid. Now let's keep them aside and have a look at the color palette. Atom. It is quite obvious from the painting itself the colors are going to be green mostly. I'll be using leaf green, sap green, indigo. And then for the central be using burnt sienna. And for those bright pink flowers, I'll be using a pyrene. Let me take out all the colors and now we'll do a quick scratching. The only color you may not have might be a pyrene, which is a bright pink. We'll be using that for the flowers here. But it is absolutely okay to use any other color of your choice. It could be yellow or orange or white. So here is indigo sap green, and leafy green. These are the three major colors you will need for this painting. You can see the darker tones in the background that is integral and that light green is leaf green. Then you have Sapling in-between wherever we are using that medium tone of green. So those are the three main colors you will need for this painting. If you don't have integral, you can use any of your taco blue or even Payne's gray. We'll be using that to apply some taco tones in the background. The next color is a pyrene. I'll be using this one for those flowers. It's a bright fluorescent pink. I'm not sure how many of you have it, but don't worry if you don't have it. As I said earlier, you can use any other color of your choice. You can use any kind of red or orange or pink, I think vermilion or apply to orange, but also look good. So don't worry if you don't have a pyrene, you can use any kind of pink or orange. Even crimson would also work, or purple or blue as well. So just choose any color of your choice. We'll be adding some white gouache into it to turn that color into an opaque one. I think any color would really work. It doesn't need to be a pyrene, does just that. This would look much more brighter than the other colors as it is a fluorescent color. So just go with vermilion or any other orange or crimson or rows. Now the last color I will need is burnt sienna. I'll be using this color for the fence. Okay, so that's some rice, all the colors you will need for today's painting. Alright, so I'm going to quickly spot out all the colors from my sketchbook. At most of the colors are quite familiar. Only opera might be a new color if you're a beginner. Otherwise you may have it or you might have heard about it. Anyway, we will be doing the technique section where we will try this background. So maybe you can try that color on the background, on the sampling account and try if it's working. It can be yellow or orange or purple or blue. It can be any color of your choice. Now, along with his watercolors, I'll also be using white gouache to turn that pink into an opaque one. And also for the leaves as well. You can see those light green leaves for that as well as for the flowers. I'll be adding a little of white gouache. Okay, now it's time to take out the paint and add the swatches. So we will need fat green, indigo or any other taco blue, light green, or leaf green. Then Oprah pink, or any other color of your choice. Then some burnt sienna. I have taken out all the colors. And I was watching out one-by-one, That's leaf green, sap green, indigo, opera pink. And finally we have burnt sienna. Now I'm going to divide my paper into a small section and we'll quickly show how you can do that background. It's really easy. We just need to apply the paint onto the background. Then we will need to wait for that to try to add the final details. So I have applied masking tape over here. Now for this one, as I said earlier, for that fence, I'm going to use masking tape, instruct masking fluid. And I'm going to apply the masking tape acetals. I'm not going to add any sketch. This way. I'll be able to show you how to do the wooden texture on a bigger scale. So I thought this would be much more easier. That's the first piece of fencing. Apply to more piece of masking tape. So by the time we finished this technique section, you will get an understanding. You can also use masking tape instruct masking fluid for this particular painting. Now there are some paintings that we'll do in the coming days. Fair, masking tape doesn't work. So getting a masking fluid would be a great idea. If you want to try out some cool techniques. Applied masking tape, you can just run your fingers on top of them just to be sure there's no gaps in between. Otherwise the pain may seep through and you won't be able to get a clean space over there. Okay, now it's time to apply paint onto the background. Now, let's apply the paint. For that. I'm using my size number 12 round brush. You can use any of your bigger brush. And I'm starting with integral. For the top portion, I'll be using quite a lot of integral and sap green. I want this area to be really dark compared to the bottom. We'll have a bad color, indigo there. I'm just washing up the paint from my brush and I'm switching to sap green. Looks like I might need to take some more sap green. So to paint the background, it is quite easy. You just need to apply the colors onto the back home in a very random way. It doesn't need to have any particular order or any particular blend. It can be rough blend. We're not really looking for a clean and a small plentiful. So the only ideas make the top area more darker and the bottom lighter. So I started off with some integral, then I dropped in some sap green. You can see how messy the background and now I'm switching to leave Cree and I'm going to apply that towards the bottom. In-between. I will drop in some sapling as well to make it little more interesting. So first you can apply the cream or any light cream. Are, you can just mix a little lemon yellow with saffron to create a similar green. Now, I'm picking some sap green and an adult that here and there. So this is just to bring in some texture and some tapped into the background. It doesn't need to be a clean blend. It can be a very messy and a draft blend. So use some taco tones on the top and lighter tone to the bottom. In-between again, drop in some darker tones like this in a very random way. But try to read most of the lighter tones at the bottom. Only for the top we can add more and more darker tones. Will be using the exact same technique to paint our class predict asphalt. So when you try this technique is going to be really helpful when you try the class project. It will be a lot more confident and there is no room for mistakes. I have added some more taco tunes. Now. I'm going to take out a smaller brush and I'm going to apply some lighter tones onto the background, especially onto the tile. There we have taco tones. So this one is my size number four round brush, and I'm picking some leaf green. So at this point, you don't need to add any white gouache or white watercolor into it. You can use that to paint acidosis. We're just dropping in some lighter tones on that vets background, especially on the top. So randomly apply some lighter tones onto that wet background. We're just trying to create some texture in the background. So we'll pick some light cream or leaf green color, lemon yellow. And simply drop that onto that background. It can be some random patterns and some messy strokes. We just need some light tones and the background. That's it. At this point, your background might look really messy and it might look absolutely weird. But that's absolutely okay. It is part of the process. So just don't hurry. Keep applying that lighter tones onto the background while it is still wet. Ignore how it is looking right now. Okay, so I have added enough of lighter tones, and that's how my background has turned out. If yours is as messy as this or if it's more messier. I think you are on the right track. Now let's leave this for drying. Trust me, you're going to love this painting even though you're not liking the bathroom right now. As we have applied multiple layer of wet paint on the same background, when it dries, it will look blurry. And that's going to enhance the foreground. So we will get a similar result when the painting dries. Okay, let's leave it for drying. Alright, so that has dried completely. Now I'm going to slowly remove the masking tape, the paper that I'm using here, it's not that great with masking tape at 100% cotton handmade watercolor paper. So it always report my paper whenever I'm pulling the masking tape. So I'm being very careful and I'm gently removing the masking tape. So that seems fine. The major thing with this paper is that it takes a lot of time to dry. So I don't need to wait for the paper to dry completely before I pull out the masking t. Even if it's like 1%, it might rub off my paper. The second one also what we are trying now to painting using a masking tape, we will have to wait for it to dry completely. I'm in the background. The background has to dry completely before you peel off your masking tape. The second one has a slight drop-off here. Now mine That's okay. I was a bit worried whether it will spoil the background, but this one is still manageable. Now, let's paint those fence. For the background layer. I'm going to use a lighter tone of burnt sienna. And I'm going to fill all of them in that color. You can either use burnt sienna or brown. So go with a lighter tone and simply fill up all the shapes we have there. So this fence has a much more proper shape than the one we are going to use in the painting. And it is much thicker asphalt. So obviously you will have to add more details compared to the class project. So you can decide on which one you want to go work. A straight shape or irregular shape. And also I think this one is quite huge and it looks a bit out of proportion. This one is a half-inch masking tape. So I think you should either Cartier masking tape and to have or you should use washi tape of a similar thickness. So just be sure not to use such a thick muffin tin. I think that fence is looking quite viewer because of the size, but never mind, I'll be able to show you the texture quite easily on a bigger size. So I'm taking that in a positive way. Alright, so the first step is to apply a light, medium tone of burnt sienna or brown onto the anterior friends. Some places you can use so much more brighter tone and a tongue blade. You can use a lighter tone depending on the size of your friends. Because this one is quite huge, I think I will make some area more brighter and some media model to give it a more natural for you. But for our main painting, I'll be using a lighter tone as it is quite small. Okay, so let's fill that up. Okay, so that's times now we'll have to wait for this to dry. Now, meanwhile, this dries. We can start applying some leaves in the background. For that, I will need leaf green or any of the lighter green. Squares are some paint onto my palette. So you can either use lemon, yellow and fat with a lot of sap green and create a lighter cream. Or you can use any other lighter green that'll cut. So don't add a lot of water. Go to slightly thick ocean of paint. Now we're going to add some random leafy pattern onto the background. So you should be leading the top part acids. You can apply that leafy pattern right about the final. Don't add a lot of leafy pattern towards the top. There we have those darker tones. The leaves that you're adding right now doesn't need to have any proper shape. You can simply keep on tapping your brush and leave this area. Acetals don't add any loose on to the top. At this point, you don't need to add any white gouache or white watercolor into it. You can use the paint acids, and keep on tapping your brush to create some random patterns like this. As I said, it doesn't need to have any good shape. You can keep on adding them. You can add some patterns about the friends and also in-between the fence to add texture on the word. So be sure not to add any leafy pattern onto that, will be adding them at the end. Once we have added the wooden texture. So at templates, you can use a lighter tone of green. You can use your late clean assets. And at some places you can use a little off sap green. So keep playing with different tonal values of green and you're adding these leafy patterns. So I'm going to stop this here, and I'm going to add similar patterns in-between the fence fantastical. If it can add more, just go ahead and add as many as you want. The more the merrier, it will make it more denser and more pretty. Okay, so we have added enough off leaves using a lighter tone as well as a medium tone of green. Now to make them look more prominent, we need to use a much lighter tone, which means you will need to use an opaque portion of clean as well. For that, I'm going to squeeze out a little white gouache onto my palette. And I will mix that with the green I have here. I have taken out some white quash. Now using the same brush, I'm mixing that with the leaf green. I have here. To create an opaque screen. Maybe we can add, let love sap green as well. Now using this color, I'm going to add some more leafy pattern. You can see how visible they are. So right now we are adding another tone and value of green. And you can see how pretty that cluster is looking. Different tonal values. Now just like how you did earlier, randomly adding some leafy pattern using that lighter tone asphalt. Okay, so what Tatas also done? Now? I'm going to wash out the paint from my brush. I'm going to switch to a smaller brush. This one is my size two round brush. Now our task is to add some texture on the word. For that, Let's go with a slightly darker tone of brown. It doesn't need to be too dark, just want to add darker than the color you have used. Now adapted toilet paper towel. We're going to add some dry brush patterns onto the background. So does randomly keep on adding some dry brush patterns. It doesn't need to be cleaned. It can be messy. You can see the way I have added it. But for every project will be going with the female friends. So we won't be adding a lot of details. But for this one, as the size is quite huge and asset has thicker, will lead to add some more details. So let's go with a similar color and add some dry brush patterns onto the other two. Maybe we can make it a little more darker by adding an integral. I'm adding some integral and I'm turning that coloring to something like burnt umber. Again, to having my brush on a paper towel, removing the excess amount of water from my brush and mixing the paint dry. Now I'm adding some more tribal patterns. So this can be really random. It doesn't need to be neat and clean. You can add some messy patterns. They just tried to bring some texture on the wood. It can be messy. For our class project, we'll be using a thinner fine, so I won't be adding a lot of details like this. But you can use this technique in your future projects whenever you are painting would it can be used for tree trunk and even for wooden floor. So we have added the texture. Now, let's add some more details onto it using a darker tone of brown. I'm picking for more integral and mixing that with bonds sienna to create a darker tone of brown. You can also use burnt umber acids. Or it can just mix and create a darker tone of brown by either adding a little of integral or a darker blue into brown. I'm just adding some irregular lines and some patches here and there using a thin brush. This one has a nice pointed tip. So the lines are quite thin and delicate. They're very irregular. It doesn't have any proper shape. So what some places you can make it thicker and at some places you can make it thinner. And in-between, you can add some small patches asphalt. So we are trying to add all sorts of texture onto it to make it look like a vote. You can see how pretty it is looking compared to the other two. So in a similar way, I'm going to add some random lines and some random patches onto the other two asphalt. You can simply add some irregular lines. You can see how carelessly I'm adding them. At some places, I will make it thicker and more bolder. And at some places I will just make it up thin line. So don't worry, adding some thick and thin lines in a very random way using a smaller brush or any other brush which has a pointed tip. So when we add the final details onto the word that dry brush patterns we applied earlier. It is not really visible, but it added a lot of beauty to the world by bringing some texture. So does just that in the background, adding a lot of beauty to the world. And that is the same reason why I told you earlier, don't worry, even if it's looking messy. Okay, So we're nearly done with the wooden texture. I'm going to add some more lines and I will finish this off. And after this, we're going to add those bright pink flowers into the background. And then we'll be done with our technique section. Okay, so what does a very heavily used, I think before we go with the flowers, I will add some leaves overlapping the fence to make it look more natural. So I'm switching back to that light green and I'm adding some leaves overlapping the fence. I won't be adding a lot. I will just make some of them overlapping the fence. I will add some cure. Now. Maybe we can add some leaves on the firstborn asphalt. So again, just switched to a lighter green as well as a medium tone of green and add some leaves overlapping the fence. Just in a very random way. You don't need a lot, just a few here and there. And now it's time to add those pretty pink flowers onto the background. I'm squeezing out some white gouache and I'm mixing that but OP wrapping to turn that into an opaque paint. As I said earlier, you can either use pink or crimson or yellow or purple or any other color rocket tiles. You can see that bright pink. Now I'm just pressing the tip of my brush and I'm creating some random dots here and there. It is, exactly the same way how we add those leaves. I'm using the same technique here, but we don't need to add that many. So just keep on pressing the tip of your brush and add some flowers. Wherever you want to. You can use any color of your choice, but which will be the color that you're using. Be sure to add a little white gouache or white watercolor into it, otherwise they won't be a peak. Alright, my reference so that summarize all the techniques as well as the colors you will need to pay this car just playing landscape. I cannot tell you how much I love this painting. I was really waiting for this day to show you this painting. You will need that so many little, little details. That's the only thing here. But then it's a simple process. And I'm very sure you're going to love your painting. Adding the sketch, which is just a simple fence, and decide on whether you want to use a masking fluid or a masking tape and decide on the thickness of your masking tape as well. Don't use a thick masking tape. If I using a thicker one, just cut that into half. It doesn't need to be a straight line. So I have taken a 1 " masking tape here. I'll just use a scissors and cut that in half. So when you're cutting a tape, cut that in an irregular way. So it will look more natural. To be honest, if you are using masking tape, you can just cut out some shapes like this and apply that onto your paper. You don't need to add a pencil sketch. Okay, I think we're good to go. Keep your paper ready and add in your sketch. Apply masking tape or masking fluid. Let's paint a roll call, just pink white flowers. 22. Wildflowers - Part 1: Alright, so we already had a look at the color palette, as well as the techniques to paint this car just playing landscape. I cannot tell you how much I love this painting, especially that blurry background and the foreground details. Everything is complementing each other. I really can't wait to paint this picture a lot. So I have my paper already here. I already fixed that onto my taper. Now, just like we mentioned in the previous section, we'll need to add a pencil sketch. Then out of that, you will need to either apply your masking fluid or a masking t. So the one I'm using here is from Art Philosophy. As I said, you can use any of the masking fluid you have got R. You can use masking tape just the way how I explained in the previous section. So first step is to add the pencil sketch. So you can either follow the same shape and the same spacing, or you can add it in a more takeaway with more spacing or less spacing. So those things are totally up to you. I'm going to add the second one here. So it's a very simple shape and it's quite thin as well. If you want to make it more thicker, even that is up to you. Okay, So let me quickly add the sketch. Okay, So that is the sketch. Now, what do these when we are painting at the end, once everything dries, we'll be adding a string using white gouache, like something like this. You want to add it right now, I'm just showing you how it's going to look like a hint. Okay? So that's a pencil sketch you can add if you want to, and just decide on whether you want to use masking fluid or masking tape. If you are going with masking fluid, you will need to wait for couple of hours for it to dry completely. We cannot apply the paint while the masking fluid is wet. So you will have to wait for couple of hours depending on your masking fluid. I normally leave this one for one to 2 h. So the major thing here is you cannot use a blow dryer or a heat tool to speed up the drying process. You need to live it for trying and let it dry naturally. So that will take a couple of hours depending on the masking fluid you are using. Now just in case if we're using masking tape, you can paint right away. You just need to cut them and paste on top of the sketch. Just decide on which method you want to follow for your painting. And either apply masking tape or masking fluid and keep your paper ready. So this is how you should be applying your masking tape. Now, I'm going to pick out some masking fluid onto this plastic lid and listen man off my brush. I'm going to apply that on top of the sketch. So our task here is to somehow plus L the paper white, where we have the fence. If we preserve these areas, it is going to be really helpful when you're painting the background. You can apply paint onto the background without worrying about the fence. So that's gonna be really easy and it will make our life so much simple. Now using an old synthetic brush, I'm going to apply masking fluid onto the fence. I'm someone who's really lazy and using masking fluid for my paintings. Just because of that extra time it consumes. But to try out some interesting and cool techniques, masking fluid is a must, especially because watercolor is not an opaque medium, is a transparent medium. There are some limitations for adding lighter values on top of Taco values. So you all know so far for all the painting's fair. We added those flowers. We added some white gouache into the color that we want to turn into an opaque version. So that's one way of doing it. But then it is only for smaller area. Whenever you need to paint a larger area. That is not really practical. And also for those ones, we didn't add a lot of details. But in this case it is different. We need to add a lot of details onto the years to bring in that texture of the wood. So it is really important to preserve the paper. Why? Okay, So let me quickly adding masking tape onto all the shapes I have added here. Alright, so that's time. I will just clean my brush and I'm going to leave this for trying. Alright, so here we are. The masking fluid that I applied has dried completely. Now, let's start applying paint onto the background in a similar way, how they tried the technique section. For the technique section, I used wet on dry technique. But for this one, as the bathroom does quite larger than the technique section, I'm gonna go with wet on wet technique. So first I'm applying an even coat of water onto the anterior background. I'm using my warning to wash brush and I'm gently applying a clean even coat of water. I just want to make the entire background wet before I apply the paint so that it will stay wet for a longer time. Now these are the three colors I'll be using for the background. Indigo, sap green, and light green. You will just need any darker blue fabric and lighter cream. I already have some paint on my palette, but that might not be enough. So I'm going to squeeze out some more paint that integral. Now I need to take out some sap green as well as leaf green. So it's roughly green. You can use lemon yellow acidosis. We can just make folate law Sakhalin with lemon yellow. That is the easiest way of creating a leaf green. Okay, so I have the colors ready here. Now onto the wet background, I'm going to add the paint in a similar way how we try the technique section to apply the paint, I'm using a bigger brush. This one's a size number 12 round brush. And I'm starting with a very bright and darker tone of indigo. If you don't have integral, you can mix a little of Payne's gray, but Prussian blue and you start color are again, just use Prussian blue acetals. We just need some darker tones in the background. That's integral. You can see I have added quite a lot. Now, let's go with Sap green. You're going to wash the paint from your brush. You can really go with saccharine and apply that right next to the integral. So we don't need to clean went here. We're just trying to create some texture in the background. And you just need to apply the paint somehow hunted the background. It doesn't need to be a clean and a small blend. Now I'm taking some leaf green and I'm applying that at the bottom. We have indigo on the top, then we have sap green, and at the bottom we have leaf green. Now onto this, I'm just dropping in some taco tones. I'm not at all worrying about how it is going to look like. I'm simply dropping in the paint. At some places I want a taco tone and at some places I want a lighter tone. So just randomly apply some medium and darker tones of green at the bottom and create some texture. So that's the base layer. Now I'm going to switch to a smaller brush. This one is my size number four round brush. And I'm going to add some lighter values on the top. So I'm gonna go with leaf green here. You can use any light green that you have carved or you can just use lemon yellow. Now onto the wet background, keep on dropping some lighter tones in a very random way. This doesn't need to have any particular shape or any particular pattern before the background dry, you can keep on adding some lighter tones onto that taco background. So this step is absolutely random. There is no particular rule or pattern that you need to follow. You can simply keep on applying that lighter values on that wet background. So this is how it has turned out. I think I will switch to integral and it will add some more taco tones. I think there is some taco to one's missing here. It is mostly medium tones. So let's add some more darker tones over here. And in between you can drop some lighter tone task fall. Our intention is to just bring some texture and tonal values in the background. At the towel we need mostly taco tones and at the bottom we need mostly lighter and medium tones. But you can drop in the colors however you want to. I'm picking some more lighter cream and I'm dropping that onto the background. So I'm just matching the color into that background. It is not really a clean blend. In fact, we shouldn't be having a clean blend for the background. We should have a really messy and a rough blend. Otherwise we won't get that blurry effect for the background. So we'll make it messy and rough as possible. Keep adding some lighter and darker values in the background and make it really interesting. You can see how pretty it has turned out. The background is still wet. I'm just matching the color. I hope you guys are enjoying the process and you're happy with your painting is perfectly fine. There is nothing to worry here. You can simply keep on applying some darker and lighter values onto background without worrying about how it is going to turn out. As you are applying wet paint onto wet background when it dries, it will have a blurry field. So this will make our full crown look automatically beautiful. So our task is to just drop in different tonal values of green onto the wet background, darker tones on the top and medium tones at the bottom. I can also drop some darker tones here and there to make it look more interesting. Okay, so now we'll have to wait for this to dry. Okay, So this is how it has turned out. Now, our next task is to add some leaves over here using a lighter tone of green. The same way how we tried in the technique section. So I'm going to use leaf and I'm going to add some leafy pattern. Right about the fence. The brush I'm using here, a size number four, you can use any of your smaller to medium-sized brush and go with any of the light green you have card or you can just use lemon yellow. Now right above the friends, you can add some leafy pattern. So it doesn't need to be that clean or it doesn't need to have any proper shape. So just load your brush with enough of paint and keep on pressing the tip of your brush and create some patterns like this on that white background. You can add as many patents as you want. There's no rule hard limit. So I just keep on adding lots and lots of leaves. If you add more, it will look really dense and thick and that will automatically add a lot of beauty to 0 painting. So keep on adding these leaves me feeling her board. You can see here, I'm adding these leaves closer to the fence. I'm not adding any on the top. I'm going to leave the top area acetals. I just want that plain background there. I don't want any liens or any flowers on the top. So concentrate mostly on the bottom and area closer to the fence. And also at some places you can use a medium tone of grain to add the leaves. You can just have a list of sap green to green to turn that into a medium tone. Okay, so keep on adding these leaves using different tonal values of green. I just wanted to remind you all. Again, these leaves doesn't need to have any proper shape. You just need to press the tip of your brush on the paper and create some random patterns. We're going to look at the painting as a whole. We're not going to look at each and every leaf. You don't need to put a lot of attention here. Add those leaves however you can become and be relaxed and just add some Nephi, hands and patterns. Okay, So this is how it has turned out. I think it is really pretty. I hope you guys are happy with your pattern until now we need to add some more leaves, especially on the top, using a lighter tone. When we add this leaves using a lighter tone, that transition from background to foreground will be more prominent. So that's the main reason why we're going with a lighter tone and add in some more leaves. So for that, I'm going to squeeze out some leaf green. And then I will mix that with some white gouache to turn that into an opaque one. So data some leaf green there. Now, let me take out some white gouache. If you don't have white gouache, you can also use white watercolor. We're just mixing that with leaf green to turn that into an opaque color. So even a white watercolor would work. Alright, so I have all the colors ready on my palette. Now, I'm going to next leaf, cream and white quash to turn that into an opaque color. Now using that color, I'm going to add some more leaves, especially on the top. It is exactly the same stuff we did earlier, but this time using an opaque color. And they're adding more leaves on the top. To make that transition more clear. Now you can clearly see the difference between the background and the foreground. Earlier we didn't have that prominent difference between the bathroom and the foreground because we use similar tonal values, but right now, they're using a really light tone that is making a real difference here. Use a lighter tone of green at some white gouache or white watercolor into it. And at similar leafy pattern, especially on the top. You can clearly see the difference here when we added the leaves using lighter tone. So don't skip this step. This step will help us in defining the foreground and the background. So keep adding them along the top. So if I look at my painting here, you can clearly differentiate between the foreground and the background. Just because I added inner fall leaves using a lighter tone at the top. Take a look at your painting. And if you feel like you have differentiated the foreground and the background, you can stop adding the leaves using this lighter cream. Now using the same green, I'm going to add some leaves at the bottom mass from, I'm just running my brush and I'm adding some here and there. Whenever you feel like you have added in a fourth layer so you can stop it there. You don't need to add more. But first, focus on the top and differentiate between foreground and the background. Our next step is to add some flowers onto this. For that, I'm going to use a pair of pink. As I said in the previous section, you can use any color of your choice. It doesn't need to be aware of pink. You can use yellow or orange, or purple or blue, any color of your choice. So this is the thing that I'm going to use. It's a bright fluorescent pink. Along with this color, I will also need some white gouache. So that's opera pink. You can see how bright and ready that covers. I haven't used this paint quite a lot. I think this is maybe third or the fourth time. So that's the color. You can use any other color of your choice for your flowers. Now, I'm going to squeeze out some white quash asphalt and we can start adding the flowers. Now, let's turn that into an opaque paint by mixing with white gouache. To add the flowers, I'm going to use my size two round brush. I will add few drops of water. Then I will mix up your rapping with white gouache and turn that into a nice creamy consistency. I'm not adding a lot of water. I want the color to be really opaque. Now comes the fun part. Let's add these pink flowers. So I'm just pressing my brush and I'm adding some small dots. I've templates and creating a cluster by adding three or four dots close to each other. Places, I'm just adding one or two. With some spacing. You can add them. How will you want to? Maybe you can make them as a group or you can add the mask individual flowers. I'm focusing more on the top and I'm adding more flowers over here. Towards the bottom, I will just randomly add few flowers here and there. I won't be adding a lot. The spendings reminds me of those wild pink bucking the law. I think it really looks like that. Especially the color. Maybe I should call it. While booking the lasso something. I'm a huge fan of bugging villa. I have quite a lot of them in my balcony because that's the only plant will survive with me. It's a tough plant. Even if I ignore them or even fight on water doesn't they will just flourish. So that's my plan. Okay, coming back to the painting, I'm going to add more and more flavors. Mostly on the top. You can see how pretty disturbing already the colors are going so well together. Okay, so I'm going to quickly add some more flowers on the top as well as on the bottom. And I'm going to quickly finish this. Okay, so I have added so many pink flowers. I'm quite happy with the way it has turned out. Now. I'm going to wash the paint from my brush, and I'm going to keep this aside. Now there is another fun part which is removing the masking tape. Before you peel off your masking tape or before you peel off your masking fluid. We show the background has dried completely. Otherwise you may end up spoiling your background. So just wait for some time. If you feel like it is still wet. I usually peel off the masking tape using my fingers. I just rub it like this. Your hands also has to be clean. Otherwise you will add some paint to pack into those whitespaces. I've seen other artists use an eraser to do this, but then I never caught it right. Sometimes it used to rip off my paper. I have always find my hands the most easiest to use any of the normal method to use and Morty masking fluid. If you used masking tape, rule that as well. 23. Wildflowers - Part 2: Okay. So I have removed the masking fluids and I accidentally rip off my masking tape at the bottom. So I'm just replacing that with a new piece of masking tape so that it is now our next task is to paint the fence. For that, we will need a large blob bond. This one is going to be so much simpler than the one we tried the technique section, as this fence is quite small so we don't need to add a lot of details like the other one. Okay, so let me take out some burnt sienna onto my palette. You can either use burnt sienna or brown. In the technique section views to lighter tone of brown. But I think for this one we can use a burnt umber sort of a color. It's more like a rusty brown. So I'm thinking to add a large laugh integral into brown to turn that into an ampere. Just a little off into color. Mixing that with one Siena. It's more like a darker brown. Now let's turn that into a lighter tone by adding a few drops of water. So that looks like a nice color. You can even use burnt umber acetals, or you can just mix the left half integral or any blue into brown to turn that into a darker brown. Now let's apply that onto all of these fans. So I have created enough of paint. Now, I'm going to fill all of this fence in that color. It's just a solid wash. Okay, so that's done. Now onto this, I'm going to drop in some more darker tone of brown for that am taking out some more integral. And I'm mixing that with the same firm we created earlier. And I'm dropping that onto this wet background. I'm just adding some lines and some dots onto that vector background. And that will spread into the background, leaving some texture and some pattern. So competitive on subpoenaed in the technique section, these are quite thin. So be a little careful when you're adding the paint. Right now we're just creating that wouldn't background now onto this when it dries, we'll be adding more details and more textures. Now, let's wait for this to try. Okay, so that is dried completely. Now I'm switching to my smallest size brush, this one, a size number two. And using this brush, I'm going to add the final details. Again, creating that darker brown by mixing indigo and burnt sienna. As the spend is quite small, I'm not going to add a lot of texture. So I'm going to readily add some lines and some smaller batches. But in case it have a big fence, you can add those dry brush patterns first and then add these lines and some scribbles. I'm just randomly adding some broken lines and some patches onto these funds to make it look more beautiful. We are trying to create that wooden texture here. So we can just go with any kind of lines and scribbles that you want to add. But make sure they are very thin. Don't add two more lines at some place that you can add some thought and some thicker lines. But those sticker pages has to be very limited. Focus mostly on thin and delicate lines. You can see that the code path I added right now. So like this one, you can add some in-between, even this one. So it's like an oval shape over this I just to give it an old wood for you. Okay. So that's how you should be adding them. You can add some broken lines and some thoughts and some messy patches. But be sure to go with a small brush, don't make them too bold and thick. So that's the first one. Now in a similar way, I'm going to add some lines and some patches onto all of them. I simply added some lines onto those fence and you can clearly see the difference in a similar way. Let's keep on adding some lines onto the other ones. It is just some brokerage clients and some little patterns. The only thing else those lines are really thin and delicate and only at someplace and making them thicker. Otherwise, if a tenant the delicate line and I'm randomly adding them onto those friends. I think it is really looking like a word. As I said earlier, I'm not going to add a lot of details onto this. I will just add some thin and delicate lines. And along with that, I will also add some small patches. That Is it, because this one is quite small and the thickness is also very little. So it is better not to add a lot of details and make it busy. Let's keep it simple because the background is already a lot messy. So let's keep this as simple as possible. You can see the one I added right now in a similar way. You can add some smaller patches here and there. Otherwise you can simply add some lines. And also, if you want to make it more realistic, you can play with different tonal values of brown. For some other lines, you can use a lighter tone. And some of them you can use a medium tone, the same for those patches as well. Some of them can be using a medium tone of brown and some of them can be using a taco tone. So all of those will add a lot of texture and that realistic fluid to the foot. And that will automatically make your painting look more beautiful. So you can see this one. I have added too many lines and some partisan between and they are looking so pretty similar way. I'm going to add some passes on to the other ones as well. So that's what is missing on the rest. Some more lines and some more patches. Right now I'm using a much more darker tone of brown. Earlier I used a medium tone, so that's not really visible. Now I'm using a taco tone, adding some lines and some dots at some little patterns, literally some patches and some broken, messy lines. It's nothing complicated. When you add a lot of them, it will really look like wood. It doesn't need to be in the heat. It doesn't need to have any particular order, just some lines and some massive patches. But make sure to use a smaller brush or any brush if it has a pointed tip because this one is really thin, so the line shouldn't be bored. I'm adding another small batches. So that is also done. Now adding some water, this one as for some lines. Now one or two small patch. One there, another one here. Okay, so that's done. Now what I'm gonna do is I'm going to wash the paint from my brush. And I'm going to switch back to green. Now to finish up the painting, we need to add some more leaves overlapping the fence. This is actually to bring more realistic features to oil painting. You don't need to add a lot of them just pick random places and add some leaves overlapping the fence. Some of them can be on the top and some of them can be at the bottom. Once you have added them using a light to turn off grain, you can switch to a darker tone and do the same just to be whole painting look more realistic. Okay, So the leaves we added where with a lighter tone. Now let's add some using a taco to an asphalt. I'm just mixing the same color with integral. And I'm adding some darker leaves overlapping the friends, just like how we did earlier. You can't pick few spots and those places, you can just add some leaves, overlapping girlfriends. For this philosopher, if you don't need to add a lot, just a few here and there. So Albini. So the leaves are in. Now I'm washing out the paint on my brush again. Now we need to add some flowers. These flowers also can overlap with the fence. So that's the main point here. All of these little details we are adding right now is to make our painting look more realistic. So let's add some leaves and some flowers overlapping the friends. Otherwise the fans and the landscape will look like they are two different elements. Let's add these little details overlapping the fence to make it look like get-together. I haven't added a lot of levels in this painting. But if you want to add a lot of them, if you want to make a thick bunch of pink flowers, you could do that. I'll tell you don't need to follow the exact same location where I've had in the flowers. Those things are totally up to you. If you don't want to add them on the bottom, you can just ignore that. Or if you want to add more at the top, you can add them to just be confident enough to take all those decisions for your painting and your guts. Okay, So that is also done. We annually finishing our painting for day seven. I'm washing all the paint from my brush and we're going to go with the last step for that and picking some white gouache. And I'm mixing that with a little half integral to create a light tone of blue. We're going to add that string onto the fence using this color. So I'm thinking it's more like a simple color. So if you have some Payne's gray or black on your palette, you can mix that with white and create a grayish color. Or we can simply add some blue or integral into that to create a lighter blue. Now using that color, I'm going to add a thin, irregular line onto the fence connecting all of these wooden post. You can see the line I'm adding. It's very thin and delicate. And I'm breaking that in-between variable. I have these flowers and leaves. And then I'm continuing that. I can see that it's an irregular thin line. Now we need to add a similar one at the bottom as well. Somewhere over here. So I'm starting from this end, touching the first food and post, continuing that. Again, stopping here, continuing that. So it's an irregular line, it's not a straight line or a curvy line and does not bold. It's a very thin, delicate line. This is how you should be adding them. To add those, you can also use a white gel pen if you're more comfortable with that. You first step is to add a thin and delicate line, two sets of lines on the top and the bottom, using a lighter tone of gray. Okay, so that's the first step. Now I'm going to wash out the paint from my brush and I'm going to switch to integral. I'm using a really dark tone of integral. And I'm going to add a shadow for this. So it's gonna be a broken line right underneath this white line. Again, you don't need to add it as a continuous line. You can break it in between. So this one also shouldn't be a decline. Go with a thin and delicate line and it doesn't need to be a continuous line. You can see the way I'm adding it. I'm going with a broken line and I'm adding that Anthony the white line, give it some highlights. Otherwise it won't be really visible. So right now it has a 3D feel. That is it my dear friends. We are done with our painting for D7. I hope you all had a great time painting this car. Just buy flowers for me. I know it took a while because we had to add lot of teeny tiny details. But the painting is worth all the time we spent. I never tried this kind of a painting. It's for the first time, I tried creating that blurry background. And I'm really happy with the way it has turned out. I'm very sure I will try this technique in the future as well. So here it is. Since I will call just painting for the day, I cannot tell you how much I love this background. I love it won't have the full count. That blurry feel. It is really looking like a photograph. I don't know if I'm talking too much about my painting, but I cannot help. I really love how this one has two. Thanks a lot for joining me guys. I'll see you soon with the next painting. 24. DAY 8 - Red Poppies: Hello my lovely friends. Welcome to the eight. Here's the coccygeal red poppies that they're painting today. You can see how beautiful it is. It really looks like a photograph. I'm super proud of how the sector, and trust me, it is super easy to do this painting. It might look a little intimidating, but then it is really easy to do this painting. They stay with me and watch the process. I'm very sure you'll be surprised to see the intercept now, just in case if you are thinking you will need masking fluid to attempt this painting? No, you don't need masking fluid. Excited, right? I will quickly take you through the colors you will need. Then we can have a look at the techniques, and then we will right away start with oil painting. So I'm guessing you all have tried this painting where we created that cautious background. So that's a similar technique that we're using in today's painting asphalt. We'll be using the same colors to paint the background, which is integral saccharine and leaf green. But unlike the previous painting, we will make it that arc. We will try to retain most of the lighter tones. The main colors you will need our integral sap green and leafy green. You can use any of the darker blue is rough integral, and it's roughly clean. You can also use lemon yellow or any other library, just like I mentioned in almost a holiday. Okay, so these are the three colors I'll be using for the background. You can see how gorgeous this pattern has turned out will be just applying them onto the background in a very random way. And we'll try to create a blurry field for the background, which brings him that macro view. It is that blurry background against a super sharp flowers makes it look like a photograph. Just like how you are capturing photographs on your phone using the portrait mode. So I'm really excited to show you how you can do this quite easily. I already have all the colors on my palette. Maybe I will squeeze out a bit tough sap green. Rest of the colors are already there. So first I'm gonna spat out lifting. I guess by now you guys are familiar with this color. You can either use lemon yellow acidosis or you can turn that into a light cream by adding some sap green. Or you can use any other colors like green, green, gold, or any color which is similar to a light cream. To create that cautious contrast between the red and the green, we need to use a lighter cream. It can be any green. It does need to be lifting. Choose the lighter green, or you can just use lemon yellow. When you mix that with sap green, you will automatically get a light cream there. Okay? Now the next color I have here, a sacrum, which is a very common color. So you all may have it. The last one is indigo. You can see on the top that darker color. That's integral. And the medium tone, I have used a sacrum then that light green asleep. So those are the three colors I'll be using for the background. Now coming to the colors that I'm going to use for the flower, you can see the bright red and orange hue. It is the contrast which makes this painting more beautiful. So you need any kind of brighter orange and red. The one I'm going to use this brilliant orange and pyrrole red. It can be any red and orange. It doesn't need to be the same colors that I'm using here. We can also use vermilion and a bit of transit, or permanent red or any other hand? An orange. I know different brands or different names, so we just need some kind of bright orange and red. Okay, so just ignore the name. Go with any kind of orange and red that have caught fire tower, brilliant orange, just like the name says, it's a brilliant color. I use it quite a lot of paint and bright and vibrant evening skies. So that's the color. It's a pretty orange. The next color is pirate, which is again, another brilliant red, so bright and vibrant and is highly pigmented. Permanent red. You can use that or quinacridone red or any other red. We just need a price and highly pigmented read like this. Just to add some highlights for the back-end wash will be using brilliant orange. Then after that, we'll be adding some red highlights. And also we'll be mixing a little of integral with thread to add those deeper tones. So yeah, those are the colors you will need for today's painting. Along with this, you will also need some white gouache or white watercolor to add some little details. But we won't be using it a lot like the other race. We will just need a little off white gouache or white watercolor today. You can see that little hair I have added for this term. It is to apply those delicate hair, we will need white gouache or white watercolor. Now, I'm just going to replace the water. I'll just get some clean water. Now let's try one or two puppies so that it is really easy for you to do the class project. So first I'm going to add a simple sketch. I will add few images here so that you can try any of those shapes. I'm just going with a very simple shape. If you want, you can try some other interesting shapes for your puppy. Maybe you can try one of the shape from these images have added here. Okay, so just adding the shape and add a stem. So first we will fill the anti-inflammatory in an orange color. Then onto that, we will add some highlights a little under these petals. Then also we will add those color towards the top like this. So that's how the flower is going to be. So you can see this pencil shading I have added on the flower. We're going to apply the darker and the medium tones in a similar way. That is a sketch. You can add a flower however you want to. Now, let's start adding the paint. I'm taking some brilliant orange and I'm going to apply that onto the entire flower. Let's begin. As I mentioned earlier, these are the two colors I'll be using for the puppies. Brilliant orange and peddled red. You can use any of the orange and red you have caught. Right now, I'm going to only show the flower. You guys are quite familiar with the background from the previous painting so that we can try when we're painting the class protect. Okay, So I'm going to start with this bright orange. I'm going to take some paint on my brush. I won't be adding a lot of water. I want the color to be really bright and pretty. I'm using that and it's high-intensity. And I'm just following the outline of the flower. And I'm going to fill that up in this color. Instead of drilling orange, just like I said earlier, you can use any of the orange or vermilion. Watermelon is also highly pigmented. So this also works perfectly for the puppies. Okay, so just don't worry if you don't have brilliant orange, use Woman in instead. Now, let's simply fill that entire shape in this orange. Don't add a lot of water. Go the really bright and vibrant color. Otherwise we wouldn't be able to bring in that contrast. Now, a painting, you can see the orange that I'm using. Q. It is highly pigmented and I haven't added a lot of water. The colors very rich. I will fill that entire shape in this color. So when we're doing our class project, we will paint the background first, and then that drives, we will paint the flower. Right now. I'm just going to show the flavor. I'm not showing the background. Okay? So I have added orange onto the entire shape. Just like I said earlier, if you want to go with a much more interesting shapes we're popping, you could do that. The process is going to be the same. You just need to apply orange onto the entire shape first. Then we need to add some highlights. To add the highlights and picking some pyrrole red. I'm adding some deeper tones underneath the petal. And also I'm dragging my brush towards the top from that bottom part. And I'm adding some highlights. So right at the center, I have a bigger, better. And I'm trying to make it look like there are shadows on the other two small petals. Okay, So culture that bottom point of the flower. And from there you can just drag your brush towards the top and add some highlights. So that is the second step. First we have added orange onto the anterior flower. Now we have added some deeper tones using right, we simply tractable brush towards the top from that bottom point and we have added some bright highlights. Now we need to go with a much more deeper tone of red for that tamping a little off integral. And I'm mixing that with a little of red. It doesn't need to be too dark. Just a little of integral solving it and mix that with any of the words that you're using. So you might get a darker brown. That's a color we need. I just like how we did earlier at some taco tunes from the bottom of the flower. Now just drag your brush towards the top from that bottom point and add some highlights using a taco. Don't overwrite. Don't add a lot of darker tones. The majority of the color should be orange and red. So just add a little at the bottom of the flower. Right now, those highlights are looking a little messy way to make them look smarter. Washing out the paint from my brush, dabbing a ton of paper towel. And I'm just dragging that with a slightly wet brush and I'm making it smarter. See that looking so much better, right? Okay, now we need to go with a much more deeper tone. I'm taking some more integral and I'm adding alert some shape or what's here. Now, just like how we did earlier, Let's drag that towards the top and add some more highlights using a taco tune. We just merge the colors using a wet brush so the background is still wet, especially at the bottom. So we can easily add these darker tones, just like how we did earlier, at some darker tones underneath the petal. And also can just dry your brush towards the top from that bottom point. So we have multiple tonal values of red and orange on the flower. And that is exactly what makes up a flower look more realistic. Now, maybe we can add more taco tune over here. I'm picking some integral directly and I'm adding a small shape right at the bottom. Now I'm trying that towards the top. So you're going to drag it a lot like how we did earlier. The shape can stay. You can see how I have left the shape of a flower. Now, I'm going to pick some sap green. And I'm going to add this Tim for this exercise. I'm just adding the stem using sap green. But for our class project we'll be adding it using a lighter tone. And onto that we'll be adding lots of details to make it look more natural. But for now, this is all we need. Now I'm just adding some parts. Again, we'll be adding more details why we paint our class project. I just want to show you how easy it is to paint these colleges, flowers and plants. Okay, so I have added about there. Maybe I will add one more. Before we try our class project, I would really recommend you to get some shapes. You can take the reference images I have added here, or you can try some images in cocoa and just try sketching different shapes. Then onto those shapes, try adding the color like how we did right now. Start with an orange. It can be vermilion or any other orange. Then out of that you can add some highlights using any brighter red. Finally, add some more highlights using a darker red. You can just make the last laugh integral or any other blue to red to make it more darker. So try to write in orange. We just need to add these highlight only at the bottom. So try out some interesting shapes for your flavor. I think the one I have added here, it looks much better than the one I have added in the class project. So just go with some interesting flavor for your class project. It can be much better than this. So try some Google Images and sketch it out before we go with the class project, depending on the number of petals you're adding, the shape of them. You will need to work out on the highlights. Maybe you will need to add more. Okay? So just get it out and understand how you should be adding the highlights. You can see how pretty that red poppies looking. So I used a brilliant orange interrupt that you can use vermilion. I'm guessing you all have a woman in. Now just in case if you don't have any kind of red, you can take out a little after Thompson. Then you can mix a little of crimson with formalin and use it instead of red. Maybe I can show you a quick exercise. Have Clemson and bubbling here. I will quickly, as fast as on a paper. As crimson is not as bright as spiraled read, the colors will look slightly different. So there are chances that the flowers that you're going to paint may not look as bright as the ones you see on the screen. Don't worry about it. You'll flowers will still look pretty. Okay. So let's try switching out the colors. First. I'm going to swatch out vermilion, which will be the orange that you're using, whether it's 1 million, are scarlet, go to really brighten, don't add a lot of water. So does that brightness, which brings a contrast in our painting. Now, instead of pyrrole red, we will mix a little of Clemson with 1 million to create a bright red. Okay, so that's what I'm going to show you right now. I have taken out some formalin. Now, let me squeeze out some crimson. Okay, so we have watercolors here. First, Devils fight out 1 million, which is a quite common color, even Clemson. These two colors comes in all the basic watercolor set. So I'm just assuming you all have these two colors. First traveled, spattered, vermilion. Now let me scratch out warmly. So here is the color. I think it is as bright and pretty as brilliant orange. So you don't need to worry about orange. That's a pretty color. Now when picking some crimson and mixing that with 1 million, again, I'm not adding a lot of water, it just a teeny bit of water to make the color Lewis. Now let's factor out that color. That's a color I have caught. I think that is also really pretty. I'm just trying to add some more crimson to see what the color is going to be like. Okay, so that looks a little more darker. I think this one is small, prettier than the previous patch. Let me add some more Clemson and see what's the difference. Okay? So you can choose from the color that you like from these patches. I have just added some crimson clover, Merlin, and I think that second mixes really pretty to me. That color really looks close to pirate, right? So I think there is nothing to worry if you don't have pirate read her brilliant orange, you can just use formalin and crimson. Instead of pyrrole red, you can make sense doctrines and with vermilion, I would recommend you to try and mixing the colors and understand how much cramps and you need to add a woman in to create that bright red. So just give it a try before we go the class projects and keep the colors ready. 25. Red Poppies - Part 1: Okay, so we had a look at the colors. I hope you guys have them ready. As I mentioned earlier, we wouldn't be using any masking fluid for this painting. The flowers are quite big so we don't need to mask them out. We can manage paint without masking them. Okay? So in case you want to use masking fluid, if a field that is more comfortable for you, you could do that. Alright, so I have my paper ready here. Now, I'm going to add a pencil sketch. We'll be adding two puppies, one bigger one, and a smaller one. So the one I'm drawing now is the bigger one. Then I will add a smaller puppy a little below to this one. So I'm just adding some reference images here so that you can go with a much better flavor. Okay, so just add your puppies. How will you want to, if you just want one flower, you could do that. Or do you want three data sets up to you? So just add ten. Okay, so those are the puppies. Now along with us. I'm just adding too much asphalt one or was she the one facing down next to the smaller puppy? So if you want to add more parts, you could do that too. Okay, so I have two puppies and two buds here. Now we need to take out the colors. As mentioned in the previous section. The three colors you will need for the background, our integral saccharine and any light green. I will squish them onto my palette. Instead of integral, you can use any other darker blue just in case if you don't have integral. And also iteratively print, you can either use lemon yellow or you can just create a leaf green. You can just go with any other lighter green you have caught. So that's leaf green. Now let me squeeze out some integral. Now we need sap green. There you go. We have all the colors ready. Now to apply the color onto the background, I'm using a bigger brush. I'll be using my size number 12 round brush. Along with this, you will also need a smaller brush to apply the paint onto the area closer to the flower so that we won't add any paint into the flower by mistake. So just keep two brushes ready, one bigger one and a smaller one. Like I said earlier, if you want to go with the masking fluid, you could do that. That would be more comfortable for you. Just apply masking fluid onto the entire shape and then leave it for drying. Apply masking fluid wouldn't be a feasible option because the shape of the flowers quite big and also it is not a regular shape. But then if you have a bigger masking tape like a two-inch or a bigger one. You can cut the shape of the flower, then apply that on top of it. So there are two ways you can either pro-Soviet people wide by using masking tape or masking fluid. Or it can just follow the method that I'm using here. I'm ready starting with the paint. I'm not applying any water onto the background. So it's gonna be a wet on dry technique. I'm starting off with Sap green. I would recommend not to add any water onto the background. Let's go with wet on dry technique. If you add a lot of water, there are chances the water may enter the flavor and it won't get a clean shape for the flower. Let's go with wet on dry technique. If you're worried about whether you'll be able to blend the color when you're applying the paint onto a dry background. That's possible. Just don't worry about it. There's a trick for that. Now I'm picking some leaf green and I'm applying that right next to sap green. If you're using a bigger brush, you'll be able to apply the paint on enlarging your quite quickly. So use one of your bigger sized round brush. I'm adding some leaf green on the side as well. So you can see I'm not adding any paint closer to the flower. I'm just leaving that area acidosis. And I'm using my smallest size brush and carefully applying paint around the flower. We're not really worried about how the blend is going to be. We don't want a clean blend with the background, will be just dropping in some toggle and medium tones onto the background to make it look like a blurry background. So just don't worry if your background is starting to dry. The only thing you need to be concerned about the shape of the flower. Try to pre-sell the paper right over there. Okay, so let's keep on applying the paint onto the background. Right now. I'm just using sap green and light green. Once we have applied paint onto the anterior background, we can start dropping some darker tones, which is integral. Okay? So let's fill the anterior background and sap green and light green. You can keep switching from one color to another and you can add them however you want to. Carefully applying paint around the flower. So that's Tom. Now, I'm switching back to my bigger brush and I'm applying paint onto the leftover area. We have one more flower that also we need to preserve. I'm just using leaf green. You can apply paint on top of the buds. That's okay. So that's how I'm applying the paint. I will carefully on my brush over here. Okay, that looks fine. Alright, so that's nearly done. We have a little area leftover top. So be careful when you're closer to the flavor. The rest is quite easy. You can simply apply the paint. It doesn't need to be a clean blend. You can apply sap green on the top and as you're coming down, you can switch to any light cream. So you can clearly see here, my background is looking quite messy. It's not a clean blank. I have simply applied Sap green on the top and light green at the bottom, and have preserved the paper white where we have the flowers. Okay, so that's the first step. Now I'm going to switch back to saccharine, taking enough of paint on my brush, and I'm applying that onto the background in a very random way. You can keep dropping that medium tones of green. How will you want to? You don't really need to follow the way I'm doing here. So we need some deeper tones at the bottom. We already have some at the top. So let's add some at the bottom. For this one as well, you can use a bigger brush and keep on dropping some medium tones of green. Now at the bottom, I'm just dragging my brush towards the top to create some crazy lines like this. The background is still wet and we're using wet paint. So this will look blurry when the painting tries. And that is exactly what we need. When you're applying the medium tone of green. Try now to fill up the entire background. We still need a good amount of light green in the background. Otherwise you won't get that beautiful contrast. So just keep in mind not to add a lot of sap green into the background. Now I'm switching to integral and I'm mixing that with a little of saccharine. Now we can start applying the taco tones. I'm using my smallest size brush the background disturbed by dropping that paint randomly into the background. Again, this doesn't need to be a clean blend. We're just dropping in some taco tones. We're not really worried about the blend and how it is going to look like. You can apply the darker tones, how will you want to and variable you want to. So basically we are trying to add different tonal values of green onto the background. When it is wet. You can go with a taco tune and lighter tone in-between. We can see the way I'm adding them. I'm not worried about how it is looking. I'm simply dropping in the color onto that wet background. We can add some around the flower asphalt. Carefully, apply some taco tones around the flower. You can use a smaller brush, otherwise you may actually add some paint onto the flower. Run your brush carefully around that shape and add some darker tones. For the smaller flower. I won't be adding a lot of darker tones around it. Now, I'm switching to a bigger brush and I'm just matching the color. Again, I'm not really worried about getting a clean blend. I'm just matching the color back and forth. Let's add some more deeper tones over here. It looks like the background is starting to dry, but now mind, we can fix it. Right now. You can simply keep on adding your deeper tones using a bigger brush or a smaller brush, which will you prefer? Now, wash the paint from your brush and switch back to that light green. Go the watery version. Using a bigger brush, you can keep on pushing and pulling the color to each other to make them look smarter. Okay, So this way we are making the baton wet again and we can keep on dropping more deeper tones. So we can see that beautiful result we have caught here. Everything's looking blurry and it is looking cartoons. So that's the reason why I told you. It's absolutely okay. If that background is looking really messy, they can come back and fixed it. So I'm just trying to make the bottom part by taking, I'm taking my brush around the flower and I'm applying some olive green all over here. Maybe we can leave this bird and fill up the remaining area. So the background is wet. Again. We can start adding more deeper tones onto this wet background. Okay, so let's switch to a darker tone. I'm going to use my bigger brush and I'm randomly dropping some more darker tones onto that wet background. There is no particular order or all that I'm following here. I just want some taco tones at the top and some medium tones and lighter tones at the bottom. So that's the only thing that I have in my mind. I'm not really looking at any photograph or I'm not trying to replicate anything. Now I'm using a medium Tonle Sap, Green and Madison grassy lines at the bottom, just like how we did earlier. It doesn't need to be too dark, just a little darker than the background so that they will be visible. Now these lines that you're adding right now doesn't need to be perfect. They can be thick and messy. That's absolutely okay. We are adding these lines on a better background and using wet paint when it dries, it wouldn't have a proper shape. So there's no point in putting a lot of effort. You can simply keep on dragging your brush exactly like how I'm doing right now. Okay? So we're just trying to create some texture and some patterns in the background. So do not worry about how your paintings looking right now. It might be slightly messy. I think we can add some more darker tones, maybe a little around the flower. And also on the top, I'm going with the taco tone of green. I simply mixed a little into integral worth sap green. And I'm randomly dropping that onto the background. Just to create some more texture. Maybe we can add a little around this flower as well. Just be careful when you're applying that closer to the flower. Don't add any paint onto the flower. So basically if you want to make your backroom attacker, you could do that. Or if you want to retain more of a lighter tones, you could do that as well. You can drop in the paint, how will you want to? Maybe you can add more darker tones on the top, and maybe you can add some at the bottom as well. So all those things are totally up to you. It doesn't really matter what I'm doing here. You can make your backroom or darker or lighter as per your child's. And the best part is we need a messy background. We don't need a clean background. I'm just picking some more lighter cream. I'm trying to smudge the color over here. Okay. So whenever you feel like your paint is too dry or it is looking too rough, just take off some light green on your brush and keeps matching that color. Okay, So it is really easy. There is no way you can make a mistake while your paintings background. Because our intention is to create a messy background. Okay, so this is very happy. I think I will add some more darker tones, especially at the top. And picking some more integral. And I'm dropping that on the top again in a very random way. So I'm leaving some gap in-between and I'm trying to retain that sacks in the background. So don't add a lot close to each other in-between least some sap green. This way we will have lots and lots of different tonal values of green in the background. And that will automatically make your painting look more beautiful. Now I'm just adding some more here. I'm not adding any onto the bird. Now picking some light cream and smudging that color. Because it is looking quite rough over here. You can see the way my background is looking. It's not a clean blend. I'm just dropping in the colors. And whenever I'm feeling like the paint to dry, I'm picking some light green and I'm smarting the color. Now. I think we can drop in some more darker tones towards the right side. And also, I'm just leaving this part acetals as the color that we're using right now is quite dark. So I'm deleting that lighter tones on the bird. That is it. Now as I said, I'm going to pick some more darker tones, and I'm going to add that onto the right side. Just like how we did earlier. I'm randomly dropping that color onto the background. Whenever I'm feeling like it is to try, I'm going to take a look last leaf green, and I will select that color. Okay, So let's do this. Okay, so I have added enough of darker tones. You can see how messy it is. Now, I'm going to wash out the paint from my brush and I'm going to switch to a lighter green and then we can smudge the color. Okay, so I just cleaned my brush and I'm picking some leaf green. And I'm just matching these colors to make it look a little better. Right now those patches are quite strong and prominent. I'm just pushing and pulling the paint into each other to make it a little better. But again, I'm not going for a clean Ben. I just want those passes to be seen as prominent shapes. That's only reason why I'm smashing the color. You can add new darker tones. How will you want to and you want to, if you want to make it more darker, you could do that. So when I feel like either your paper is starting to dry or those patterns we applied are looking to prominent. You can pick other lovely gray or any other lighter cream, one lemon yellow. And the dark color you can smudge those patches and make it look better. Elephants motor actually. That's how the background has turned out. Now, I'm gonna go back with a medium Tonle Sap Green. And I'm just going to add some leaves onto the background using a medium tone. My background is still a little wet. It is not completely wet. It is all wounds dry. And I'm using a medium tone and I'm simply adding some leaves like this, some long leaves. This is a color you should be using. It shouldn't be too dark. We won't be adding any other leaves. After we are done with this, we will right away start with our flower. And we will just add the stem. Other than that, we won't be adding any other details. Okay. So those are the leaves. It doesn't need to be well detailed and you shouldn't be using a taco tone. Go with a medium donor sap green. Maybe we can add some more leaves using a lighter tone. I just wash all the paint from my brush. Let's traveled to match this video. The passes are looking quite rough. Okay, now let me take some leaf green and mix that with sap green. And I'm adding some leaves onto the left side. Just one or two. See, I'm using a lighter tone, a little lighter than the color that I used earlier. And I'm adding some long leaves. Alright, so sometimes you might be feeling the pattern is not looking great, but that's absolutely okay. When we add those bright red poppies, it would make all the difference. Now just in case if you feel like your background is looking really messy, what you can do is take out a bigger brush and take some light cream or leaf green or lemon yellow on your brush. Don't make it too watery. Now, using that brush keeps matching the color you have in the background to make it look a little smoother. This will give you our passes, a blurry look, and that's exactly what we need. You can see I have taken some green paint on my brush. It's a bigger brush and my brushes slightly wet. And I'm smashing dose darker cream using that light green. And I'm making those patterns look smarter. This will make a lot of difference in your patterns. So if you feel like you're not really happy with your background, take out a loss, leaf green, lemon yellow on your brush. And wherever you feel it needs a little adjustment. You can do this trick. Okay, so data set, now we'll have to wait for this to dry completely. And then we will add red poppies. 26. Red Poppies - Part 2: Okay, so here we are. The background has dried completely. And again see that caused the screens we have caught here. Our background is a mix of dark green, medium green, and a light cream. And I think it is looking really courteous. So now it's time to paint the flower. These are the two major colors I'll be using for the puppies, brilliant orange and pirate, right? So we already discussed altering colors you can use if you don't have these colors, if you haven't tried it out, do check out the technique section. Okay, so I hope you guys have the colors ready. I will flip my palette and I will squeeze out some brilliant orange as well as pilot, right? These two are really bright and vibrant colors and that is what makes your painting look more cartoony. Title spiraled. Read. Now, let me take out some brilliant orange. We have the colors ready on the palette to apply the paint onto the flower. I'm using my size four round brush. You can use any of your smaller to medium-sized brush. You need to carefully apply the paint along the shape of the flower. Just go with any of your medium to smaller size brush. I would recommend not to go with a bigger brush. First, I'm going with brilliant orange. So if you're using vermilion, you can use for Merlin or any other orange of your choice. So go with your orange color and apply that onto the entire flower. Try the techniques section. This is going to be really easy. We tried this already and I think the technique flower look much better than this. So I'm gonna go with a different shape for your flower. You could do that. For this painting. I don't use any masking fluid. I just prefer that people white. I was a bit careful while I was applying the paint onto the background. As the size of the flow was quite big, it was manageable. But in case if have used masking fluid or masking tape to preserve the white, remove that, and then start applying the paint. So I'm just carefully following the outline of the flower and I'm applying some orange. You can see how bright and pretty that color is. We have already got a beautiful contrast here. Now when we add more deeper tones using red and that darker red, it will look more and more beautiful. Okay, so the first step is to follow the outline of your flavor and apply orange onto that anterior flavor. The beauty of this painting is the contrast that we have caught here. So be sure to go the really bright and vibrant color. Don't add a lot of water, don't dilute the paint. Now, I'm picking some red and I'm going to add the highlights. I have a little area left on the top. No mind also that while I'm applying paint onto the other petal, I'm just dragging my brush towards the top and I'm creating some random lines starting from top to bottom. And I'm adding some highlights using pirate read. Once you have added some red highlights, go with a darker red. Just pick a little off indigo or any other darker blue or Payne's gray mixed type of error that you're using and create a darker red. Now, again, add some highlights at the bottom using that taco, right? So it is nothing but just some lines start from the bottom of the flower. And keep tracking your brush towards the top of that petal and adding some lines. You can see that orange, that brighter red, and the darker red. We can see three different tonal values of orange and red here. Just like how we painted the background, these different tonal values of red and orange will make your flower look more beautiful and more realistic. So that's the petal. Now in a similar way, let's paint the other bigger petal as well. If you have added a different kind of level, you need to do this for all the petals. First I'm adding that deeper tones. I will just add some thin lines onto the flower. I think maybe we should add red onto that leftover area, then we can add deeper tones. So let me switch back to pirate ride. You can also use permanent red or quinacridone red or any other rate are you can just makes it a lot warmer in with crimson and try using that color. We tried that in the technique section. You'll be able to mix and create a color which is very much close to Petrograd using crimson and vomiting. So if you don't have any kind of red, that's your way. Now, let me pick some orange and smudge that into the background. Alright, so that's the flavor. I think we can add some more darker tones at the bottom. For this big petal. The other one is looking fine. Our poppy is looking so pretty. I think it's the beauty of the colors we have used here and that contrast. Now let's add some more deeper tones right at the bottom on the flower to make it look more realistic. And picking some more darker and adding some more lines. I'm just dragging my brush towards the top from the bottom of the flower. I'm just adding some lines. Look at that. I will probably is looking so pretty. Now in a similar way, I'm going to paint the other flower, whereas for the smaller one. So first we need to fill up the entire flower in brilliant orange or vermilion or any other brighter orange. Then onto that, we need to add some highlights using red. Then again using a darker red. Okay, let's quickly do this. Alright, so I have a slight orange color onto that entire shape. Now I'm picking some great and I'm adding some highlights. So once I'm done with this, I will call it a taco to unafraid current, and that'll be adding some more highlights onto the flower using that taco to enough, right? So to create the taco to unafraid, I'll be just mixing a little off integral but red instead of indigo, you can use Prussian blue or any other blue or even paints gray. So let's add those taco tones. Starting from the bottom of the flower. I'm just dragging my brush towards the top. And I'm adding some lines from this bottom point. Now to make the flower complete, there is one step remaining. We need to go with a little more darker tone. To create that. I'm picking some more integral. That's a really dark tone. You can see the color here. Now you see that color. I'm adding some highlights at the bottom. So firstly, you need to add a small shape there. And then you can keep dragging that towards the top. You can see the difference that darker tones made our flowers looking more realistic now when we add those taco tones. So keep on dragging your brush and add some more lines in that taco tool. Right now in alpha level, we have so many tonal values of pride and orange. And that is exactly how we make our flower look more realistic. Okay, so those are our flowers. Now, we need to add the stem. We also have the buds to add. So first let's add in this term for these levels. I cannot tell you how much I love this color combination. You can see that causes contrast. Here is the beauty of the green and the red we have used here. So these are the two colors that I used, brilliant orange and pirate read. Both of them are highly pigmented, which you can already see from the painting. Now, I'm going to squeeze out a bit of white gouache onto my palette. I'll be mixing that with a little green to create a lighter cream. And using that color, I'll be adding this term. I have taken out some white gouache. If you don't have white gouache, as I always say, you can use white watercolor. Now I'm mixing that with light cream to create an opaque portion of that light cream. Maybe we can drop in a little off sap green Asphalt. Okay, so either use white gouache or white watercolor and create an opaque version of light cream. To add a stem, it is better to use a brush which has a pointed tip. Don't make it too thick. Now, let's add the stem. Started from that darker tones we have applied and bring it down. And continue that until you reach the masking tape. Do this for both the flowers. Okay, so that's the stem. Now we need to add some deeper. Don't sound too this for that I need some sap green. I'm just cleaning this part of my palette so that I can squeeze out some fresh sap green. Now let me take out some green onto my palette. Now using a medium Tonle Sap green, I'm going to add some highlights onto the right side of the stem. Be sure to use a smaller brush, otherwise the line will be really thick. Now, take out a medium tone of sap green. You can make fat with that opaque screen. Now let's add a thin line along the right side of the stem. Don't make it too dark. Can see the color I'm using here, system medium-term. See that now that's Tim has got a 3D look. So that's the reason why we added that medium tone on the right side. Now let's do the same on to the other one as well. It's just a simple line. It has to be really thin, don't make it too poor. So first we added the stem using a lighter tone of green. We just mixed light green but white gouache, and we turn that into an opaque color. Now we added some highlights using a medium tone of sap green. That second stem is looking really tell, I think I will coat pocket or lighter green, and I will make the left side lighter. Now, that is looking better. So the flowers are done. The next task is to paint the buds. I'm going back with saccharine using a medium tone and applying that onto this. But I have here, I had added one more on the right side, which is not really visible. Now mind, we can fix that. So I'm starting off with a medium tone of sap green. And to have applied that at the bottom. Now I'm switching back to that opaque washed off screen. So this one is a mixture of light green and white gouache. Now onto remaining area I have on the top, I'm applying that light cream. Now we need to smudge the color. We need to get rid of that strong transition we have at the middle. So right now you can see that saccharine and the light green, it is looking like two different patches. We need to smudge the color over here. So that's the base layer. Now when picking some integral and I'm applying that at the bottom of the butt. Now just like how we did for the flower, I'm just dragging that color towards the top. Maybe we can add some over here as well. A darker tone of integral. It's really doctrine of integral. I haven't added any red into it. In a similar way. Let's add some darker tones for this one as well. Just a little for it to really stand out. Now let's switch back to that. But I'm dabbing my brush on a paper towel and matching the color here. So on the top we have a lighter green, and at the middle we have a medium tone. And at the bottom we have a darker tone. So that's a base layer. Now, all the top part of this, but we need to add some teeny tiny dots using a darker tone of indigo or a taco tone of green. So good. Any of your brush which has a pointed tip and take out some taco turn off integral or a darker green. You should be using a smaller size brush or any of the brushes as a pointed tip. Because we need some teeny tiny dots here. You need to leave it alone cap at the top, and then add some teeny tiny dots using the tip of your brush. Just add some dots at the center, leaving some cap around it. So that's our first, but now using that same color, I'm going to add some highlights onto the stem. It's a thin broken line. Let's do the same for the other flower asphalt. Now we have one more bud left. I'm switching back to sap green. I'm going with a medium to darker tone of sap green. I'm not adding any integral into it. I'm using the faculty and acids. And I'm going to fill up that burden this color. I haven't heard a lot of water I'm using are really bright and vibrant. One-off sap green. And I'm drawing an oval here. This one is slightly different from the other part, the shape as philosopher details. Now we're switching to that light cream where I have mixed a little bit of white gouache. Now, I'm just dropping that color around the school. Well, just follow the outline of your wealth and add that lighter tone. We need to make the border lighter and inside darker. So you start opaque version of light cream and drop that along the outer shape of that bird. So first we apply the medium tone of green onto that anterior part. And now we're using a lighter tone, which is an opaque quotient. And we're adding that around the shape. So this is how your butt should be looking. A medium tone inside and a lighter tone outside. Now I'm picking some integral and I'm adding some darker tone at the bottom. Now we need to add the stem for both the parts. For that. I'm going back with that light cream and opaque version of light cream. And I'm going to add the stem. For this one. I'm adding this term asset, the bud is hanging down. So this one is gonna be a nice curvy line. Let's make it go away. So that's a stamp for this one. I'll just make it more thicker. So I'm just using an OP question of green. I just make some quash leaf cream and I created an opec question of light cream. Now using the same color, I'm going to add the stem for this one as well. For this one, I'm going with a different shape. So that of a painting will look more natural. Once we have added this term, we need to add some highlights onto this using a taco tone. I'm already loving how the painting is turning out. Honestly, I never had type painting flowers before, or maybe I never tried painting flowers. So the spring watercolor challenge has been a game changer for me. I cannot tell you how much I love painting flowers right now. I have created a folder with tons of reference images to try them. So you can see the same color. I added some highlights onto the others to Moscow. Now, I'm switching to a medium tone of green. And just like how we did earlier, Let's add some pilots, one to the right side of the stem. Just follow the lines, have added their adaptation line. Don't make it to bold. This needs to be done for both the stem. In case of have added more butter or more flowers, you should be doing this for all of them. I have just started to close and two parts. I think maybe I should have added some more, but never mind, I'm quite happy with the way it has turned out. So let's just keep this way. When you add these deeper tones and lighter tones onto the stem I'm in this highlights. It will automatically make them look more realistic. It will give it a more three-dimensional look. Okay, so that's important to have this darker tones and lighter tones. Now I'm switching to a smaller size brush. And I'm using some white gouache. I'm picking a less love gouache from here. I don't want to pick up more paint. I'm adding a few drops of water. Now we need to add some thin and delicate hail onto these Tim. You can see the reference material. So this is what I'm going to try. I'm using a size number two round brush here. If you can go with a much more smaller brush or a detailing brush, that would work better. I will just try with this. If it's not working, I will use a detailing brush or you can use a white gel pen as well, whichever you're comfortable, but we need to make them afternoon delicate as possible. I'm going to start with this one. I'm carefully adding something until you get lines onto either side. We can add some highlights as well along with that. Okay, Now let's keep on adding those thin and delicate lines onto either side. You can have a look at the reference image and add it accordingly. Make it asked and then delicate as possible. If you will want to, you can use a white gel pen or any other detailing brush. I'm being very careful not to make it to bold and thick. I'm leaving enough of gap in-between. Unlike the image here. I think I'm not really getting a try with this brush. Maybe I think I should go with a smaller brush. I think that would be much better. Have different detailing brush. This one has a much more pointed tip. Now I'm going to add the remaining lines using this brush. So we just need to add some thin and delicate lines onto either side of all the stems. It has to be super thin, otherwise it will look out of proportion. So go the detailing brush or any other brush which has a pointed tip. And adding these lines. This might seem like a very simple and silly step, but then, trust me, it has a lot of importance. It will make your painting look more realistic and more natural. So keep adding them. We do add similar lines around the bud as well. So I'm starting with this one. I'm carefully running my brush along the anterior bird and I'm adding some teeny-tiny lines. Now queen back with this term. You can see how thin and delicate those lines are. If you're using a thick paint, you wouldn't be able to get this thin lines. So add some water into white gouache or white watercolor, and turn that into a loose consistency. Then only you can add these thin lines. So just keep that in mind. I have two most am left. Let me quickly add some little lines onto those ones as well. And we'll be done with the appending for the day. All right, my dear friends. And with that, we're done with the whole painting for the day. You can see how pretty those colors are looking to meet. Really looks like a photograph. I clicked on my phone that I use the portrait mode. I'm really, really happy with weight as Toronto. You can use the same technique and create collages, paintings. Maybe you can just try adjusting the color for your background. You can change the flavor. Ok, now I'm going to peel off the masking tape. I hope the painting was CC. You guys enjoyed it as well. And here are several colleges painting for the team. I really loud the red poppies as well as that blurry background. I can either just looking so perfect. I hope you guys enjoyed it as well. Thank you so much for time this Saturday watercolor challenge, I cannot wait to come back with a one next spring landscape. 27. DAY 9 - Blue Lake: Hello my lovely friends. Welcome to D&I. Here is the car just painting that we're doing today? It's a beautiful blue lake founded by some DCS. It's a very simple project, will be just using a gradient wash and we'll be adding some details onto that. Maybe when you look at the painting, it might look a bit difficult, but that's not the case. It's absolutely simple, which you will get to know gradually. Now let me take you to the colors you will need for the sky as well as for the league. I'll be using a blue. Here's the blue that I'm going to use. It is called royal blue. That's kinda branch in hand. The blue which is highly pigmented and I love it. So these are the other colors you can use. Instead of royal blue, you can use ultramarine blue, cerulean blue, or Prussian blue, or any other blue. We just need an intense and bright blue. So it can be any blue that have caused. It doesn't need to be royal blue. We'll be using a lighter tone of the blue for the sky and for the league will be using a brighter tone. So just go with any blue that you have caught. Now let's take a look at the rest of the colors you will need, as well as we can sweat out all the colors. I already have all the colors on my palette. So we'll start with the blue. You can see how pretty and vibrant bright colors. And that's the main reason why I'm using this blue. We'll be using a lighter tone for the sky and a brighter tone for the late. So any blue will work. You can use ultramarine blue or Prussian blue or any other blue. For the sky will use a lighter tone. And as we're coming down will make the blue darker. So that's how we'll be painting the background. Now let's check out the next color. Next one is leaf green. We will need to leave clean as well as saccharine. We'll be using that for the background details as well as for the foreground details. You can see these plants and those crafty patterns. So for that, we will need leaf green and sap green. You can use any of the leaf green you have caught, or you can just mix a little ours tackling with lemon yellow. That leaf green. So far for all the paintings we have used leaf green and Sakhalin and even integral. So we'll need those three colors for this painting, asphalt. And I'm nearly finishing my factory. Maybe I need to get a new tube before we finished the 30-day particular challenge. I have another one from a different brand. Maybe I will use that. I guess we'll have taken out some sap green. Now, I'm going to swatch that out. Sapling is a very beautiful green. I really love this color. I don't know for some reason, whenever I look at sap green, it instantly made me feel so good and so much close to nature. I think the beauty of that color. The next color we will need an integral. We will need indigo to add some details in the background as well as in the foreground. Indigo is another favorite of mine. I really love this color to use for monochrome paintings. I love the integral from Sennelier mode handles, I think I've said this before. This one is more darker and the integral from standard error is small, bluish, and that's a very pretty color. Okay, So we have all the blues and greens here. Now comes the color we need for those flowers. Obviously, you will hit white gouache to add those PCs. And along with that, you will also need some yellow and orange or yellow that I'm going to use as cadmium yellow. You can use any of the little handcart will be using this to add those details at the center of the flower. And also we will add some smaller flowers like this using yellow and orange. The color that I'm going to use, this cadmium yellow for the flowers. Basically you will need white gouache or white watercolor. Just in case if you don't have white gouache, then you will need yellow. In yellow will work. We'll be using yellow to add some details, as well as some small flowers. Along with that, it will also need an orange, the one I'm going to use this woman Lean. We'll be mixing yellow with us to turn that into an orange. Okay, so that's 1 million. That summarize all the colors you will need for today's painting. We will need a bright blue, which can be any blue card. Then we will need some light green and sap green, then in yellow and an orange, then to add some deeper tones, you will need integral or any other taco blue. So that's all about the colors. Now before we go with our class project, I want to quickly show you how you can create a gradient wash of blue. Because the foundation of this painting is a gradient wash will be using a gradient both for the sky as well as for the lake. That background layer of blue has a lot of impact on the painting. So let's give it a try. For our main project, we will go with wet on wet technique and we will paint the sky and the lake together. Will first apply a coat of water. And we go the lighter tone for the sky and we are coming down. We'll make the color more vibrant and darker by reducing the amount of water. That's going to be the background wash. But here I'm going to try the wet on dry technique. I'm not going to apply any water onto the paper as this section is quite small. So I think we can manage by wet on dry technique. So right now I'm using a light tone of blue and I'm applying that onto the top. What is the sky? Now as I'm coming down, I'm going to make the blue more darker. So I'm picking some darker blue. And I'm applying that over here. I'm just running my brush in a horizontal way. I'm trying to make it a clean blends to apply the paint onto the background, it is better to use a flat brush. The bigger the better are a bigger size, strong crush. It is my TC degree the gradient wash using a bigger brush. So if you have a flat brush, I would recommend going with a flat brush. Otherwise you can use a round brush, bigger one. Okay? So don't use a smaller brush. Obviously, when you're using a bigger brush, you'll be able to apply the paint onto a larger area quite quickly. This way you can avoid unnecessary brush movements and the blend will look a lot more time. So that's my background. I have just wash the paint from my brush and I'm trying to make it a clean blend at the top. So you can see here on the top I have a lighter blue and as I'm coming down, I have a darker blue. This is exactly how we're going to paint our background for our class project. For our class project, we will need this much amount of Taco blue. I think I went quiet overboard here. For this guy, you should go with a lighter tone. Then as you're coming down, we can make the blue darker, especially when you're closer to the landscape. And for the lake asphalt at the beginning, the blue needs to be lighter. So you can either split the sky and the lake and paint them separately or you can paint them as one single layer. Right now We tried wet on dry technique. We didn't apply any code of water. But for the class project, I'll be applying a coat of water first and then onto that, I'll be applying the blue. Now just in case if you're interested, I would like to show you how you can create royal blue. This one assumption, hence, the name might be different for different brands, but the information that you can rely on is the pigment number. If we take a closer look, you can see the pigment numbers here. They are PP 15 is 23, and PB 66 have taken my cerulean blue here. And you can see the pigment number is the same as P wave 15 is 23. Now we need to find out which color SPB 66, which obviously has to be a darker blue to turn that colon for darker one URI. So Pb 66 is indigo. So that means if you mix integral and cerulean blue, you will get royal blue. You can clearly see the pigment number here, P B6, C6, and PPV tends to three. Now if you check out the pigment number for royal blue, it phase it is made of two pigments, which is PB 15 is 23, and PB 66. So that's how you can create drive blue using the colors you have with your hydrating. Whenever you come across a new color, the first thing you have to do is look at the pigment number and just say if you have any of those colors. Now in case if you don't have the exact same pigment number, go the one which is closer to that pigment number, and try and mix and create that color you have seen. Okay, so this one has dried completely. Now let's add some trees in the background and we try the reflection. I'm going to add it almost towards the top because the color of the bottom is really dark. I have added a small pencil sketch there. Now onto that, I'm going to fill up some indigo and sap green. I'm going to really talk to enough integral. I'm just going to randomly fill the color. We'll talk about this in detail in our class project. Go the really intense tone of indigo and apply that at the bottom. Tried to make it a straight line at the bottom. You can see the color I'm using here. It's a really dark tone of integral. If you don't have integral, you can use any taco tone of blue. Maybe you can sustain blue that I used for the lake. Now, I'm switching to sap green. I don't have a lot of paint here, so I'm just mixing that sack in which leaf green. And I'm adding that towards the top. You can add some leafy patterns, the top to make it look more natural. At the bottom we have a darker tone, and at the top we have a lighter tone. So that's how we add in the landscape. I'll just make that bottom line straight. Then we will have to wait for this to dry. And after that, we can add the reflection. Okay? Now let's leave this for trying. Okay, so that is dried. Now to add the reflection, I'm going with a medium tone of green. I don't have enough of talking to us. I'm just picking on her love integral and mixing bad, hopefully clean to turn that into a medium tone of cream. Now using this color, I'm just going to add some lines right below the landscape that we have headed here. You can leave a tiny gap. Then you can simply start adding some lines. Some of them can be wider and some of them can be shorter. When you're adding these lines, try to leave a tiny gap in-between so that you can see the blue asphalt this way your water will look more realistic. So you can see the way I have added it. I have used a medium tone of green and I'm simply adding some lines. Some of them are wider and some of them are shorter and have less than cap in-between bellum adding them. So the blue can also be seen. In case we want to make it more beautiful and realistic. We can go with a taco tone and add some lines using a taco to an asphalt. Just feel in-between. Pick a darker green and just turn some of the lines into a darker one. You can simply add them on top of the line to have added earlier. Don't add them too close to each other. Alright, so that is how we will be adding the deflection for our class project. It's a very simple technique. You can see how pretty it is looking. For this one, we have used a lighter tone off the green because the background is lighter. And have carefully lesson cap in-between bilabials. Adding these lines, you can see some blue in-between these lines. So it is really making it look like ripples. That's the main reason why I told you at least some cap in between when you're adding these lines. Don't add them too close to each other. Okay? So that is all about the techniques and the colors you will need for today's painting. Now it's time to give it a try. 28. Blue Lake - Part 1: Alright, so how many people are and colors ready here? As we discussed earlier, I'm going to use royal blue for this painting. You can use any of that WE have caught. It can be Ultramarine Blue, brushing blue, cerulean blue car. Okay. So feel free to go with any of the blue that I have got. Now the first step is to add a line, which is the horizon line. This is just to indicate until where we have the sky. And from there we need to start making the color more brighter. So that's the horizon line. On the Tau will be applying a lighter tone of blue. And from this line will start making the color more y-prime. Okay, so from here we will slowly start making the blue more darker. And over here we'll have some landscape. That's a rough sketch for us to understand how we should add. The paint. Will start with a lighter tone of blue and as we're coming down, will make the blue more darker. So the first step is to apply a clean coat of water onto the entire paper. As I said earlier, for our class project, I'm going with wet on wet technique. Earlier we tried wet on dry technique. So a player clean coat of water onto the entire paper. Because I stretch and make sure your paper is wet. So my paper is wet. Now to apply the paint, I'm going to use my flat brush. This one is a half inch flat brush. You can use a flat brush or a round brush just to be sure to go with a medium to be the size brush. Now, I'm starting off with blue, the one I'm using his royal blue. First, I will take a medium tone. And I'm going to apply that on the top of my sky. And as I'm coming down, as I'm approaching the horizon line, I will make the color lighter. So you can either go with a gradient wash or it can just apply a solid wash off a light blue. Okay, so that's the blue that I'm using. It's a light tone. Don't make it too dark. I'm just running my brush from left to right in a horizontal way to make it a clean blend. That's a sky. Now, we can start applying the paint onto the lake. You can start with a medium tone. And as you're coming down, we can make it more darker. Now I'm picking more paint and I'm applying that. We're here. At the bottom. I'm going with an irregular shape. This is where we'll be adding the cream. Now, apply your paint and try to make data clean blend. So slowly keep running your brush from left to right in a horizontal way. And try to make it a clean planet. Don't run your brush multiple times. And also don't put a lot of pressure because it will put a lot of pressure. And if you run your brush multiple times, even after the pain drives, those brushstrokes will be visible. So be very gentle. Now I'm washing off the paint from my brush and tap it on a paper towel. I'm trying to make it a clean blend. So I don't have any paint on my brush. It is just dumb. Now I'm running my brush from left to right in a horizontal way and I'm trying to make it a clean blank. Whenever you feel like your blend is looking clean, just leave it there. Don't run your brush multiple times. This might find that beautiful blend you have already caught there. So whenever you feel like you're happy with the result, just leave it here. Don't overdo. Now, I'm going to switch to green. I'm using leaf green here, and I'm applying that onto the leftover area. This is the green that I'm using. You can also use lemon yellow acidosis because we're applying that right next to the blue. So obviously you will be creating a green there. So you can use a lighter green or even lemon yellow. So first fill that entire area, but the leaf green are in light green. Then you can pick some sap green and chop pat at the bottom. Right now, we're just trying to bring different tonal values of green over here. Just ignore how it is looking. The only thing you need to be concerned about, static clean blend of blue. Start with a lighter tone. And as you're coming down, make your blue more brighter. And then you can switch to the crane are in light green. So the background is still wet. I'm just making that green a bit more. That looks fine. Now I'm washing up the paint from my brush. And I'm going to switch to a round brush. This one, as I said before, you can use a medium to smaller size brush. Now using this brush, I'm going to simply keep on tracking the green into the blue. So at some places you'll be tracking the blue back into the green as well. But just ignore that. That's absolutely okay. Our background is still wet, so we have to make use of the time. It might look a bit messy like this, but that's okay. Just ignore that for now. We need to make use of the time and you need to do this before the backend dries. So keep on dragging your brush towards the top until you finish that entire area. At some places your lines can be taller. At some places, it can be shorter. We are trying to get rid of that strong transition from blue to green. We want to make it look more natural. So that's the reason why they're doing this. Now, let's pick some green and add some more crafty lines. I'm just adding some long curvy lines. We're here. I'm taking that into the lake to make it look more beautiful. Now, I'm just matching the color at the bottom before he tries. So pick colors like green and match the color. Okay. I got it off that weird time. I don't have enough of leaf green on my palette. So first I will squeeze out some paint and have a lab tomography lines using a lighter tone. Even though we use a lighter green for the background, because we push that blue into the cream. It is looking like a medium green. So we have to go with a lighter green and add some more lines before the background dries. Go with a nice long curvy lines like this. Make it free hand. Don't read that in-between. You can see those lines. They are looking really smooth. We don't have a prominent shape because the background is still wet. So we have to make use of the time and add these lines while the background is still wet. We have tried this technique and few other paintings as well. I'm guessing you guys are comfortable with this technique. Go with nice long curly lines. Few of those grassy lines can be really taller. This will make your painting look more beautiful. Use a lighter tone of green and add an enough of lines like this. At some places make them hung and curry. And at some places make it shorter and make it really organic. Alright, so that's done. Now. I'm going to wash the paint from my brush. I'm going to switch to a darker green. I'm just picking some royal blue and let love sap green, mixing them well to create a darker green. Using that color as well, I'm going to add some crazy lines because the background is still wet. And then you add these lines, they will look really smooth and blurry. And that will add a lot of beauty to 0 painting. And that's the reason why I'm rushing and adding lots and lots of lines. Because when you add these lines, when everything has dried, they will look really prominent. But when the background is fed, they will look really soft and blurry. So add some more lines using a darker tone of green, especially at the bottom. Alright, so this event, we have these. Next, let's start adding the landscape in the background. So before that, you need to make sure your background has dried completely neglected to add the landscape here. So the CEO has to be completely dry. So first we need a greenish blue, a lighter tone operating cash flow. I'm picking some dark blue and mixing that with Zachary. Anti-american few drops of water. You can use any of the blue that you use for the lake. Mix that with a lot of sap green and add some water. Turn that into a lighter tone, will be adding two layers of landscape in the background. So this is the first one, which is far from us. So you have to go with a lighter to meet him to don't make it too dark. This is the color that I'm using. I simply makes her look locked while blue with sap green. And this is the color icon. Try to make it a clean line at the bottom and add it somewhere to the center. So you can see here, I made it really short. Go with the similar high. Don't make it too huge ***. This isn't the background data set. Now, I'm going to wash my brush. Let's wait for this to dry. Okay, so that is dry. Now for the next step, you will need a darker tone of blue or integral. I'm going to squeeze out some integral onto my palette. If you don't have indigo, you can use Prussian blue or any other darker blue, but go the really intense tone. Now using this color, we're going to add the second layer of landscape, which is in the foreground. You see my size number four on trash. And I'm going to really intense runoff integral. It is really dark. And I'm starting by adding a line. The previous layer has completely dried. And you can see this one I'm adding, it is not in the same level. I added that a little below the first layer. First add a straight line using integral or any other taco blue. Then you can add some paint towards the top. It doesn't need to have any proper shape. We just need to add some paint over here. But try to make it a clean line at the bottom. That is quite important. Okay, so carefully make it a straight line. Now simply push that color towards the top and add some paint over there. As I said, it doesn't need to have any proper sheep, as we'll be switching to light green. And then we'll make it a proper shape. Now let's wash the paint from my brush and switch to a lighter cream. First I will use sap green, and I will add that right next to this integral. I'm just pushing and pulling the color into each other. Now, again, I'm going to wash the paint from my brush and I'm going to go with the leaf cream. So at the bottom you have a darker green and what's the center? You have a medium green. Towards the top, you have a lighter cream. Now we can add some leafy patterns using that light cream. I think I will extend this line a little. Leaf green. I'm extending that a little, not a lot. Okay. Now I'm gonna go back to that top part. And I'm simply as much in the color grading some leafy pattern at the top. Now you can see how pretty it is looking. We started with integral, then we went with sap green. Now we're using light green. You can add them lean towards the bottom as well. So just keep on pushing and pulling the color into each other and create different tonal values and some textures. We won't be adding any more details onto this. So make yourself the time and adding some light green towards the top as well as towards the bottom. While the back on this too wet. Alright, so this is where we have these tree can see those colleges textures. We simply added some nice green onto that better backdrop, and we kept on watching the colors. The card, some really nice textures. To complete the background will need to add the reflection, but for that, we need to wait for this to dry. And we'll be adding the reflection for those two layers. Okay, so let's wait for that to dry. Meanwhile, we can add some more grass and plants at the bottom. And for that template switch to a smaller brush, this one as my size number to Ron Fresh. I need a light green which is kind of opaque. So to turn off a light green to an opaque version, we need to add some white gouache or white watercolor. So I just squeezed out some white gouache onto my palette. Now, I'm going to mix that with the leaf green. And maybe I will add a little of saccharin. Have created an opaque version of light green there by adding some white gouache. Now using this color, we're going to have some more grassy lines. Right now that bottom area has dried completely. So the lines we are adding right now will be too prominent. It looks like the paint is too dry, so I need to add few more drops of water. Now it looks fine. So you need to paint with a slightly running. It shouldn't be too dry, otherwise you wouldn't be able to add those lines. They will look really try and cracking. So add a few drops of water if you like, your paint is too dry. So I added a nice curvy line. Now onto this, I'm going to add some grainy pattern. I'm just pressing the tip of my brush and I'm adding some dark tones. All these while we will just adding some grassy lines onto a landscape. For this painting, I'm going to add some grainy lines as well. We just need a few of them, we don't need a lot. So just go in a very random way and add few here and there. Using a lighter tone of green. We're doing the same using a taco to an asphalt to make your painting look more beautiful. I'm adding some more water into the paint to make it really loose. And r10, otherwise, it will be a little difficult to add those lines. They will look really try. Have added my second curvy line. Now onto this, I'm just adding some thoughts and let your patterns in a similar way. I'm going to add few more. I will add few on the left and on the right. I'm missing a lighter tone. You can play with different tonal values of green. For some of them you can use a really light tone and a few other, you can use a medium tone. Now, along with this, while you're adding them using the same color, you can add some leaves as well. Some nice long curvy leaves. Now you don't need a lot of leaves like this. You can just add few here and there. Okay? So go ahead and add in those grainy lines and these grassy lines. Okay, so I added one more. Now, I'm gonna go with a taco tone of green. I'm just mixing some sap green with integral using that color, I'm going to add a similar line, that grainy line. So first I added a curvy line. Now onto that I'm adding some dots and I'm adding some grassy lines as well. Okay, so try to play with different tonal values of green. At some places use a darker tone and at some places use a lighter tone. This will add a lot of realistic character to your painting. I think I have added interfacing and taco tool. I'm going to switch back to a lighter tone, and I'm going to add some more lines using a lighter tone. You can see how beautiful our painting is looking already with those different tonal values. So clean. That bottom part is looking so beautiful. All these wide for all the paintings we did so far, we only added some grassy lines. We didn't add any extra details onto it. So right now we are going with the second layer of line and we're making it more detail. Okay, so go ahead and add those grassy lines and grainy lines until you feel you're happy with the rosette. Try to play with different tonal values and make some of them are taller and some of them shorter. Okay, so that's now our next task or to add that flexion. 29. Blue Lake - Part 2: Okay, So this is where we have reached. In this section, we're going to add the reflection, as well as the flowers that will make your painting look complete. Okay, so let's start with the reflection. So just like copy tried in the technique section, I'm gonna go with a medium tone of green. And I'm going to add some lines right underneath those landscape. Go the medium to lighter tone don't make it too dark. So I have added enough for water and have turned that into a medium tone. Now, leaving a tiny gap, I'm starting my first line. The first line, I added a slightly longer line. You can make some of them are longer and some of them shorter. And maybe in-between, you can add some continuous exact lines as well. But be sure to leave a little gap in between when you're adding these lines. Don't add them too close to each other. You can see the lines I'm adding here. They are quite thin and choose randomly adding them. Some of them are longer and some of them are shorter. But I'm making sure I'm leaving some cap in-between velum adding them. You can clearly see that blue color in the background. When you're doing this, you don't really need to replicate the shape of the landscape. You can simply add some lines. So right now I'm using green, which is slightly darker than the color I used earlier. I think the previous color was looking really tell and light. So I just used a darker tone, which isn't really dark. You can see it is still a medium tone, but it is slightly darker than the color I previously used. So at the bottom, I added some scattered lines and you can see how pretty or flatness looking already. This is a very simple technique. You don't need to add them while you're packing the sweat. Admin reflection value pattern does still wet. A slightly tricky sometimes I get it right and sometimes I don't. Because you need to rush and add them and you need to manage to get them right before the background tries. That can be a little tricky, especially if you're a beginner who is still learning water control. But this method is quite easy. Anyone can do it. Now using a lighter tone. I'm going to add some reflection for that background layer as well. This one is a little far from us, so you can use a lighter tone. Don't use a medium tone. Make it a little more lighter. And add some lines over here that we are done with the reflection. I hope you guys are happy with your painting so far. Our next task is to add the DCs. And for that, I'll be using white gouache. If you don't have white gouache, you can use white watercolor. And along with white gouache or white watercolor, you will also need some yellow and orange. The yellow that I'm going to use this cadmium yellow, I need to squeeze out a bit of gouache first. The one I had earlier was all messed up. So first we need to add those daisies. I'm using my size two round brush. Or maybe I think I should use my detailing brush. That one will be much better than this. So here I have my detailing brush. This one has a much more pointed tip then the other one. So I'm very sure of a disease will look more pretty. So I'm just keeping the other brush aside and I'm going with a very thick and creamy emotional white gouache. Use any of your brain which has appointed. We need to make our daisies as pretty as possible. So choose the best brush. I'm not planning to add a lot of daisies. I would just add five or six of them. I will be adding them very randomly. So the first one I'm adding over here, when you try to make some of them bigger and some of them smaller. And also we can go different shapes. This one, I'm going to add a complete flower with a normal shape. But for some of them you can make it facing upward. I'm in the petal facing upwards, are facing downwards. So go in different kinds of shapes for your flowers. This will make your painting look more realistic. Okay, so that's a complete flower. Now I'm going to add the second one. I'm adding that to work here. For this one, I'm trying to make it look like the petals are facing downwards. So I wouldn't be adding that complete flower shape. I will just add the petals facing downwards. And at the top I will add that yellow detail. Okay, so that's the second one. Now in a similar way, I'm going to pick some random spot and I'm going to add some more flowers. As I said earlier, I'm not going to add lot. I will just add five-sixths to the maximum. You don't have more than that. It's totally up to you. You can add as many flowers as you want and whenever you want to add. But please try to go with different shapes and sizes and add some of them on the top and some of them at the bottom. These things will make your painting look more beautiful. Okay, So I hope the idea is clear. Now let's add the flowers. Just in case you're wondering the size of the brushes to by zero. It's a mini to brush. It is mostly useful detailing. And that's the reason why I'm getting these petals quite nice. I use this brush mostly for my quash paintings whenever I need to add some small details. Okay, So let me quickly add the rest of the flaps. Okay, so I have added five daisies and I think that's enough. I don't want to add a lot. But if you would like to add more, you could do that. Maybe you can add some bigger ones and some smaller ones. I'm quite happy with this. So I'm going to just drop it with this. We have only added the basic shape of the DC. Now to make it look more realistic, we need to add the remaining details. For that you will eat an orange as the left-hand yellow. First-time going to squeeze out some yellow onto my palette. The one I'm using here is cadmium yellow. You can use any of the rehab car. I already have some white gouache on my brush and I'm mixing that with some yellow to turn that yellow into 0. Pick one. Just in case if you don't have gouache, it's absolutely okay to use white watercolor, but go with a thick creamy consistency. Otherwise, it will fade out. So I have created an opaque version of yellow here by mixing some white gouache into yellow. I'm just adding a dot at the center of all these flowers. The flowers that I added right here isn't that big. So I'm just adding a smaller dot. If yours is much more bigger, you can make the yellow dot much more bigger. Okay? So right now it isn't really visible. We'll have to add some orange highlights onto it to make it visible. First, add a yellow dot onto all the flowers here. Now once you're done with that, you can add some teeny tiny flowers using that yellow. Just use that same opaque yellow and add some dots onto the background. Add the mask on small groups. So I'm just pressing the tip of my brush and adding some dots. Just a random dot, but I'm adding three or four close to each other to make it look like a bunch. So in a similar way, I'm going to add some more yellow dots in a very random way. Just like I said, at three or four of them close to each other to make it look like a bunch of levels. You can add some on the top, so I'm at the bottom. Make it really random. Okay? So let me quickly add them in so that now we need to take out some woman in to add the remaining details. Maybe before that we can add the stem for these flowers. I already have some opaque yellow on my brush. I'm mixing pad with analog green. And I'm just adding a thin, delicate line for all other flavors that just Tim, go with a light green is just kind of opaque and add a nice thin line like this. Let's do it for all the flowers. I have added all this time. But still there is something missing. We need to add the final details using a taco tune. For that, I'm going to take out a woman. We're going to create some orange color. I mixed this with the yellow I have there. Creating pick orange. We just a teeny bit. Don't squeeze out a lot of paint. Now I'm mixing that with some yellow and white so that we have an opaque orange. Now onto that yellow dot we have added, I'm just adding some talk to thing. Orange is just some teeny tiny dots to make it look of a civil. Earlier when we use just yellow, it wasn't visible. Right now you can see the difference. Now using the same orange, you can add some dots onto those yellow flowers as well. I mean, those bunch of yellow flowers randomly add some orange dots onto those punches. Okay, So we're nearly done. We just have some levels to add on the left side, and the top will be done with oil painting for the day. I'm really happy with the way this one I've turned out, especially the color combination. I think that blue and green is going so well together. It really has that spring wipes. I really hope you guys are happy with your painting tool. Okay, so data set, now it's time to take off the masking, tape. Yourself. A car just blown a candles, causes disease. I hope you guys had a great time painting with me and you're allowed to painting. You created. Thanks a lot for joining me today. I'll be back with our next learning landscape. 30. DAY 10 - Poppy field: Hello, hello, Welcome to day ten. Today we are painting of turning poppy field. You can see both colleges puppies and discard the sky. So today they're trying to cool technique to paint this gorgeous guy. It's really easy. I'm very sure you will be surprised to see the result. So without wasting any more time, let me quickly show you the colors you will need for today's painting. I already have my sketchbook here. The most important color you will need for this painting as red, the one I'm using for this painting as thyroid read. We use this color when we did the other poppy painting. So you can use any red you have cut. It doesn't really need to be peddled red. You can use permanent red or any other rate. Or it can mix and create your read by the same technique we tried to. I, we did the other puppy. Remember this? So you can try and create your own read by this way. You can see that third one here, that was a mixture of crimson and formalin. So try to choose any of the red you have caught. It doesn't need to be this bright. You can just mix watermelon and crimson and create a right, okay, so that's the first color. Now the next color you will need as vermilion. We'll be using red and vermilion for the sky as well as for the poppy field. I will squeeze out a bit of a woman in, onto my palette. This one is a common color. I hope you guys have it or you can use any other orange hair cut if you don't have vermilion. Its antidote, bright orange. You can see how intense this color is. That's formalin, which is our second color. We'll be using that for the puppies as well as for the sky. Now can see this yellowish orange here. So that's a third color with the need for the sky. That's the color that I'm going to show you next, which is permanent yellow, orange. We'll be using this color only for the sky, is just a simple yellowish orange. If you don't have permanent yellow, orange. Just like the name sales, you can just make solid laugh yellow into any of the orange and create a similar comma. So that's our third color. We'll be using these three colors for the sky. The sky something similar to the one we did on day one, but we are going to make it more dramatic today. So these are the three colors I'm going to use for the sky. Permanent yellow, orange, vermilion and pyrrole red. Go with any yellowish orange, all can just use gamboge, yellow, then watermelon, and any right? Okay, so those are the three colors we'll be using for the sky and for the poppy fields will be using these two. Along with this, you will also need sap, green, and some indigo. So those are the next two colors you will need. Factory and integral. Let me quickly add the ******, salt those two colors and finish our color palette. I have some leftover sapling cure. I think I need to get a new tube before we finished the 30-day vertical excellence and nearly finishing my sap green. So that is happening. Now the last color you would need this integral. I have that as well on my palette. So that's integral will be using indigo to add some final details at the bottom. As well as you can see those landscape along the horizon line. For that as well, we'll be using integral. So that's sap, green and integral. So those are the five colors you will need for this painting. Now, along with this, there is one important color that you will need, which is why to watercolor. Today we're going to try this guy in a different way. I'm sure that you might have never tried this. Just like how we apply a coat of water onto the sky. Today we are going to apply color to white onto the sky. Then after that, we'll be applying the colors. Now let me tell you the reason why I'm doing this. So when you apply white onto the entire background and then you apply the colors onto it. The colors will have a pixel tone. And that's the main reason why I'm doing this. So you can see the pigment number of Y TO airspeed W6. I have some pixel colors here. Let's take a look at the pigment number of these colors. So I have green pill, shell, pink, and gray here. If you look at the pigment number, this one has got a pigment called PB K7 and P W6. So that means that as white in it. And again, for this one, it says p are nine and P W6. So that's again right there. Now for the green pill, if you look at the pigment number, that's P G7 and PW six. So that means for all the colors to turn them into a pistol color, the manufacturer has added some white color into it, and that's exactly what we're going to try today. So this is a technique I used to use when I never had any pixel colors for me. I used to add a little white into the colors that I wanted to turn into basely shade. Later, I thought it is better to apply color to white onto the entire paper rather than turning eight of them into a pixel color. So that is what I'm going to show you today. How my white watercolor here, I'm going to squeeze out a bit onto my palette. Now using my bigger brush, I'm going to apply white onto this section. I haven't, honestly, I haven't seen anyone using this technique, so I think I can use to enter credit. Alright, so I have my size number 12 round brush here. Now I'm going to pick some whites and I'm going to apply that onto the NTU background. This is exactly what we'll be doing for our class project. Okay, So take out some white watercolor atom water and apply that onto your entire paper. Okay, So we made the people wet using white watercolor. We're still trying wet on wet technique here, but then we have added some white into water. We are not using plain water. Okay, Now, I'm going with some permanent yellow, orange. I already had some white on my brush. I haven't washed it off. So by mixing some white and permanent yellow orange, I got a pistol, yellowish orange. So it is quite similar to these pastry colors which are already available in the market. The only difference is we have manually mix some white into our orange. Now, I'm going to randomly apply that color onto the sky. You can see that car just based on the yellow here. So depending on how much yellow you want in your sky, you can add that accordingly. Now, I'm going to pick some brighter, yellowish orange, and I'm going to apply that onto the sky to make it more dramatic. Now, I'm gonna go with woman lean. Applying that onto the sky. I haven't washed the paint from my brush. I already have some pixel orange on my brush. Now I'm really going with formalin and applying that onto the sky as he already has that bright color in the background, the colors that you're applying onto the sky will automatically turn into pastry shade. And that's magic of this technique. Okay? Now I'm gonna go with some brighter rate. I'm not washing out the paint from my brush. I'm really good with some trade. I'm dropping that also onto this background. You can see that based on red here. It is just because we have some white in the background. So all the colors that we're applying onto the sky is turning into a pastry shade. A particular right? So technically you don't need to buy any pistol color. If you have white watercolor with you, I'm quite sure you haven't used it much. You can try this technique with any other color of your choice. You can go with blue and pink or violet. Just apply a color to white onto your entire sky. Then add any color of your choice. I turn that into a place of color. Okay, So I have washed the paint from my brush and I'm dabbing it on a paper towel. My brushes just slightly wet. Now I'm just merging these colors in and out to make it look smarter. So wherever you feel the colors are looking quite trough. You can just merge them using a slightly wet brush. You don't need to take out any paint. And there shouldn't be a lot of water. It should be just slightly wet. If you feel like there's a lot of water on your brush, just dab it on a paper towel, and then keeps merging these colors. Before we go the class project, I would really recommend to try this out. You're going to enjoy those protests. It's a super cool technique. You can save a lot of money. You don't need to buy any pixel colors. You just need white watercolor with you. Apply that onto the background, then dropping all the colors that you want to add onto the sky and create a car. Just baseless guy. Okay, so here's our pretty peaceful sky. We're going to try the same for our class project. We might go with the brighter colors to make it more dramatic. Alright, so take out that white watercolor, which you thought you would never use. This is the time to use this magical tool. You don't need white gouache is white watercolors. All we need. Alright, so that's some rice. All the colors, as well as the techniques you will need to paint this card is poppy field. Painting that probably feel is quite easy. So I'm not going to explain that now. We can try that while we're painting. We're not going to go with their detailed shape. It is quite simple. Alright, so keep the colors ready and try that car just chi and time. In the next section. 31. Poppy field - Part 1: Alright, I hope you guys have tried the sky and you are ready to go with the class protect. So I have my paper and colors ready here. I have already taped on my people onto my table. We're going to use the same colors that we used for the technique section. I hope you have them ready. Now first I'm going to apply a piece of masking tape. Alyssa below the center of the paper. We are going to separate this guy and the poppy field. And first we will paint the sky. Then when that dries, we will remove the masking tape and we'll paint the poppy field. Okay. Okay, so I have applied the masking tape. Now, I'm going to squeeze out the colors onto my palette. I'm going to use the exact same colors we used in the previous section. I have permanent yellow, orange, vermilion and parallel trends. As I mentioned already, you can go with any yellowish orange, any red and any kind of orange. It doesn't need to be the same colors instruct permanent yellow, orange, you can use yellow Tacitus, you can use gamboge yellow or any other yellow and interrupt pyrrole red, you can use Clemson. Or it can go with any other color of your choice. It can be completely different from the ones I'm doing here. So feel free to go with your favorite colors. I have the colors ready on my palate. Now the first step is to apply a color to white onto the entire sky, like how we tried in the technique section. So we need to take out some white particular aspect. I mentioned this earlier as well. It doesn't need to be white gouache, we just need some white watercolor. Okay, so let me take out some white watercolor onto my palette. Alright, so we have all the colors ready for the sky. Now the first step is to apply a color to white onto the anterior sky. I'm missing titanium white here. Its function, hence, the brand doesn't matter. Just go with any white vertical you have caught. And I'm going to use my size number 12 round brush. I would recommend to go with any of your bigger sized round brush. Add enough for water and turn that slightly loose consistency. And apply that onto entire sky. If you're using a bigger brush, it will be quite easy for you to apply the paint onto the entire sky. Just like how we apply the first-quarter water when you're trying. But on wet technique, you cannot see because it's height, so you need to keep running a brush multiple times just to be sure what the white color has raised everywhere. Okay, so I have applied white. Now using the same brush, I'm gonna pick some permanent yellow, orange. You can see the color turned into a paisley, yellowish orange. And I'm going to drop that onto the sky in a very random way. I will just add some over here and maybe some on the top. I'm not following any image and they don't have anything idea in my mind. I just want some yellowish orange, some orange and some red in my sky. That's only thing that I have in my mind. So at some places I will go with a brighter orange and at some places I will go with a dull orange. I think I'm quite happy with this guy already. That yellowish orange and white is looking so pretty, especially this area, they have this brighter orange. Anyway, I'm going to pick some watermelon using the same brush. You don't need to wash your brush in-between. You can really go with formalin and see Pat color. It's a car just paste Loren. There is nothing to worry here. Switch from one color to another. However, you feel like you don't need to follow the same order. If you want more yellowish orange juice guy choose to add more yellowish orange. And we want more readiness guide, choose more red. Okay, So just keep applying the paint however you want to. If you feel like your paint is too watery, you can dab it on a paper towel. I have applied some yellowish orange and some vermilion. I'm going to pick some over Merlin and then applying that on the top of my paper onto the left top corner. I'm just dropping that paint onto the background. I'm not really worried how it is going to look like. I just want to have some fun applying the paint onto the paper. You really do need to follow the same brush stroke. You can apply them however you want to. We have applied some white watercolor onto the background and the paper is wet. So keep applying your paint onto the wet background however you want to. I would recommend using a bigger brush. This way it is easier to apply the paint. Now I'm switching to read and I'm dropping that onto the background. I'm implying that onto this corner. You can see the way how I'm dropping the paint. At some places, I'm adding some bigger clouds and at some places I'm just going with some smaller patches. Okay. I'm not pulling any particular order. I'm just randomly adding the colors onto that white background. You can see how gorgeous that is looking already. It is quite easy to apply the paint onto a white background. You have to try it first to understand that you are. So now I'm gonna go with a bit more brighter, right? And applying that onto the same corner. And maybe I will drop some over here as well. So right now my sky has started to dry and you can see how weird that sky is looking. I couldn't blend the colors as easy as before. But don't worry, there's a trick. First, wash the paint from your brush and make it clean. I would have written a paper towel and go back with some white watercolor. If your paint is too watery, dab it on a paper towel again. Now you see that white paint keeps merging those clouds and make it smoother. It is quite easy to do. I intentionally added more paint onto the sky when it was drying so that if any of you are facing this issue, you can fix your sky quite easily. So go back with some white watercolor and keeps merging those clouds and make it smarter. Don't add a lot of pressure pre, very gentle. Keep pushing and pulling the color into each other using that white paint. I'm going back with some more white. And I'm going to fix this area. You can see how pretty the sky is looking at. If you're trying this with me, you would know how easy it is to create the sky. I cannot tell you how much I love this technique. I haven't seen anyone using this technique, so I think I should take the full credit for this. Just like you say, necessity is the mother of invention. I discovered this technique when I desperately wanted to try a pixel sky. First, I use to add white watercolor into all the colors that I wanted to turn into a pastry shade. Then I realized that it was taking a lot of time. And by the time I apply the paint onto the sky, it was kind of dried already. Then I thought, why don't I apply a white coat onto the anterior paper, then apply the paint onto that. So that will instantly turn off all the colors since opaque to shade. So honestly, I was very much surprised by the recent icon when I tried this technique. So I thought I should share it with you guys as well who always trust what I teach. So here you go. You just learned the coolest technique to paint a pencil sky. And surprisingly, it is much more easy to create these clouds when you have that white color in the background, you can try the same wet background. Just use plain water and make the background wet and dry. Adding these clouds. I bet it is going to be a lot more difficult than this. But just give it a try for yourself to understand what I'm talking about. That's how our sky has turned out. Now. I'm going to pick some more brighter, yellowish orange. And I'm going to drop that over here. This is absolutely optional. If you're already happy with your score, you can leave it as it is. Now. I'm just merging back into the background. As it felt like making the orange more brighter. Now I'm picking some white using white paint. I'm just matching the color. So this way you can fix your sky at any point of time. So wherever you feel like those clouds are looking strong, can go back with a dog bite and semicircular to make it look smooth. Alright, so that's my sky. Now, we'll have to wait for this to dry completely. I cannot tell you how much allowed the sky. I hope you guys are happy with your sky as well. It's a very cool technique. If you're yet to try and to give it a try, you can try the same with any other colors of your choice as well. Okay, so let's wait for this to dry. This guy has dried and the colors are looking so pretty and vibrant. I just apply the code or white watercolor onto the entire sky. As we discussed earlier, there are quite a lot of diesel colors available in the market already. If it's a basal pink, it would be a mixture of pink and white. You just have to look at the pigment number. You don't really need to buy all the paisley colors available in the market. You can use this technique whenever you want to try a pistol sky. So I really hope you guys enjoyed this technique. Now, I'm going to peel off the masking tape and let's start painting the poppy field. We will have to wait for your entire sky to dry completely before you peel off your masking tape. Otherwise, there are chances you may rip off the paper. So if it's still wet, wait for some more time and be very gentle when you're removing your masking tape. Look at that chi my dear friends, so courageous right? In the coming days, we'll be trying out the same technique with some other color combinations. Now it's time to paint the poppy field. First-time going to squeeze out some sap green and integral onto my palette. For the base layer will be still using pirate right and vomiting. So you can use any of the red and orange, sorry Alcott. Instead of pirate red, you can use Clemson. Have squeezed out some sap green. Now I need to take out some integral, which is the color I'll be using to add the final details. Instead of integral, you can use any other taco blue. Okay, So I have the colors ready. I'm starting off with petrol dread, and I'm using my five number eight round brush. You can go with any of your medium-sized brush. Use a really bright tone of red. This one is really bright and intense rate. If you don't have thyroid red, you can use permanent red or any other red, or just use crimson. You can do worse, just makes a little laugh. Clemson with vomiting. And you start color instead. Okay, so go with any of the Radiohead card and apply that along the horizon line. Make it a clean line along the horizon line, then bring it down. So closer to the horizon line will be applying a solid color. Onto that, we'll be adding some little details. But in the foreground will be adding some proper flowers will make them more defined. Asset is much closer to us. Now I'm picking some watermelon and I'm applying path next to the red. Once you have applied some mumbling, washer, the paint and K and make it lighter. So closer to the masking tape, you need a lighter tone of orange. And along the horizon line you need a brighter tone. So make it really light at the bottom and really bright at the horizon line. Okay, So that's the background layer. Now onto this, we're going to add some deeper tones. For that. I'm going to pick some integral and mixing that with Petrograd. Just a teeny bit of integrals are we need, we just need to create a darker red. See that? That's the color that I'm going to use. Instead of indigo, you can use Prussian blue or any other blue. Now keep adding some teeny tiny dots on that wet background. If your paint is too dry, tab turn a paper towel and keep adding some random dots. Don't make it too dark. You can see the color I'm mixing here. It isn't that dark. We're trying to create some texture here. Keep on adding some random dots onto that red background. So we just need these only at the top. We don't need any at the bottom. So keep adding them closer to the horizon line. Go to slightly darker tone of red. You can either add some indigo or any other blue into the red you're using. And keep adding some small dots onto that Tibet background. Now I'm picking some more integral and mixing that with red. This time I'm going with a little more darker shade. Early the color I used was a medium tone. Now I made it more darker. See that it is looking a lot darker than earlier. Now I'm randomly adding some dots. Now I'm picking another brush. And I'm taking some red on my brush. And I'm smudging that color to make it look smarter. I don't want them to be too prominent. So the idea is to introduce some texture and some details over here using a medium tone and a darker tone. So once you have added red and orange onto the background, you can keep on adding some teeny tiny dots using a darker tone of fluid. So here I used really love integral and I'm excited with thread to create a darker tone. Then using another brush, I'm smudging bad color. We just need some texture and some details here. We don't want to leave it plain. That's the only thing. It doesn't need to look perfect right now. Alright, so this is a valley has now we'll have to wait for this to dry completely. Okay, so here we are. The top part hasn't dried completely, but the bottom has. So we can make use of the time and adding the sketch. When I say sketch, don't be scared. It is nothing complicated. We're going to randomly add some rough shapes of poppy flowers. It is literally some rough shapes. You can see they're not well d t. I'm going to add similar shapes and I'm going to fill up this entire area where we have applied this lighter orange. Add them very randomly. Some of them can be bigger and some of them can be smaller. Please don't put a lot of effort. It is a very rough shape. You don't need to detail out how the petrol and it doesn't need to be a proper shaped poppy. I hope you guys are able to see the sketch. Add them in a similar way. You can add some over the top and some at the bottom. You don't need to add them closer to the masking tape. We can leave some cap over there. So what I'm planning to do was once I'm done adding all the shapes, I will go with Sakhalin and integral, and I will add those colors around the shapes. Okay, so that's a time. So first let's finish this. You can see the shapes I have added here. Add similar shapes and fill up that entire area. Just in case if I'm not able to really see the sketch I'm adding here. Here is a much better picture, but you can clearly see those shapes. Okay, so that's as kitsch, I hope that off. So it's just a rough shape. There was no need to put a lot of effort. So these are just a guideline for us to understand where we should be adding the green paint here. So I'm starting with sap green. I'm using a size number two round brush shell code. Any of your smaller to medium-sized crush. Don't go with a bigger brush. Now, let's start applying that around these flowers we have added here. Basically we are trying to envelope that shape. I think now you guys can guess why I made the color lighter here. So if I use a bright red here, I wouldn't be able to apply the screen. It wouldn't really show up. So that's the main reason why I made the color lighter. Along the bottom. Use a medium to smaller size brush and apply sap green around these poppy flowers. So at some places I'll be using sap green, and at some places I'll be using integral to make it darker. So there is no particular order are all here. Wherever you want a darker tone, you can use some indigo or any other darker blue. And in-between you can use some sap green as well. Okay, So keeps getting from Sakhalin to integral and add different tonal values of green at the bottom. When you are closer to the flower, be a little careful not to add any paint onto it. Okay, so let's go ahead and add in green and integral around these flowers. Okay, So this is there I have reached, you can see the way how I have applied green and integral around the flowers. In a similar way, we need to add integral and sap green onto this emptier area. We need to envelope all those levels. Now when you're along this top part, you can leave the paint assets will be using some red to smash the color. So right now, don't worry about how they're looking. Just apply the paint around the flowers and leave it like that for now. Also take a look at the shape of my poppy flowers. As I said earlier, they are really rough. I'm not going with a very detailed shape. You don't need to worry about each and every petal. Just add a very rough and random shape. Okay, so let me quickly add green onto this left side. I'm nearly done and I'm quite happy with the way it is progressing. I think the colors are looking so good together, especially that contrast of red and green, because we use a lighter tone over here, you can clearly see that sap green. In between, I'm dropping some integral as well. I have some more area over here and the top will be done. Once we're done with this, we'll be going back with a darker tone of red. And we will apply the dark who don't offer it, where we have this transition from red to green. Otherwise it will look quite wierd. I hope you guys remember the yellow tulips fields with it. It's kind of a similar approach we're using here. But for that, we used an opaque version of yellow to add the tulip flowers. But right now we're not using any opaque color. We are trying to reach in the red color we have applied in the background. And we're just applying green and integral around those shapes to give it a more defined shape. How few more to add at the top? Over here, I'm gonna go with some smaller flowers. I'm not going to make it as big as the ones we have at the down. Just ran from the add few more flowers at the top. Okay, So this is a very heavily. Now I'm going to wash the paint from my brush and I'm switching back to red. I'm using the same brush. If your paint is too watery, dab it on a paper towel. Now, I'm going to add some red along the flowers we have on the top. This is just to make that transition look most motor. Right now the transition is looking quite viewed. The red on the top and the green over the border is looking like two different elements. We're trying to make it look more natural. So go with a darker tone of red and apply that around the flowers on the top. Now you can add that red right next to the green and keeps matching the color. Doesn't need to look clean and perfect. It can be rough and messy. That's absolutely okay. Now I'm picking a little more integral and I'm making that right more taco. Now you've seen that color. I'm just adding some teeny tiny dots and some small patches here. Just keep on adding some teeny tiny dots and some small patches using that darker red right next to the green. You can clearly see the difference between the right side and the left side. Once we are done adding this darker red, we will go with some clean read and we will smudge that color. Okay? So right now, go with a darker tone of red and keep applying that right next to the green. Just add them around those flowers. If you want, you can add more flowers in-between, maybe some smaller flowers. I think I have added enough of Taco Tuesday. Now I'm rational, glean from my brush and I'm going back with some clean trade. I'm just applying that wet paint right next to the darker tones I have applied here. And I'm smashing the color. See that? First we applied a darker tone off right where we stopped the cream. Now using a clean dry, we're just matching the color. To make it look smarter. Keeps matching the color using a smaller size brush without filing the shape of the flower. That looks nice. Maybe I need to pick some more clean trade and match the color. Maybe you can just apply a clean cut off right onto the entire background. And B, if you want, you can drop in some more darker tones in between. I'm just using a lighter tone of red. And I'm just merging these colors so that it doesn't look too rough. Okay, so we're done with the background. Now we have to wait for this to dry completely. Then we'll have to detail out the poppy flowers. We'll just add another cutout, right, and orange onto the poppy flowers to make them look brighter. Okay, so let's wait for this to dry completely. 32. Poppy field - Part 2: Alright, so everything has dried completely, and this is how our painting is looking right now. Before I detail out the poppy flowers, I'm going to add some trees and some plants along the horizon line. I'm using indigo for that. Just make sure everything has dried completely. First-time going to add a straight line. You can either use a darker green or you can just use integral. I'm using a really dark tone of integral. You can clearly see that here. So first, I will add a line. I want a clean and a straight line here. Then onto that shape, I will be adding some teeny tiny dots and little patterns to make it look like to suddenly leaves. Okay, so first let's add a line, a thick line. Now let's give it a shape. Just take a look at the size. Don't make it too huge. If you make it too huge, it will go out of proportion. So just take a look at the size that I'm going. But if you want, you can make it much more smaller, but don't make it bigger. So that the size I'm going but I'm just using the tip of my brush and I'm creating some random patterns here to make it look more natural. Earlier it was just a line. You just need to keep on pressing the tip of your brush and add some teeny tiny talks and some patterns. And those patterns will make it look like there are some Pangea, trees and plants. Okay, so let's do this for this anti-align. Okay, so that's done. You can see how pretty well paintings looking it instantly define the horizon line and draw out a lot of contrast in our painting. Now with time to detail the poppies. So I'm going to wash the paint from my brush and we need to switch back to where Merlin and pyrrole right? First time picking some great. If you don't have red, you can use Clemson. Go with a brighter tone. Now, apply that along the bottom part of this pump is here. So we have left out so many shapes. Some of them are bigger and some of them are smaller. And they're kind of a very rough shape. So you can see the way how I'm adding red. I'm just adding a little onto the bottom part of all these shapes. We need to do this for all the flocculus here. So first I will add the red color onto few of the flowers. Then before that dries, I will switch to woman in and we'll apply watermelon onto the restaurant Glover. I'm just washing out the paint and I'm picking some formalin. Again, I'm going to really brighten a woman lean. Now, let's add that onto the rest of the flower. So we need to do this for all the flowers here. At the bottom we need a brighter red and on the top we need a brighter orange. Once we are done adding the red paint onto all the flowers, we will go with a darker tone of red. And it will add that at the bottom of all the flowers, just like how we painted the big puppy. So first let's finish the base layer. Also, please make sure to use a smaller brush. Otherwise you won't be able to apply paint onto that small shapes. So just really important to go with any of your smallest size brush or any brush which has a pointed tip. Carefully follow that outline and adding the paint. I think we can just use either one, Merlin, alright, for all the flowers. It doesn't really matter if you use watercolors because it doesn't clearly visible as the size is too small. Maybe for the remaining flowers, I will just use red asset is I wouldn't be using two colors. Just use either vermilion outlet and fill up all the flowers. Please be sure to use a smaller brush and also don't add a lot of water. Carefully follow the outline and add new paint. Okay, so let's do this. Okay, so that's the last level. I just use straight and I filled up all the flowers. You can see the difference it made. Now the next step is to add that taco tone, which I mentioned earlier, just like how we painted the big puppy. So let's make the left laugh in takeover thread and create a darker tone. And let's add that at the bottom portion of all the flowers, he'll make a darker tone of red. You can either use integral or any other blue. Mix that with a little outright and apply that right at the bottom. You don't need to put a lot of effort in blending that into the flower. It can be just a small dot or some lines. Just leave it as it is at the flowers are quite small. Don't put a lot of effort. Just add some darker tones at the bottom. You can see the way I'm adding it. It's just too dark. I'm quickly running my brush along the bottom part of all the levels and I'm adding a darker dot over there. That effect. I'm not going to detail it. See that? So we're done with the whole the flowers. Now there is something missing, which is the stem and the leaves. But that will be done with our painting. So that's our next task. Now to understand, I need a light green which is OH, peak, because the background is quite dark, so we cannot add a darker line there. So we obviously will need a lighter green. I already have some white watercolor here. So I'm just mixing that with some sap green. I'm not going to take out any white gouache. Now, let's just add a line for all the flowers. At thin delicate line, which is this term. We call the flowers. And starting from the bottom, add a thin line. Using a light cream. This is opaque. You can either use white watercolor or white quash. It doesn't really matter. Both of them will work. As I already have some white watercolor here. I'm just using it. Now along with the stem, you can also add some long leaves. So we need to do this for all the flowers here. Start from either left or right, and continue that until you reach the other end. You don't need to add a lot of lives wherever you feel like there's a lot of gap in-between, you can add one or two leaves over there. Okay? So first add in all the stem, then you can add two or three leaves in between. Okay, so first let's finish all the stem. Then we can come back and add the leaves using the same color wherever there is quite a lot of space in between. So let's add all the stem. Alright, so I have added all the stem. Now it's time to add the leaves. So it's gonna be just some simple long list. I'm not going to make it too complicated. So I'm just gonna go around and wherever there's quite a lot of gap in between, I'm going to add some leaves over there. It is just some curvy, pointy lines. You can add them variable, you want to don't add a lot and make it too busy. So here you can see that there's quite a lot of gap. I'm adding fewer leaves. So they're similar way that I feel there's a lot of gap in-between to fill up that gap. I'm adding some leaves. Now you might have understood why I always say if you don't have white gouache, you can use white watercolor. You want a white watercolor would work. It may not be as opaque, white quash, but still it works. Right now. I'm using white watercolor, not white gosh. I have mixed that with sap green to create an opaque version. And using that color, I'm just randomly adding some waves. So we're nearly done. I'll be adding few more leaves data set, but that will be done with about painting for Dayton, you can use a similar technique to paint a tiller field, last form. Interoperate, go with yellow and start detailing the shape of the tulips. And you can apply green paint around it just the same way how we did in this painting. Okay, so just try to explore how we can use the same techniques, new future paintings. All right, my dear friends, and with that, we're done with our painting for data. I'm going to quickly peel off the masking tape. I'm quite happy with the way this painting has turned out. The colors we choose for the sky as well as the poppy field is going so well together. I think the beauty of the colors we used. And this guy Give it a try if you're yet to try, I'm very sure you will enjoy the process, especially painting the sky. I'm going to show you will be using this technique to paint your skies and your future paintings quite a lot. It's a very simple technique, but has a lot of impact. You can see those call just clouds and that baseless sky. Alright, thanks a lot for joining me today. I hope you all had a great time painting with me. I cannot wait to be back here with our next spring landscape. 33. DAY 11 - Green Meadows: Hello my dear friends. Welcome to day 11. Shares the lush green meadows that we are painting today as a similar project. And you don't need a lot of colors. You can see those gorgeous mountains and the lush greenery. So for today's painting, there is no much complicated techniques involved. It's a quiet, simple one. I'm going to quickly take you through the color palette and we're going to start painting right away. So for this guy, I'm going to use suddenly in blue, you can use any color of your choice. It can be Prussian blue, cobalt blue, or any other blue. We'll be using cerulean blue for the sky as well as for that Blue Mountains. That's the first color. Now the next color is obviously sap green, which you can see from the painting itself. Green is the major color we'll be using for this painting. For the mountains as well as for the metal. You will need sacrum. Okay, so I have taken out two colors. This is the one I'm using. I really love this color. It's from a brand culture in hand as nearly over and I think it's time to get a new one. So the next color you will need this light green. You can see that college is green in the background. For that, I'll be using leaf cream. You can use any light when you have caught or you can just use lemon yellow. So that's a third color. The next color you will need as integral, will be using integrate to add some deeper tones. We won't be using indigo acids will be mixing that the sacrifice to turn that into a darker green. You can see that tracing the background as well as for the classic pattern, the fulcrum. For that, we'll be using a darker tone of cream. Okay, so it is just to mix with the green. You can go with any darker blue that Epcot if you don't have integral. Now the last color you will need as Byrne Tina, will be using burnt sienna for this pathway. See that we'll be using a really light tone of burnt sienna. And then we'll be mixing a little of indigo with burnt sienna to create a bond on both sort of a color. Okay? So the last color you will need is burnt sienna. Now, I'm going to quickly sketch out these colors on my sketchbook. So it's quite a simple color palette for today's painting. I'm not going with any fancy colors. The only color you may not have a sleepy, but then it is easy to create or you can just use the lemon yellow. So first, I'm going to swatch out certainly in blue. You all know how much I love this color. I think for most of the painting variable I use blue for the sky. I had used fairly and it's a really pretty color. Now the next color and sap green, which is a really common, get a pretty color. Springs all about that lush greenery. So there is no way you can paint a string landscape without sacrum. So that is obviously my second color. Now the third one as leaf green. As I mentioned earlier today, we are not trying any techniques. The ones we're going to use for this painting is quite simple. You already know how to create those classic pattern. That's only thing we'll be using for this painting. The rest is quite simple. Now the next color I have here as integral will be using this one to add the deeper tones. Interrupt integral. You can use any other darker blue. Or we can just use the same blue that you're using for the sky. And the last color I have here response, now. We just need a little of burnt sienna will be using that for the pathway. Alright, so that's some rice, all the colors you will need for today's painting. But obviously to add flavors, you will need white gouache or white watercolor. Will be deciding some cluster are small white dots to create these flowers. And for that, I'm going to use white gouache. If you don't have white gouache, you can just use white watercolor. Okay, so that's all painting for the day. We're going to paint this gorgeous mountains which you can use in your future paintings as well. To really easy painting yet occurred is one. Ok, So quickly grab all the colors, I get ready. Let's give it a try. 34. Green Meadows - Part 1: Alright, so what we had to look at the color palette. Now it's time to paint this lush green meadows. How my paper ready here already. Now I'm going to add a pencil sketch. The pencil sketch is really simple. We just need to add some mountains in the background. We have two sets of mountain, a snowy one at a green one. Almost threefold of the painting is going to be the metal. We just have a little scar here on the top. Now I'm starting by adding the snowy mountain. I'm going to add that one on the left side. Now I'm adding another set of mountains right in front of this one. So the one in the background is going to be a snowy mountain. And the one right in front of that is gonna be a Green Mountain. Now I'm adding another one here. This one is going to be some trees and some plans will be using a darker tone of green. So we have a snowy mountain or Green Mountain and some landscape. So you can see there are three different sections here. Okay, so that's the pencil sketch. Now there's one more thing that I need to add. I'm adding an irregular line. Here. This line will separate our landscape into two sections and there will be adding the pathway will have a small pathway over here. We don't need to sketch it. We can add that while we're painting. Okay, so it is gonna be somewhere over here. Okay, So this line is just an indication, will be first painting the top portion, and then that rise will paint the bottom part. Over here we will be adding some thick bunch of grass and plants, but some flowers. You don't need to add these grassy lines. I just want to show you how it is going to be. Okay. So that is our pencil sketch. So we have everything ready. The people with the sketch and the colors. It's time to start painting for the sky. As you all know, I'm going to give civilian blue will just need a teeny bit of Amy blue. It doesn't really matter whether it's Prussian blue, cobalt blue, or any other blue. We're going to go with a lighter tone for the sky. It's going to be a very simple gradient wash. So I have taken a little bit of blue over there. Now let's start painting the sky. First, I'm going to apply a clean cold water using my one-inch wash brush. You can apply that onto the mountain. That's okay. It's a very small area. We don't have a lot of sky for this painting. It is absolutely okay to call it wet on dry technique. If you don't want to apply water onto your sky, you can directly apply paint onto the paper. Now to apply the paint, I'm going to use my half-inch flat brush. You can either use a flat brush or a round brush. Now, I'm going to go with a lighter tone of blue. And I'm applying that onto the wet paper. So it can be either a solid wash or a gradient wash. I'm not going to add any clouds and I'm not going to make it complicated at the simple sky. You can see that college is blue. No wonder why I love this color so much. It's so pretty right. So that certainly in blue. Now I'm going to wash out the paint from my brush. Meanwhile, the sky drives. We can start with the first section of the metal, which is this one on the top. For that, I'll be using leaf green and sap green. I think I will need to take out no pain. So this is the color that I'm going to use. You already know how to create leaf green or we can just use lemon yellow. So that's leaf green. I might need epitaphs happening as well. I don't have a lot of lateral paint on my palette. I will pick out some paint so that I don't need to panic in-between the lead, any kind of light green and sap green. If you're a beginner or if you're someone who don't buy a lot of pink unnecessarily, you might not have a leaf green with you, but you can use lemon yellow or you can mix any yellow but sapling to greater similar color. Okay, so don't worry if you don't have leaf green. Now I'm applying this leaf green onto the metal. I'm just adding a straight line here. So be a little careful the sky might not have dried. You can either leave a tiny gap or it can be to your sky to dry. I haven't added any water onto the paper. I'm directly apply the green paint onto almost three-fourths of the section. I have applied leaf green. Now I'm picking some sap green and I'm adding that over the bottom. Now using the same brush. I'm just adding some lines onto the right side. Some long and some short lines. I think we can make it a bit more darker. I'm picking some more sap green and I'm making those lines a little darker. Don't add a lot. Just add one or two lines, leaving some cabin between. Don't fill up that entire area in green. You can see here those lines are looking quite strong. So to make them smarter, I'm going to use my farm fresh. I'm just washing my brush just in case if there is some leftover paint. Now I'm picking from leaf green and I'm just dragging my brush back and forth to make them smarter. You can clearly see the difference. They are looking a lot smarter than before. So in case if you're not really happy with the way they are looking, you can pick some more paint and just drag your brush back and forth to make them look smarter. You can do this multiple times until you're happy with the result. The backroom is too wet, so it's going to be easy. You can see here, I left most of the lifting asset is I just added some sap green onto the right side. So the majority of your background should be that light cream, no matter which cranial using radian most of the Queen. Now I'm picking some more sap green and I'm just cleaning the shape over here. I'm following that line they have added and I'm adding some more sap green at the bottom. Now onto this we're going to add some more darker tones using integral. You can clearly see the way how my background just looking, I didn't go for a clean blend. I first applied a light green or to the background. Then onto that I added some lines missing sacrum and also towards the bottom. Now we're going to introduce a darker value. For that. I'm using my round brush and I'm mixing some integral with sap green. And I'm adding that over here along that line. So we have some light to green on the top. Then we have a medium-term. Now using this longer side of my brush, I'm just pulling the paint towards the top. So first we will keep on pushing the paint towards the top to this for that anti-align. I think we can make it a bit more darker. So I'm picking some more integral and then adding that, what's the bottom? Now I'm again going to push that paint towards the top. We have a really dark tone of green at the bottom. Now I'm going to wash the paint from my brush. And I'm switching to a lighter tone of green. I'm using a lighter to medium to an off Sapien and I haven't had a lot of water. If you feel like your paint is too watery, dab it on a paper towel, it shouldn't be too watery. Now keep on pushing that paint towards the top and add some classic pattern. So we need to do this for this anterior line. We need to finish this off before the backbone tries. So value quick and keep on dragging your brush and add some classy pattern. Some of them can be quite longer. Anti-modern can be shorter. Keep pulling the paint until you finish that anti-align. The background is still slightly wet, so we need to make use of the time and keep on pushing back pain towards the top. Right now, I used factoring. Now, we need to do the same thing using a light green as well. I'm going to wash the paint from my brush. And I'm going with elif cream. Some area has already started to dry. You can see this portion here. It has already tried. Anyway, I'm going to quickly pick some leaf green and I'm going to add some more grassy pattern. As I said, if you want to go with a smaller brush, you could do that. But right now we're not really worried about the shape of the graph will be coming back and we'll be adding more classic pattern at the end using a darker and lighter tone. So for now, the shape doesn't matter. You can simply keep on adding them using any brush. Let's add some more grassy lines using a light cream. We need to make them longer at some places to make our painting look more natural. Don't use a darker tone. Just keep on adding these lines using a lighter tone. Now, keep on pushing that paint towards the toe and atom natural curvy lines. You can add them until you're happy with the result that is not live yet. But try to read in that leaf green we have in the background, what is the beauty of this painting? So let me add some more pattern over here. And I think the tap, I can call it on because the background has dried, so there is no point in adding them. Now, maybe we can go with a taco tone and add some more lines at the bottom. Just at the bottom. I'm not making it longer. Just at the bottom using a darker tone of green. I'm adding some grassy lines. I think that we can call it done. Our next step is to paint the mountains. For that, I'm going to take out the less loss fresh indigo onto my palette. I had to paint on my palette, but I had mixed fat with sap green. I need some clean integral. Now, I'm going to mix that with a little off suddenly in blue. I don't want to use integral asset is I want a slightly more bluish color. That's the reason why I'm mixing cerulean blue with integral. And I'm going to meet him tone. It's not too dark and it's not too light. Asphalt. This is the color. I have just makes a little off into COVID, certainly in blue. Now I'm applying that onto the first set of mountain. I'm just following the shape we have added there earlier. I'm filling that in the screen. You can either use integral acetals or you can just mix a little of integral with any of the bladder eagles for the sky. Now we'll have to wait for that to dry. Alright, so everything has dried completely. This is how our opinion is looking right now. Next we are going to paint the second mountain. Just be sure everything has dried completely. Not the same color that I created earlier. I'm going to add some sap green. To create a bluish green. It's again a medium tone. It isn't too dark and it isn't too light as well. Just makes any of the blue with Zachary and create a medium tone of bluish green. Now carefully fill up that second layer of mountain. In the foreground. You have to make sure the background has dried completely. I mean, the Blue Mountain has dried completely. Otherwise, the paint is spreading to each other and you won't get a clean line. Okay, Now let's pull up that second layer of mountain in that bluish green. You can see how beautiful the painting is looking already, especially those colors. It is looking so refreshing. And slowly our paintings getting alive. So that's the second layer. Now autos wet layer. We're going to drop in some darker tones to make it look more beautiful. I'm picking some integral. I'm just adding a line and some deeper tones towards the right side of that line. Maybe we can drop a little logo here as well. So we will have to do this before your background tries. Add a line and inclined line, then onto the right side of that line at a deeper tones. According to the size and the shape of the mountain. You can add multiple lines like this. Okay, so theta sub a second layer of mountains. Now we'll have to wait for that to dry before we add paint onto the next one. So meanwhile, the paint for the background to dry, we can start painting the bottom part that we have, the pathway as well as that landscape. For the pathway, I'm gonna go with a lighter tone of burnt sienna. I'm being really like to have added enough water. You can see the color. Now I'm carefully adding that over here. Following the line I have about you don't need to give any proper shape for the pathway. We can just leave the way how I have done here. It doesn't need any proper shape for now. Okay. Now onto this, I'm going to drop in some darker tones, some picking from integral, mixing that but bunt sienna to create a bond on both sort of a color. Now along this top line. And just dropping in some taco tones are directed bit background. So just keep on adding some lines and some little dots on fat eight here. Let that spread into the background and create some texture. Maybe we can pick a little more darker tone and add some more patterns and begin some more integral mixing that with blond. See now again dropping some dots and some little lines. They just trying to bring in some texture here. Go different tonal values of brown. And keep on adding some lines and little dots or two that red background. Make use of the time. We need to do this before the background tries. Okay, so right now you can see those paths are looking quite strong. Now. We need to make them smarter. So I'm just washing out the paint from my brush and I'm dabbing my brush on a paper towel. Now I'm running that slightly wet brush on top of the patterns that I applied here to make them look smarter. Okay guys, I think it is better to apply a lighter brown onto this anterior area. I'm just going to do that. But don't worry, you don't need a clean blend here. It is. Absolutely okay to have a rough plan. Just take a lighter tone of brown and apply that onto the anterior left toward area at the bottom. Please don't worry if you don't have a clean venture, me an audit or looking for a clean vent. If it's rough, it's better because it will have a lot of texture there. I can. Now just in case if you want to add more darker tones at the bottom, you could do that. Now that anterior area aspect. So maybe we can drop in some more taco tools. I'm picking some more integral and I'm adding some lines and little dots over here, just like how I did earlier. Now it is starting to look nice for some reason. I wasn't really happy with the way it was looking earlier. That's the reason why I went in with multiple rounds. If you're already happy with the result, you will need to add more darker tones. You can just leave it Tacitus. I just wanted to add some more darker tones over here along this line. I think now it is looking really nice. We should have done this earlier. Any way better late than never. Now, I'm going to go back with a darker tone. I'm just adding some more dots just to make it look like there are some stones over here. Some teeny tiny stones. So go with the taco tone and just add some dots. All right, So that said, I think now we can call it done. No, we'd have to wait for this to dry. But meanwhile, we can paint the other set of landscape that we have in the background. I'm going to wash the paint from my brush. Let's paint this guy here. This layer of landscape is a bit more closer to us compared to the other two mountains. So we can go to Taco tone, mixing some sap green with integral to create a darker green. I'm just going to fill up that with a darker tone of green. It doesn't need to be super dark. Just go with the color will just slightly darker than the other green we have in the background that we can differentiate between those three layer off landscape. The story mountain, the Green Mountain, and the other one. And so our idea is just to differentiate between those shapes so it doesn't need to be too dark. Okay, So I have to look that entire shape. Now, we need to add some deeper tones onto this to make it look more natural. So to apply the deeper tones, I'm going to use the smallest size brush. This one is my size number four, I'm Trish, and I'm seeing some more integral with the same green to create a darker green. Now using this color, I'm just going to add some teeny-tiny lines and some patterns onto that green background, especially onto the top. To make it look like there are some trees over there. Just add some teeny-tiny lines in a very random way. Along that top shape. Some of the lines can be taller and some of them can be shorter. You can see how colleges are painting is looking for already, especially when we added all those mountains. The painting looks already complete. Now in a similar way, we need to add some lines onto the left side as well. First I will add some over here. Then I'm going to do the same thing onto the left side. Over here, I will make some other lines taller. It is just simple lines. You don't need to worry whether they are straighter thin. It can randomly add them onto that wet layer. Okay. So the only thing is at some places make them taller to make it look more natural. Alright, so that we are almost done with the background details, but there is just one thing left, which we can do at the end. We'll need to add some snow onto that Blue Mountains. We can do that by adding the flowers. Now we need to concentrate on the foreground and we need to add the remaining details. We need to add some crazy pattern over here. And also we need to add some troubles. Let's go with that. 35. Green Meadows - Part 2: Alright, so this is where we have. Our next task is to add some traffic pattern at the bottom using a darker tone of cream. So firstly, I'm starting with a darker tone of sap green. I'm not adding any other color into it. I'm just using sap green acids. First-time filling up this area. Be a little careful. Don't add a lot of paint over here. Just add a little along the bottom, along the masking tape. Now we can start adding some grassy lines. I'm using a size number four round brush here. You can use any of the brush which has a pointed tip. Now keep on adding some grassy lines using a medium to darker tone of green. It is just simply hand lines. You can keep on dragging your brush and add some grassy lines like this. In-between it can go the much more darker tone of green and add similar lines. We are trying to bring in more tonal values of green over here. So at some places you can use Sapling asset is, at some places you can mix of indigo or any of the darker blue to green to create a darker green. So let's keep on adding similar lines until you've finished this entire area. I will need some more integral. I don't have any left on my palette. So let me squeeze out some integral and we need to add some darker lines, asphalt. Okay, so let's quickly fill this entire area and some grassy lines. As you can see here, I have deliberately left a little off area on the left. I'm going to add more on the right side. Once we are done adding these glassy lines onto this anterior area are a little off the part we will be seen. So that's main reason why I left a little off here on the left side. Okay. So just add them. How will you want to add some places make your line taller and at some places make it shorter. And also at some places use a darker tone and at some places use a medium tone. Keep on switching from sapling to that darker green and added some grassy lines until you feel that enter your area. Okay. So this is there, I have freakish. You can see at some places I use factoring and at some places I used a darker tone. Now, I'm going to switch back to saccharine and I'm going to add some more grassy lines, especially on the top. I feel like there's quite a lot of darker tones over here. So it looks fine. It is looking quite tense and thick, and I'm pretty happy with the way it has turned out. Now, I'm going to take out a lovely green onto my palette. You can use any of the light green you have caught or you can just make filler to laugh, sapping the lemon yellow or any other yellow to create a lighter cream. Now listen a slight green. I'm going to add some more grassy lines. I'm not adding any white gouache or white watercolor into it. I'm just using that pain Tacitus. I don't want it to be too opaque. So I have just added few drops of water. And using that light green, I'm adding some more classy lines, especially on the top. Dislike I said earlier, some of them can be longer and some of them can be short-term. Go the very natural and organic shape to make it look more beautiful. And you can see how tense and ticket is looking. It is looking so pretty as well because they use different tonal values. And that made it look so natural. Now using the same color, I'm going to add some pattern to look your asphalt. In the background. This area has dried completely. So the line is you're adding will be quite prominent. They don't need to be 100% opaque, So there is no need to add any white gouache or white watercolor into it. You can just use that light green asymptotes and just keep on adding some lines over here. You don't need to put a lot of effort. Acid is not 100% opaque, So just keep on adding some random lines dataset. Alright, so this is how our painting has turned out. Now the last step is to add some flowers as well as some snow onto the mountain. For both of them, they will need some white paint. It can be the white gouache or white watercolor. I'm going to take out some white gouache only in case if you don't have white gouache code white watercolor. Otherwise I would recommend going with white gouache as it is more opaque. So let me take out some white gouache. Alright, so I have the paint ready to add the flowers, as well as to add the snow. I'm going to use a smaller brush. This one is my size number two, round brush. Go with any of your smaller brush or a brush which has a pointed tip. First, I will add the snow onto the mountain. I have taken some paint on my brush. It doesn't really watery. It is slightly dry. Now I'm adding an inclined line from the tip of the mountain and I'm just adding some dry patterns. The paint that you're using doesn't need to be 100% opaque. It can be slightly lighter. Just add two drops of water and go with a slightly lighter paint. Then add some inclined line from the tip of the mountain. And also some tribes battles. Be sure not to add a lot of white patterns. This mountains quite far from us. So just a little is all we need. In case if you feel like your paint is too watery, just dab it on a paper towel and then add some dry brush patterns. They have to be really soft and subtle. So don't go with an opaque paint. It shouldn't be too prominent. Alright, so data set, we are done with the mountain. Now the last step is to add the remaining foreground detail. First, we will add some more crafty lines using a lighter cream, which is slightly opaque. So I'm picking a lot of white gouache, mixing that with the screen. Now I'm simply adding some more grassy lines, especially at the bottom. This tip is completely optional just in case, if you want to feel like adding some more grassy lines, you can go ahead with this. Otherwise we can just ignore this step. I just felt like adding some more longer ones over here, overlapping with the other one in the background to make it elegant, beautiful. But then it is completely optional. If I'm already happy with your result, you can just keep this tip. Okay? So let me quickly add some more. Once we are done with this, we'll need to add the flowers, and that's gonna be the last step. Alright, so that's done. Now the last step is to add the flowers. So just waterfall the paint from your brush and go with white watercolor or white clash. Don't add a lot of water. We need an opaque paint. Problems that I'm going to add doesn't have any proper shape. I'm just going to press the tip of my brush and I'm going to create some teeny tiny dots here and here. At some places, I will go with a cluster, which means I will be adding three or four dot close to each other to create a smaller group. So if you want to go with a different kind of flavor, if you want to add some daisies or if you want to add some other kind of level, you could go with that. I can just create some wild flowers like this, some teeny tiny white, white flowers. And also if you want to go with a different color, that's also totally up to you. You don't need to go with white. If you want to go with pink or yellow, that's totally up to you. So just go with the color of your choice and add some flowers. Now just in case if you don't want to add any travel, that is also okay. So I'm just adding some teeny tiny door to seeing white quash. I'm not really looking at the shape of the flower. At some places. I'm going with a group of dots. At some places I'm just adding one or two. You can either use the smallest size brush or you can just use a white gel pen and just keep on adding some white dots. Okay, so I'm going to quickly add some more flowers in a similar way. Let's finish up the painting. All right, My lovely friends. So with that, we're done with our painting for the day. I'm going to peel off the masking tape. So whenever you're paying off your masking tape, Be sure that the painting has dried completely unchanged, built at an angle so that it won't rip off your paper. Okay, So Todd is about painting. We just use the classic sprinklers for this painting. You can see that light green and the sacrum is looking so good together. And those are the flowers that I had it. It doesn't have any trouble shape. I think before we call it done, we can just add some flowers in the background. Asphalt. This area is looking quite empty. I'm just going to add some teeny tiny dots, which are super tiny. And I'm going to add some flowers here as well. Earlier. I thought it would be good just to add them in the foreground. But now we're looking at the painting. I think I was wrong. I should be adding some teeny tiny flowers here as well. As I mentioned earlier, you can also use a white gel pen as this one doesn't have any proper shape. So even a white gel pen will work perfectly. Okay. This one has to be really tiny. Go with the detailing brush or any other brush which has a pointed tip. And keep on pressing the tip of your brush to create these small dots. Alright, so tired of it, I think now we can call it done. So here is the finished painting. You can see that the call just greenery, Antarctica flowers. I hope you guys enjoyed painting today's lush green meadows. Thanks a lot for joining me today. I'll be back soon, but I want to explain landscape. 36. DAY 12 - Yellow flowers: Hello, my dear friends. Welcome to D2L. Today we are going to paint this car just yellow flowers surrounded by some lush greenery. It's a gorgeous painting which was really easy to paint. Let's start with the color palette. Haven't started with the flower. The major color for the flower is yellow. The yellow that I'm using as cadmium yellow light. You can go with any of the Louisville have caught. It doesn't need to be carrying yellow. You can use gamboge, yellow, Indian yellow, primary yellow, or any other yellow, we just need some kind of yellow. So that's the first color. Then you will need burnt sienna. Will be adding those medium anticodon towards the flower using burnt sienna. See that? You can see those lines and also little dots at the center. For all of that. We'll be using burnt sienna. Along with that, we will also need some integral or Payne's gray to add some deeper tones. I'll be using integral. If you don't have integral, you can use any of the darker blue, like Prussian blue or any autoplay, or you can just use Payne's gray. We need to create a darker tone of brown and we need to add some details at the center of the flower. So to create a darker brown alga missing some indigo with Bandzoogle. Okay, so those are the colors you will need for the flower. We will just need three colors. Any yellow, burnt sienna are proud and integral. Now, let's take a look at the colors you will need for the background. As you can see here, the background is done using different tonal values of grain. So obviously, I'll be using Integral wherever I need that darker tone. And then I will be using yellow, green today. Then along with that, you will also need viridian green and Zachary. They thought of introducing a little awkward and green into the background just to play with a different green because all these things we're using saccharine and also my saplings nearly over. So it's a great excuse to try viridian green today. So those are the colors you will need for today's painting. Now, I'm going to quickly spasm on my sketchbook. It's a simple color palette. Then I'm going to use any complicated curves today. We'll just need some kind of yellow. I think the most common yellow gamboge, yellow, that works perfectly. Then we need sacrum, which is another common color, which comes in all the basic watercolor set. And then we need some burnt sienna, again, a common color. You can also use brown instead of bonds Sina. Okay, so we have three colors, yellow, sap green, and burnt sienna. The next color I have here is viridian green, which is also another common color that comes in all the basic watercolor sets. Then the next color and the last color I have here as integral, which is a color that I'm going to use for Depot values, have taken out all the colors. Now that Ms. Faster. I turn the beauty of this painting is that pride contrast of yellow and green. So the first color as a bright yellow, as I said, it can be gaining yellow. Next we will use sap green. So that's our second color. The next color is viridian green. I haven't used this color match. Maybe I have tried it a few times for a cityscape painting. And maybe a nice guy. Okay, so that's brilliant green will be using this color along with saccharine. Next color you will mean as bouncy. Now, the color we'll be using for the flower to add those medium and deeper tones. Okay, Now the last color we will need as integral, which will be mutually using for the background to create that deeper tones. You can see that deeper tones around the flower. For that, I'll be using integral that summarize all the colors you will need for today's painting. Atom. We can quickly try a flower before we call it the class project. So it's gonna be really easy for you. I'm going to add the pencil sketch. First. I'm adding an oval shape. Now around that, I'm just adding some random petals and I'm just finishing up that circle. So that's the first step is to paint that center portion. For that I'm going to use yellow and I'll be using a smaller size brush. You can use any of your medium to small sized brush. I think I will take out some more yellow because yellow for the background as well as for the flower. So let's take out some yellow. First. I'm going to apply that yellow onto the center. Onto that oval-shaped we have added. So just go with yellow, which will be the yellow data using and apply that onto the center. I'll just keep this pressure side and I'm going to pick another brush and picking some burnt sienna. And I'm just adding some dots onto this yellow background. You can just keep on pressing the tip of your brush and asymptotes are to that yellow background. We can go with a medium to darker tones and just keep on adding some dots onto those willing to add some more dots using a darker tone. For now, use brown and just add some dots onto that yellow background. Don't add a lot. We still need to see that yellow color and the background. So be sure not to add a lot. Okay. Now I'm going to wash the paint from my brush. And I'm going to start with the petals for that. And again, picking some yellow. I'm going to apply that onto the entire shape. That center portion hasn't dried completely. So Baylor, careful when you're applying the paint. Be very gentle when you're closer to the center. You can either wait for that to dry. We can paint straight away. I have few more petals left. As I said earlier, the color I'm missing here is cadmium yellow. You can use any of the loo have caught. We just need a bright yellow. It doesn't need to be cadmium yellow. One more petal. So that the background layer. Now, before this drives, we need to apply some medium tones using burnt sienna onto this. You don't need to wash your brush directly. Pick some bonds with the same brush. Now just add some lines starting from the center. Fill up that entire circle and similar lines starts from one point and just go around until you reach the same point. It has to be a medium-term. Don't use a dark tone. Now simply keep on dragging your brush from the center and add some lines. As this some random lines, they are quite thick. It's not a straight line. They are very messy. Now in a similar way as some lines from the top asphalt from the top of the petal. Dry your brush down and again add some similar lines. You can see the color I'm using. It's a medium tone. It isn't too dark. It's something similar to the color I used for the center. Okay, so this is how flavors looking right now. You can see it is looking quite weird. It is not at all looking realistic. Now to make it more realistic, we need to darker tone of brown. So I'm picking some burnt sienna and I'm mixing that with a little of integral to create a darker tone. Now using that color, I'm just adding some dots at the center. And now you can see the difference. Wallflower is looking so much realistic. It made a lot of difference when we added these darker dots. That is above level. It will look more beautiful than the ad the background. See that? So this is how it will look mainly at the background. Now, I'm watching the paint from my brush and I'm going back with yellow. I think we can try one but asphalt and picking some yellow. I'm using my size number four round brush. First, I'm adding a U-shape as simple goo. And then filling that in yellow. When we are painting of a class project, we will be adding a sketch for now and can simply add a U-shape and fill that in yellow. So that's a base layer. Now let's pick some bonds in and add some line tone to this, just the same way how we painted those patterns. So starting from the top and two on the bottom, you can simply add some lines using a medium tone of our ideas to just introduce some brown tones on top. Now, I'm going to pick a slightly more darker tone of burnt sienna. And I'm going to add that on the top. Just onto the top. The rest I'm currently acetals. So on the top we have a taco tone of burnt sienna. Towards the bottom we have some yellow and some medium tones have been savor. It is almost similar to the picture we painted earlier. I'm just adding some more darker tone of brown or to the top. So that is the base layer. We'll have to wait for this to dry and then it dries. We'll be adding some dots onto that top portion using a darker tone of brown. Now, we can try painting the background. It is that contrast which enhance the beauty of the flowers. So we need to go for a darker tones. Have some sap, green and indigo here. I'm just mixing them well. I'm going to apply that onto the background. I might need to take more sap green. I don't have any paint left on my palette anyway. I'm just starting off with what is left there. If you would like to, you can go with lighter tones for the background. I want to bring in that contrast. That's reason why I'm using very dark and intense colors, especially onto the area where we have travelers. So that contrast will make the flowers look more beautiful. I think I need to take out some more integral. And maybe some more sap green as well. So that's indigo. Now, I'm going to apply that taco tone around the flowers. When you apply paint closer to the flower, maybe you can go to the smallest size brush that you want to apply any paint on the flower accidentally. I have taken some indigo and some viridian green. Now I'm applying that around the flower and carefully taking my brush along the shape of the flower. Along while you are applying the paint onto the background, be sure to clean up the shape of your flower. Though might be some pain that you actually applied onto the background. Maybe you couldn't follow the shape properly. So this is a time where you can fix those mistakes. When I'm applying the paint onto the background, give you a flavor of proper shape. I have taken some viridian green. Now I'm applying. And now I'm picking some yellow and I'm applying that. We're here to make that viridian green lighter. You can use viridian green or saccharine any Greenville work carefully, apply that around the shape of your flower. As I said earlier, if you want go to the smallest size brush or any other brushes as a pointed tip. When you're closer to the flower. When you're painting the background, there is one main thing that you need to keep in mind. Our intention is not to create a smooth and clean blend. We are not at all looking for that. We just want different tonal values of green in the background. It doesn't need to be as smooth and clean blend. So we can apply your colors however you want to. Just keep switching from one color to another. At some places you can use a darker tone. And at some places you can use a medium to. Okay, so that's the only thing we need to keep in mind. You can apply your paint. How will you want to, if you want to go for more targeted towards, you could do that. Or if you want to use more of lighter tones, that is also totally up to you. Okay? I have some more space left on the top to calculate on my brush over here and apply paint around those petals. Maybe first I will finish the bottom and picking some yellow and applying that over here. So I have some lighter tones at the bottom and really intense and dark tones at the top. We can apply that over here as well. I'm carefully running my brush around the shape of the bird and I'm filling up those whitespaces. You can see the impact of that green background. It instantly made of a flower look more beautiful and more realistic. The class project as well, we'll be using the same approach. In fact, you can use this technique for any flower that you prefer. You can just paint the flower first. It can be some daisies or some tulips are some lilies which will flower that you prefer. Then around that you can apply some taco and lighter tones of green and fill up the background. In the coming days, we'll be doing underpainting. We're going to use the same technique. We will paint the flowers first, then we will paint the background. But for that, we will destroy greens and we'll go with some sunset colors so that you get an idea how to use the same technique in different ways. I have some more space leftover here. Let me quickly fill that out. Alright, so that's done. Now just in case if want to drop in more darker tones anywhere, make use of the time. You can apply some darker tones at the bottom or at the top before the backroom tries. Now, I'm going to wash the paint from my brush to make the background look more natural. There is one last thing that I'm going to do. For that I'm picking some light green. I have some yellow here. I'm mixing pad with some viridian green. Now I'm just adding some lines and some leaves onto the background. On that wet background, especially on to that darker area. Simply atom leaves and some lines. As you're adding these details on a wet background when it dries, it will have a blurry look and that will make your bathroom look more and more beautiful. This one is quite small, so you don't need to put a lot of effort. You can simply add two leaves here and here. But for the class project, we will go with multiple tonal values. We'll use a lighter tone, then we'll use a medium tone. And we'll also be using some taco tones to create that blurry background. Okay, so that's the background. Now, we need to add this Tim. And for that, I'm gonna go with a much more lighter tone and kinetic out some yellow. And it will mix that with the cranium to make that more lighter. My bathroom hasn't dried completely, so the lines that I'm applying kill may not look really precise. But when you're doing this, you will have to wait for your pattern to try completely. Otherwise, those lines will look blurry. So just add a line that system. Now onto that you can add some leaves as well using the same color. Now we need to add a stem for this bird. That's gonna be a long line. You can use a smaller size brush. Now add some leaves. Maybe we can add some of the background as well. Alright, so that's done. Now using the same green. I'm going to add some details onto the bird. We need to add some green lines at the bottom. I don't know what these are called. We just need to add some lines starting from the bottom onto the body of that, but that's done now there's one last thing left. For that. We need a darker tone of brown. I'm picking some brown and I'm mixing that with indigo to create a darker tone. Now I'm just adding some dots at the top of this, but just some random dots. Maybe you can add some flower asphalt using the same color. Alright, so that is set, you can see the difference now. Those darker tones where a lot of different store oil painting. We're gonna do the same thing for our class project as well. Just in case if you want to try a different color for your flower, that's totally okay. You can go with a pink or an orange or a purpose level. It doesn't need to be yellow. Okay. So if you remember this painting with it, I think this was on D8. The red poppies. For this one, we paint the background first and then we painted the flower. But today we're going to go in the opposite direction. First we're going to paint the flower, and then we will paint the background. And onto the background. We're going to add some more details. For the Pompeii. We didn't add a lot of details. It was more of a blurry background. Okay, So it's kinda the same approach, but we're going in the reverse direction. So this means you can't use the flavor into any other flower of your choice. It can be daffodil, are tulips are DC's. It can be any flower and any color. So first you need to paint the flowers and then you can paint the background. Alright, I hope you guys are clear with the techniques and now it's time to try our class project. 37. Yellow flowers - Part 1: Alright, so it's time to paint our colleges yellow flowers. This one is really easy to paint at. You guys have already got an idea from the previous section. So without wasting any more time, let's start with wall painting. I have my paper ready here. Our first task is to add the pencil sketch. I'm going to add some simple flowers like we did in the previous section. You can go with any kind of levels that you prefer. I'll be just adding two flavors. If you want to add more, you could do that. You can be really creative with your flowers. You can go with any shape, any size that you prefer. You can add as many as you want. Just make sure not to make it too small. If you make it too small, it will be really difficult to apply the paint because we're not going to use any masking fluid. We're going to paint the flowers first, then we will paint the background. If it's too small, it might get a bit difficult when you're painting the background. Alright, so I'm going to quickly add the pencil sketch. You can either follow the same pattern or you can add them variable you want to. Alright, so we have added the sketch. I have to close here. Now, remember those while you're painting will be adding so many lines and so many stems like this. But we don't need to add right now. We can do that while we're painting. Now. Along with this, we also need to add some buds, which we need to add right now when we're painting the flowers will also be in the buffer. So we need to add them right now. We'll be applying the yellow paint onto it. Then we will apply paint onto the background. Okay. So that's the first part. It is just a U-shape, just as we tried in the technique section. Now I'm going to add another one. I'm going to add that towards the left side. So I think I will add that over here. As I mentioned, I'm just going to add three, but if you want to add more, you could do that. When we are painting, we'll be adding so many stems and leaves over here. So even if it is looking quite empty right now, that's okay. I think I will add the next bud or here a little below that big fluffy. So that's how I have combust my painting. As I mentioned earlier, we'll be adding lots and lots of stems and leaves onto the background to make it look more natural. Right now, you just need to add those buds and those flowers. We're going to start by painting the flowers and these other two colors. I'll be using cadmium yellow and burnt sienna. You can use any of the Elodie of God. Now along with these two, you will also need integral our Payne's gray to mixed with the burnt sienna to make that into a darker brown. Now let me squeeze out all the colors and less targetable. First level, the technique section, it's a worst, quite informative. And I'm pretty sure you already have an idea about a poster I'm going to use for this painting. First we will paint the flowers and the bugs. Then we will apply different tonal values of green onto the background, preserving the flowers. So that's what we're going to do. Now, I'm going to start with the first level. Make sure your brushes thoroughly clean tenders, not a pin strain on your brush. The brush that I'm going to use a size number four, you can use any of your medium to small sized trash and go the very nice clean kilo. First we're going to paint the center part of the flower, which is called a pistol or the carpel. First we can apply yellow onto that Antioch shape. It's just an oval shape. I have applied yellow. Now I'm picking some burnt sienna. Now I'm going to add some random dots onto that yellow shape. The background is still wet. You can simply add some dots. Make sure not to add lot. We still need to see that yellow color in the background. So just keep on adding some yellow dots with some gap in-between so that the yellow color is still possible. Now, I'm mixing some bonds in our integral to create a darker brown. It's a really dark brown. You can see the color here. Now with this color also, I'm going to add some dots, just some random dots, but we don't need a lot like the brown. Just add few here and there. Okay, so just add few more dots using a darker brown in a very random way to make it look more realistic. Be sure not to add a lot. We still need to see that yellow color. You can see that we have added here. You can still see yellow, proud and that taco brown. This is how you should be adding them. Okay? So this one is done now in a similar way, we need to paint the other one asphalt. So just in case it have added more levels, you have three or four of them. Follow the same process and paint all the central paths. Okay, so that's time. That was quite simple right? Now. We're going to paint the flower for that and picking some clean yellow, make sure you have clean your brush properly. Now, let's apply that onto the entire flower. The yellow that I'm using here is cadmium yellow. You can use any of the yellow you have caught. It can be gambled yellow primary yellow, Indian yellow, or any other yellow. Just go with whichever yellow you have cotton. Apply that onto anti-TNF lover. You really don't need to put a lot of effort in following that outline is something goes after that outline. That's absolutely okay. We can easily fix the shape of the flower when we're painting the background. So it is absolutely okay if you couldn't really follow the outline properly. I have three more petals left. If you remember the red poppies we painted for that first we painted the background, then we painted the flowers. For this one, we're going to go in the opposite direction. First we will paint the flower, and then we will paint the background. I'm nearly done with the flower. You can see how beautiful it is looking already. I think it is the color combination. And those details we added at the center. I have two more petals. I'm just following that outline and I'm filling that in yellow. Alright, so that's done. We have our pattern layer already. Now onto this we need to add some medium tones using brown. I mean, burnt sienna. I'm just picking a left laugh bonds, xenon, a hand wash all the paint from my brush. So it is looking more like a golden yellow. Now using that color, I'm just adding some lines. I will start from the center and I'll add some line towards the other side. It doesn't need to be too visible. So go with a lighter tone. Don't add a lot of brown. Just mix a lot of ground with yellow. And just keep on adding some lines from the center. You can simply drag your brush. It doesn't need to be a proper line. At some places you can go with a bit more brighter brown to make it look more realistic. Now I'm using a little more brighter bonds. See now, earlier it was more like a yellowish brown. Alright? You can see the difference. Those lines meet. You can see the intensity of the colors I've used here. They are kind of medium tones, haven't used a lot of darker tones. This is how you should be adding them. Don't make them too dark. Now in a similar way, I'm going to add some lines from the top as well. So from the top of the petal, I'm just dragging my brush down and I'm creating some lines. That looks nice. I think we can call it done. Now in a similar way, I'm going to paint the second flower. Okay, So I have applied yellow onto that entail flower. Just in case if you want to add an extra petal, you could do that. All those modifications can be done at this point before we paint the background. Okay, so I have added a small pattern on the left side. Now we need to add some lines using burnt sienna. I'm not washing the paint and directly picking some burnt sienna. I'm adding some lines. So just like how we painted the first flower. First we can add some lines from the top. Then from the bottom. I will just add few more lines and the tattoo will be done with our second flower. As you can see, the color I'm mixing. It isn't that dark. It's a golden yellow. So it's a very simple flower. The first step is to fill up the entire flower in yellow. Then you can add some brown lines from either side of the petal. I think we can go with a darker tone of brown and add some more dots at the center. The ones we added earlier is looking quite faded because we added them onto wet background. Right now the center has completely dried. So we can add some more thoughts using that taco tone. I think that looks a lot better than earlier. I didn't do dots made of a flower look more realistic. Now in a similar way, I'm going to add some dots are to the other one as well. You can see it is looking quite faded. It is rarely done. Let's go with a darker tone and add some random dots. Now, that looks better. I haven't added a lot of details onto the flower. You can see it is quite simple, but I think it is still pretty. Now when we paint the background, it is going to look a lot beautiful. But if you want to add more details, you could do that. Maybe you can go with a much more deeper tone of brown and add some more lines on to the flower. But be careful not to hide a lot. The prominent color of the flower has to be yellow. Now I'm washing off the paint from my brush and I'm switching back to yellow. And I'm going to apply that onto the bucks. I have three buts here. So the first step is to fill them in yellow. Simply apply that onto the anterior part. Now, just like how we painted the petals, I'm going to pick some brown. Using that medium tone of brown. Let's add some highlights onto the blood test flow. Flows. You can add a medium tone, tone brown onto the top, SLS onto the bottom. Simply add some lines just the same way how we painted the petal. At some random lines. Onto the top and onto the bottom. We just need some brown tones. There. We're not going to put a lot of effort. So that's the first step. Now, let's pick a little more brighter tone of burnt sienna. And let's add that onto the top. Just turn to the top. I'm not going to add any onto the bottom. You can see the color I'm using. It is a bit more brighter than the color we used earlier. And now, let's simply add a little onto the top of all the bugs. In case if you have four or five of them, you should be doing this for all of them. So overall, you should be having a U-shape for your part. Just in case if that brown color is looking quite strong, you can pick some yellow too much that into the background to make it a bit smarter. So those are the bots. Now, we have to wait for this to dry before we go with the next two. Let it dry completely, take a break, have a coffee, or take a walk and come back when you're painting has completely dried. 38. Yellow flowers - Part 2: Alright, so we have painted the flowers and the buds. Now it's time to paint the background. You already saw how I'm going to paint the background in the technique section, It's quite simple, but you need to be a bit careful when you're close to the flowers. That's the only thing. Otherwise it is a very simple task. Now I'm just cuz are the colors onto my palette. I first thought of creating some sky onto one of the corner. So that's the reason why I'm taking on some blue on my palette by just ignore that later IT in my mind because it wasn't looking that great. Then I added some green and integral on top of this. So just ignore that blue bead who need that. So I have taken out some indigo, sap green, viridian green, and cadmium yellow. These are the four colors I'm going to use for the sky. As I mentioned, just ignore the blue. And I'm using a size number eight brush to apply the paint. I'm starting off with the blue, which I'm going to cover up later because it didn't turn out the way I wanted it to be. I really wanted to bring in some sky into the painting, but then it wasn't really looking great with those yellow flowers. So just ignore this blue than adding onto the painting. Honestly, when I decided to go with blue, I thought it will look nice, but then it didn't drink that contrast. So I decided to cover that up using crane and integral. So you can just ignore what I'm doing here. And it can readily start with either saccharine or integral. So I'm picking some sap green and I'm applying that right next to the blue. They're not really looking for a clean blend, just like I mentioned in the technique section, we're simply going to apply different tonal values of green onto the background. So closer to the flowers, I'll be using mostly integral to bring in that contrast. The color that I'm using right now It's an integral. I'm using a really talked to enough integral. And I'm applying that carefully around the flower. We need to retain the shape. So be careful when you're applying paint next to the flowers. You can either use a smaller size brush if that is more comfortable for you. Okay? Just follow the shape of the flower and apply that taco tones right around the flower for this painting, along with sapling, I'll also be using viridian green and some places I'll be introducing yellow to make the green lighter. So today I'm not going to use a leafy greens. You can see here that blue is not really going with the yellow flowers. I feel that blue is making it look towel. I'm not able to bring that contrast here. So I will cover that up and indigo shortly. Now I'm switching to sap green and I'm simply applying that over the bottom. Over here. We don't have any flowers and birds. So we can simply keep on applying the paint. I'm picking some yellow and I'm making the color lighter. So I'm switching from sap green to green, green to yellow, and I'm applying all those colors onto the background. There is no particular order that you need to follow. At some places you can apply the lean green and at some places you can use sap green. And at some places you can use a darker green like the one I'm applying right now. Over here, as I mentioned earlier, I'm going to apply some integral to make that contrast. I think this is looking far, but that blue wasn't looking great. Now I'm happy with the rosette. I'm picking more integral and I'm applying that next to this level. So be really careful when applying paint around the flower. Now, along with that, you can also apply some taco tones towards the bottom. So as I said earlier, there is no particular order that you need to follow wherever you want to apply darker tones, you can apply that. Wherever you feel like applying lighter towards you could do that as well. I just applied some viridian green. Maybe I will pick some yellow and apply that over here to make it lighter. You can see how I'm switching from one color to another without really washing the brush. There is no need to wash your brush. You can keep on switching from one color to another like this. Because our intelligent as to just bring him different tonal values of green onto the background. It doesn't need to be a clean blend. So wherever you feel like applying lighter tone to Quito and where we want our ketones, you could do that as well. Okay, So this is how our painting has turned out. I had left some area around the buds and also the flowers there. I'm going to apply some taco tool to bring the contrast. So I'm picking some integral mixing that with viridian green. And I'm applying that around the bugs as well as the level. So keep applying the wet paint onto the background and keep pushing and pulling the paint into each other so that they won't look like a separate shape or strong patch, which will be the color that you're going with, whether it's a dark green or light green, keep applying that right next to each other. And do the mass mortar look. All the colors that we're applying should spread into each other. So that'd be held blurry background. That is a beauty of this painting. So right now I'm applying the paint around the boat and being really careful so that I can do it in the shape. Now you can switch the color if you feel like the colors are looking quite strong. See that? In a similar way. I'm going to apply paint around this bird asphalt. Maybe we can go with a much more darker tone over here. Technically there is no particular rule for painting this background. You can apply the colors wherever you want to in case if you feel like going with more lighter tones, That's totally okay. If you want to go with more darker tones and reduce the amount of lighter tones, even that is also absolutely okay. So just go with your gut and apply the paint how you want to. The only thing you need to concern about as preserving the shape of the flower. So if you feel like you need to go with the smallest size brush, feel free to do that and apply the paint carefully around the flavor that the shape is well retained. Now, I'm going to quickly add a darker tone of integral around the flower. And I'm carefully reading the shape of the flower. Now in case if you want to modify the shape of the petals, this is the time we were at some places you accidentally apply the paint onto the background. While you're applying the paint onto the background, give you a flavor of good shape. Right now, I'm mixing some integral that sap green and I'm creating a darker green. And I'm going to fill the remaining area and this taco tool and maybe onto this left corner where I applied to all in blue at the beginning, over there as well, I will apply a taco tone. They get really slow and be really careful when you're applying paint around the flower. This can make your painting look beautiful and also it can grow in your painting. If you don't put a lot of attention. It's very simple, but then you have to be extra careful. I have a little more space left over here, over there, and applying a darker tone. And I'm giving those petals are good shape. Let's carefully fill that gap. So we have applied paint onto the anterior background. Now where do we want to apply some darker tones so you could do that. Maybe we can apply some Dakota. Onto the right side. We have a lot of green over there. So I'm spacing out some indigo, applying some water, adding that over here. It made a lot of difference. We have so many tonal values of green on the background, and that is what makes our painting look more beautiful. I'll apply that onto the scholar as well. So in case if you're already happy with your background, you don't need to apply any taco tone so you can leave with acids. Just because I'm applying more deeper values doesn't mean you should be doing the same. If you're happy with your result dataset. Maybe I can apply some darker tones over here as well. Right now it has a lot of contrast, and that is the beauty of this painting. So that's only reason why I'm applying multiple values around the flower. To make that contrast more interesting. I'm picking some yellow. I'm smashing the color or worship. Whenever you feel like there is some strong patching your background, just pick some yellow and smudge the color. As I said earlier, we're not really looking for a clean blends, so it doesn't really matter whether it's looking quite patchy. So this is where we have reached, this is how the background is looking right now. The next task is to add some stem and some leaves onto this background. The background is still slightly wet. It hasn't dried completely, but we can go ahead and add them right now. I'm taking my size number two round brush. And I'm mixing some yellow with some viridian green to create a lighter green. It's kind of thick and creamy. I haven't had a lot of water. Now using this color, I'm going to add some lines. You can see that color, It's kind of a neon green. Now simply keep on adding some lines and some leaves onto that slightly wet background. This way, the lines for applying will have a blurry look and it will make it look like they're in the background. We'll be adding more lines at the end using an opaque color that will stay really prominent. And this will have a blurry look. So just add some nice curvy lines or two that slightly wet background using a lighter green. You don't need to add any white gouache or white watercolor. Resist need this color for now. It doesn't need to be 100% opaque. At some places the background might have already tried. That's okay. You can still continue adding that line. Okay. Let me add some more at the top where we have that Dr. O'Kane, it will look really nice when we add them over here. Okay, so just go around in a random way and add some lines using that lighter cream. You will need to add a lot of wherever you feel like adding them, just add few lines. Don't make your background too busy. Alright, so I have added some lines now using the same color. I'm going to add one or two parts. So this one will have a blurry look when the painting dries. That's the only reason why I'm adding them. I don't want them to be too prominent. I will add one over here and another one here. I won't be adding more. We have three yellow parts, so I'll just add one or two. If you feel like your paintings look to empty, you can add some more lines and maybe few more parts. Okay, so I'm going to quickly add few more lines using the same cream. Up to this, I will be switching to a darker green. Again, add some more lines using a darker green. So right now, our background is a combination of wet and dry. At some places it is wet and at some places it is dry. But that's okay. At some places your lines will be blurry and at some places it will have prominent shape. Now I'm switching to a darker tone. I think I'll just stick with it in green, a slightly darker tone. And I'm just adding some lines in a similar way how we added the earlier ones. But this time I'm not going to add a lot. I will just add three or four of them. I don't want to make the backlog too busy. So just a few lines that correspond visible. So I'm picking some yellow and I'm making that color into a medium tone. And I'm again adding some more lines. We can pick some integral and make that into a darker one. That looks better. So our intention is to bring in different tonal values of gray in the background to make it look more natural. At some places you can use a lighter tone. And at some places you can use a medium tone. Then again, you can go with a darker tone as well. Okay. So that is where we have reached. I have just added few darker lines as well. Along with those lighter ones. When I use it, they didn't green asymptotes. It wasn't really visible. So I have a little of integral into that. Now using that color and simply adding some leaves onto some of these lines I have added earlier. It's a very simple leaf. I'm just pressing the brush and I'm creating a small, basically go around and add in as many leaves as you want. You can add them at the lighter areas, fair? It will be possible onto the darker area. Maybe we can go with a lighter tone at the end and add more leaves. Or maybe they can do them right away. So I'm picking some lighter green again. And I'm adding some more leaves using that lighter cream. So you can see here, I'm just pressing and leaving my brush. And that's how I'm creating those leaves. It's a very basic one. You can add leaves however you want to. It doesn't need to be this basic if you want to make it more like a leaf-shaped. Okay, maybe we can add few more. I'm trying to make the background look as natural as possible. Let's add some auto this darker area that they will be visible. So I'm just pressing and dragging my brush to create those leaves. I think they doesn't look that bad. They're kind of okay. I'm really loving that depth. We have caught him so many different tonal values of green in the background, as well as in the foreground. Atom. It is looking really pretty. I hope you guys are enjoying your painting to the chat some more leaves using both lighter tool. Then we can go back to a darker tone and add some more leaves using a taco tone. Now I'm picking some integral and I'm adding some more leaves using integral. The thing we, how I added them all, you're just pressing and leaving the brush and I'm creating a leaf. It's already basically, and I'm going in a very random way and adding few here and there. I think that looks good enough. Okay, so this is where we have reached. Now the last step is to add this term. We already added some lines and some random stems, but then we need to add them for the levels as well as for the bucket. For that. I'm going to take out some white gouache, and I'm going to mix that with the cream to turn that into an opaque one. All of the ones we added two now, they're not really opaque. But for the stem that we're going to apply for the flowers as well as for the buds, should be really prominent because they all have a subject, so they cannot be blurry. So I have taken some white gouache. Now, I'm going to mix that with a light cream. And I'm using my size two round brush. You should be using any of your smallest size brush or any other branch which has a pointed tip. That's the color that I have created. It doesn't look like a green sheet. Maybe I need to take out some sap green or yellow and mix that with this with colors looking more like a bluish green because I used to put it in cream. I was trying to say the pain but doesn't look like it's healthy. Way. When you're applying this time, you need to make sure the background has dried completely. Then only you should be adding your stem. Because be really prominent. Let me try it with this color. This color doesn't have a natural feel. I think I need to take out some sap green or some yellow and mix that with this color to make it more greenish. So let me take out some yellow. The yellow that I used for the flowers. This one is cadmium yellow. I'm going to mix that with the screen I created here. Just a little to turn that into a lighter cream. That looks nice. Now I'm going to apply that onto the stem. I'm just following the same line that I added earlier. And making it more greenish. This color looks nice. Now, I need to do the same thing onto the other flower as well as the buds. So I'm adding a stem over here. Use a small brush, don't make it too thick. I need to fill that gap. Picking some more paint, filling that tiny cat, continuing the stem. Now we have three buds. I'm gonna do the same for the blood test for. So I made this one crossing the other one. These little details for light a lot of realistic value to your painting. I should have taken that as a straight line, but then I made it cross either one. So pay attention to those minute details whenever you're adding your stem. Now, I'm going to add few more stems. I'm just assuming there is some flavor on the other end. And I'm adding some states. You can see these ones as well. I made it cross the other one. Addie stands in a similar way to make your painting look more natural. Now we need to ask them for this last part here. I'm going to take it towards the left side. I'm not going to bring it down. Now filling this cat. That's done to now using the same color, I'm going to add another one here. Taking it to the top and assuming there's some flower over there, you can see how beautiful our painting is looking at in the major reasons for use different tonal values of green for the background as well as for the foreground. I will just add one or two lines. Then I will add some leaves using the same club. Okay, So that John, I just added some small leaves, haven't had an alarm. Now, the last task was to add those lines aren't any the paths and picking from Taco cream. First I will see whether this color is possible. If it's not visible, I will switch back to that lighter green. I think this essentially are reversible. We can go back with that lighter cream and picking the same color that I use for adding those terms. I'm adding these lines at the bottom of the bugs. Depending on the color you have in the background and can go with a medium tone or a lighter tone and just add some lines underneath the bird. Okay, so that they are done with our painting. Now it's time to peel off the masking tape. I cannot tell you how much I love this painting, especially that contrast we have got here. If I consider my interior art courier painted a lot of flowers. I mean, this big proper flower. This might be my third or fourth painting. I'm not sure why I never tried painting flowers. It's really fun. I'm very sure once I finished this watercolor challenge, I'm going to paint a lot of flowers. Look at those colleges. Yellow flowers. Looks like I missed a detail. I need to go back with a darker tone of brown and I need to add some thoughts onto those, but I missed to add them. If how wash the technique section, you might remember how I added those teeny tiny dots onto the top portion of the bugs. We need to do the same thing to make them look complete right now, which looks like there's something missing. It doesn't look complete. So I'm going to go back but a darker brown. I'll just pick some integral and I will mix that with some brown to create a darker tone. Now I'm just adding some teeny tiny dots are to the top. Leaves some cap at the top, then add some dots. We need to do this for all the other words. Okay? So with that, we're done with your painting for date. Well, it's a very simple leaves here, but then it made our painting look complete. It was looking like there is something missing hopeless, but now it's complete. So here's the finished painting. You can see that college is contrast and that beautiful background. I really love how the weight has Toronto. Thanks a lot for joining me today. Are the packages sold would have an exponent landscape. 39. DAY 13 - Beach Sunset: Hello, my dear friends. Welcome to day 13. Today we are going to paint in college just beat sunset. You can see those colors and that beautiful sky. I really love the color combination. And the way this guy has turned out. When you look at the painting, you might feel the sky is little of cancer pain, but then it's not. It is really easy. You might remember the technique we used very applied white onto the entire background. Then we added paint onto that. They're going to use the same technique today. And it's quite easy. So first let's take a look at the colors you will lead, as well as the technique. I have my sketchbook ready here. Here is the painting that we're gonna do today. So you can see from here the colors that I'm going to use for the sky is blue and an orange combination and some yellow towards the horizon line. The blue that I'm going to use is certainly in blue. You can use any other blue of a child. You can use Prussian blue, cobalt blue, ultramarine blue, or any other blue and orange that I'm using here as well, Merlin. Then I'll be using a little off yellow towards the horizon line that we have the Sun. These are the colors, cadmium, yellow, vermilion, and certainly in blue. These colors for the sky will also need to invite. You will just leave white, watercolor nor white gouache will be applying white onto the entire sky. And then we will apply blue, orange, and yellow onto the sky. The major color that we'll be using for this car is blue. You can see almost three-fourths of the sky is blue. Then we have some orange and a bit of yellow towards the horizon line. Okay, so those are the three colors I'll be using for the sky, for the base layer actually. Now to add the clouds, I'll be using integral. You can see those dark clouds. That is integral. Okay, So those are the four colors I'll be using for this guy. Now I will add this fast, solve these colors. The first one is cerulean blue. As I mentioned earlier, you can use any other blue of the child's. If you don't have civilian blue, can go with Prussian blue or ultramarine blue or cobalt blue, or any other blue. So that's fairly in blue. Now the next color we have as vermilion, which is a common color. Or you can use any other orange, will be turning that into pistol color. We won't be using it in this intensity. Okay. So that's our second color. We'll be using this towards the bottom of the sky. Now, along with these two will also be using a bit of yellow, where we'll be adding the sun, just a teeny bit of yellow. The one I'm using here is cadmium yellow. It can be any yellow can be gambled, yellow, Indian yellow, or primary yellow. Those are the three colors I'll be using for the base layer. Now, just like I mentioned earlier, to add the clouds, I'll be using integral. You can see that darker color here, that's indigo. If you don't have integral, you can mix a little of Payne's gray with any of the blue that AOC. And you start interrupt indigo for the sea as well. I'll be using indigo and cerulean blue. So that's our next color. I already have a bit of integral on my palette. Now, I will add the swatch. That's integral. It's a beautiful color to use and C-scale. Okay, so that's our fourth color. Next, let's take a look at the colors you will need for that landscape. For this mountain as well as for this foreground details. The gray that I'm going to use this viridian green. Today, I'm going to use sap green. So the next color is viridian green. I hope you all have written green. If you don't have, we can use Sapling or any other clean that Alcott. So that's our next color. Now the last color you will need is violet. I'll be using permanent violet to add these flowers. I'll mix a little off white gouache with violet to turn that into a lighter tone. So this is the one that I'm going to use. You can either mix and create your own valid or we can use any other valid. If you don't have an individual violet tube like this, will be just adding some toggles close to each other to create those flowers. The last color as violent. This one is called permanent violet. It's a beautiful color. I mostly use it for skies. See that such a beautiful color, right? So that's the last color we will need for today's painting. Alright, so that's some rifle, the colors, as I said earlier, along with these, you will also need white watercolor, which will be applying onto the entire sky first. Then we'll be applying these colors, might do that. Then to add those levels, you will either need white gouache or white watercolor. There are some patchy or here we tend to see. Other than that, I'm pretty happy with the sky, especially the colors and the worst clouds. It's time to give it a try before we go with the class projects so that you guys will be a bit more confident. I tried another one. This was a sample piece I did. For this one, I use lighter colors and for the predicted thought of going with some darker colors. So you can decide on whether you want to call it a taco tone to lighter tones are just decided that now let's give it a try. I already have all the colors there except for some global. So let me take out some more slowly and so we have the colors ready. Honestly, painting the sky is pretty simple. You just need to keep on applying the paint onto that white background before it dries. That's the only thing we need to keep in mind. Now, I'll just since the water, This one has to enter without any fear, you can keep on applying the paint onto that wet background. Give it a try. I'm not seeing you may get it right in the first try, but then you might know how to approach it. So I'm just creating a division here. Now onto this section, I'm going to apply some white watercolor using a bigger size, fresh, the semester size number two, round brush. I'm picking some white and randomly applying that onto the anterior background. There is nothing to worry here. Just keep on applying that white however you want to. We just need to make the background wet. Okay. Now I'm picking some blue. I'm not washing my brush. I'm directly picking some cerulean blue. And I'm applying that onto the wet paper. You can see the blue turned into a pixel blue. And that's the main reason why we applied white onto the entire background. Now for our class project, we'll be applying blue almost till three foot of the sky for the exercise. I'm just tapping it. Okay, now I'm going to switch to the second color, over 1 million pixel normally and apply that onto the sky, again, onto that wet background. There also we got a basal orange. I will really allow these two colors to meet each other because they might create a muddy color. So that's a base layer. Now onto this, I'm going to add some clouds using integral. For that. I'm using a medium-size brush as soon as size number eight, and I'm taking a good amount of integral. Now onto this wet background, I'm going to add some clouds. You can see that color. Again it based on color, but then a darker wash it. Okay, So just keep on adding some clouds onto that red background. Don't be scared, just go for it. I'm very sure you will be surprised to see the results. This one is not as difficult as when you try the normal wet-on-wet technique. As you have that white in the background, blending the colors is much more easier. Okay, So just let go off or interfere and give it a try. I have cleaned my brush. Now I'm picking some vermilion. That seems a bit tough. So I'm picking some white and making that lighter. Now I'm adding some clouds using formalin. Just be sure not to add much onto the blue portion. This might create a muddy cream. I'm picking some of whites and I'm smudging Pat. For this technique, I have used a lighter tones compared to the class project. For the project I'll be using more of Taco tones. Now I'm picking some yellow and applying that at the bottom. And for the main project, we'll be using mostly blue for the sky and will be just adding a little of yellow and orange towards horizon line. For this one, I didn't really think of the proportion of colors. I simply added them. Now I'm picking some more integral antiemetics and more clouds while you back on the street. But you can apply as many clouds as you want. But then if you feel like you're starting to dry, just leave it Tacitus, don't apply anymore clouds. The sky will be going with a much more deeper tones of the same colors for our class project. For this one, I used mostly lighter and medium tones. So that has dried completely and I'm gently removing the masking tape. This paper doesn't really go with masking tape. It always took off my paper. I think it is because of it as 100% cotton watercolor paper, which is handmade and has got a lot of texture. So I'm guessing that could be the reason. I have to be really careful when I'm pulling up the masking tape. Oh, he's so that's this guy. You can either go with Taco tones are lighter tones. Now for the class project, we'll only have sky almost hear. The rest will be the C, just like the one you see here. That summarize all the colors and the techniques you will need to paint this car just beat sunset. Now it's time to give it a try. 40. Beach Sunset - Part 1: Okay, So I have the colors and my paper ready here. Now I'm starting by applying a piece of masking tape, which will divide the sky and the sea. I have uploaded allergy below the center of the paper. Okay. Now onto the nascar will need to apply whitewater color. That's the first step. The rest of the colors on my palette. So I need to squeeze out some white areas, just white watercolor or white gouache. So let me squeeze out a bit. Before you apply why turn to the sky, just keep all the cholesterol. So these are the four colors you will need. You will need some yellow, vermilion, saline, blue and integral. For the base layer, we'll be using blue, orange, and yellow. It can be any blue, yellow, and orange. She doesn't need to be the same colors. To add the clouds will be using integral. I have all of them on my palette. Keep them ready before you apply white onto the sky. To apply the paint onto the sky, I'm going to use a size Dimetrodon brush. Use any of you because I start fresh so that we can apply paint onto a larger area quite quickly. I'm adding some water and I'm applying that white onto the entire sky. Now just in case if you want to apply the paint directly on a bet background, if you don't want to use pipe, that's absolutely okay. Just give it a try and see the difference. The sky with the white looks more creamy and soft. But then it's absolutely your choice. If you want to go with clear water, that's absolutely okay. Now, I'm picking some blue. As I mentioned earlier, the blue that I'm using here, a civilian blue. Now, applying that onto that white background, almost half of the sky, I will apply blue. Now I'm washing off the paint from my brush. And I'm switching to my second color, which is 1 million. If there is a lot of water on your brush, just dab it on a paper towel before you pick the second color. Now let's pick some watermelon. If it's too intense, you can make some white with that. And let's apply that onto the leftover sky. You can try this guy with any other color of your choice. It doesn't need to be blue and orange. Now I'm washing out the paint from my brush. I have clean my brush. I'm just running my brush on top of this layer to make it a bit smoother. Now it's time to add the clouds. Now, the pink layer doesn't need to be clean, smooth plant. When we add the clouds, it doesn't really matter. So even if you don't have a clean then that's absolutely okay. So just don't worry, if you don't have a clean blend and picking some more darker integral, I'm just adding some clouds. You can either use a bigger brush or a smaller size brush, depending on the size of the clubs that you want. Now keep on adding some clouds. How will you want to before that background tries? If you feel like it's too watery, dab it on a paper towel, and then add your clouds. It can be darker or lighter ones. Let's add some orange area as well. I wouldn't be adding a lot of work here. I will just add one or two clouds. I won't be adding a lot because it might create a muddy color in the sky, and I don't want that. Now I'm washing off the paint from my brush and then picking some white. See that I have taken some white paint on my brush. Now I'm dabbing that on a paper towel. And I'm simply running my brush on top of those clouds to make them look smarter. So that you can use to turn your clouds into beautiful one instantly. If you feel like they are looking quite strong and patchy, take some wild, if it's too watery, dab it on a paper towel and gently run them on top of the clouds you have applied. Now I'm picking some more taco integral. Am adding some more clouds. I'm not really happy with the intensity. I want the cloud to be really dark. You can see the way I'm adding the Cloud. They are looking quite messy. But don't worry, once I have added these shapes, I will come back with some white watercolor and that will make them smarter. Let's add some more darker tones on the top. If you want to go with some medium and lighter tones, you could do that. Just because I'm using darker tones doesn't mean you should be doing the same. For the exercise we tried earlier. I used mostly medium and lighter tones. If you want to go with lighter tones next to clear choice, you could do that. I have added enough of clouds. Now I'm taking some white watercolor on a smallest size brush. I'm dabbing it on a paper towel just to be sure it is not too watery. Now, I'm just running my brush on top of those clouds I have added to make them look smarter. I'm not putting a lot of pressure. I'm simply as much in those colors. I'm happy with the colors, so I'm not going to add any orange clouds. But just like how we tried in the technique section, if you want to add some cloud to sing orange, you could do that. In case if there is a lot of orange in your sky, that would be a better idea. Right here. I don't have a lot of orange. Most of the sky is blue. So I'm just going to add some blue clouds over here. Before we wrap up the sky, I'm picking some more white, white-collar and I'm just running my brush variable. I feel like the clouds are looking quite strong. So this will smarter than them. Gently running my brush, especially at the bottom. That looks perfect. Now the last task for this guy is to add some yellow. And just adding a little of yellow along the horizon line. I won't be adding this anywhere else and adding that on top of the orange. Just a little background, this is still slightly wet. If it has dried completely, just keep adding yellow. If it's still wet, you can add a little yellow like this. Otherwise, just ignore it. Okay, so that's the sky. Now we'll have to wait for this to dry before we call it the next step. This guy has dried completely. Now I'm going to gently peel off the masking tape. Okay? Now it's time to paint the scene. Before that, we need to add a simple sketch. We need to add the shape of the mountain, which is in the background, as well as the landscape in the foreground. So I'm taking out a pencil and I'm adding a long mountain over here, which isn't really high. It's a low-lying mountain, a long piece of mountain closer to the horizon line. Now I'm adding the landscape at the bottom. Today we'll be using viridian green and some taco tones for the landscape. It won't be like the previous paintings. Spit it. This one is a sunset sky. The landscape wouldn't have that fresh greenery like the daytime paintings. I have added the pencil sketch. Now we'll start by painting the water. I'm in the C. First I will apply a color to white. And then onto that I'll be applying the paint. But you certainly in blue and integral. I think I have a bit of white left on my palette. I'll just use that. I'm going to take out more paint. I wanted a lot like the sky. They just need a little on the base. Okay, So have followed that outline and I have added some white. Now, I'm picking some subtle in blue. First, I'm using a medium-size brush and then picking from certainly in blue, I'm just adding some lines back and forth in a horizontal way or to that wet background. Let's just some simple lines, some thick and thin lines. Keep adding them. You shouldn't be filling the entire layer in one single color. Just keep adding some lines, leaving some cap in-between nowhere picking some integral and I'm doing the same. I'm just running my brush back and forth and I'm adding some lines. Again, give some Captain between. Looks like I need a bit more subtly in blue. So let me take out. Now I'm again adding some lines. I'm not going to fill up the anterior area. I'm just adding some lines leaving some cap in between. So this way you will have that lighter blue in-between that will make you look more realistic. So you can see the way I'm adding them. I'm simply adding some lines by moving my brush and back and front direction. Now along the horizon line, I think I can make the color a bit lighter. So I'm picking some white and I'm adding that along the horizon line. Make it a clean line. We won't be adding any mountains and the horizon line. We're going to leave it as it is. So make it clean. Now I'm picking back so mostly in blue and I'm going to add some more lines. I'm just running my brush in a horizontal way. And I'm leaving some gap in-between whenever I'm adding those lines. Now let's go with a darker tone and do the same. This is an easy way to create a beautiful and realistic see. As we are playing with multiple tonal values, these lines will look like the airways. As you're painting and evening see the colors are pretty intense. I'm not going to make them lighter. In case if have used lighter and medium tone for your sky, you can make the lighter. You don't need to use such bright and intense colors. I'm quite happy with the C. I think the scenes really complementing the sky and the colors are really looking so good together. The horizon line is not looking straight. So I'm just adding some paint on either end. I'm not adding any at the center because that is where we will be adding the sun. So let's make that area lighter. Alright, so the C is done. Now we have to wait for this to dry. And after that we will be adding some waves and some details onto the scene at the end using white gouache or white watercolor. So let's leave this to dry. Alright, so that is dried completely. I cannot tell you how much I love this color. The sea and the sky is looking so good together. Maybe I think I should try the same with a violet color combination as well. Or maybe a red, orange, and yellow, meaning sky. We can use the same technique for the sky and for the water. Instead of glue, we should be using a red or a wine it any color that you prefer. And for the C, if you're using red, you can use red and a darker red. And same for the wireless. If you're using violet, you can use violet and a darker violet. Okay, so it's literally the same technique. If you find it interesting, just give it a try. Anyway. Now it's time to paint the landscape, as well as the mountain as you're painting and evening sky today. Instead of sap green, I'm mixing viridian green, and I will be using a lot of lighter tones. I'll just clean this section. And I will squeeze out some neutral tint, as well as building green over here. For the darker tones, I'll be using neutral tint, especially for the mountain. So that's built-in green. Now I'm going to squeeze out some neutral tint. Neutral centers, very much similar to Payne's Grey. So just don't worry if you don't have an alternative, you can use Payne's gray or black. It is just that this brand has named differently. So they have called it neutral tint. Okay, so let me take out some neutral tint. We have the colors ready. Now to paint. I'm going to use the smallest size brush. And I'm starting with neutral tint. I'm going with a really dark color. Now I'm adding that along the bottom line of the mountain. Towards the top, I will be introducing some viridian green along the top. I'm going to go with a really dark and intense tone of neutral tint. It can be Payne's gray or black. If you don't have Payne's gray. Let's add some neutral tint onto the mountain, leaving the top area over there, we will need to add viridian green. So let's add neutral scent first, our paints gray or black. At the bottom. You can see the color I'm using here. It's pretty much close to black or Payne's gray. So don't worry. If you don't have neutral tint. When we add the mountain or painting will look more beautiful because of that striking contrast. And also just watch old the size of the mountain that I'm adding here. This one is quite far from you, so don't make it too big. I'm adding a long shot mountain. It is not really sharp. It is just that the mountains far from us and it is appearing shorter. Now I'm washing off the paint from my brush and I'm switching to reading cream. Now just fill up the remaining of the mountain and viridian green. Be sure not to make it too big. You can see the size I'm adding here. I'm going the long, short mountain. You can either follow the same profile for your mountain or if you want to go with a different shape, That's totally up to you, but just don't make it too big. And also, I'm just adding one mountain on the right side. If you want to add another one on the left, you could do that. But again, what's the size? Don't make it too big. If you make it too big, you're painting will lose its proportion. So go with the similar size, even if you're adding two or three mountains. Okay, so that's done. Now I'm picking some more neutral scent. Making a clean line at the bottom. Right now, it looks a little off. I'm just making it a clean line. This one is quite far from us, so we won't be adding any other details onto this mountain. At the end when we are adding the reflection will also be adding some leaves and some white highlights along the bottom part of the mountain. Okay, So that's the only thing left. Other than that we won't be adding any other details onto the mountain. Now, our next task is to paint the landscape at the bottom. For that, I'm going to use a darker tone of green. I'll just use indigo at some places, then I will use viridian green and also some neutral tent. And along the top portion I will be adding little of yellow to make it lighter. So I'm starting with indigo. There is no order for this. You can start with viridian green or Payne's gray or neutral tint. I'm just switching from one color to another without no order. I started off with integral. Now I'm adding some viridian green. My intention is to make it really dark at the bottom and add some lighter tones around the top because we already have a darker see. So when we add taco, don't sit on the top line, it will be really difficult to differentiate between the C and the landscape. So let me pick some already in green and apply that over here. The color that I'm using here is really dark. It's not a lighter tone. Use similar colors for your landscape. Now I'm picking some yellow. I'm adding that along the top. Instead of yellow, you can use a light green directly. I had some yellow left on my palette. We had only used a little for the sky, so there was quite a lot of yellow left on my palette. So I thought of making use of that waste in it. That's the reason why I didn't use light green. But in case if you want to use light pain, that's totally okay. So go ahead and add some lighter tones along the top line. The rest can be darker. The yellow that I applied here is looking too bright and prominent. I need to make it lighter by adding some more crane. Just keep in mind it doesn't need to be this bright. I'll make it more HDL and less prominent when I'm applying the taco tones at the bottom. For now, let us stay like this. Anyway, I'm not looking for a clean blend here. I'm going to simply drop in different tonal values of green. And I'm gonna go with a very rough and messy plant onto this layer will be adding lots and lots of flowers. So even if you have a clean blend, it wouldn't be really visible. That the reason why I said it doesn't need to be a clean blend. Now I'm picking some over it in green and I'm making the bottom media more taco. We just need a lighter tone only at the top. Risk can be really dark and intense colors. So this is where we have reached. I think it is still light. We need to make it even more darker because we're painting an evening sky and enter your surroundings dark. So the landscape also has to be dark. We cannot use fresh and light colors only for the landscape that may make your painting look weird. So I'm going to pick some more indigo, making the bottom part more darker. On the top, I will leave some lighter tones. Other than that, I'm going to make the entire area more darker. So you can pick either Payne's gray or indigo and make the bottom area more Taka. I'm just matching the color using my brush. I'm just leaving them in a roughly. I'm not putting any effort in blending them. It doesn't really matter, as I said earlier, we'll be adding the flowers on top of this. We'll be adding a bunch of flowers. So it wouldn't really matter if we have a clean blend or not. So just dropping more taco tones at the bottom. Okay, so tight, I said that's a base layer. Now in the next video, we'll be adding the sun and the reflection and the flowers onto the landscape. So let's take a break and leave this for drying. 41. Beach Sunset - Part 2: Okay, So here it is. Everything has dried completely. Now the first step is to add the sun and the reflection in the water. Then we can gradually add a levels and finish up the painting. So that's only task left, but then it's going to take some time because we're going to add some small levels on that entail alkene. So yeah, if you want to get it right, it might take some time to add those teeny tiny flowers. Anyway, let's start with the sun. For that, I'm going to take out a little white gouache. Will be adding the sun, the reflection, and some waves in the water using white gouache. To do that, I'm going to use my size number tool entourage, go with any of your smallest explanation. A brush which has a pointed tip. If you don't have gouache, you can also use white watercolor. Now, I'm going to add the sun, which is a small circle. Don't make it too huge. Goat a small circle. That's the reason why you should be using a smallest size brush. Otherwise, you may accidentally add a big circle if you're using a bigger brush. This is a sign that you should be going. Now let's add the reflection. Reflection. I'm going to go with a slightly dry paint. So once you have taken the paint on your brush, dab it on a paper towel, and keep adding some teeny-tiny lines, right, Anthony the sun. Please don't add bold and thick lines, go thin and delicate lines. And also don't go with a thick and creamy paint. We don't want them to be too opaque. So first add few drops of water into white gouache or white watercolor. Then double brush on a paper towel just to be sure the paint is not too watery. And with that slightly dry paint, keep on adding some lines, something and delicate lines right underneath the sun until you reach the bottom. Some other lines can be wider and some of them can be shorter. We have used a really dark tone for the free. If you use a really opaque white paint for the reflection, they will be really prominent. So that's the reason why I'm using a medium tone of white here. I'm not going with an opaque paint. Keep on adding some lines until you reach the bottom end. Okay, so that's join. You can see how sub tinnitus, I haven't made it prominent. I have used a lighter tone a wise, and I have simply added some lines right in any of the, okay, now, using the same white, I'm going to add some highlight right underneath the mountain to make it look like there are some water splashing over here. For this, you can go to slightly opaque paint which is dry. Don't add a lot of water. We just need to add some dry brush patterns here using that white paint. It can be either white gouache or white watercolor. The only thing you need to be careful not to add a lot of water. Go with a slightly dry paint and also use the smallest size brush. And just add some dry brush line right underneath the mountain. So these white highlights will make it look like there are some waves hitting on to the mountain creating those splashy water. Again, we don't need to add a lot. We just need to create a subtle effect here. So that's done. The last step is to add any flowers and that's going to make a lot of transport painting. Before that, I'm thinking to change the shape of the tour here. I'm picking some viridian green and I'm just altering the shape. I want this area to be slightly more darker. And I'm just matching the color. As I said, I don't want a clean plan. It doesn't really matter because when we add the flowers, it's not going to be visible. Let me switch the color using some viridian green. I'll be adding more flowers over here. So if I have a darker tone in the background, they will be very prominent. So that's done. Now let's add the flowers and finish up the painting. So as I said at the beginning, this might take some time, but don't rush to finish it. We are going with a lighter tone of wireless and we're going to create a bunch of levels, some teeny tiny flowers. I already have some white gouache here. Now I need to take some violet. If you want to use a different color for your flowers, that's totally your choice. The one I'm going to use, this permanent violet. You can use pink or red or orange or yellow. You can just use by Tacitus. Okay, so just use the color of your choice and we need some whitewater color of white gouache to turn that into a lighter and an opaque color. I already have the colors here. Now the brush set I'm going to use is a detailing brush. It's a two-by-three row detailing brush. Now I'm picking some violet and mixing that with white quash. I want a light violet which is opaque. Adding these flows are quite easy and you're just going to add some dots close to each other. And we're going to create a bunch of levels. Okay, so first take a look how I'm adding them. Then you can add your flowers in a similar way. Okay, so let's do, have taken some violet on my brush, ally to violet. Now I'm just adding some dots close to each other. And I'm creating a bunch. Some dots are slightly bigger and some of them are smaller. I'm adding them close to each other. I'm creating a group of levels. So they're trying to make it look like there are some violet travels down this ETL at templates, this element, the group beaker, and at some places I'll make them smaller. Now I'm going to add some more teeny tiny dots to make it look like it has spread onto a larger area. Okay, so that's the first bunch. You can see how pretty it is looking. In a similar way. We're going to add different patches of flowers onto this background. So right now you can see the background is not really visible when we add these flowers. That's the main reason why I said earlier, it doesn't matter whether you got a clean plant or not. Now, I'm going to add some teeny tiny flowers over here. That is nothing complicated here. It is just some dots. You have to use a smaller face brush or a brush which has a pointed tip to get these teeny tiny dots. That's the only thing you need to keep in mind. Otherwise with a very simple step, but then it might take a bit of time. If you're getting bored, maybe you can take a break and come back and add them later. If you want to add a different level, like a DC or some other bigger flavor so that you can wrap it up quickly. That is also up to you. You can choose whatever Java that you want to add and whatever color you want to go with. Okay, so feel free to go with podium behind the scene and adding flowers accordingly. Now, I'm going to create another bunch over here. In a similar way. I'm just adding some dots close to each other using a smaller size brush. So let me quickly finish this. So this is where we have reheat. I have added quite a lot of levels, but Titus and I want to add more, and I want to fill this, enter your area and some wild flowers. Actually, I wanted to fill the anti-A green area and these kind of violet flowers to make it look like it has gone wild. But then it might take a lot of time. So I'm just going to add them here anterior. But again, I will add as much as I can. Okay, So just keep going. Adding four flowers are gleefully. You're happy with the result. You can see how colleges it is looking already. If you want to stop it here, it's totally okay because we have already added quite a lot of levels. But I feel like I have one more. So we can clearly see here, it's a very simple technique. Even though it is taking a lot of time. We are simply adding some dark close to each other and we're creating a bunch of levels. And because we have different tonal values of green in the background, it is making it even more beautiful. I hope you guys are pretty happy with the way your paintings Crocker thing. Okay, so I'm going to quickly add some of levels. I added some white into the same color and made it lighter. Now, I'm just adding some bigger dots onto the same bunch in a very random way. Onto the same bunches we created here. Add some bigger dots. Maybe just trigger for onto a bunch. This will make them more prominent. That's the reason why I'm using a lighter tone right now where we don't eat a lot, just add few here and there should be a combination or bigger and smaller dots and also different tonal value of violet. And that will make your painting look more beautiful. Alright, so we're done with the whole painting. You can see how pretty it is looking. I cannot tell you how much I love those flowers. Now it's time to peel off the masking tape. I'm gently pulling off my masking tape at an ankle. That's a clean border. On the top. I didn't get a clean border. There is some pain sifting through. Now let's remove the tape at the bottom. I think I might have cut a clean border. On the top we use multiple layers before step lighter color to white. Then onto that we applied cerulean blue. Then we again vented with integral. So I'm thinking that might be the reason why the pain CIP ten through. Anyway. I have some white gouache left here. So I'm just covering up those mistakes. I don't do this usually it is just because I have some paint here. I thought of making use of that leftover paint without leaving it for wasting any way at the end and planning to cut the border. Because I saw one of the students did that and it looks wonderful. I think at the end, I will cut the bottom and stick all of them onto my wall. I really love the colors we use for this painting, especially the sky. Those clouds are looking so pretty. And even those levers, I think everything has come out really nice. It's a car just color combination. Because we added violet onto the sky. It made it look even more beautiful. If you were to try to give it a try, and if you have tried it already, do upload them onto the class protect. Okay, So thanks a lot for joining me today. I'll be back soon with our next string landscape. 42. DAY 14 - Spring Valley: Hello, hello, Welcome to day 14. And here's the colleges painting that we're doing today. We're doing a valley full of white flowers. Look at that soon, Fontan and those little cottage. It's a relaxing painting. I'm very sure you're going to enjoy it. So without wasting any time, let's take a quick look at the color palette, as well as the basic techniques. I will start with the sky. You can already guess the color that I'm going to use. Blue. I'm going to use blue for the sky. You can use Prussian blue, cobalt blue, or any other blue of the tiles. Today we'll be doing a simple cloudy sky. I hope you guys remember this painting better. So for this one, we added a very light shadow for the clouds. You can see that lighter tone of gray over here. But for today, we're going to leave them as white. They're not going to add any shadows. That's a very single sky which you can use in your future paintings will be giving that a try before we call the class project. Now, in case if you want to add shadows, there is no problem you can add shadows. So that was the first color, cerulean blue. Now, the next color is integral. I'll be using indigo to add the deeper tones, as well as for the snowy mountains. So that's the second color. The next color is obviously green. To paint that meadow, I'll be using factory and lift crane. I have got a new green. Honestly, I didn't really like this color much. I couldn't find the shin and watercolor tube in stock in any of the articles here. So that's the reason why I went with Winsor and Newton. It isn't really pigmented and vibrant like the one function one. But for the time being, I think I will just put this the next color we need, this leaf green. It can be any kind of light cream you have caught, or it can just use lemon yellow. Those are the two major colors we need for this painting. You can see the major part of the painting is that green valleys. So you will need a good amount of saccharine and in light green. The next color you will need is burnt sienna, which we'll be using for the cartridge. You can use burnt sienna or any kind of brown. So that's the next color. Now along with all these colors, you will also need white watercolor or white gouache to add the flowers. So that summarize all the colors you will need for today's painting. Now let me quickly switch all these colors on my sketchbook. We'll be using a medium tone of blue for the sky. It can be any blueberry or caught. It can be Prussian blue, ultramarine blue, cobalt blue, bright blue, or any other blue. So just go with a blue dot m card. It doesn't need to be certainly employer. So that's the first color is the color we'll be using for the sky. The next one is integral, which is a taco blue. And I'm going to use that for the snowy mountain, as well as to add the deeper tones at the bottom. You can see these darker tones at the bottom. For that I'll be using indigo and also for the snowy mountains. Okay, so that was our second color. The next one is leaf green, which is the major color I'll be using for that valley. And to add the medial tones, I'll be using sap green. These are the two major colors which brings in that character of the painting. So disquiet important to have a light green and sap green. I hope almost all of you have sappy. If you don't have lifting, you can just use lemon yellow acidosis or it can just make select love sap green to lemon yellow to turn that into a lighter green. Okay, so that was the fourth column. And the last one we have here as bonds, which is the color I'll be using for that cottage. We're going to paint some wooden cottage. We don't need a lot of bones in our we'd be using that only for the cottage hand. You can see the size quite small. So don't squeeze out a lot of paint that summarize all the colors you will need. Along with us, you will also need white gouache or white watercolor. That is set with the color palette. Now let's try out the sky. It's a very simple sky. And for this we'll be using wet on wet technique will first apply a clean even coat of water onto the anterior paper. Okay, so let's do that. I have my one-inch wash brush here and I'm dipping my brush in water. This isn't really clean. But I think for the time being, I can use it. It is not making any stains on my paper. So I had applied a coat of water onto the entire paper. Now I'm switching to a medium-size brush. So depending on the size of the sky that you're painting, you can choose the brush that you want to work with. This one is a size number eight brush. If the skies to pay, you should be going with a much more bigger brush. Now I'm picking a medium tone officer lean blow. It isn't too dark and descend to light asphalt. Because to get that beautiful contrast of that white clouds and the blue sky, you need to go with a slightly brighter color. So what I'm gonna do here is when I'm applying the paint, I'm going to leave some shapes in-between. Some very basic random shapes where I'm not going to apply any paint. I'm going to leave that as white. So that will eventually turn into our clouds. So you can see that. So first cloud, now I'm adding the second one. So the idea is to lose some shapes in between when you're applying your blue paint, which will eventually turn into your clouds, you can go for bigger clouds are smaller clouds. We have three Clouds and we have 1 mol, so we have four clouds here. So as you all know, when watercolor dries, it will fade a little. So that's the reason why I told you to go to slightly brighter color. When the painting dries, the blue will look slightly lighter, but the white will stay as it is, as it is trying to paint. This is the color of the paper. So to get that beautiful contrast of the Cloud and add blue sky, you should be Clement, a slightly brighter color. Okay, so that's how we'll be painting the sky. Now, I'm going to leave this for drying. Alright, so that is dried. You can see how beautiful this guy is looking. Those clouds are looking so fluffy and soft. And again, see that bright blue. Now there's one more thing which I want to make you guys quickly try briefly called the class project, which is those snowy mountain. So how a piece of paper here. And I'm going to add a simple sketch first. For the painting. We'll be going with the simple snowy mountain, which doesn't have a lot of details. But I want to show you how you can do a much more detailed snowy mountain which you can use in your future paintings. Which is the whole point of this anti-authoritarian watercolor challenge. I want you guys to learn as much as possible from this challenge and flourish in your watercolor journey. So first I'm going to add a sketch. I will just add one mountain with a pointy tip. Now I might even irregular line at the center. The slide is quite important whenever you're painting a snowy mountain in the quickest way, this line will tell you how to apply your paint, where to add the deeper tones and bad to add the lighter tones. Technically, this line indicates where you need to add a shadow. Okay, so let's give it a try. I have a jar of clean water I have replaced by water. You need to keep a paper towel or a piece of cotton cloth next to you when you're painting astray mountain. Now I'm picking some integral and I'm mixing that with Shirley in blue. And then turning that into a lighter tone. I don't want a darker tone. I'm adding enough for water. It has to be a really light tone. Once you have taken the paint on your brush, dab it on a paper towel, remove the excess amount of water. Now, you've seen that paint. We're going to add some dry brush patterns onto the mountain. Opinion story mountain, the technicals, the paper, white becomes the snow. And the blue color that you're adding will be the shadow. That means to get the perfect snowy mountain, you need to leave most of your paper white and just add some blue, very little blue here and there. Okay. So onto the left side, I have added some dry brush patterns, as well as a lighter tone of blue. Now we're considering the shadow to be on the other side. So I'm picking some more blue paint and I'm going to fill up the other side. That looks a bit dark matter and some water. And I'm carefully following that line I have added at the centre and I'm applying the paint. You will have to wait for the other side to dry before you apply the paint onto the right side. Now I'm dipping my brush in some clean water. I'm smudging the color and I'm making it lighter towards the bottom. So that's a snowy mountain. On one side, I retain most of the people white and I made it look super snowy. Now, onto the other side, I added a medium tone, and I added some shadows. On the other side. We have a really nice contrast here that will make up a snowy mountain look even more beautiful. So this is a technique that we'll be using for our painting. When you paint the sky, the mountain will have a more three-dimensional feel. Right now. We don't have a sky here. So that's why it is looking quite flat. Now, let's try another mountain. This one is also going to be really simple. I'll start with this kit. So you have two options to choose from. You can try both of them and decide on which one you like better. I have added the sketch. Now. I'm going to use the same color that I used for the previous mountain. I'm going with a medium tone. And from the bottom, I'm just dragging my brush towards the top. And I'm creating some angular lines. Now I'm picking some water and making the color lighter. And I'm again adding some angular lines. For this mountain. I'm simply dragging my brush from bottom to the top. And you can also see I'm leaving some white cap at the top, which is gonna be the snow. It's a combination of a medium tone and a lighter tone. You just need to keep on dragging your brush from bottom to the top and leave some white cap on the top to make it snowing. Now what should the paint from your brush and go with some clean water? And again, drag those lines with a top. This way over here, the area closer to the tip of the mountain will have lighter tones. You can see it clearly here, that's a tip and the bottom shadowy part. So this is another way of doing a snowy mountain. Now onto this to make it even more realistic, we can add some deeper tones. I will quickly show you how you can add more deeper tones and make it more realistic. How picks some integral which is a bit darker than the color we used earlier. Now using that color and again, tracking my brush towards the top, and I'm just adding some darker tones only at the bottom. I'm not going to touch the top where we have that people white. So depending on how much texture you want to introduce a new mountain, you can go with different tonal values. You can pick more and more taco tunes and apply them at the bottom and leave the top video acidosis. We need to get that contrast to make it look snowy. Have added enough of medium tone to the bottom. And you can see that's no easy tip. This portion. Now let's do the same onto the other one. For this, I'm just adding some dry brush patterns. Onto the right side. There. We have added those shadows just to bring in some more texture. Now, let's add a little onto the other side as well. So just keep on adding some dry brush patterns onto that already painted background and add in some more texture. You can clearly see the difference between the mountain that we have on the painting and this one here. This one is much more detailed. You can use this technique if you're painting a mountain which is much more closer to you, if you want to create an impression that the mountains quite far from you. In that case, you shouldn't be adding a lot of details. You can just apply that lighter tone like we have in this painting. Now using that medium tone of integral, I'm adding some dry brush patterns onto the second mountain asphalt. So depending on your painting, how far or how close to mountainous, you can add more texture and new patterns. As I said earlier, for the painting, we'll be going with that base layer. We won't be adding a lot of details because we want a more soft and simple look for the painting. See that we'll be using much more lighter tones. And we won't be adding a lot of details. Now before we start our class project, I thought I will show you how you can paint your pine trees. For the project will be going with some basic shapes. We won't be detailing that. But then I thought it is quite important to show you how you can paint it so that you might find it useful in your future paintings. Here's a closer look of the trace that we'll be doing. They're super tiny and they're super basic. So let's give it a try. There is no much paint left on my palette. I'll just use photons there. I'm just mixing some blue, light green to create a darker green. Let's use that color. Now I'm starting with a straight line, which is the tree trunk. Now onto the straight line, we're going to add some messy lines towards either side. Starting from the tip. Let go off all the Fill, make yourself free and just keep on dragging your brush towards either side and creates a messy patterns. They're super messy. But the only thing we need to keep in mind is that overall you should be having a triangular shape along point triangle. Other than that, you can keep on adding those messy lines until you reach the bottom end. And towards the top, you should be adding some shorter lines. And as you're coming down, you can make them move wider. Okay, so that's the easiest way to create a pine tree. Give it a try. I'm very sure you will get to try it in the first or the second. Try. It is just some messy lines. Let go off all the field and bravely give it a try. The major thing is loosening your hand muscles, letting go of all the fields, meet your cell-free and keep on adding those lines. Now I'm going to show you how you can add the same one in a miniature way, which is the one we'll be adding for our painting. Again, I'm starting with a straight line and I'm quickly running my brush onto either side. And I'm creating some messy lines. So that's our pine tree. This is how we will be adding them on our painting. It's quick, it's easy. It's just a basic shape. We're not going to detail it. Give it a try maybe two or three or four times, and make yourself comfortable with the pine trees. Pine trees are a wonderful element to add any old watercolor projects. So this exercise is going to help you for today's project as well as for many other predictors we're going to do in your future. Alright, so that's summarized all the colors and all the techniques you will need to know to paint today's call just green valleys. Now, it's time to give it a try. 43. Spring Valley - Part 1: Alright, so we had a look at the color palette as well as the basic techniques you need to know to paint this car just Valley. I cannot wait to show you how to paint this. It's super easy. We'll go step-by-step. First, we'll start with a small mountain, then we'll paint that Blue Mountain to the fulcrum. Then we will paint the valley. Just follow the steps at your own pace and don't rush. Okay, so let's begin. I have my paper ready here. Now, I'm going to add the pencil sketch. First. We need to add that valley, making a taller at the right end and I'm bringing it down. I'm adding a really light pencil sketch. So just in case if you're not able to follow the sketch, you can look at the finished painting here and adding new sketch accordingly. So first we need to add a valley, then we need to add to Cottage, to small cottages. And finally, we need to add the snowy mountains. We have one in the background and then another set of mountain in the foreground. So quickly add a new pencil sketch looking at the image here. Okay, so I have added the sketch, but I'm thinking to change the shape of that snowy mountain. I want to give it a more pointy and a tapering end at the top. I also am adding a line and irregular lines starting from the tip of the mountain. This will be really helpful. Then we are applying paint onto the mountain. So just add an irregular line starting from the tip of the mountain. You can look at the video and add that in a similar way. The sketch is ready. And the color that I'm going to use for this guy is cerulean blue. You can go with any other blue of a child. And we're going to go with the wet on wet sky. So the first step is to apply a coat of water onto the entire sky. I'm using my one-inch wash brush. I'm applying a coat of water onto the sky. I'm not applying any onto the mountain, especially the snow you want. Okay. Now, I'm going to take my size number eight round brush. I'm cleaning it thoroughly just to be sure there is no other paintings on my brush. Now I'm adding some water and I'm turning that blow into a medium tone. Now just like how we tried in the previous section, I'm going to add some blue paint onto the sky, links and cap in-between, which will turn into the clouds. You can see the first cloud there. For this painting. We don't have a lot of sky. It's just a small area. So go with smaller clouds, don't make them too huge. And also you will need to add a lot of clouds. Just two or three is all we need. Now carefully apply blue paint onto the anterior area, I mean, the leftover area and finish it off quickly before the bank don't dries. You can see the size of the clouds. They are quite small. I have used a medium tone of blue for the sky. So there will be a really nice contrast between the blue sky and the clouds. You all know what, that tends to fade a little when it dries. Lighter tone, it will fade again once it dries. So once the painting dries, everything will look really doubt. If you use a lighter tone and the clouds won't be really visible. That's the reason why you should be using a medium tone of blue for the sky that is high. Now, let's wait for this to dry. We won't rush. We will go one by one. So when this guy drives, we will paint the snowy mountain, the one in the background. And when that dries, we can paint the other set of mountains. So let's leave it for drying. Okay, So that is dried completely. Now it's time to paint the snowy mountain. For that, I'm using my size number four on Trish. Go with any of your smallest size brush and make sure it is clean. There's no other pins to Antonio brush. I'm going to take out a bit tough integral. Making sure your brushes clean is really important as we'll be using clearly light tones of blue for the snowy mountain. Just dab your brush on a paper towel and B, 200% sure that your brush is clean. Now let's paint the snowy mountain for that and taking a bit of indigo and I'm mixing that but cerulean blue. To turn it more blue wash, we need a really light tone for the snowy mountain. So adding enough water and turn that into a lighter tone. So the integral that I have here from this branch in hand, It's kind of a dark color. It's not really bluish. And that's the main reason why I'm externally fluff indigo, It's cerulean blue to turn that into more bluish. In case if you're using integral from Sennelier or any other brand, if it's more bluish, you can directly use that. You don't need to mix that with cerulean blue or any other blue. Okay, So the color is ready. Now before you start, it is really important to have a piece of paper towel or a cotton cloth. Next two, you will need to turn the paint into a trie one. So we might use a paper towel in between. So I'm dabbing my brush on a paper towel to remove excess amount of water. And I'm going to try paint. And I'm simply adding some lines onto the left side of the mountain. I'm leaving most of the people white. I'm just adding some lines here and there. It's not really trying to do some irregular patches. So in assembler week we'll try paint and actin patches onto the left side of the mountain. In-between you can use some water and smudge them if you feel like they are quite strong. Now in a similar way, I'm going to add some patches on the right side as well. We tried two different types of snowy mountain. So you can go with any of the type that you prefer using for your painting. I hope you had tried it. The one you're comfortable with, you can use that for your painting. I have added some dry paint onto the anterior mountain. Now I'm putting some more paint with a slightly darker than the color that I used. And I'm going to run that along the irregular line I have added at the center. Now, I'm going to fill that on the right side. I'm just adding some paint. Now I'm washing off the paint from my brush and I'm going with some water and I'm making it lighter towards the bottom. So that's about snowy mountain. It's ton. If you want to clear the shape, you can add some more paint on the top and make it clean. So that's subtle. Snowy mountain. Now let's wait for that to dry. So that also has dried. You can see how pretty that mountain and the sky is looking. Now we need to be in the other set of mountain, which isn't the full cramped compared to the other mountain. This one is in the foreground, but it's still not closer to us. We are trying to make it look like both the mountains are quite far. For this mountain as well, we're using blue. Let's do something similar to the color we used earlier, but I'm going to make it a bit more darker as this one is in the foreground. So I'm taking enough of saline blue and into that, I'm adding a little of integral. Go with a medium tone. The brush I'm using here is size number four. Now, along with us, you will also need a clean brush, which can be a medium or a bigger size brush. So keep another clean brush study. We'll be applying the paint onto the mountain first, especially on to the top. And then as we are coming down, as we're approaching that value, will make it lighter by adding some water. So I'm applying that blue onto the outline of the mountain, especially onto the top. So I have just follow the shape of the mountain. Now I'm taking some clean water and I'm making the color lighter. As I'm approaching that value. This would make it look like this far from us and there are some fog. Okay, so apply that blue onto the top part of the mountain. And as you're coming down, take some clean water. If you don't have an extra brush, don't worry, just watch the paint from your brush and take some clean water and make it lighter quickly. Okay, so that's a base layer. Now before this dries, I'm going to add some medium tones onto this mountain. For that I'm using indigo, a medium tone. It's not too dark. And I'm randomly adding that onto the top of the mountain. The background is still wet, so the color that you're applying will nicely spread into the background. So some thick and thin lines, I'm just adding them from the top to bottom. Now, you can pick a slightly more taco, do enough integral, dab it on a paper towel. I'm using a smaller size brush here. Now I'm adding that onto these little corners we have on the mountain. You can see the shape of the mountain. There are some little grooves in between onto those Syria, I'm adding that medium tone of integral. If they are looking to strong washes of paint from your brush, dab it on a paper towel and smash them to make it look smarter. So I'm just dragging my brush from top to bottom to make them smarter. I think they're looking quite okay. Let the rest of the textual stay acids. Now, let's leave this to dry. Once this dries, we will paint the other mountain in a similar way. Okay, so that is dry. Now let's paint the other mountain. I'm using the same color. I mixed a little absurdly in blue with integral. Now I'm adding that along the top part of the mountain. It's a car just color. Now as I'm coming down, I'm switching to clean water and I'm making it lighter. It's lighter tone. So you don't need to link those cartouches. You can apply that on top of it. So just keep in mind, you should be feeling this mountain only after the first one has tried. Otherwise they may spread into each other. So that boundary won't be clear. Now I'm picking some more darker tone. I mean, the first color that I used. And I'm adding that over here to differentiate between the shapes, the serious quiet down. So there will be some shadows and some deeper tones over here. And also this will help us differentiate between the two mountains. Alright, so that's the base layer. Now in a similar way how we did earlier, let's add in some medium tones onto this using integral. I'm switching to my smallest size brush and I'm putting some integral. It's a medium tone. It isn't that arc. Now, just like how we did earlier, I'm just adding some lines that looks a bit dark. Let me add some water. Make it lighter. That looks fine. So before the bathroom dries, let's add some lines onto this wet background. It doesn't need to have any proper shape the backroom to sweat. So we're trying to create some texture here. Drag your brush down from the top and create some lines like this. Once you have added them, go with a slightly wet brush, which is clean, and smash them into the background to make it look smarter. Okay, So that is also done. Now we'll have to wait for this to dry before we go the next step, the next step is to paint the valley. Alright, everything has dried completely and you can see those cold snowy mountains we have got here. The next step is to paint a valley. For that, I'll be using leaf green and sap green are also a little off into code. What's the bottom to make it more darker? So let me take out the paint. I think I already have some sap green on my palette. I need to take out some leaf green. You can use lemon yellow or any other light green burial caught. It can be any kind of light cream which you were using earlier. So this is the color that we'll be using me to leave for the valley, will be using sap green to add some highlights and also add some darker tones at the bottom. Have taken out the paint. Now to apply the paint, I'm going to use my bigger size brush so that I can apply paint onto this larger area quite quickly. This is not like the sky and the mountains we painted. We have quite a lot of area for the valley. So it is better to use a bigger size brush and also make sure your brush is clean before you apply the paint. Being that fresh green at the top. Once you have a clean brush, take out some leaf green or any other light gray, and upload that onto the entire area. Okay, So to count any of your bigger brush and go with a light green on lemon yellow and apply that onto the anterior valley. There is nothing to worry here. It doesn't need to be a baton wet code. You can go with wet on dry technique. Okay. So take out a good amount of paint and apply pattern to the anterior area. Okay, So I have applied that light green onto the entire background. Now I'm going to switch to a smaller size brush. I'm gonna go with a medium tone of green. This is my size number eight on brush, you can go with any of your smaller to medium-sized brush. It can be size number six, size number four or six, number eight. Now I'm taking some sap green and mixing that with that leaf green. Now let's add some medium tones onto the valley. I'm dragging my brush down sloping way to make it look like a sloping Valley. So just follow that line we have added there and add a sloping line. Along with that, I can also add some medium tones onto other areas of the valley, but I'm focusing majorly on the sloping line. And over there, I will be adding more medium tones. I took some more green. I'm adding that stroke in line to define the shape of the valley. When we add the sloping lines, it will really look like the valley is broken down. It will say 100% cotton, watercolor paper. Your background will stay wet for a longer time. So it is quite easy to apply these highlights onto the valley. So in case if we're using cellulose paper or a student grade paper, be really quick and add new medium tones before the background tries. So I'm picking some more green and I'm dabbing my brush on a paper towel and making that line more prominent. You can see my back from the server and unable to blend those colors quite easily. So that's the reason why I always told it is important to work on 100% cotton, artist grade watercolor paper. The MTO process is going to be really easy if you're working with the right kind of paper. Otherwise you may find it a bit frustrating. If you can. It is really recommended to invest on a good-quality watercolor paper even before the paint, so that it will have a better learning experience. I'm picking some more green. This time. I'm going with a much more brighter green. And I'm applying that at the bottom. I need to make the bottom area more darker before the background tries. Just applying some sap green at the bottom. So just keep dragging your brush in a sloping way and meet that spread into the background. You can see how pretty it is looking already. I'm loving those greens. Now. I'm dabbing my brush on a paper towel and using the same color. I'm making this area more prominent. The shape of the valley. So it really looks like this is sloping down and we have another section in the back. Okay, That looks nice. Now the shape of the valley is more prominent. Be sure not to use a darker tone of green over here. Just use Sapling acids. We need that fresh and light green at the top. Now we can clearly see that sloping Valley. Now I'm going to pick some more green and I'm adding that at the bottom. It's time to introduce some integral to make it even more darker. Let's pick some indigo or any other taco blue. And just like how we used to do on our other paintings, make the bottom area more taco bot really dark because we'll be adding the flowers over here. So to make them really prominent, we need to make this bottom part more taco. To pick more grain and apply that at the bottom. I'm just randomly adding some lines over here. I'm making them sloping. Now. I'm dabbing my brush on a paper towel and, and added some more deeper tones over here along that sloping line to make it more prominent. Now I'm picking some light green and I'm just matching that to make it smoother. Whenever you feel like the line to have added, they're looking quite strong and prominent to make them softer, you start light green or lemon yellow or green. And just run your brush on top of them to make it smoother. Glorious water go with a light green or lemon yellow. Now, again, adding some more lines at the bottom. When I'm closer to that valley and making the line sloping, I'm just dragging my brush towards the top and I'm adding some slanting lines. I think that looks pretty nice. Okay, so that's done. Now before the bathroom drives, there is one last thing we need to do. For that. We need a smaller size brush and we need some white gouache or white watercolor. I'm going to use white watercolor because I don't want them to be too opaque. So I'm squeezing out some white watercolor onto my palette. I'm using my size and my children trash. I'm adding a few drops of water and turning that into slightly lose consistency. And using that slightly watery paint, I'm just adding some dots onto this valley in a very random way. These are the flowers in the background so they don't need to be too prominent. And that's the main reason why I'm adding them on a wet layer. So be sure to cover the smallest size brush don't make it too big. And keep on adding some dots close to each other to create a group of levels. It just needs to be slightly watery, don't make it too watery, but the paint is too watery. They will spread into the background very vigorous way. They won't stay small. So check your dots first. Maybe you can apply one or two and try to see if they are spreading a lot. If they're spreading a lot, that means you need to debit portion of paper towel and then repeat the same step. Okay, so that's the only thing you need to keep in mind. Go to slightly watery paint. And it's a smaller size brush, and keep on adding some dots close to each other. Please don't use a bigger size brush. If you use a because I stretched the dots will also get bigger. That means they will spread even more. And they will ultimately look really large and your painting will go out of proportion. So go the smallest size brush, preferably any brush which has pointed tip. I'm nearly done adding these dots at the top. Now in a similar way, I'm going to add some at the bottom as well, where they have those darker tones of green. I'm going to use the same paint at a slightly watery it's not two or three in case of it's too watery, just have a ton of paper towel and keep adding those flowers at the bottom. Here are the flowers will be a logging prominent at the top as we have a taco tone in the background. That's okay. When it dries, it will look slightly faded. And once everything dries, we will come back and add some opaque flowers at the end. Okay, so let's quickly add some more flowers at the bottom where we have these taco tones. You can add as many as you want. If you want to add very little. That is also absolutely okay. So I hope the idea is clear. I'm just using a slightly wet paint and the background is still wet. And I'm adding some white dot onto that wet background using a slightly wet paint. So let me quickly add some more. Let's finish it off. I'm almost done. Now I'm adding some more teeny tiny dots in the background. You can see how pretty it is looking already. Now when this dry and we'll come back and add some more flowers at the end. Now our next task is to paint the cartilage. So we'll have to wait for this to dry. Then we will paint a cottage. 44. Spring Valley - Part 2: Okay, so that our strike completely. Now, our next step is to paint the cottage. For that you will need some burnt sienna or any Brown. Had me take out a bit onto my palette. We will need a lot, will just need a little for the cartridge. We won't be using brown anywhere else. Now, Japan, the cottage, I'm using a smaller size brush as the cartridge is quite small. And mixing bad with a little more white watercolor. We just had a lighter tone of brown or black center. You can either choose to add some white or water. So create a lighter tone of brown and apply that onto the roof as well as the wall on the right side. So this one is going to be a wooden cottage. I have added two here. Maybe you might have had three or four or just one. So how many cottages you have added, apply this onto the roof as well as on the wall on the right side. So that's the rule. I'm going to apply the same onto the other one. Now let's apply the same color onto the wall on the right side, that triangular wall. These cottages are really small, so try to go with the smallest size brush and carefully follow that outline you have added. Okay, So I have a play that light tone of brown onto the roof as well as onto the wall on the right side. Now, we have to wait for this to dry before you paint the next wall. For that, we'll be using a darker tone of brown. Okay. So let's wait for that to dry. Okay, So that is also dried. Now, let's paint that or the wall in a darker tone of brown for that and picking some integral. The mixing that with the Luftwaffe bond Sina greater tackle tumor. You can either use bond number acids or you can create your own taco brown. Now let's apply that onto the other one. Be sure to use the smallest size brush and carefully follow that outline and fill that up. So my intention is to make it look like a vote on cottage. That's why I'm going with Brown. If you want to go with a different color, that's totally okay. Okay. So that's the first wall. Now in a similar way, I'm going to fill up the other wall as well. And after this, we need to add some lines on the roof as well as on to the other one to make it look like a wooden cottage. You can see the difference between these two cartilages. That taco tone gave it a more three-dimensional feel. I think it looks quite good already, but we'll need to add some lines to make it even more beautiful. Now in similar way, I'm going to add some darker tone of brown onto the other one, the one that is missing. Let's fill this up and also be sure to make your cottage is really small, something similar to this, or even more smaller. Otherwise your painting will go out of scale. So be really careful to make it too small. And also use the smallest size brush to apply the paint. I have applied the base layer onto the entire cottage. Now it's time to add the remaining details. For that, we need a lighter tone of the same color. So just add a few drops of water and turn that into a lighter tone. And be sure to use the smallest size brush. We want these lines to be really thin and delicate. Now let's add some lines onto the roof. They have to be parallel and make it as clean as possible. To get a thin line, you have to be using a smaller size brush or any detailing brush. Don't use that because size brush. Now in a similar way, I'm going to add some lines onto the other roof as well. Use a medium tone, don't make it too dark. Now let's add some lines onto those walls as well. So these are going to be straight lines. A smaller size brush and use a medium tone of brown and add some straight lines onto both the walls. Once we are done with those, we need to add a small doors. And the third will be done with the cottage. I have added lines. You can see how thin and delicate they are. Go the similar line. Use any of the smallest size brush you have caught. When switching back to a darker tone of brown to add the door, something similar to the color we used for that taco wall. Go the same color and add a small door onto both the walls. It is just a small decline quite far from us. So you don't need to DTMF just add a small decline using a darker tone of brown. Okay, so this is where we have raised. You can see those two tiny cartilages upon the value. I think it makes a nice holiday cottage surrounded by some snowy mountain. So that's where we have race right now. Next, I'm going to add some bunch of trees and some landscape around the cottage. So for that, I'm picking some green factory. I'll mix blue with us to make it slightly darker. First-time going with a darker tone of green. And I'm adding that we're here. Right now. I'm really looking at the shape. I'm just adding that Taco Tuesday following the shape of the valley. Similar way. I'm adding some tones over here as well. Washington the paint. And I'm picking some sap green and a finishing up the shape of those landscapes. So I'm just adding some random shapes here, a taco down at the bottom and the lighter tone at the top. Over the bottom, I used a darker tone of green. I just mixed a little laugh integral. What's happening? Then towards the top, I'm using sap green as it is and I'm finishing up that shape. Okay, So in a similar way, I'm going to add some different bunches of trees and plants around this valley. I'm not going to add them throughout the entire valley. I would just add some closer to these cartilages. Then I will add another bunch towards the left side. Let's start with the taco Donald Green. Then go with some sap green. And maybe you can use some light green as well to make it look more interesting. And also just keep in mind not to make them too huge, GO the similar size. These are quite far from us. So it has to be proportionally with the size of the cartilage. Okay? So just follow the shape of the valley and add some bunch of trees. Okay, so that's the first bunch of trees. Now in a similar way, I'm going to add another bunch a little away from this. So I'm picking some darker green and I'm adding that to what? I'm starting with the dark green and I'm adding some random shape. Now I'm washing off the paint. And I'm picking some sap green. And I'm adding the remaining shape. Towards the bottom, you should have a darker green. Towards the top, you should have a medium and a lighter green. You can go with any kind of shape. If you want to fill up the anterior Value Line, you could do that. Or you can add them in a similar way. How I'm doing it here. I'm adding a bigger bunch here. No, I will add some smaller bunches. Maybe aren't the right and towards the left. You can add them. How will you want to? But the main thing you need to keep in mind is that they shouldn't be too huge. Go with the smallest size selectors because they are too far from us. If you make them too big, the painting will go out of scale. So keep that in mind when you're adding the landscape. Alright, so here we are. We have finished adding the landscape. Now, I'm going to go back with a darker tone of cream. And I'm going to add some pine trees, some teeny tiny pine tree. This maybe three or four of them. So we already tried how to add them in the technique section. It doesn't need to be detailed. It just needs to be a very basic shapes. So don't put a lot of effort. They are really small, so be sure to go with the smallest size brush. Don't meet them too huge. If you don't want to add them, that is absolutely okay. So maybe you can try that on a scrap piece of paper. And if we're getting dry, you can add them onto your painting. So I added two pine trees. You're really smart ones. Now, I'm going to add few more. I won't be adding a lot. I will just add few next to the Cartesian. If you want to add more of them, you could do that. You can fill the empty or valley with lots and lots of pine trees. Or if you want to skip them totally, that's okay too. Just go with your gut and add them however you want to. Okay, so that's done to now our next step is to add some more flowers at the bottom. So I'm going to go back to y, to watercolor. You can either use white watercolor or white gouache. I already have some paint here, so I'm just going with white watercolor itself. Now onto the same area where I added flowers earlier, I'm going to add some more white dots. But this time I'm missing a much more opaque version of white paint. Color we used was slightly watery and they apply those flowers on a white background. That's the reason why they're looking slightly dull. But right now it is quite the opposite. The background has dried completely and they're using an opaque paint right now. And drive now using that opaque white paint. I'm just adding some dots onto the same media that we added earlier. So if we look at the painting, we can clearly see you have a combination of LDL and opaque white. And that is exactly what we want to bring in depth in the painting. So keep on adding some dots until you feel like you're happy with the result. So I have added quite a lot of white dots at the bottom. Now in a similar way, I'm going to add some over here as well. So right now I'm just adding some teeny tiny dos using white watercolor. It can be white watercolor or white quash. Both of them would work. But once this dries, we will come back and add in some bigger flowers as well. In a very random way, we'll just be adding five or six of them. The rest is going to be just dots. Okay? So let me quickly finish this. Alright, so that is, I have some white paint left on my brush. Now you've seen that I'm going to add some highlights onto the mountain to make it look extra snowy. I don't have a lot of paint on my brush. It is dry, it is not watery. So what I'm doing here is I'm just dragging my dry brush on the mountain to create some white texture. If your paint is too watery, you can tap it on a paper towel. And I'll repeat the same step. Just add some dry brush patterns onto the mountain using white gouache or white watercolor. Makes sure your paint is not too watery and doesn't need to be too opaque. Similar way, let's add some onto the other one, asphalt. So it is a combination of some lines and some dry brush batons to bring in some white texture. So these little white highlights will make your mountain look even more realistic. You can simply pick all these little corners we have on the mountain. And from there you can add some dry brush patterns. They don't need to have any particular shape or a particular pattern. You can add them. How will you want to just be sure not to add a lot? Does Martin's quite far from us. So just a little exogamy. Okay, So here's how our painting is looking right now. The next step is completely optional. So what I'm gonna do is I'm going to add some of levels and I'm going to add some grassy texture to make that bottom area more prominent in case, if you would like to have very subtle and very soft look for your valley, you can just leave it as it is. You don't need to add those extra level Santos grassy pattern. I think it already looks quite nice. This is just in case if you want to elevate those levels and those textures a bit more, you can add some more flowers and those grassy texture using a taco tone of green. If you want to go for a softer look, you can leave it as status, okay, so just decide whether you want to add them or not. Now to add them, I'm going to use a smaller size brush. This one is a detailing brush. I'm just washing them. I think there was some hints on it. Okay, So the brushes clean. Now I'm going with some white watercolor, which I already have on my palette. And I'm going to add some bigger flowers. So the ones I added earlier was some simple dots. But this time I'm giving it a shape. It isn't like any detail shape for anything, does just a basic four petaled flower or a five petaled flower. And also, I won't be adding a lot. I will just need five or six of them in-between those white dots. So I will go in a very randomly and I will add these very basic levels. You can see them clearly right now, is just that basic five petaled flower. There is nothing fancy here. The thing is you should be using a smallest size brush or any of the detail brush. Otherwise they may appear because you can also use a white children if feel that it's more comfortable. Anyway, we just need some teeny tiny flowers. The smaller the better. So go with any detailing brush or a white gel pen and add few of them, they randomly. Alright, so the flowers are in. Now the last step is to add some grassy texture. Because right now those flowers are looking quiet to here. So I'm going back with green, a slightly darker tone, but which isn't really opaque. I have added some water. Okay, So the color that I'm going with this not really opaque at slightly watery. Now I'm just adding some lines, some random lines closer to these levels we have added here. I'm trying to bring in some texture here. It doesn't need to be any proper shape or it doesn't need to look perfect. I think this image will give you a better idea. You can clearly see those are not really any perfectly shaped lines. They're just some random basic shapes. I'm just going to add them in a very quick manner. I'm not really worried about how they're going to look like. We just need some texture. So simply keep on adding some teeny-tiny lines using a smaller size brush and don't go the really opaque paint go with a slightly watery paint so that they wouldn't be really prominent. We'll just need some texture here. Okay? So let's keep on adding these lines. You can see the way I'm adding them. I'm not really looking at each and every line. I'm just quickly adding them. These lines will elevate the flavors. It will make a really good contrast here and also give some texture to the grass. So there are two reasons why you should be adding them. We don't need to add them in the background. You can leave the background asset is where we have those lighter tones. Only at the bottom there they have applied that medium and dark tones. You can add this line. So let me quickly finish this. I hope the idea is clear. Okay, so those are there we have raised, you can clearly see that colleges texture we have caught here. If you don't add these lines, you're painting with black texture and it will look quite clean. So to give it some interesting character and to bring in that depth, I think it is quite important to anticlines. Now we can really see that emphasis the flowers has caught. They're looking so much prominent than earlier. Alright, so that's done. Now before I wrap up the painting, I'm just washing out the paint from my brush. And there's one last thing that I would like to do. I'm going back to white watercolor. I'm going to add some teeny tiny dots. When I looked at the painting, I felt like making those flowers spread a little more. That's only reason why I'm doing this. If you're quite happy with your painting, you don't need to do this. I'm adding some teeny tiny dots at some places. I want to make it a bit more denser. And also I want to spread it out. I'm taking some more white paint and I'm going to add some more teeny tiny dots to make that spread wider. That looks nice. Maybe we can add some at the top as well. I cannot tell you how much I love the feel of this painting. It really feels like Queen for a vacation. I look at this painting, especially to Switzerland or somewhere where you can learning to a value like this. I also wanted to thank was wonderful brush. You can see those teeny tiny dots. I never got them right with any of my other brushes. So I think there's quite important to have a detailing brush or a miniature brush in your collection. So that whenever you want to add these super tiny details, it can be done quite easily. Alright Maria, friends. So with that, we're done with our painting for default team. That is very refreshing to look at this painting. I think it is that clean and the snowy mountain. I hope you all had a great time painting with me. Let me quickly peel off the masking tape and show you the finished painting. And here's one car, just painting. I really love everything up here. I'm just painting the color combination, the snowy mountain, those cartilages, everything has come out really great. I hope you guys are happy with your painting too and had a relaxing time. Thanks a lot for joining me today at Bacchus on with our next and last game. 45. DAY 15 - Forget Me Not: Hello, hello, Welcome to day 15. And that means we're halfway through our spring watercolor challenge. And here's the car just painting that we're doing today at the simple one. But then it might take a bit of time because we'll need to add millions of flowers at the bottom. You can see it was called just forget me, not. That may take a bit of time. Otherwise it's a very simple painting. You can see those colleges details. It's a very simple flower. But then as I said, we'll need to add quite a lot of them. So that might be a bit time-consuming. Otherwise it's a simple painting, which is really easy to do. Okay, so let's start with the color palette as we do every day. For the sky, as you all can guess, I'll be using cerulean blue. This time we are going into very simple sky. You can use any blue will be just adding a medium tone of blue onto the entire sky. So they can be any blue, can be Prussian blue, cobalt blue, ultramarine blue, or any other blue one. You can add some clouds as well. Let me swatch out our first color. Cerulean blue. I already have all the colors in my palette. I'll just use this. We'll be using serene blue for the sky as well as for these flowers. So the blue you see here is certainly in blue. We'll be adding a little white gouache with cerulean blue to create that light blue. Just 0 p, which will be the color that you're using for your sky. You can use the same color for your flowers as well. To turn that into an opaque color, you will either need to add some white gouache or white watercolor. Okay, so that's all first color. The next one is a darker blue or indigo. You can see these darker tones will be using for the landscape. For these bunch of trees and plans. For that you will either need integral or any of the darker blue. Integral is our second color, will be applying integral at the bottom as well, where we need to add those deeper tones. Okay, So let me scratch out indigo. I'm very sure you guys can guess the rest of the colors. So after integral, you will need leaf green and sacrum, which is the major follow you will need for the landscape. That's integral. The next color is sap green. I think for almost all the painting we have usually free, in fact, in an integral. It is those signatures sprinklers which we cannot avoid that factory. Now the next one is leaf green. I think this one is not really lifting. I have added some sap green into it. Never mind, you know the color. You will need any light green or lemon yellow. Okay, So those are the four major colors you will need for this painting. Now there's one more color that you need, which is neutral scent or Payne's gray or black for that road. Are we missing limb or white watercolor worth neutral tint to create that beautiful gray, which really looks like the color of the road. So that's our last color. If you don't have neutral tint or Payne's gray, you can just use black data or white watercolor or a pinch of white gouache button to turn that into a beautiful gray like this. Okay, so that's the last color you will need for this painting. It's a very simple color palette and a simple painting which doesn't require a lot of techniques. I'm very sure you all are going to love this painting. We have the color palette really will need civilian blue, indigo sadly, leave cream and neutrals into our Payne's gray goo. We just need five colors. Along with this, you will also need by two articular or white quash. Now let's try some techniques before we go the class project. Honestly, there is no much complicated techniques you will need for this painting. But I wanted you guys to try those landscape as well as these flowers before we go the class projects so that it will be a lot more confident. You can see the landscape in the background. So that's what I'm going to try right now. I'm starting with integral. Usually when we do watercolor, we always start with a lighter color and then we keep on adding the taco tones onto it. But today I'm gonna go in the opposite direction. So I'm adding a basic shape using integral. You can see here the color that I'm using a really dark, it is so much close to black. It's dark and intense. So I'm just adding a basic shape here. You might be wondering that looks like rock, it doesn't look like some trees or plants. Trust me, trust the process. You're going to love the interface, even though it looked at the moment. Alright, so I have added a basic shape. Now, I'm going to wash the paint from my brush. And I'm gonna go with some sap green and light green. Now what we're gonna do is we're going to drop in some leaf green and sap green onto this wet background. And we're going to add some texture onto this dark background. So onto that super dark, we Archie, just dropping sap green, olive green. You just need to press the tip of your brush and add in some patterns. It can be just dots are some scribbles and doesn't matter. I don't have any leaf green left on my palette, so I need to take out some leaf cream. It can be leaf green or any light green or lemon yellow. This is one of the major color you will need for this technique. So onto this darker background, I'm going to add some teeny tiny dots and scribbles using a lighter green. Especially onto the top, that you can keep on adding these kind of shapes to give it more texture. Honestly, there is nothing to worry here. First, apply your background shape. It can be any kind of shape using a darker tone of blue or integral. Then onto that, while it is still wet, I drop in some lighter cream. You can keep on adding some torts are some patterns. We just need to bring in some texture. It doesn't matter what kind of patterns you add onto that wet background will be using this technique in our class project to add those trees in the background. It's a very easy technique and it looks quite realistic. Casper, I think can already see that here. So all I'm doing here is I'm just adding some random shapes and dots and scribbles onto that background. And I'm smashing them to give it a more beautiful texture. So depending on how much texture you want to introduce new landscape, you can keep on repeating the same step until you're happy with the result. Right now, I'm using lifting Tacitus. I haven't added any white gouache or white watercolor into it. I'm just using leaping Tacitus in case you want to turn them into more opaque. If you want to introduce more and more texture, maybe you can add a little off white gouache or white watercolor into green. And you can add more similar patterns. So that way those patterns you're adding will be more prominent. If use an opaque paint. For this painting, we just need leaf green or any light green or lemon yellow acids. There is no need to add any white watercolor or white gouache into it. Now you can also see how I'm adding those leafy pattern along the outer shape to make it look more realistic. You can see how beautiful it is looking. I hope you enter the transition from rock to landscape. It's a very simple process. I'm very sure you will get it, try it on your first try. So give it a try for you to try it. The rest of the painting is quite easy, even this we're facing. So there is no much complicated techniques involved in this painting. Now the next thing I want you guys to try, if the shape of the flowers you can see we will need to add quite a lot of them. I'll quickly show you the shape of the flower is just a simple five petaled flower. For that, I'll be using an opaque version of blue. I'll be mixing a little off white gouache with cerulean blue to create that college is blue. I have that color already on my palette. So that's just a mixture of saline, blue and white gouache. You can either use white gouache or white watercolor. You can just use what you have with you. It doesn't need to be serene blue. It can be Prussian blue, cobalt blue, ultramarine blue, or any other blue. So I'm just mixing a little loud white gouache with cerulean blue to create a lighter or big blue. So as I mentioned earlier, it's a very basic flower. We're going to go with a five petaled basic flower. I'll just show one flower, a big one. Honestly, it's a very basic flavor, the one we used to draw when we were young, that basic five petaled flower. This is the one for our main painting. We will go with some teeny tiny flowers. It won't be as big as this one. So don't worry a lot about the shape of the flowers. Now I'm going to show you the flowers that we will be adding on the class. Protect those teeny-tiny ones. So it's a very basic shape. It's not a fight patella or for pestle flower. I'm going with a very basic random shape for the flower. As we're adding quite a lot of them, the shape of each of them doesn't really matter, and they are too small, so don't focus a lot on the sheep. You can clearly see the clubbers I have added here. They don't even look like flowers, but then that's all we need. When you add a lot of them on that green background, they will look really nice. You can see the painting here on the right side. So the beauty of this painting as those teeny tiny blue flowers, you will need to add quite a lot of them to get that for you. Okay, so once we're done with the basic shapes, we'll be adding a Y dot onto the center of these flowers. I'll just show you that on our main painting. This hasn't dried yet. You will have to wait for it to dry completely. To add that by thought. Maybe I will add that white dot on the big flower. These ones are still wet. I might need to wait for a couple of more minutes for the smaller ones to try. So this is what I said. You will need to add a teeny tiny white dot onto the center of these levels. And also we'll be adding some white dots in the background. Okay, so the beauty of this painting as these teeny tiny flowers, those white as well as the blues. So that's something that might take some time when we're doing the painting. I think these flowers has dried. Let me try adding a white taught at the center. To add the white dot, you can either use white gouache or white watercolor. But then you have to make sure the background has dried completely. I think some of them has dry and some of them hasn't. Anyway, it's nothing but just a whiteout which we'll be adding onto all these levels we have added. So this is how it will look when we add those blue flowers and the white tops. You will need to add quite a lot of time to get this field. That summarize all the colors and all the basic techniques you will need to follow today's painting. Alright, so you will leave any kind of blue for the sky as well as for the flowers. Then you will need indigo or any other darker blue. Then you will need sap green and leafy green or any other night cream. Then you will also need some Payne's gray on your charter. Alright, so those are the colors. I think now it's time to give it a try. 46. Forget Me Not - Part 1: Alright, now it's time to paint. So first we need to add a pencil sketch. I'm starting by adding a line a little about the center of the paper. Now we need to add a road and on either side of the road we have a beautiful landscape. So let's add the road, added a nice curvy line, then add your second line. So that's a road over here. We'll be adding some forgive me notes. I have some paint over here. No, mine to be adding a taco tonal. What is so we can cover that up. Now in the background, we'll also be adding some trees and some plants. You don't need to add this case right now. I'm just showing you how it's gonna look like. Okay. So that's a sketch. Now for the sky, I'm going to use cerulean blue, as I said in the previous section, I will need to replace the water. So here's my clean water. It's time to start with the whole painting. I will start with the sky. It's gonna be very simple sky. I'm just going with a medium tone off civilian blue. This is a color that I'm going to use for the sky. You can use any of the blue you have caught does need to be suddenly in blue. First, I'm applying a clean coat of water onto the sky. I'm using my one-inch wash brush. Once you have applied water onto the entire sky, switch to a round brush or a flat brush. As I said, I'm not going to add any Cloud or any other details onto the sky. I'm going to go with a medium tone and I'm gonna go to the flat wash. You can either go the gradient wash or a flat wash. Some starting off with a medium tone of civilian blue and then applying that onto the wet background. If you want, you can make the color lighter as you're closer to that line. Or if you want to add some clouds, that's also totally okay. I just thought of going with a simple planes chi, alright, so that's a sky. You can either wait for this to dry or it can capitalist start with the road. I'm going to start with the road right away. And for that, I'm going to use neutral tint. You can either use neutral tint or Payne's gray or black. And apply the paint. I'm using my medium-sized brush. Size number eight, Ron Fresh. The color that I'm using this new transcend, we just need a gray shade. So first I will show you how it will look like when you apply nutrients and Tacitus without adding white. Okay, So that's how the color will look like. If you're just using water to make it lighter. You can see all those textures. I would want to turn that into a more of an opaque color. So I'm going to add a little white watercolor into this, and you will see the difference in the color. I'm just mixing a little of white watercolor with neutral sense. And you can clearly see the difference right now. It is looking more opaque and is looking more smooth. This is the way how I'll be painting the road will need a medium tone of gray. You can either use water to make the color lighter or I can just add a little white watercolor like this. This way the road we'll look more opaque and it will look more smooth. That's only reason why I'm adding white. Now when you're closer to the line, I mean, the horizon might be really careful because the sky hasn't dried yet. Maybe you can leave a teeny tiny gap over there so that the gray color wouldn't spread into the sky. Follow that outline and carefully fill up the shape. Okay, so that's it all. Now we'll have to wait for this to dry. Then we'll paint the landscape. Okay, So let's take a small break. Alright, so that is dried completely. Now let's paint the landscape. And I'm starting now what integral? Just like how we try in the technique section. So along the horizon line, I will add those trees and bunch of plants and a taco tone, which is integral. Then out of that, I'll be adding some texture using a lighter tone of green. The same way how we tried in the technique section. I hope you guys have tried it already. So first we need to add the basic shape. I'm not reading it too high. I'm going with a medium-size. So first let's add the basic shape onto the left side. I'm going with the higher shape. And as I'm coming towards the road and making shorter. Okay, so that's the basic shape. Now I'm going to wash the paint from my brush and I'm going to switch to a lighter tone of green. And at the bottom has to have a ladder medium tone of cream or with the sap green. Then I will switch to light green and fill up the remaining area. So the color I'm using right now, a sap green. I'm adding that right underneath where I stopped integral. I'm washing off the paint from my brush. I can I'm going with leaf green, which is a really light cream. You can use any of the light when you have caught or you can just make solute loves happening with lemon yellow to create a similar color. Now fill up that remaining area and that light cream. We started off with integral and we added those basic shapes. Then we switch to saccharine. And after that, we supposed to leaf green, which is the color that we're using right now. And I'm trying to blend them. So that's the base layer. It doesn't need to be cleaned, then just leave it as it is. We'll come back to this later once we finish that top landscape. So I'm switching back to sap green and I'm adding some texture onto this dark background. As we did in the technique section. I'm just dropping in some medium and lighter tones onto this dark integral background. While it is still wet. Our intention is to just bring in different textures and different kind of leafy pattern onto the stack back. At some places you can use Sapling, which manner we really visible. So in that case, you can switch to a light green or yellow. And again, repeat the same step. Those leafy patterns and texture will be allowed visible. I have added some sap green, which isn't really visible. It is quiet OVS willing to go with a lighter shade, which is leed green. Now using live clean, I'm just adding some thought and some scribbles onto this wet background. You will slowly see how it is getting alive. Right now it is looking quite weird. But once we add the lighter tones onto this, it is going to be so beautiful. It is just some thoughts and some little patterns. It doesn't need to have any proper shape or any proper pattern. You can keep on adding them while the background is still wet and create some texture. When using that light green, you shouldn't be adding a lot of water. Go to slightly thick and creamy paint so that those leafy patterns will be visible. Otherwise, we can add our flour, white gouache or white watercolor into that color that you're using. Whether it's green or it's like cream, lemon, yellow. Adding white paint isn't really necessary. This is just in case if you want to make them more opaque and more prominent. Looks like I have added enough afflicted patterns. It is looking quite nice. Now let's add some onto that green area at the bottom. I'm just washing up the paint, making some more light green. And I'm adding some texture at the bottom, especially at this area where we're transitioning from the trees into that grass, go with a lighter tone of green and just keep on adding some dots at this junction. Now, along with this, you will also need to add some dots over here that you have that light cream just to bring in some texture. Otherwise, it may look really playing with a medium tone of green, which isn't really dark. And just keep on adding some torts and Leslie patterns at the bottom. This is just to bring in some texture. So you can keep on adding more and more dots at the bottom until you're happy with the texture. By just be sure not to use a taco to go to meet him to lighter tone of green. And keep on adding some towns. Don't add a lot to make it too busy. We just need some here and here. We can see the way I'm adding them. I'm not really looking at this shape or the size of those patterns. I'm just pressing the tip of my brush to create some texture here. Okay, so that looks cool. If you want to add more, you could do that or you can just stop it here. As I said, to make it to the scene. I think it is looking quite fine. I'm going to leave it here and I'm going to switch to integral. I just want to add some more leafy pattern at the top just to make that shape more prominent. I'm just adding some leaves. If you're already happy with the shape, you can leave it as it is. You don't need to add these leaves. I just felt like that overall shape can be eligible better. Maybe we can add some dots at the bottom as well. Okay, so I think we can call it done. I'm quite happy with this result. Now we need to paint the right side or two in a similar way. Some starting off with integral. And I'm going to add that basic shape at the center. I'm going with a shorter sheet. And as I'm going away to the other end, I'm making them more taller. So first let's add that basic shape. You can either use indigo or any taco blue. Okay, so I have added that basic shape. Now it's time to add the texture. So first let's clean the brush and switch to sap green. Let's drop that onto the wet background and just randomly adding them. But then that looks too dark. So I'm picking some leaf green mixing pad with sap green. Again adding some more towards and some scribbles and some patterns. All I need is some texture. It doesn't matter how they look like. We just need to some medium tones of green and lighter tones of greens in between. It can be any shape. So just don't worry how they're looking right now. You can keep on adding those patterns and scruples onto this wet background. Trust me, at the end, it is going to look beautiful. So just keep going and keep on adding those teeny tiny dots and lines and scribbles onto this integral background until you're feeling happy with that texture. Alright, so this is how it has turned out. Now it's time to paint the grassy area. For that, I'm switching to a bigger size brush. I'm going with leaf green. And I'm just going to apply that are into this anterior area. As I'm approaching towards the bottom, I will switch to sap green and indigo, and I will make the potting media more taco. Now we're going to add those flowers. First, start with any of the light can you have caught before we add paint at the bottom, Let's go with some sap green and add some texture over here right underneath these trees. Just add some thoughts and some general patterns onto that wet background. So I'm just merging them into the background to make it look smoother. And again, adding some more tools in a very random way to bring in these textures. The same way how we did on the left side. I don't want to make the background really busy. So I'm only adding a few dots in a very random way. And you can see the color I'm using. It's a medium tone. Now I'm smudging them. I'm switching back to green. I mean that light green. So let's add some more light green over here. Then we can switch to saccharine and integral and make the bottom area more darker. Now I'm picking some sap green, adding that. I'm just merging the color into each other. I don't want to clean blend. I want more of a rough and domestic plants because we're going to add some flowers here. If it's really clean and smooth, it will look quite weird. Now I'm picking integral and I'm adding that at the bottom, towards the bottom tried to go the really dark tone of green. That's the reason why I'm using quite a lot of indigo over here. I want this area to be really dark, otherwise those flowers won't stand out. So it is really important to make the city are really, really dark. I will need some more sap green, maybe some more integral as well to finish this entire area. You can see on the top we have a lighter cream and aspect coming down. I supposed to sap green, which is a medium green. Then I'm using quite a lot of indigo to make that area more and more taco. Use a medium to bigger size brush and fill up that entire area. As I said, we don't need a clean blend TO you can keep on smudging the color. You can just keep on pushing and pulling the color into each other until you feel that transition is looking natural. Alright, so this is how all background has turned out. I'm not really happy with the taco tones at the bottom. So I'm picking some more integral and I'm making the bottom media more darker. You can see how carelessly I'm adding the paint. I'm not really worried about how it's going to look like. Because when we add the texture and when we add a flower this nothing is going to show up. Just keep on pushing and pulling the color into each other and smudge them. Okay, so that's the background. I'm quite happy with it. It is looking something like what I have imagined. Now before we leave this for drying, There's one more thing that we need to do. For that. I'm using a smaller size brush. You can use any of your small and medium-size brush. I'm using this one. It's a size number two round brush. We're going to add some texture onto the background. So I'm picking some leaf green. Adding some random scribbles onto this background. When I say random scribbles, it is exactly that. You can add some lines, some dots, some scribbles, some patterns, anything that you want to add. The intention is to create some texture here. As I said, when we add the levels, nothing's going to show up. We just need some texture and some patterns in the background. So that is what matters. It doesn't really need to be any proper shaped patterns. You can clearly see the way I'm adding them. I'm not putting any attention. It's literally zero attention. I'm just adding some pattern on ten scribbles over here. The only thing I have in my mind is to bring in some texture. So just keep on adding them until you feel like you have got some texture, then you can use a lighter tone at the bottom so that they will show up the same way how we tried for those landscape in the background. And as you're going towards the top, make sure not to add allowed. You can use a medium Tonle Sap Green, but isn't really a peak. We don't want these lighter area to be too busy. So just add few patterns, don't add a lot. It looks like there is a patch here. So I'm picking some leaf green and I'm trying to smash this area to get rid of that patch. Okay, that looks fine. Now I'm switching back to my smallest size brush and I'm again adding some dots. We have a little more area and then we are done with this background layer. So after that, we'll wait for this to dry. The next step is to finish off the painting by adding millions of forgiveness. Forgive me not as a beautiful flower. I really admire God's creation, the color palette he chose for those little flowers are really adorable. Anyway, I'm nearly done adding those patterns. You can clearly see it is quite messy, but no mind, we are going to turn this into the prettiest plural nato ever. Having these textures in the background is quite important. It doesn't really matter how they're looking like right now. When we add the flavors, Nothing is going to show up. Now I'm going back with a lighter tone of green and I'm adding some more patterns over here. You can see it's a really light tone. I don't want to make this area to proceed. Okay, so that's done to. Now finally, I'm going back with a much more opaque version of leaf green. First, I will clean this area. I'm going to make it a proper shape. Now using the same color, I'm going to add some teeny tiny leaves onto those trees we have in the background, especially on to the top. So this color that I'm using here is a much more opaque version. I haven't had a lot of water and it's kind of thick and creamy. Now let's add some leaf onto the site asphalt. So this is completely optional. If you don't want to add them, you can skip it. I just felt like having some more leaves here. That there is a lot more texture in our painting. Alright, so now let's wait for the interior painting to dry completely. And then let's add those beautiful blue flowers. 47. Forget Me Not - Part 2: Alright, so that's our base layer. Everything has dried completely. Now we can start with adding the details for so I'm going to add the road marking. And after that, we can add the details onto the landscape, which is some grassy pattern, as well as the flowers. Now, to add all of these details, I'm going to use a miniature brush. So here's the brush that I'm going to use throughout this section. It's a miniature brush with a size number to buy it from an Indian brand called restroom. You may find similar brushes from many other brands. It isn't that expensive like the normal watercolor brushes. You might get a bunch of detailing brush for a very little price. Okay, so I have taken white paint on my brush. I had some white watercolor left on my palette. So I'm just using that. And I'm just adding a thin line following the profile of the road. So I'm adding this right at the center. I'm following the same curve of the road and I'm just adding a thin line right at the center. You can see how delicate and thin that liners. This is the magic of miniature brushes. These miniature brushes are mainly designed for these kind of teeny tiny details. So having one or two brushes in your collection will be really helpful. Now in case if you don't have a detailing brush, pick the smallest breadth area card. It can be size number one or two or go the brush that has a pointed tip and adding a thin, delicate white line and finish off the road. So that's done. Now the next step is to add the flowers. To add the flowers as well, I'm going to use the same brush as we already discussed. I'm going to use blue for the flowers. I need to turn that cerulean blue into the lighter tone and opec one as well. So for that I'm going to squeeze out a bit of white gouache. I already have a bit of white watercolor there, but I think it is better to go with white gouache. So the flowers will be more opaque and Prominent. Have taken out a bit of white gouache. If you don't have white gouache does absolutely. Okay to use white watercolor, no pressure. I have cerulean blue as well as white gouache on my palette. Now I'm going to mix these two well, to create a light opaque version of blue. Just had few drops of water, don't add a lot of water and turn that into a those consistency. If you make it too loose, it won't have that OP character. So be sure to add only fewer drops of water. That's the color I'm going to use for the flower. Now, just like how we tried, I'm going to add so many flowers onto this area, especially at the bottom where we have this darker tone. Because over here, then we add those glucose levels. It will be really prominent. If you add them onto the area where we have medium and lighter tones, they wouldn't be really prominent. It is better to add them there. You have to start ketones. Okay, So let's add them in. It's a very basic, simple flower. I'm not going to put any effort in making them perfect. I'm just going with a simple abstract shape. Because if I focus on each and every flower, it is going to take ages to finish this painting. So just go with a similar shape. It doesn't need to look perfect. We just need to have so many flowers in the background. That's the only thing they're concerned about. Just like how we try in the technique section. Add in a fourth level. I have added two. I need to add so many more, which is going to take another 30 min maybe. Right now, I'm thinking whether I need to add some graphing lines are just some flowers. It is looking really nice, but I think if we add the crafty lines, it is going to look even more better. Maybe it will have a more realistic feel. Right now. It might look like it's floating handles, grass. So maybe we can add some grassy lines. Anyway. I'm quite happy with the color. You can see how pretty that blue flowers are. Have just mix a little of white gouache with cerulean blue. You can use any blue. It doesn't need to be certainly in blue. You can use Prussian blue, cobalt blue, or any other blue. Just add a little white gouache or white watercolor with that to turn that into an opaque one. So I decided to add graphing a line to the bottom. So for that, I need a light to cream. I have some sap green here and the top leaf green. And I'm adding a little off white. Not a lot, just a little. And I don't need a really opaque washed off green. I'm going with a slightly watery consistency. I'm going to simply add some grassy lines using a light tone of green which is watery. I don't want them to be too opaque and two prominent. So I'm just adding some lines, some nice curvy lines. I'm going to fill up this bottom area. Make sure to go with the smallest size brush to make those lines as soon as possible. The plebiscite we're going to add are super tiny. So let's keep everything in proportion. Okay, so choose the smallest size brush or any other brush which has a pointed tip and go with a light cream which isn't really opaque, make it slightly watery, not a lot of water. I can. Now using that color, add an inner self classy lines at the bottom. So the left side is done. You can see I haven't added a lot. Now in a similar way, we need to add some lines onto the right side as well. So let me quickly do that so that I can come back and add those pretty blue flowers. I cannot tell you how much I love this crash. It is just because of this brush and getting them so pointing. Otherwise, I used to struggle with the Nantucket lines. It doesn't come that easily for me. This brush has really saved me. Alright, so that's done. Now it's time to go back. But the blue and add remaining flowers, I'm spitting back to cerulean blue. That lighter tone off thoroughly in blue that I have mixed a little white quash. I'm going to add as many flowers as I can or maybe until I feel bored. So just like how we tried in the technique section, this one is a very simple, basic flavor. It doesn't have a proper shape. You can go with an abstract shape and add in as many flowers as they want. Focus mainly on the bottom area where you have taco tones. You don't need to add a lot of levels where you have the medium and lighter tones because they won't be really visible. So put your focus on the taco area and add an innovative levels. You can see how pretty it is looking already. I think that blue flowers are going very well with the background because we don't have a lot of colors. So those flowers are really prominent and the alkene grade. So in a similar way, I'm going to add so many flowers. Try to add them close to each other to make it really interesting. Okay, so let's do this. I have only reached a little off area. There's a lot more to add. I hope you guys are clear with the idea. As just some small little flowers with a basic shape. There is no need to put a lot of detail. So just go ahead and add in as many flowers as you want, especially at the bottom part that they have that taco tones. And also don't leave a lot of space in between them close to each other and create a bunch of levels. This will make your painting look more interesting. So let's go ahead and finish this off. So this is a very heavily used and still not happy. I think I can add some more flowers to make it really busy. And also just because I'm using blue color, it doesn't mean you should be going with the flow as well. You can go with purple or pink or yellow. Okay, so be sure to go to your favorite color, which will be the color you have chosen, adding plenty of flowers, hundreds or thousands of levels until you feel like you really want to run into that metal. Finally, I'm done adding the flowers. Again. See I have added some tiny dots in the background as well along with those flowers. Now I'm going to wash the paint from my brush and I'm switching to white gouache. Our next step is to add a small dot at the center of all these flowers. The flowers are already super tiny. So it might be a little difficult to add those white taught at the Center on a flower which is already super tiny. So you have to use a breakfast as a pointed tip or we can use a white gel pen if you feel that would be more exceed. Alright, so go ahead and add in a white dot onto the center of all these levels. If I skip one or two in between, that's okay. That is not going to affect your painting. Alright, so go ahead and add in that by Todd. Well, we're nearly done. I think I have covered almost all the flowers. There is a few more left on the top. That is done. Now with the same brush, I'm going to add some white dots, which is going to be some small flowers closer to these glucose levels as well as in the background. So this one is really optional. If you can take a look at my finished painting, you will see how it is going to look like when we add those white dots. So you can decide on whether you want to add them or not. And if you feel like it is looking really beautiful, you can add them in, again as monster, but then it might take a bit of time. There has to be really small. So I'm just adding some in-between these flowers to make it look busy. And after this I will add some in the background asphalt. So that's done. I have added enough at the bottom. Now, I'm going to proceed to the background. Onto the background, I'm going to add some more. I'm going to add them close to each other to create an impression that there are some white flowers as for like a bunch of white flowers. So add them close to each other. As we have a lighter tone here, it won't be a lot prominent. And that's the beauty of this painting. You have a really nice prominent blue flowers in the foreground. And some soft and subtle white flowers in the background. Make them really tiny and add them close to each other. Maybe you can just follow the curve of your old and add them along that curvy line. Just be sure to add them as a group at them close to each other to make it more prominent. Otherwise they wouldn't be really visible. So add a bunch of levels along that curvy line of the road. You can do this on the other side as well. You can see how pretty it is looking already. It really looks like a white metal. Now in a similar way, I'm going to add some teeny tiny dots on the other side as well. I'm getting this starts really small because I'm using a miniature brush. If you don't have a miniature brush and in case if an arc getting them right, you can completely skip this step. Your painting will be still beautiful with those blue flowers. So just don't worry if you couldn't add these white flowers. Alright, so with that, I'm done with double painting for the team. I cannot tell you how much I love those blue flowers and this anterior field of this painting. I'm going to quickly peel off the masking tape. And I can't wait to show you the finished painting, especially those details we have added at the bottom. It's a very simple painting, but I know it took quite a lot of time. As we add two, add those hundreds of flowers. It's something which you cannot avoid. Asset is the identity of this painting. If we don't add those blue flowers are painting will look quite plain. You can see these colleges detail. Oh my God, look at those flowers and those background details. I cannot tell you how much I love this painting. I hope you all had a great time painting with me. Thanks a lot for joining me today. If I had to try it, to give it a try, I'm very sure you're going to love it. So come back here. So for our next spring landscape. 48. DAY 16 - Dreamy Daisies: Hello, my dear students, welcome to Day 16. Today we're going to paint those colleges, DC. You can see how soft and retailers painting is looking. It's quite easy to paint and you don't need a lot of colors. It's a very simple color palette. You will just need some green, some yellow and brown sienna. So let's quickly take a look at the color palette and some of the techniques for today's painting. We are playing with most of light too and medium tones and a major color you will need this leaf green or any light cream or lemon yellow. So that's a major color. Then along with that, to add the medium tones, I'll be using sap green. So those are the two major colors will need for the background. It's just a combination of Sakhalin and lift cream and just around the flower to make it a bit darker. I'll be adding a little lab, certainly in blue to maybe green, slightly darker. You can see that darker green right next to the flowers and also for that stem. But still it isn't that dark. It's not like the other paintings created so far Today to grave and bouquet effect, we are playing with more of medium and lighter tones. Okay, so let me quickly add all the colors on my sketch book does leave. If you don't have leased printing can use lemon yellow as well. Using that against green, you will automatically get a lighter green over there. So don't worry if you don't have leaf green or any other eye cream. The next color is sapling. Sapling I'm using here is from Winsor and Newton. I'm not really happy with the brightness of the color. It's not as good as the one I used from Shannon. Anyway, let's use that for the time being. So those are the two major colors you will need for the background. Along with that, as I said, you can choose to add a bit of darker green or you can just leave it as status. So I'm just going to create a darker green by mixing a little of civilian blue with sap green. We'll be using the same color for the stem. So I'm just mixing a bit tough sirloin blue and sap green. I think I added a lot of silken blue. Anyway. We just need a darker green with some really dark. So that's the dark green I have created. It doesn't need to be this dark. We just need a medium tool. You can see that color here for the stem as well. So that's the next color. Now let's take a look at the colors you will need for these two beautiful DC. For the petals, we're going to leave the paper white acetals, and we'll be using a very light tone of neutral tint, and we'll just add some shadow. You can see that lighter gray here. You can either use Payne's gray or you can use black, will just need a really light tone. And I don't want that Iraq to need some yellow burnt sienna. It can be any yellow will be just using that to add the center details. So the one I'm going to use this cadmium yellow, and then I will be using burnt sienna. It can be any brown and yellow. Okay, So let me stress them out. I think all of the colors we'll be using for this painting as kind of common colors. It comes in all the basic watercolor set. You don't need to stress out about the colors and the process is fairly simple as well. So I'm quite sure you guys are going to enjoy this painting. Alright, so I have taken out all the colors on my palette. Now, I'm going to swatch out one-by-one. I will start with nutrients. And if you don't have neutral tint, you can use Payne's gray or black, this neutral lithium. And we'll be turning that into a really light tone, a really light gray. And that's a color we'll be using to add a shadow for the flowers. Will be turning neutral center of Payne's gray into a really light touch like this. And we will be seeing that color to add the shadow for the flower. Now the next colors you will need are yellow and burnt sienna. What I'm using here is cadmium yellow. We'll be using that only for the center details. Now to add those dots and finishing details, we need some help on Sina. Now, along with these colors, you will also need white gouache or white watercolor to create that book effect. I'll be using white gouache. But if you don't have wildcard, you can also use white watercolor. Now there's one more thing that you will need for today's painting. You can see that circles we have added on the painting to create that effect. To add that you can either use a circular stencil or you can use something like this. This one is a washi tape. So I'll be using this one to create those circles, will need a medium-sized circle. So I'll be placing this on the paper. So I'll be placing it like this. And then I will apply the paint following that circuit. So that's how I'm going to create this bouquet effect. I'm very sure you'll find something similar. It doesn't need to be washi tape. It can be any other circular thing which you can use to add the circle. So this one is another T which caught our recently. And that's slightly smaller than the other washi tape. This is the kind of size that you need. It shouldn't be too big. The smaller that's okay. But then don't make it too big. I'm going to show you, I'll find something. You just need a hollow circular shape. It can be anything. Maybe take a look at your kitchen or maybe take a look at your office stationary section. And I'm going to show you you'll find something similar. So once the background has dried completely, we'll be adding these circuits. And that's how we'll be creating that bouquet effect. So that's some rice, all the colors you will need for today's painting. There isn't any complicated techniques. We'll just be adding to DC's. I'll be adding fuel majors in the next section so that it can take a look and throw them. Maybe before we go with the class project, I will quickly brief you the process. So first, I'll be adding two daisies. You can see the one I have added here, very simple shape. There are two ways how you can do this. You can either choose to paint the background first or the DC. Right now, I'm painting the DC first, but for our class project, I'll be painting the background. And then when that dries, I'm going back and painting the TCS. So you can either choose to paint the DC first or the backup. Right now I have added a very light tone of neutral tint onto the petals. I think this one is quite dark. It doesn't need to be this dark. Anyway. I'm not going to wait for this to dry and directly going to yellow. And I'm adding that at the center. So my intention is to quickly show you how that process is going to be. Before we call it the class project. I'm not gonna wait for this to dry and I'm not going to put a lot of effort here because we're going to do the same thing anyway. I just want you guys to have an idea how to approach the painting. I have added some yellow. Now, I'm using some brown and I'm adding some dots onto that wet background. The petals, the center part, everything is still wet. I'm going to ignore that and I'm gonna go ahead and add the rest of the details. So I'm using burnt sienna and I'm just adding some dots. Now, I'm going to taco tone. I added some neutral tend to bonds in order to create a darker tone. And I'm again adding some more thoughts. Right now. I have painted the flower. Now. I'm going to paint the background and washing of the paint. And I'm going with some cream. I'll keep switching from leaf green to sap green. There is no particular order wherever you want to add some lighter tones, you can use leaf green or lemon yellow. Light green. Then wherever you want some medium and brighter tones, you can skip to sapling and add that and just follow the outline of the flower Catholic. That's the only thing you need to keep in mind. Other words, you can apply your paint however you want to. If you want to introduce more taco tone, that's also okay. As I said, I'm gonna go with more of software and medium colors for the background today. I'm not going to make it too dark. So right now I'm using sap green. And I'm just matching that with the light green right here. We painted the flowers first and now we're painting the background for our class project. We'll be going in the opposite way. We will first paint the background. And when that dries, we will paint the flowers. If you guys remember, we have tried both the techniques for the red copies we painted. We first did the background and then we painted the flowers. Then for the yellow flowers, we painted the flowers and then painted the background. So we have tried to pull the techniques you can go with, which will be the one you're comfortable with. You can either be in the background or it can either paint the flowers first. Okay. We're told me the method that you're filling, Be sure to go with a smaller size brush and give a clean shape to the flower. Don't add any paint onto it. Because we're going to retain the people why to create that by disease. So that's the only thing you need to keep in mind. Other than that, you can go with any of the methods. I'm going to add some more dots at the center using a darker tone. I'm just mixing a little last neutral tend with burnt sienna. I'm adding some more dots at the center. Right now. It looks quite unfinished, so let's add some more time. For this one. I didn't really put a lot of effort. I just wanted to finish it off quickly. My intention was to give you an idea how to approach the painting. It's pretty easy, but it's nothing complicated here. Even for the bokeh effect, you can either use some clarity or if you couldn't find anything, you can just draw the circle by your hand itself. Okay, so that's some rice, everything you need to know to create this car, just DC. For our class project. As I mentioned earlier, we will paint the background first, then when that dries, we will add that bouquet effect. And after that, we will paint the DCS. Alright, we're good to go. Now, let's give it a try. 49. Dreamy Daisies - Part 1: It's time to start with the whole painting. First, we need to add the pencil sketch will need to add two daisies. If you want to add three, or if you want to go with just one, That's totally okay. But go to slightly bigger size. This will make it easier for us to paint the background. If it's too small, it might be a bit difficult. Okay. So just go with a medium to bigger size. I'm going to start with my first DC to make it easier, I'm going to add the finished painting here so that it can take a look at it and do your sketching. Alright, so let's add a pencil sketch. I'm just going to add two daisies. I'm not going to add any bugs or any leaves. If you want to add some but solely use, that's totally okay. So feel free to modify your painting however you want to. Maybe you can go three flowers or just one flower, and also can change the orientation or location. Alright, so let's add the pencil sketch. Okay, so this case study, now what will first step is to paint the background for that. As I said earlier, I'll be using leaf green, sap green and a bird tops early embryo to create a darker green. So let's take out the colors and start right away. I have taken some leaf green. Now, I will need some sap green. Okay, so we have the colors ready. Now let's start painting the background. To paint the background, I'm going to take two brushes, one bigger brush. And when smaller brush, I'll be using a bigger brush to apply paint onto a larger area. The smaller brush to apply paint closer to the flavor so that I won't accidentally had any paint onto the flower, will need to preserve the paper wide. It's really important to use the smallest size brush when you're applying the paint around the flower. Okay, So let's begin. I'm starting with the leaf green. First, I'm using my bigger brush. This one is a size number 12 round brush. Now, in case if you want to use masking fluid to preserve the white of your flowers, you could do that as a bit more easier if you have masking fluid on the flowers. So in case you want to use that method, that's totally okay. Apply masking fluid onto the flowers and wait for that to dry and then come back and paint the background so that you don't need to restrict yourself. You can apply the paint onto the background quite quickly because you don't need to worry about the flavor. You can apply pinned down to the anterior background. If you want to use masking fluid, feel free to do that right now the color that I'm using here is leaf green. You can use any of the light green or you can just use lemon yellow. So carefully apply that. Don't add any paint onto the flower. Now I'm going to switch to saccharine. And to apply that, I'm going to use the smallest size brush. Maybe we can mix that with a little off screen and turn that into a lighter tone. Now, carefully, follow the shape of your flavor and add that in. Painting this background is quite easy. It is just that you will have to be a bit careful when you're applying the paint around the flower. Because for today's painting, we're not really adding any color onto the flower. We're going to see people like to create those by TCS. That is a reason why you should be really careful not to add any paint onto the flower. Now, applying green around the flower, you can drop a little into the background as well. In a very random way. You can add your paint wherever you want to. There is no particular order or pattern here. Wherever you want, some darker green, you can add in some sapling. And wherever you wanted to solve that lighter green, you can leave it as it is. Now, just in case you make little mistakes like what I did here. Those things are okay. We can fix them with white gouache at the end. Okay, so don't worry if you make such simple mistakes, but then try to avoid them. Okay, so let's carefully add paint around the flower. As I said, go to smallest size brush. Don't use a bigger brush and you can smudge some color into the background as well. Before it dries. You have some nice texture and pattern in your background. Okay? So be really careful when you're applying paint around the flower. Use a smaller size brush so that you won't accidentally add any paint into the flower. So let's do this. Okay, so the first flower is done. Now in a similar way, I need to apply paint around this flower asphalt to first-time smashing the color using my bigger brush and I'm applying some more leaf green around the flower just to make that area wet. And also if you feel like in your data has some strong color patches or some rough patterns, you can apply some more green and smudge them. Because today I want more of a software background, unlike the other days. So use a bigger brush and go the watery paint and keeps matching the color. Now I'm going back with sap green and I'm just dropping that onto the vector background. Randomly dropped that as the background as well. They will nicely spread into the background, creating a softer effect. Now let's add that around the flavor. Be really careful when you're applying paint around the flower. Don't add any paint into those patterns. Okay, So let me quickly finish this. So then adding the green around this clever, if you want to drop in some more medium tones around the other flower, you could do that. We can do these modifications only when the background is spread. So make use of the time and add in some medium or taco tones wherever you want to. But be careful not to add any color into the petals. I'm just dropping in some sap green onto this corner. You can see I'm not making it too dark. I'm just using sap green. I won't be adding any blue or anything into that for the moment. At the end, I will try to make some areas a bit darker just to bring in some contrast. For now, I'm just using leaf green and sap green. You can see here I accidentally added some paint onto the petal. So these kind of mistakes are really okay. It is not going to spoil our painting. We can either modify the shape of the petal. I'm going to make it a bit smaller so that I don't need to apply any white gouache at the end. But then you can also choose to apply some white gouache or white watercolor at the end when everything has completely dried. So these kind of small mistakes are okay. Don't worry if it happens. We can either fix them with white gouache or you can modify the shape of your petal. I'm nearly done adding the paint. I have a small area leftover here. I'm carefully running my brush around that petal. I'm trying not to add any paint into the Fetzer. Okay, so that we have applied paint onto the anterior background. We have used leaf green and sap green. So right now we have used mostly medium tones. Now, I'm going to use my biggest size brush. I'm going to switch the color to make the backend wet. And I'm going to drop in some more medium tones. If you already have medium tones in your background, you don't need to add any other paint. You can live with acetals. I'm just going to drop in some more sap green. I feel like the background is really light. I wanted to introduce some more medium tones. So I'll just add some around the petals so that we have a really nice contrast when we add those white clovers. Just add in some paint. And that's not looking soft. You can take some leaf green on a bigger brush and just match that. So right now I'm using a bigger brush and you can clearly see the way I'm smarting the color to make it soft. When you're smudging the color, there are two things. First, you should be using a bigger brush and then you should be going with a slightly watery paint. This way it is really easy to smudge the color. It will leave any strong or rough patches. So technically you can go multiple rounds. You can go for three or four layers and make your background more and more intense. Right now, I'm using sap green and I'm just adding that around this level, especially on the top. Over here, I have more of a lighter tones. I want to make it a bit more brighter. Now if you're using 100% cotton watercolor paper, your people might stay wet for a longer time so that it is quite easy to apply the paint. And it's easy to smart Sim, the cost of people can hold a lot of water and it will stay wet for a longer time compared to the cellulose paper. So in case for using student grade paper and you paint has already started drawing, you don't need to go for multiple layers. You can leave it as it is. For the last step, I'm going to squeeze out some cerulean blue. I want to make some media slightly darker, especially the area around the flower. Some taking a look, love sap green. And I'm mixing that with cerulean blue to create a darker green. But it is not too dark. It is still a medium tone. I don't want to make the background too dark, like the holidays. So perhaps a color I'm using. I think I'll use my bigger brush to smash the color. So you can see the color that I'm using here. It is in that dark. It is still a medium tone. Now, adding that wherever you want to don't make it too dark, it is not a necessary step. If we're already happy with your background and blend, you can leave it as it is. It is only in case if you want to add in some darker tones, you just need to go with this step. Otherwise it is completely okay to ignore the stem. Now I'm picking some leaf green and I'm smashing the color. So keep adding your color and to smudge that, go back to a lighter tone of green and use a bigger brush, just match the color. Keep doing this simultaneously. If you wait for a longer time, it might be a bit difficult to smash the color. So once you have applied your darker tone, go back to your medium or lighter tone of green and keeps matching the color. That area looks nice. I think we can add some taco tones onto the other flower. Also in a similar way. This area is looking really nice. It has got a really beautiful contrast. In a similar way. I'm going to drop in some medium tones on the top as well. We already have quite a lot of lighter green. I think we can add some more tones over here. You can see the brush I'm using here. It's a bigger size crash. Smart Socolow, always use your pico brush. So it is really easy to smarts the color. It will leave any brush mark. To paint a baton, always use a bigger brush. If you're using a smaller brush, when the painting dries, you can really see that brush mark. So depending on the size of the painting and go with the bigger size trash if it's a bigger painting. And also if you have a lot of failure, it is always good to go with a bigger brush. I'm using that darker tone of green. And I'm adding that over here. And I'm just merging back into the background using some light green. You can see how easily am able to smash the color using a bigger brush. So use a bigger brush and the watery paint is match the color is quite an easy tree using the right kind of paper. Okay, So let me quickly add some more deeper tones over here to bring in that contrast before the bathroom tries. Alright, so that's our background. Now we'll have to wait for this to dry completely before we call it the book effect. Alright, so the cell dried completely. The colors are still looking. So private equity, I'm quite happy with the latest looking right now. Now for the next step you will need something. So color shapes, some hollow circle. This one is a washi tape. We can either use something similar or you can use a stencil. So I hope you guys have found something in circular shape, which is hollow. Now we'll need some white gouache to add in the wars bouquet effect. You can either use white gouache or white watercolor. For the first set of circles. We'll go with the watery white paint. It can be the white gouache or white watercolor. First we will add the circles using a slightly transparent white. And then when that rise at the end, we'll be adding some opaque white circles. Now just in case if you couldn't find any hollow circular shapes, don't worry. You can use some lead saw something and Footscray the outline and then fill that in white quash or whitewater. Just don't worry if you couldn't find any shapes. Now before I start, I'm going to change the water. This one has called dirty. For the next steps we are doing to paint the bookcase, I tend to paint the flower. You will need clean water. Just replace your water if it has become dirty. Alright, so let's start. I have some white gouache and a jar of clean water here. I'm adding a few drops of water and I'm turning back white gouache into slightly watery consistency. I'm not going with an opaque paint. And I'm going to take my washi tape and I'm going to add my first circle here. First, I'm not gonna go with a full circle. I'm just adding that closer to the border to three-fourths of the circle. I used a slightly watery paint. It is not 100% opaque, and I have added my first circle. We can see the color here. Just again, if you want to adjust the shape, you can go with some paint and modify bad with your brush. Now with the similar paint, I'm going to add another one on the top. I'm loading my brush with some paint and I'm going to place my washy tape almost over here. And I'm going to fill that with white paint, which isn't 100% opaque. You have to be really careful when you're applying your paint. Try to get a beautiful circle. Maybe you can add an outline first and then fill that with white if that is more comfortable for you. So that's my second circle. For the next one, I'm going to use my yellow tape. This one is slightly smaller than the other one, so that I can create different sizes of circles in the background. If you couldn't find anything in a similar size, you can use some lay door or something. And you can add an outline first and then fill that with white gouache. Okay, so just don't worry if you couldn't find any hollow circles. Now for this one, I'm using a paint with a slightly thicker than the previous one, so that we can have different tonal values of white in the background. And this will make up a book effect more beautiful and realistic. I'm just following the shape of my yellow tape and I'm filling that with white paint. Looks like the shape hasn't come out nicely. So I need to fix it with my brush. I'm just running my brush to make it a clean circle. I won't be adding a lot of circles. I'll be just adding four or five of them. You can add as many as you want and variable you want to add them. It doesn't need to be the same locations that I'm adding them here. I'm adding the next one somewhere at the bottom, closer to the other circle. I added hold it tightly so that it doesn't slide. And adding the paint. You can see the previous one is looking really light. And because we use the watery paint and the one we added right now, it's a bit more opaque. That's the beauty of the bouquet effect. You should be playing with different tonal values of white. Some of them can be using a lighter tone and some of them can be using a medium tone. And for some others you can use an opaque white. So that's a beautiful bouquet effect. You should be playing with different tonal values of y. Now, I'm going to add few more circles using this medium tone of white poster I'm adding at the bottom. Then maybe I will add at the top. Okay, so feel free to add them variable you want to, you don't need to restrict yourself to the location that I'm adding TO variables you want to. So this is how our background has to own tout, have adequate out of so-called using that medium tone of light. Looks like I don't have a lot of paint left. I need to take out some more white gouache for the next one sphere using an opaque white. So obviously I will need more paint. So I'm going to squeeze out some white gouache onto my palette. Okay, So I have the paint ready. Now for these ones, I'm going to directly go with my brush. I'm not going to use any instance Lorine hollow shapes because I don't have a smaller one. For the circles that I'm adding right now. I'm using a much more opaque portion of white. I haven't added a lot of water. So this one is kind of opaque. Now overlapping that bigger circle. I'm adding a smaller one here using that opaque version of white. If you can't find any hollow shapes, you could use that. I couldn't find anything. So I'm just adding that you'll see my brush. Or you can just add an outline using a letter or something and then fill that shape with white gouache or white watercolor. Don't rush, it goes low and create a beautiful circle. So in a similar way, I'm going to add a few more white circles using an opaque version of white. I have a ring here. This is the only thing I could find, but then I'm not really sure if I can use this assistance because it's too thin and it means slider when I'm trying to lift it off. Only if it has some thickness, we can lift it off easily. Otherwise, it may slide or fans match the color. I'm not going to take a risk. Rattle. I can apply an outline using a pencil. Maybe we could try that. Have taken a pencil and hammering here. No, I'm just trying to create an outline. I'm taking that inner shape. Have a sketch there. Go with a light pencil sketch. Don't make it this dark. Now we have to fill this with some white paint. So this is one step you could follow. If you couldn't find any hollow circles, you can take something which has a circular shape and create an outline. Then fill that with white quash paint or white watercolor. So I'm going to fill that shape. I'm using a size number two round brush here. And after I'm done with this, I'll be adding few more circles using an opaque white paint. You can add them variable you want to, you don't need to follow the same locations that I'm adding them here. So let's add them in and finish up the background. Alright, and then we are done with all background. You can see that car just bouquet effect we have got here. It was easy right? Now. We'll have to wait for this to dry completely before we paint the DC. 50. Dreamy Daisies - Part 2: So the bank industry, now it's time to paint the DCS. For that, I'm going to use a lighter tone of neutral tint. If you don't have neutral tint, you can use Payne's gray. Or if you don't have neutral gender being free, you can use a bit of black. Okay? So we're going to turn this into a really light tone. So I'm going to take out a bit tough, neutral tint. I'm going to add quite a lot of water to turn that into a lighter tone, which will be the birth data. Using wash it thoroughly and make sure it is completely clean. And you need a jar of clean water. Don't use dirty water. So depleted ACs, I'll be using two brushes. It can be medium or smaller brushes. The size doesn't really matter. You'll see the first brush, I'll be applying a really light one of neutral tint onto the petals and using the other brush out this matching that using clean water. So that is what these two brushes are for. Okay, so I'm starting with a flower at the bottom. I'm using my size two round brush. And I'm applying or really light tone of neutrals and starting from that center, I'm just dragging my brush down. Now using clean water. I'm smudging that. I'm not using a lot of water. I don't want any water or paint to get into that green background. So be really careful. If you can use the smallest size brush that will be really nice. So let's add some lines. Then smudge that using a smaller brush. Now, we need to do this for all the petals. So you can see I'm using a really light tone. And for this one I think I don't need to smudge it. I'll just leave it asset. An asset is quiet light already. For some petals you can smudge the color. And for some of them you can leave it as it is. We should use a really light tone of gray. Don't use a lot of water. So go petal by petal and finish out the flavor. It's a pretty simple step. Be sure to go with a lighter tone of gray. And also the other brush which I use enforced munching. It shouldn't be watery. It shouldn't have a lot of water. It just needs to be slightly down. If you're going with a watery brush, there are chances the water may spread into the green background and the spoil the background. So just use a damp brush, don't make it too watery. So let's finish out the flavor. After I'm done with this in a similar way, I'll be applying the background layer to the other flower asphalt. So they're just trying to add some shadows right now. Then I'm gonna go with a lot of details. We are trying to preserve the background people lived, and that will be the color of the flower. Okay, so that's our first level. We have painted the background layer. In a similar way. I'm going to paint the other fluorouracil. So first I'm going to quickly add some lines using a lighter tone of gray. Then using my other brush, which is slightly damp, I'm smudging the color into the background so that the line to only two prominent. Okay. So just like I said earlier, they're trying to preserve the people, right? We are just adding some shadows using a lighter tone of gray. I hope the idea is clear. Now let's quickly finish this flower asphalt. Alright, so that is how a desk turns out. Now, let's wait for this to dry completely. And after that, where we added the center details. Alright, so the background layer has dried completely. To paint that details at the center, I'm going to use yellow and burnt sienna. These are the colors that I'm going to use, cadmium, yellow, and blue on. The first step is to apply yellow onto that subclass shape. We have at the center, that irregular circular shape. So I'm squeezing out some cadmium yellow. It can be any Lu have God, it can be Indian yellow primary yellow, gamboge, yellow, yellow ocher, or in yellow. So use a smaller size brush and apply that onto that shape. You have at the center. I have taken out some bonds in an asphalt. I'm using my size number four round brush. And I'm going with a bright yellow. Okay, So go too bright yellow and fill up that shape at the center. So I'm just applying yellow on the top and I'm leaving some random shape at the bottom. Over there. I'll be applying bonds center. I'm going to fill the top of this one as well in yellow. Then I will switch to one center and fill up the remaining area. I'm not washing out the paint from my brush. I'm directly picking some burnt sienna. I'm adding that at the bottom. As you're applying that color using the same color, you can add in some dots asphalt onto that yellow background. This is just the base layer. We'll be adding more deeper tones when it dries. First start with a yellow. Add that onto the top. Over the bottom, you can use burnt sienna or brown and add that in. Then using the same color, you can add in some dots as well to make it look more realistic. You can already see how beautiful our paintings looking. Earlier. It was looking so lifeless. Now, when we added that brown and yellow and is looking so pretty and lively. So just like how we did earlier, I'm using brown and I'm adding that at the bottom. Looks like I added quite often brown here. So I'm picking some yellow and I'm smashing them. Then I think I liked this brown. This one is much darker than the one I used for the previous one. Let's go back but some darker brown and add that or heal. I think the darker brown is making it look more realistic. So once you're done with this, you will have to wait for this to dry before you add the remaining details. You can see how pretty it is looking. For our techniques section. I did it quite quickly. I didn't wait for this to dry. Right now. I'm thinking really slow. And you can see the difference above. Flowers are looking a lot realistic panel. You're now using the same darker brown. I'm adding some dots onto this yellow background. Just some teeny tiny dots. You will have to wait for the background to dry before you add in these tops. Otherwise they may spread into the background. So wait for a couple of minutes and adding these teeny tiny dots onto the center using that taco tone of brown. The same has to be done for the other one aspect. But then I think we can make it slightly more darker. So add in some more neutral sent into the brown and make it more darker. Add some more dots at the bottom. It says tall here. Leave the top area. Acid is only at the bottom. You need to add these taco tones. So that is how we should be adding the details at the center. Was we added yellow and round for the background. Onto that'd be added some dog to using a medium tone of brown. And right now we're using a darker tone of brown. And we're adding botox only at the bottom. Now in a similar way, I'm going to paint the other one as well. I already have some darker tone of brown on my brush, so I'm starting with that. So first let's add the dots at the bottom using this darker tone of brown. We don't need a lot, we just need some at the bottom. Now I'm going to wash the paint from my brush and I'm gonna go with a medium tone of brown, which doesn't have a lot of neutral tones. And I'm going to add the remaining thoughts onto the topic area that looks a bit dark. I need to make it a bit more lighter. Okay. So leave some gap in-between and adding these teeny tiny dots. You should be using a brush which has a pointed tip. Otherwise they may look really bake. It shouldn't be too bad. If you add them in a bigger size, your painting will go out of scale. So be really careful about the size of those dots. It shouldn't be too bad. Now for the next step, I'm using a brush which is just ****, it isn't too watery, it is just slightly wet and it doesn't have any paint. Now, I'm just pulling that brown color from the center into the petal. And a very simple way, I'm not putting a lot of pressure. And I'm simply spreading that color into the petal to bring in some brown tones on the petal. This will make up a flower look more realistic. Don't put a lot of pressure and don't go with a brush which is too watery. Your brush should be just slightly down. Don't go the watery brush that's above level. You can clearly see the difference between the one at the bottom and the top. The one at the top is looking at large, realistic. We're nearly done with this lever. To add some final touches. I'm going back with a darker tone of brown. I'm adding some neutrals tend to bond scena, scena taco tool. And using that color, I'm going to add some more dots at the bottom. This is going to make it look more realistic. So that's done now on washing off the paint from my brush. And I'm going back with gray. Again, lighter tone of gray, something similar to the one we used at the beginning. I'm just adding some lines onto the petals. I'm just picking fuel and random and I'm adding some lines like this. We don't need to add them for all the petals. Just pick one or two in-between and add in some lines like this. That's done to finally, just in case if you feel like some of the petals need some modification and the shape, you can wash out the paint from your brush and come back with an opaque white paint. And you can choose Character shape using a white paint. This is optional. This is only in case you feel like you need to fix the shape of the flower. Just in case if you feel like those petals needs a little off fixing. You can go with either white gouache or white watercolor and fix the shape of the petals. So that's done. Now, I'm going to follow the same steps for the other flower as for first-time washing out the paint from my brush using a damp brush. I'm just matching the color from the center into the petals just to create some brown tones on the flower. Okay, So let's do this. As I said earlier, don't make your brush too watery. It has to be just slightly wet. Now keep repeating the same steps until you finished to enter your flower. So at the top you will have a yellowish color and at the bottom you will have a brownish tone. That's okay. You just need to pull that paint into the petal. Just don't worry which color you're getting there. So that's done. Now the next step is to go with white gouache and fix the shape of the flower. I'm using my size two round brush and I'm using an opaque white paint. And I'm going to clean the shape of these petals. This step will give you a flavor, a more refined look. Okay, so that's done. We are done with the flowers. Now the last step is to add the stem. So first I will use a pencil and I will add a line. For this one, it is going to be a long stem. I have added the line. Now when you're painting, we can simply follow that line. Have added the stem for board of levels. Now to paint them, I'm going to go with a darker tone of green. I have mixed up steadily in blue but sap green to create a darker green. And I'm going to add that at the top of the stem. This part of the stem is right underneath the flower. So you have to start with the taco tone and be sure to use the smallest size brush. Don't make it too thick. I'm going to add the same color for the other one, asphalt. So once you have added that taco tone on the top, you can switch to sap green and fill up the remaining stem. As I mentioned at the beginning, I'm not going to add in the leaves onto this painting. I want this painting to be really soft and simple. I don't want to make it too busy. I have no plans to add any lease or any paths. I'm just going to leave it as it is. Now. I'm picking some sap green and I'm going to fill up the remaining stem. Okay, So I have painted Buddhist stem. You can see I started out with a topical cream. Then I used a medium tone of green. I added that are still remaining stem. Now I'm gonna go with a lighter tone. I already have some yellow and some white Lectio. So I'm just going to mix them to create an opaque light shade. Now using that color, I'm going to add some highlights on the left side of the stem. It is just some highlights. It doesn't need to be well detail. You can see the difference between the right and the left. This one has a more of a 3D field. Using a light tone. Just add some highlights onto the left side or the right side. Now, we need to do the same thing for the other one, asphalt. And picking that same paint, mixing some yellow and some white. It's a bit watery. I'm not going with a really opaque paint. Now, let's add the highlights. I'm just adding a thin line or to the left side. And I'm smudging that with some grain. It is just some soft highlights. It doesn't need to be too prominent. Once you have added that line. It's much that, but some medium tone of cream. I think I need to make the taqueria a bit more smarter. So I'm just picking some water and I'm smarting this area. It looks like that is done. I really love how this painting has turned out, especially that bouquet effect. Now it's time to peel off the masking tape. And here's our dreamy DC. I really loved the color completion. That soft look at the bouquet factors really going well with the TCS. I hope you all enjoyed it too. Thanks a lot for joining me today. I'll be back as to what would our next and last key. 51. DAY 17 - Spring Evening: Hello, hello, Welcome to day 17. Today we're gonna do a very quick and easy painting. We are going to explore the wet-on-wet technique and we're going to paint a car just spring evening for change. We're not going to use any green today. The color palette is entirely different from the other paintings we have done so far. Okay, so let's take a look at the colors and let's have a look at some techniques. For the sky. I'll be using three colors, which is crimson, a watermelon, and cadmium yellow. I'm guessing you all have crimson and vomiting. Instead of cadmium yellow, you can use any other yellow off a choice for the major part of the sky, we will be using Crimson. And then over the middle we will be using some vermilion. And two at the bottom, we will use some yellow. If you want to go with a different color combination for your sky, you could do that. It doesn't need to be the same colors that I'm using here. Maybe you can use violet, pink and yellow, or maybe blue, pink and yellow. So you can use any color of your choice and make the sky more traumatic and interesting. So I have taken out some crimson. Now, I will need 1 million and yellow ones have taken out all the colors. I will do a quick scratching. We are using very familiar colors today. You will just need crimson, vermilion, or any other orange and some yellow. These colors comes in all the basic watercolor sets. So I'm quite sure you all may have it. So I have the colors ready here. Now I'm going to quickly swap them out. I will start with chromosome. The meter color that we'll be using for this guy is crimson. You can see the painting here. Almost three-fourths of the sky is crimson. For the flowers as well, we'll be using crimson. So that's our first color. Next one is vermilion. You can use any other orange. So that's our second color. Now the third one is yellow. We'll be using yellow towards the bottom. We'll just need a little of yellow where we have the sun. Other than that, the major portion of the sky will be crimson and vomiting. So those are the three colors we'll be using for the sky. Now for the sky as a background layer, I'll be applying some white watercolor. It doesn't need to be white. Gouache will just apply white watercolor. And onto that, we'll be adding these colors. So we'll try a quick exercise to understand how this guy is going to be if you apply just water and if you apply whitewater color. So I'll complete the color palette and we can try that exercise will lead to more colors for today's painting are witches burnt sienna, and neutral tint. Instead of neutral tint, you can also use Payne's gray or black. These are the two other colors you will need, will be using these colors at the bottom where we had those plants and landscape. Okay, So let me sketch out these two colors and finished the color palette. And we can go with our techniques right away. These two colors are also quite common. You may not have neutral person. In that case, you can use Payne's gray or just a bit of black, will be adding that into burnt sienna to turn that to a darker tone. So I'm going to swatch out bonds, xenon and Eutelsat. One thing that comes in all the basic watercolor set, you all may have it. Then the next one up, new tightened. It is very much similar to paints gray. If you don't have Payne's gray, you can use black. You can see the color here. It is very much close to black or a Payne's gray. So that's the final color you will need. Then, like I said earlier, we will also need some white watercolor. Alright, now let's try. Alright, now let's try this guys. So I have created two sections here. On the first one, I will apply some water. Then onto that I will be adding the colors. And until the second one, I will apply well to watercolor onto the background. Then again, onto that I will try adding the colors and we'll see what's the difference. I have applied a CO2 water. Now onto this wet background, I'm going to apply crimson. We'll Merlin and yellow. Like I said earlier, the major part of this guy is going to be crimson. So let's switch to a round brush. Let's start with Clemson. I'm using a size number eight round brush and I'm going with a medium tone. And I'm applying that on the top of the sky. It's a car just color. Have applied that onto almost half of the paper. Now I'm washing off the paint from my brush and I'm switching to a woman. And I'm applying that right next to chromosome, making it a clean blend. I'm again washing up the paint from my brush. I'm going with some yellow and I'm applying that at the bottom. We have crimson, orange, and yellow. Try to make it a clean blend. Onto the other section as well. We'll be using the same method to apply the paint. But instead of water will be applying a photo white watercolor onto the background to turn the color into a pixel and a creamy one. Okay, so that's the only difference. The technique is gonna be the same. Okay, Now, onto this background, I'm going to add in some clouds using a darker tone of trypsin, am using the same brush. And I'm going to pick a much more darker tone of chromosome. And I'm just going to add some random clouds onto this wet background. You can give it any kind of shape, but be sure to add them before the background drives so that they will spread into the background and will look really beautiful. So be really quick and adding the clouds using a darker tone of Trump said, I have added some clouds on the top and you can see how pretty and vibrant they are. We can add some clouds at the bottom as well. Now we have 1 million. For that, you can go with a much more lighter tone. It doesn't need to be as bright as the ones we added about. They look really bright. I'm just going to wash out the paint from my brush. And I'm dabbing my brush on a paper towel. And I'm just matching them to make it look more smarter. Okay, so that's this guy. I'm pretty happy with the colors here looking so y prime. So this is how the normal wet-on-wet technique looks like. But for our painting, we'll be applying for the white onto the background and we'll be adding the colors on top of it. And that's exactly what I'm going to try next. I have take notes and white watercolor onto my palette. Now let's try the other sky. But before that, I think I will add a small sand onto this wet background before it dries. And then we can start with Alyssa can sky. So does just white watercolor, does not white gouache. I'm adding a small circle here onto that wet background. Let it dry. So it will have a blurry look. So that's a full sky. Now for the second one, as I said earlier, I'm going to apply a code or white watercolor onto the anterior background. For that, I'm using a bigger size, strong crush. This one is size number 12. And I'm adding meaningful water into white watercolor and turning that into a loose consistency. And I'm applying that onto this entire section. For the previous exercise, the background layer was just plain water. But here we're using white watercolor to turn the color into more creamy and more peaceful tones. To do this, use a bigger size brush so that the paint will reach everywhere. So the base layer is tricky. Now I'm switching to my size number eight round brush and I'm going to apply the paint in similar way. Happy to tell you, I'm starting with Clemson. And you can already see how thick and creamy that cholera is looking. So gorgeous. It is looking so much opaque than the previous one because we have added white watercolor onto the background. Okay, so that's the first color. Now I'm going to wash her the paint and I'm going to go with the second color, which is 1 million. And you can see that instant paste will orange. See that. I really love this technique to create baseless guys. It looks so creamy and I just love it. So that's a second color. Now I'm cleaning my brush and it's time to go the third color, which is the adult. Let's apply that at the bottom. Okay, so we have the colors ready on the background. Now it's time to add the clouds. For that. I'm gonna go with a darker tone of chromosome, just like how we did in the previous section. Now in a similar way, have added clouds, add some clouds onto this one asphalt. The major differences for the previous one, we use clean water, and that's why the colors are looking more transparent. But for this one, we used whitewater color for the background. And because of that, the colors are looking more thick, creamy and opaque. Give it a try and see which one you like better and go with that technique for your sky. With the first one, the texture of the paper is really visible because the color is a lot of transparent. But on the second one you can see the texture of the paper is not at all visible. As we're using an opaque paint. We have white in the background. So the colors are more opaque. In case if you'd like the transform property of watercolor and you don't want to use white watercolor. That's absolutely okay. Just apply clean water and then add new colors onto Pat. If you apply white watercolor or not, the process is going to be the same. So just choose the metal that you like. For me. I like the second one better because it is looking so creamy and thick. And I loved that basic colors as well. I would definitely go the second one. So that's a second method. I will add some more clouds. Maybe using vermilion. I will add some over here. And after those will need to add a sun using white watercolor. Dislike how we did in the previous one. Okay, so before the bathroom drives, Let's add fun. I'm using my smallest size brush, and I'm just adding a small circle here using white watercolor. Use the same method to print the first and the second sky. The only difference is for the first one we used plain water. And for the second one as the background layer, we use white watercolor. You can clearly see the difference between these two. So choose the one that you like and you start for your class project. Now let's link this will dry and let it dry completely. And then we'll try adding some elements onto this. Alright, so this has dried completely. Now let's try adding some foreground elements onto this project. We'll be adding some plants and some flowers. Here we will try Mountain on the first floor and we'll try adding some plants. In the second one. You can use any of your smaller to medium-sized brush. So the ADA closer to the Sun will have some sunlight falling on it over there. To create that glowy effect, we need to use lighter tones. I make some warm and yellow to create an orange color. And I'm going to add the sun using this color. The area closer to the sun should be in a yellow and orange color like this. Now, for the rest of the area, we can go with more taco tones. I'm taking some brown and I'm adding that on the remaining area. So here we need some lighter tones. And onto the other area, we can add some darker tones. So be really careful not to add any taco tones right underneath the sun. I mean, the area closer to the sun, it should be in a lighter or a medium tone. Now let's pick some more darker tones and add that onto this corner. So this area is quite far from the sun, so you can use more darker tones over here. So keep in mind the area right underneath the sun has to be in lighter and medium tones. You can use some orangeish, yellowish colors over there. For the remaining area, you can use brown and a darker brown. I think you can already feel that sensitive glow here because we used a medium to lighter tone, right? And I need the sun. Onto the remaining area. We used more of Taco tones. So you can really see that contrast here. So whenever you're doing a sense of painting, the basic temporalis, you should be using medium to lighter tones right next to the sun. So that means you should be using more of yellows and orange colors right underneath the sun and the area which is away from the sun, you can use more often Brown and Board and bustle of colors. So you can really feel that sense it glow in your painting. No matter whether you're painting trees or mountains or anything, the temperature is the same. You should be using light to medium tones on the area closer to the sun and onto the area from the sun, you can use more off-target tones. Now using the same technique, we're going to try some plants. On the second section, I'm starting with a light orange. And I'm going to add a plant right next to the sun using this light orange. You can see it's a very light color. Well here are the sunlight will be hitting hard on this plant. So it will appear really light. It's a very basic plant. Will be adding similar plants onto our class project as well. So that's our first plant using a lighter tone of orange. For the next one, I'm going to pick some brown, a medium tone of brown which isn't really light. And I'm adding that or show. As I'm going towards the right side, I will make the color more and more darker because we are going away from the sun. So this one is a medium tone and just slightly darker compared to the other one. Okay. Before we start making the color more darker, I will go back with a lighter tone, and I will add one new plan towards the left side, closer to the sun. So it can really see that difference. That's a plan using a lighter tone of orange. Okay, now let's start making the color more and more darker. So I'm going back with brown. And imagine the next plant over here. For this one, I'm using a much more darker tone. Come back to the previous one. I have added this term. Now onto this, I'm going to add some random leaves. And for the next one, I will go with a much more darker tone of brown. I will be adding the shaft neutrals tend to make it even more darker. So that's how you keep on building the intensity of the colors. For the ones which are closer to the sun, you should be using medium to lighter tones. The foreground elements in your painting can be anything. It can be some people, animals, trees, or mountains. The approach is the same. In order to create that sensitive, glowy feel, you shouldn't be using lighter to medium tones for the subject that is around the sun or closer to the sun. And for the subject that is away from the sun can be more often darker and medium tones. Okay, So this is exactly what we are going to do in our class project as well. But then we'll go with a much more detailed way. You can already feel that center glow here. I have used lighter tones next to the sun. Right now. I'm missing a much more darker tone of brown. And I'm adding the last plant using a darker tone. Okay, so I hope you all got a quick idea about the technique that we're going to use. We're going to use the same approach for our painting. We'll be using lighter to medium tones next to the sun. And for the area we just added from the sun, we'll be using more of chocolate tones. Now let's quickly try out some flowers. For the flower, I'm going to use crimson. It's a very basic shape. It's more like a shape of a hand. So I'm just adding some lines close to each other and I'm creating a very rough shape. The flowers are not going to be those details. You can see them on painting here. It's gonna be a very rough and abstraction, but you're free to make it more detail. This is the kind of flower that I'm going to add. Maybe you can go with a five petaled basic flower or a more detailed level. That's totally your choice. We'll be adding some flowers onto these plans. So overall, it's a very simple painting and it's a great one to explore wet-on-wet technique. Okay, so we are almost there. We can start with our project right away. Decide on which you want to go with, whatever you want to add white particular onto the background or just plain water. Decide on that. Also, if you want to go with a different color combination for your sky, that's totally okay. Interrupt Thompson. Maybe you can go with some brownish, reddish color or maybe some populist tones. So those things are totally okay, which will be the color that you have chosen. Just give it a try so that it will have a better idea. And you will be really confident when you're attempting your class project. Alright, now it's time to paint this quick and easy spring evening. 52. Spring Evening: Alright, so here's the painting that we're going to do today. It's really quick and easy painting and we're going to explore the wet on wet technique. We already tried a simple form of the same painting in the previous section. I hope you guys have tried it and you guys are quite confident with that approach. I have my paper ready here and we already had a look at the colors. So the first step is to apply a code or white watercolor onto the anterior paper, will be applying the colors onto that white background to turn that into a pistol tone. I'll be using crimson, wool, Merlin, and yellow. You can go with any color of your choice. It doesn't need to be the same color. I already have the colors ready on my palette. So let's take out a bigger brush and apply some whitewater color onto the entire paper. That's gonna be the first step. Use any of you because ISPOR so that I can apply paint onto a larger area quite quickly. Otherwise, it may take some time. The brush I'm using a size number 12. It's quite bright. And applying white watercolor onto the entire paper. It doesn't need to be white gouache, we just need white watercolor and go with a slightly loose consistency. And just like how you apply water onto the background when you try wet on wet technique, just apply a color to white watercolor onto the anterior background. Applied bite onto the entire background. Now I'm going to go with crimson. I'm not washing all the paint. I'm directly picking some crimson. I'm going to go with a really bright tone. Let's apply that on the top of the people. On the top, we will have crimson and over the middle we will have one Merlin. And towards the bottom we will have some yellow. I have applied some crimson. You can see how soft and creamy that color is. This is the reason why a light white onto the anterior backyard. If you try the same thing on a bet background where you have just applied water, the result will be entirely different. You already saw that result in the previous section. You guys very well known the difference between these two methods. Now I'm going to go with vermilion and I'm applying that right next to Clemson. You can see that pixel orange haven't added any byte. We already have some white in the background. So that's familiar. Now, I'm going to pick some yellow. You can make the colors as bright as you want. Linear painted this background will have to be real quick so that you can apply the paint before it dries. Now over the bottom, I'm going to apply some formalin will lead to introduce more of brown tones over here. First we can start with vermilion, and slowly we can introduce more of brown and taco tones. So that's the base layer. Now I'm picking some burnt sienna and I'm applying that at the bottom. This is why we will have some leaves and plants and some levels. So we have to introduce more brown and taco tones at the bottom. For now. We can leave it like this and we can start adding the clouds before this guy tries. That's a major step. And for that I'm using a size number eight round brush. And I'm going with a really intense thrown off, crimson. We'll have to add in the clouds before this guy tries. So go with a darker tone of crimson. I'm in a really bright and creamy version of crimson and adding some lines and some shapes onto that wet background. If your brush is too watery, dab it on a paper towel, and repeat the same step. You can add in as many clouds as you want. I'm not going to introduce any taco tones. I'll be just using crimson. If you want to make your prompts and more darker, you can introduce a good laugh, neutral tint, dark brown into the same color. You can add some more darker clouds. The sky is really wet. So let's make yourself the time and add in some more clouds using a brighter tone of crimson. Just adding some random shapes onto that wet background. It will automatically spread into the sky as it is really wet. You can see how pretty those colors are looking. Now I'm going to add some more clouds towards the bottom where we have the orange color. Okay, so just add some clouds where you have disjunction of these two colors. Now I'm washing off the paint and I'm going with formalin using warmly and I'm going to add some more clouds. I'm using a medium tone. You can choose to go with a medium or a taco tone. That's totally your choice. Now, let's add some clouds right over here where we have orange. We can also add some lines onto the yellow area as food. That's sky. I'm not going to add more clouds. I'm quite happy with the way this looking right now. If you want to make it more brighter, you can add some more clouds using a brighter tone of orange or crimson. Now before we add more brown tones at the bottom, there is one more thing that we need to do. Wash the paint from your brush and go with some white watercolor and just add a circle. I'm adding that towards the left side. You can add it to the center or towards the right type, wherever you prefer. It's just a white circle. So the background is still wet. So the color that you're applying will be slightly dull and that is exactly what we need. And also keep in mind, don't go with a bigger circle, go to medium-sized circle like this. Okay, so that's our Sun. Now we can start adding the rest of the details at the bottom for that and picking some burnt sienna, we will need to introduce more brown tones over here. So let's use burnt sienna. And we can also make them laugh neutral tint or Payne's gray with burnt sienna to make it more taco and add that at the bottom. Closer to the sun don't apply a lot of darker tones over there. We need to rate in most of orange and lighter tones, we can add more darker tones towards the right side, which is away from the sun. This is where we have reached. Now what I'm gonna do is I'm going to simply smarts the color into the background to create a blurry effect. So all these things has to be done while the background is still wet, otherwise you won't get that blurry effect. So just keep pushing that color towards the top and create some patterns here so we can see it is quite messy. Now what I'm gonna do is I'm going to switch to a smaller brush and I'm going to add some grassy patterns and some leaves. So you can use a lighter tone of brown or formalin. Don't go with the taco tone. You can see the color that I'm using here is a lighter tone. Now, just keep on pushing that color into the sky and create some patterns here. By doing this, we'll get a beautiful depth in our painting. I'm in the interior background dries. We will go with a taco tone and we'll add the final details. And that makes our painting complete. For now, you can simply keep on pushing and pulling that paint into the sky and create some random patterns. You can simply add some grassy lines and some leaves. Just need to be some basic shapes. You don't need to put a lot of effort. So keep doing this until you get rid of those patches shapes at the bottom. You can see the difference. So you can see here right below the sun, I haven't added any patterns. Or there we need to go with a lighter tone. We shouldn't be using brown. Wash the paint from your brush and go with the orangeish color. I'm just mixing a little of yellow but formalin to create an orange shade. And I'm adding some grassy patterns and some leaves over here using that lighter tone. We already tried to simple exercises in the technique section on how to create that sense of clue. We try the technique with mountains and also with some plans. The same technique that I'm using here, closer to the sun, you should be using medium and lighter tones. And the places with this other from the center can use medium tones and darker tones. So you just need to know how to approach a sunset painting. It can be either mountains, trees or plants. It's the same way. You need to use lighter tones and medium tones, like some orange and yellowish colors closer to the sun. And when you're away from the sun, you can use more of a brownish, blackish tones. So right now we have used a similar tone of brown at the bottom. We don't have a lot of darker tones. So that is our next task. Before the background dries, I'm going to drop in some more taco tones of brown, especially at the bottom. And what's the right side? You can simply keep on adding some random shapes and some grassy patterns. You don't need to put a lot of effort for this because they will try anyway and they will have a very blurry look. Even if you put a lot of effort, it won't be really visible when the backroom dries. So just keep on adding some dots and some leafy patterns and some lines and create some taco tones over here. The only thing you need to be careful is you should be adding them before the background tries. Otherwise they will look really prominent, which we do need. We will be adding those prominent leaves and glands at the end when the backroom completely tries. But for now, we just need some messy lines and leaves like this. Okay, so this is where we have reached. I think we can make it even more darker, especially at the bottom and also to the right side, which is away from the sun. Okay, so let's go with a really dark tone of brown. I'm just missing a little off neutral tint that burnt sienna to create a darker tone. You can either use burnt umber acid-test or you can just create a darker tone of brown. Now I'm dropping that Taco down at the bottom. And a very messy way. I'm not really worried about the shape and size of them. I just want some darker tones over here. When it dries. As I said, it will have a blurry look. So it doesn't really matter. You can simply drop in some taco tones at the bottom. Okay, so before the background dries, Let's drop in some more taco tones. I'm just matching the color and I'm creating some messy patterns here. So when I see these patterns can be messy, I really mean it. You can take a look at this image here. I have added some plants in the foreground using a taco Donna Brown. And you can clearly see the background is not really visible, but we still can feel a depth in our painting. And that's the only reason why they are adding these patterns right now. So just don't worry about how they're going to look like. Simply keep on adding some random messy patterns before it dries completely. Now I hope you guys are convinced. So that's my background. Now we'll have to leave this for trial. So the background is done. Now there's one more thing that we can do. The sum is not really visible, so maybe you can go with some more white and just add a small circle. So it has to be slightly smaller than that you have created there. It shouldn't be of the same size. So out of white circle, inside that yellow circle. Alright, so data set. Now we can leave this for trying to let it dry completely. After this, we can add those final details. Okay, So what the Biden has dried completely. Our next task is to add in those plants using a taco tone. So I'm using my smallest size brush, this one to five number four round brush, and then picking a medium tone of brown first, the approach is the same. You should be using medium tones when you're closer to the sun. And for the area with this Every from the sun you can use more rough darker tones. So I'm starting off with a medium tone. I'm going to add the first planned some starting with a line. And I'm going to add some leaves on to that. I'm just pressing and adding a very basically, you can make it taller or shorter. Those things are totally your choice. You can add them. How will you want to? And you can add as many plants as you want. You can make it more attendance and tech, those things are totally your choice. I think we can make this a bit more darker. It is looking quite dull. So I'm just picking a little more darker tone of brown. And I'm adding some more leaves using that taco tone. So here you can add those plants however you want to. You can make it more tall or more tense. The only thing to keep in mind is the tonal value of the color that we're using. You should be using medium and lighter tones closer to the sun. And it can use more of darker tones when you're away from the sun. That's only thing. Other than that you can add your plants however you want to. Okay, so let's keep adding those plans. I'm going to add more on the right side over the left, we don't have a lot of space. So over there I will be just adding one or two. Okay, so we just need to be some symbol plants like this. First you need to add the stem. It can be long or short, go with a nice curvy thin line. Then onto that, simply keep on adding some leaves. Once we are done adding all the plants will come back and add new flavors for the flowers I'm planning to use crimson. Okay, so let's keep adding the plants and finish it off quickly. I'm adding my second class. I added this term now onto that using a darker tone of brown. I'm just starting the leaves. You can add multiple branches and add more layers to make it look more denser. So you can see the color that I used here. It's a darker tone of brown. I mixed a little off neutral tint with pontine, articulate this taco tone. Now for the next set of leaves, I'm going to add some neutral tint. And I'm making that even more darker and much more darker tone of brown. I'm going to add some more leaves at the bottom as well as to what's the right side? Okay, so we're done with the right side. You can see how pretty it is looking already. We use different tonal values of brown to create this effect. Now, to make it even more dense so we can add more leaves or more plants. Now we're slowly coming towards the sun. So we need to make the color lighter when we're adding those plants over here, which is much more closer to the sun. So wash the paint from your brush. Let's go with formalin. I'm using a medium tone of warmly. And first, I'm going to add the first plant using that medium tone, a woman name. Over here. We can use a medium tone, a woman. But when we are adding the planets closer to the sun, we need to make it even more lighter. It's exactly the same plant. The only thing is we're using a different color right now. It's a medium tone are formally. So I have added the stem. Now onto that, I'm adding some waves using vermilion. If you want, you can make your plant more taller and COBie, those things are totally your choice. Adding new plants. How will you want to and make it more interesting? Okay, so I have added some leaves using a medium tone. Now, I just dip my brush in some water and I made the color lighter. The next set of plants has to be in a lighter tone. So go with a lighter tone of orange and add the next set of plants using a lighter tone. We are so close to the sun, so be really careful to use a light tone of orange or yellow. I think you can already get that filled up that sunset clause. This is the main reason why we should be using lighter tones closer to the sun. Otherwise you wouldn't be able to create that glowy effect. Now I'm planning to meet the bottom area more denser. So I'm going back with Brown. And I'm randomly adding some patterns at the bottom to bring in some texture and make this area more denser. I'm using a taco tone. I'm just adding some leaves. Only at the bottom. I'm not adding any leaves closer to the sun. So use a medium to darker tone and add some leaves and some random patterns to make it more denser. This painting can be done with any color of your choice. Instead of Thompson, maybe you can use violet or maybe a darker orange or paints gray, any color that goes well with the sunset. And also you can add some dramatic clouds as well, like the one we tried in the beat sunset. So experiment with your painting. How will you want to, you can make his chemo traumatic. At the same case with all the paintings are they doing in the Saturday watercolor challenge, you need to get that approach right. Try incorporating your own elements and you can try it in your own way. Okay, So I'm going to add one more plant onto the right side to fill up that cap. I think there's quite a gap over here. You can add one or two. It's totally your choice depending on the space you have leftover there. Alright, I think it looks quite nice. I don't want to make it too busy. So I'm going to wash all the paint from my brush. And let's start with the flowers. The flowers, I'm using Crimson, a darker tone of Thompson. I'm not going to add any white or anything into it. I'm just using Chrome, some acids, and I'm using my smaller brush. Now I'm simply going to add some flowers onto these branches. It's a very basic shape. We already tried this in the technique section. If you want to make it more interesting, you can go with a different shape. So wherever you have these branches onto that, you can add some flowers, right? Are we using a darker tone of thompson? So just keep in mind not to add any flowers closer to the sun over there, we need to go with a lighter tone. So right now, concentrate on the right side and add more flowers over here using that prior to turn off chromosome. We can add in as many as you want. You can add them on to the tip of the branches and also in-between to make it look more dense. So it's a very simple painting actually. And you can see it is only less than 20 min till now, and we're nearly done. The major thing here is playing with different tonal values of yellow and orange and brown to get that glowing effect, right? The first set of levels are down. Now maybe we can add some in-between asphalt, or maybe before that, we can go with a lighter tone and add them onto the other area which is closer to the sun. So let's add in some water and make the color lighter. Let's add some more flowers and a lighter tone. So you can really see the difference here. It's the same way, how you play with different tonal values in the background. That has to be done in the foreground as well. To get that feel of glowing sun, otherwise you won't get it right. So in fact, this painting is quite simple and it was really quick. The only thing we need to be concerned as a tonal values of the colors that you're using. Other than that, there is no other complicated technique involved in this painting. The same approach can be used in any other senses painting that you're gonna do in the future. Whether it's a forest or some mountains, the area closer to the sun should remain lighter and brighter. And area away from the sun should be darker. So that is what brings that glowing effect in your painting. Now, I'm gonna go back with a darker tone of crimson. And I'm going to add some more levels. And that would be done with our painting for a day 17. Alright, I have added enough off-flavors. Now I'm going to just add in some dots in a very random way to make it a little more denser. But that we are done with our painting. Now it's time to peel off the masking tape. Alright, my difference. So here's several painting for the day. I'm really happy with the colors and that glowing effect. But I feel like we can meet those flowers a bit better. Right now the shape is not that nice. I really cannot convince myself to leave it this way. I'm just going to go back with more darker tone of Clemson. And using a smaller size brush, I'm going to make the shape a bit better. What I'm planning to do was I'm just adding one or two petals onto all the flowers using a darker tone of crimson. And I'll make it a bit bigger and better. So this is completely optional. Maybe you have already put a good effort in making them look great. But then minus and looking that great. So I thought I'll add in some more petals and maybe some more flowers in-between. So feel free to skip this step if your flowers are looking great already. So here it is. I think it looks a lot better than earlier, especially those flowers, they're looking so much prominent right now. Alright, so that's a painting for today. Thank lot for joining me today as a package with the one next thing, landscape. 53. DAY 18 - Waterfall: Hello, my dear friends. Welcome to day 18. Today we are going to be in the car just waterfall. You can see how pretty it is. It is quite easy to create this painting. We are going to use the dry brush technique quite lot to create those textures as well as the waterfall. Okay? So the major technique that we're going to use for today's painting as the dry brush technique. Alright, so let's take a quick look at the colors you will need, and then let's try some techniques. The colors are quite obvious when painting itself. So the major color you will need a sap green, olive green. You can see those colors dominating in the background as well as in the water. So those are the two major colors we'll be using. I already have the colors on my palette, so I will quickly add a swatch. The first color is sap green. This is the major color we'll be using for that background as well as for the water. And also to add the textures will be using sap green. The next major color you will need this leaf green or any lighter green or even lemon yellow. With work. You can see that color in the background as well as on the water. So that's our second color. Before the two colors, you will need majorly sap green and leafy green. Just like I used to see for almost all the painting. If you don't have the crane, you can use lemon yellow or any other lighter cream. Now for the water along with sap, green and leafy will also be using a darker tone. You can see that reflection I have added here. For that, I will be using indigo. Right underneath the rock, will be adding a taco tune. For that. I'll be using indigo. You can use any other taco blue. That's the next color. We'll be using this color in a very intense farm to add the reflection as well as to other deeper tones. So that's our next color. Instead of integral, you can also use Prussian blue or any other taco blue if you don't have integral. Now the next major color you will need this neutral tint or Payne's gray or black. You can see this really dark tone I have used for the rocks will be applying a darker tone onto the east rocks. And that will be adding some textures. So for that you will either need neutral and our Payne's gray or black. Okay, so these are the four colors you will need majorly, sap green, leaf green or green or lemon, yellow, indigo, and neutral tint. Now you can see on the right side of my painting, I have added a tree. That's not a necessary element. Only in case if you want to add it, you can do that. Otherwise you can totally skip this for that. If you're adding, you will need some burnt sienna. This is the tree I'm talking about. It's not necessarily only in case if you want to add it, you can do that. Okay? So that's the last color. Now allow others. You will also need some white gouache or white watercolor. Mainly degree that forming water. Okay, so those are the colors you will need for today's painting. Now let's try some techniques so that you will have a better idea on how to create those textures and waterfall before we go with our class project. Let's try that out. So first-time adding a very basic pencil sketch. I'm adding to what Ken lines, which is the waterfall. Then onto either side, I'm just adding an irregular line to create the outline of the rocks. That's a very basic sketch. I'm just indicating where the waterfall is and where the rockers. There is nothing much complicated here. It is just some lines. Now I'm starting off with neutral tint. You'll have to go with a really dark and intense runoff neutral tint or Payne's gray or black. The color has to be really, really tuck something similar to black. You can see the color I'm mixing here. I don't have a lot of paint left on my palette. This color is not that dark. For our class project, we're going to go with a much more dark and intense turn off. It'll tell you. What I'm gonna do is leaving that waterfall at the center. I'm going to apply this darker tone onto the anterior drop. Onto the tall, we can add some sap green and light green. But towards the bottom you should be adding a really dark tone of neutrals and dark Payne's gray or black. Be careful not to add any paint onto the waterfall. Because for the waterfall, we're gonna be eating most of the people that are going to add any paint onto it. Now I've switched to sap green. I'm applying that onto the top. I don't have a lot of color to my palette. I'm just going to use for Lectio. I'm not going to squeeze out a lot of paint. Apply that green following the outline, but don't add anything to the center. So what will be the width of your waterfall? You can live a little of extra space on either side. You can see I have added neutral tint and Zachary, I have left some space at the middle, which is my waterfall. Now I'm going to switch back to neutral term. And I'm dabbing Aboriginal people tell, well, we need to try paint on our brush. For this step, you will either need a cotton cloth or paper towel next to you. So once you have taken the paint on your brush, dab it on a paper towel multiple times to be sure there is no extra water on your brush. Now, we're going to add some dry brush lines onto the waterfall. Just add some random lines onto the waterfall using that tried paint. Be sure not to add a lot and also don't make it too dark and prominent. The major color has to be the people wide. Just few lines are all we need. Just go with a medium tone off neutral tint or Payne's gray or black. Once you have taken the paint on your brush, W Bush won a paper towel and add some dry brush lines at the center. So once you have added that dry brush lines, you can clean up the shape of your rock, deciding on how thick cotton you want your waterfall to be. So cleanup that shape. Painting the waterfall is quite simple. I'm very sure you will love this class project. Just follow the steps. Don't rush. I'm not really happy with the color of the rock. I think it looks really dark. I'm just going to go back with a darker tone off neutral tint. And I'm adding that at the bottom. So it doesn't need to be clean blend Avi, we're going to add some texture onto this so it doesn't really matter whether you have a clean blank are not simply dropping that taco tones. On the Tau, we should have some lighter tones or medium tones. And at the bottom we need a really dark tone like this. So I'm just going to leave it like this. You can see how rough and messy to add colors are lacking. But that's absolutely okay. It is not going to affect our painting. So right now we have painted the background layer. Now we have to wait for this to dry. The next step is going to be fairly interesting. And that is what will make our painting look more beautiful and realistic. Our next step is to add these textures onto the rock to make it look more realistic. Right now we have just applied a background layer using a darker tone of neutral tint and sacrum. Now onto that tried background layer, we're going to add some travelers patterns to create these gorgeous textures will be using sap green and also light cream. For the waterfall we're going to reach in most of the paper white men are going to add any paint on to pad. Okay. Let's give it a try. You should be using any of your medium two smallest size brush. I'm using a size number four round brush here. And we're going to randomly add some dry brush patterns onto the rock using a lighter tone of green. For this to pass fail, you will need a paper towel or a cotton cloth to dab your brush. Okay, so I'm taking some light green on my brush. I'm not adding a lot of water. Now I'm dabbing my brush on a paper towel and I'm just scratching pack paint onto this rock to create some texture. So this doesn't need to have any particular shape or pattern or size. You can simply keep on dragging and smudging that paint onto the rock to create some texture using a lighter tone. At some places you can use SAP clean when you're adding the textures. And at some places you can use light cream of the cream or lemon yellow. When you use different kinds of greens for those texture, it will make your work look more beautiful. So just keep adding that dry brush patterns onto the rock, especially that you have darker tones. Onto the top, it won't be really visible. So concentrate over the bottom and too much that paint into the background. Be sure to call the dry paint. Okay. So right now I'm using a much more lighter tone of green and I'm just crashing my brush to create some patterns. You can keep adding it until you're happy with the result. This is exactly what we're going to do in our painting asphalt. You can see how gorgeous those Texas alkene. So you can keep adding as many textures as you want using lighter tone as well as a medium tone. Alright, so that's nearly done. Next, I'm going to show you how you can paint the water for that. As I said earlier, we'll be using leaf green, Sakhalin, and integral. So let's try that. I'm washing up the paint from my brush. And I'm starting off with leaf green. Adding that at the bottom. Now, I'm going to go with some sap green. Adding that onto the remaining area. Good Really intention of sap green and apply that at all. So at the bottom you should be using a lighter green. It can be lemon yellow or green or any other light green. And towards the center, you can apply some medium tone of green with the sacrum. Using the same color, you can add some lines as well. Now we need to add some darker tones underneath the rock to make the reflections most struggle and prominent. Right now the colors are not looking that great. So we'll have to introduce a darker tone. And for that, I'm picking some integral. I'm adding that right underneath the rocks on either side. So I'm just adding some lines from either end towards the inside. I'm just dragging my brush and I'm adding some lines. The step needs to be done before the background tries. So you have to be really quick and add some lines from either side. After we are done with this, we'll have to wait for this to try. And the final step is to create that splashy water. Okay, So onto either side, right underneath the rock, adding some darker tones and also add some lines. Alright, so that's done. Now we had to wait for this to dry. Okay, So that has dried. Now the final step is to add the splashing water right underneath the waterfall. So for that you will either need some white gouache or white watercolor. I'm going to use a bit of white gouache. So let me take out a bit of paint onto my palette. If you don't know why gouache, you can also use white watercolor, but I would prefer going with white gouache asset is more opaque. Now use any of your smaller size brush. Don't add a lot of water. Just one or two drops of water solvent need go with the dry opaque paint. And first add some thoughts and some scribbles right underneath the waterfall where that water is falling onto the lake. We are trying to create that splashy field. So just keep pressing your brush and create some texture here. You can add some dry brush patterns as well using white gouache. So go with the dry paint and keep adding some patterns on the water to make it look like the water splashing. Just keeps matching your brush and create some white patterns here. I think we can already get that feel of a waterfall here when we added that white patterns. So that's magic of this dry brush patterns. They're using the same technique for the rock as well as for the waterfall. Now, just in case if I have added some taco patterns onto the waterfall, you can cover that up with some white gouache and fix it. Onto this corner. I have some taco tones and also onto the side. So I'm discovering that using white gouache and also adding some more patterns on the water. For our class project, we'll be adding two similar waterfalls. One will be hidden behind a rock so the bottom part won't be visible. And for the other waterfall, they'd be going with a similar technique. Alright, so being nearly done, I'm just adding some more lines to add to the water and using white gouache. Some random lines to make it look more beautiful. Alright, so that's summarized all the colors and the basic techniques you will need to know to paint these cars is waterfall. Now it's tempting to try. 54. Waterfall - Part 1: Alright, so let's start with the pencil sketch. It's a very simple sketch. We just need to add that waterfall at the center. Then onto either side we need to add some big crops. That effect. There is nothing much complicated in the pencil sketch. So I'm just adding two lines toward your lines. Then I'm just adding some irregular line on either side. We're going to make them look like rocks at the hand. For now, just add some lines like this. Now I'm going to add another set of rocks in the foreground. I'm just going to add some random shapes here. Similarly, I will add some on the other side as well. You can see it's a very basic sketch since they added a vertical line, which is the waterfall. And to add some huge rocks on either side by just adding an irregular line. Now I add it out of the stuff box and the foreground. So dataset. Now just in case if you're not really able to see the skater highlighted here, you can take a look at the finished painting here and add in your pencil sketch accordingly. I think I have gone with a really light pencil kids, so it might be a bit difficult for you to understand the way. So I hope this helps. Anyway, we have added the pencil sketch. Now it's time to start painting. I already have all the colors ready on my palette. For the first step, you will need some sap green and leafy greens. If you don't have leaf clean, you can use any of the lighter green that have caught or I can just use lemon yellow. We are not adding any sky for our painting. We are going to directly start with green. For that top area, which is supposed to be the sky, we're going to go with light green and leaf green. I'm using my size number two, brush here, and I'm starting off with a medium tone of sap green. And I'm going to apply that onto the top of my paper. So go to the medium tone and apply that onto the top of your paper. You don't need to add in any CO2 water. It is simply apply that green. Now I'm going to switch to light cream and apply that onto the remaining area. Simply follow that outline and fill up that with light green, olive green or lemon yellow. Now we're going to introduce more darker tones towards the top, and they're going to retain lighter tones at the bottom where the area which is closer to the waterfall. I'm going to pick some more taco, do enough sap green. And I'm dropping that onto the background. Onto either corners. I want to make the top area and both the corners more darker. And I'm going to read them all off lighter tones at the bottom. So that's what I'm doing right now. And simply dropping in some taco tunes off sap green onto that wet background. I'm just making the top and the corners more darker. We don't need a clean brand here. You can simply keep on dropping that paint onto that. But background, it can be messy. This is gonna be the background, will be adding more patterns at the end and the background dr, using a medium-size or smallest size brush, just keep on dropping some taco tones onto either corner. And also towards the top, you can see how I have written that lighter tones where I have the waterfall. Because how you should be doing it, you can make it even more darker on the corner. That's totally up to you. But the center has to be lighter. So just keep on dropping some medium and taco tones onto either kernels as well as onto the top. I haven't used a lot in darker tones or have gone with more of medium tones. But if you want to make it more darker, you could do that. Alright, so that's done. Now, we have to wait for that to dry. Meanwhile, we can start with the water. To paint the water, I'll be using three colors, leaf green, sap green, and integral. Over the bottom we will have leaf green or any other light cream. Then over the middle we will have sacrum. And towards the top onto the area closer to the waterfall, we will be introducing a taco tone. Some starting with leaf green and taking a good quantity of leaf tree, applying that onto the dry paper. Now I'm directly switching to sap green and I'm applying that right next to a leaf green. So I haven't applied any water onto the background. I'm directly applying that paint onto the dry background. If we can try to blend the colors. So we have a lighter tone of green at the bottom. A medium tone at the center will be introducing a darker tone at the top. But for now, let's fill up that anterior area and sap green. And we can gradually introduce integral on top of it. So I'm just going back at sap green and I'm just adding that over here. I'm just filling up that entail ear and sap green. You don't need to worry about that waterfall area for now. Adding your paint will be adding some white quash over there to create that for me feel. Now I'm switching to a medium-size brush. And I'm going with a really dark and intense tone of integral. Go really dark color. Don't add a lot of water. You can see the color that I'm using here. It is very dark and it is very much similar to black. So good with such an intense color. And add that right underneath the waterfall. And also Antony, these rocks. I'm just pulling that paint down. We're going to create some reflection over here. So keep your brush in a horizontal way and keep pulling that paint down and add some darker tones over here. It's very simple. So you can see this horizontal part of your brush. Take enough of paint and just keep dragging down. You can also use a flat brush if you prefer that. I'm just dragging my brush. I'm keeping my brush in a horizontal way. I'm just pulling that paint down. It does nothing much complicated. Just give it a try. So keep adding that darker paint right underneath these rocks. Okay, so I have added the darker tones, but you can see it is looking quite messy. So I'm going to wash out the paint from my brush. And I'm going back with that light green. And I'm just running my brush in a horizontal way and I'm pushing and pulling the color into each other to make it more smarter. So take enough of leaf green or light green and lemon yellow on your brush. Once you have taken enough of paint on your brush, just keep dragging your brush from left to right and create these kind of lines. This will make your bathroom look more smarter and also it will make your reflection most realistic. Don't be afraid, It's very simple step. Just take enough of paint on your brush. You should be using a lighter cream. And just keep running your brush in a horizontal way and add in some lines. So by doing this, you will automatically blend the colors and it will be creating some lines that will make your application more and more cultures. Okay, So this is where I have preached. Now, I'm going to take some more integral and turn the masking tape. I'm just pulling my brush what's inside? And I'm adding some lines. It is some thick lines and I'm just dragging my brush. Some of them are longer and some other mugshot. So this is a reflection of that particular rock. In a similar way, I'm going to add some reflection on the other side as well. So from this masking tape, just keep adding some freehand lines towards the inside. You can leave a little gap in between when you're adding these lines. Just take some darker tone of green or integral or any other darker blue on your brush. From the masking tape, just pull your brush towards the inside and add a line. Some of the lines can be longer and some of them can be shorter. This will make your reflection more beautiful. So that assessment, we are done with the water. Now we'd have to wait for this to dry before we call it the next time. Alright, so that is dried. The next step is going to be really interesting and simple asphalt. So first we're going to paint the background layer up the rocks. When it dries, we will add a texture. Right now, we need to paint the background layer. For that. I'm using neutral tint and sacrum instead of neutrals. And you can also use Payne's gray. Or if you don't have Payne's gray on your top center, you can use black. This one is very much close to black or Payne's gray. It's a really dark tone. So right at the bottom, I'm going to use this color. And towards the top I will be adding some sap green. So right now we're just painting the background layer. It might look quite flat and boring, but just trust the process. We're going to add some interesting textures when it dries. So start with a really dark tone of neutrals and our Payne's gray or black and add that fill in the shape of the rock. Some styling from the right side. We have added some rocks in the foreground as well as in the background. You don't need to worry about the shape. You don't need to differentiate between the foreground and the background right now. Just add in some really dark tone of neutrals and dark Payne's gray or black onto that shape. So that's the first drug which we have in the foreground. Now I'm continuing that color onto the background. We can see how dark that covers. It is very much close to black. So that's the reason why I said you can also use black. We'll be adding more texture onto this when it dries. It doesn't really matter if you use Payne's gray or black. Now, I'm going with some sap green and I'm going to fill up the rest of the area. Now there's one thing that you need to be careful about when you're adding paint onto these rocks in the background. Don't add any paint onto the waterfall. We have added two what can line to the center, That's the waterfall. So for that, we need to read in the paper white will be just adding some drivers patterns onto that to create a waterfall. Other than that, we won't be adding any paint onto it. So be really careful when you're applying paint closer to the waterfall. I used to love, love, light green. And I added that to the top. Falling patchy. You can see here, I haven't added any paint onto the waterfall. So I'm going to wash the paint from my brush. Go to a really light tone off neutral. We're going to add some dry brush line onto the waterfall. So you will need a paper towel. Once you have taken the paint W brush on a paper towel to remove the excess amount of water. Now just add some dry brush lines closer to the waterfall. So the first one can be using a neutral scent and then you can pick some sap green and do the same. Now using sap green and some neutrals and you can fill up that leftover area. That's a right side. Now, I'm going to do the same thing on the other side, asphalt. First you can add some dry brush lines and then we can slowly fill up the remaining area. I already have some neutral syndrome. I brush, I'm just adding some dry brush lines. You can add some other center as well. But make sure you go in with a really light tone. And also the paint is dry. Don't go with the watery paint. You can see how it is looking artery. So we just need some dry brush minds at the center. Whenever you feel like your paint is watery, tab a ton of paper towel, and keep adding some lines. It has to be dry brush lines don't go with the watery paint. Now, let's add paint onto the leftover area. I'm actually thinking of adding onto waterfall. Maybe let's give it a try. Maybe I can add another smaller waterfront over here. I already have some dry paint on my brush. So I'm just adding some dry brush lines to create my second waterfall. This is completely optional. I feel like that rocks we added in the background. It looks like a screen. So to break that, I added another waterfall. It's just a matter of adding some dry brush lines and leaving fact be provided. So you have your second part of already. Now in a similar way, how we painted the rock. I'm going to add some neutral scent and sap green onto the background. And I'm going to fill up that remaining area. And after that, we'll need to add more and more texture onto this many tries. And that's when you're painting look more realistic. I know right now it is looking quite flat and boring. But don't worry, we're going to fix it. So we have some space here between these two waterfalls. Carefully apply paint over there. You can see the color I'm using. It is really dark and it is very much close to black. Go the similar color. It can be Payne's gray, neutral tint or plaque itself. Apply that taco tone onto the background. Leave a little gap at the top where we will be adding some sapling at the end. So in a similar way, I'm using a really dark tone of neutral tent. And I'm going to fill that onto this left side. We have some drops in the full crown and altering the background. They're trying to make it look like the waterfall is behind this rock. So again, simply fill that shape and neutrophils and or black color Payne's gray without worrying about the waterfall. Okay. I'm just going to fill the spot and neutral. Now. I'm going to wash the paint from my brush and I'm going to switch to level off sap green. And I'm going to add that at the top. Okay. We'll just pick some sap green or a lighter cream. Add that onto the top of this rocks. You can just follow the shape of the rock you have added there. Simply from that and be careful not to add any paint onto the waterfall and try to reach in the paper white. We have some more area left to work here. And we are done with the background layer. Now, we'll have to wait for this to dry completely. And once this dries, we'll be adding some interesting textures onto this to make it look more realistic. That's gonna be the most interesting step of this entail painting. You will be stunned to see that aside. I know right now it is looking really boring. But then don't worry, this painting is easily going to be one of the best ones from the 30-day watercolor challenge. So just trust me, trust the process. 55. Waterfall - Part 2: Okay, so the background has dried completely. Now it's time to add the texture. For that, I'm mixing my medium-sized brush. This one is a size number four round brush. And I'm going with some sap green first. I'm taking some pain, dabbing it on a paper towel. And I'm going to add some texture onto the rock. As we did an exercise section. First we will use some sap green. Then we will go with him light cream to create the texture. So as we discussed, there is no particular order or pattern or size or shape for this. You can add them. How will you want to go with a tripod? You can use a medium tone and lighter tone of green and add them. How will you want to concentrate mostly on the darker area so that the patterns will be more visible. You can add asked me, says Texas as you want until you feel like you're happy with the result. So go ahead and add some drivers patterns onto the rock using a medium tone as well as a lighter tone of green. You should be using and try paint if you like. Your paint is too watery. Dabigatran of paper towel and keep adding that tribe rush patterns onto the rock. So we have added two rocks in the foreground on either side. Onto the one we have on the right side, I'm going to add some leafy pattern, some teeny tiny patterns using a lighter tone of green. I haven't added any white gouache or white watercolor into it. I'm directly using some sap green and some light gray. And I'm just adding some leafy patterns onto this. I'm trying to make it look like there are some wild plants clone onto the rock. The other one we have on the left side, I'm going to leave it as it is. We will just add some patterns onto that. We won't be adding any leafy patterns or plants onto it. Only for this one. I'm just going to add some leaves. It's gonna be companies now, drivers patterns as well as leafy patterns. On the top, I will add some leafy pattern. And two at the bottom, I will simply add some dry brush patterns like how we are adding onto that rock we have in the background. This doesn't need to be that neat and clean. You can add some rough and messy patterns. I just wanted to create some difference in the painting. Otherwise it is going to be entirely with some dry brush patterns. So that's the only reason why I'm adding some leafy patterns here. If you're adding it, just use a lighter tone of green atom leafy patterns. Using the tip of your brush. In-between you can use and meet him to an asphalt. And towards the bottom you can add some dry brush patterns. The spinning is mostly about this dry brush technique. We need to create as much as Texas as possible to make it look more realistic, especially onto the background. We have we have those rock, the big rocks. I think this one is looking quite nice. I have added enough off leafy pattern. Now I'm dabbing my brush on a paper towel. And I'm going to add more and more texture onto the rock using a dry paint. Wherever you feel like your paint is watery, tablet or on a paper towel. Don't forget to do that. Otherwise you wouldn't be able to get those drivers patterns. So whenever you feel like your paint is too watery, you can taboo version of paper towel or a cotton cloth. So the paper towel or a cotton cloth will absorb the excess amount of water and we'll leave the paint dry. So it is quite easy to create these patterns. Alright, so this is where we have reached. Before we add the rest of the drivers patterns, I thought we can finish off the waterfall. So I'm going to squeeze out a bit of white gouache. We have one more rock on the left side. So once we finished this area, we can paint that easily. I'm just washing of the paint from my brush and I'm going with some white gouache. You can either use white gouache or white watercolor. Both of them will work. Okay, so we have the paint ready now to add those tribals patterns. I'm using a smallest size brush. This one is a size number two round trips and have taken some try paint on my brush. I haven't added any water, have taken that opaque paint, just like how we tried in the technique section. I'm going to add that dry paint right underneath the waterfall to create some forming water here. So just keep pressing the tip of your brush and add some dry brush patterns here using white gouache or white watercolor. Be sure not to add a lot of water. You should be using a dry paint. If you like. Your paint is watery. Just dab it on a paper towel and keep adding these travelers patterns using white gouache or white watercolor. I'm just adding some dry paint here using the tip of my brush. There is nothing complicated here. You can keep adding it until you feel like you're happy with the result. You can keep smashing the color. And create some tribals patterns here. We can add some more texture. So I'm dabbing my brush on a paper towel. Again, adding some patterns here, using and try paint. You can add some onto the rock as well if you want to alter the shape of the waterfall. So I'm just adding a lesson on to this corner. And also you can cover up any mistake if you have added any taco tones or any prominent Lions onto the waterfall, those things can be covered using white gouache. At this point. I'm going to add some more drivers patterns onto the water and also onto that waterfall. I feel like these lines are quite strong. So I'm adding some white quash on top of it to make it septum. Okay, so that looks fine. Now I'm going to dip my brush in a little water, just a teeny bit of water. And using that watery paint, I'm going to add some lines over here. Just some broken lines. We don't need a lot. Just add some teeny tiny broken lines next to the waterfall. Be sure not to add a lot of water into your paint. If you add a lot of water, the paint will lose its opacity and it will look transparent. We don't need a transparent paint here. Just add a few drops of water so that you can add some lines. Okay? Now using the same color, I'm going to add some lines underneath the rocks as well, the smaller ones we have in the foreground. You can see the way I'm adding them. It's a very thin line. Don't make it too bold. You should be using a smaller size brush so that you will get some thin lines like this. And with a gap in between, don't add them too close to each other. We can add some more lines. So this is the line that you shouldn't be having that looks really opaque and thick. And just munching that using a slightly watery brush. Again, adding some more lines. You can see the way I'm adding it. There's some Captain between and also the lines are really thin. Now in a similar way, I'll need to add some lines on the other side as well. Using white gouache. For this, we're using a slightly watery paint on dry paint. And I'm using a smaller size brush, the brush I'm using herbicides. Number two, we should be adding something and delicate lines like this. It shouldn't be too bold and tech. I'm done with the water. I had enough of lines on either side. If I don't stop it right now, I may work and spoil my painting. So I'm just going to call it down. Now using the same brush, I'm going to add some lines to this waterfall we have on the left side. I already have some white paint on my brush. This waterfall looks quite artificial. So that's the reason why I'm adding some dry brush lines on either side to make it look more natural. So you can either add some dry brush lines or I can go to slightly watery brush and smudge the color on either side to make it look more natural. So right now you can clearly see the shape of the rock. We are trying to make it look like this waterfall is behind the rock. The bottom part from the visible. Alright, so that's done. Next. I'm going to add some texture onto the rock we have in the foreground for that and picking some light green. And I'm just having some patterns onto that BlackRock. Again, you can add the pattern towel. You want to have added some patterns. Now I'm smudging that the paint that I'm using here is not really dry. It is slightly wet, but it's not too watery. Using light green and sap green, I'm adding some random patterns onto the rock, especially onto the top part. And then m's matching that to make it look a little softer. Okay, so this one is in the foreground, so I don't want to make it too busy and messy. That's the reason why I'm not using, I'm trying to paint and they don't need a lot of patterns here. That darker color has to be still visible. So I haven't added any white gouache or white watercolor into that paint that I'm using here. I have just used leaf green acids and Sap green. At some places I used sap green and at some places I used light and cream. I'm randomly creating some patterns onto that black background. Once you have added the patterns, just match that with a slightly wet brush. This is a really easy method to create that a wet moss filled rock. You can see how pretty it is looking already. You can use this technique in your future paintings as well. So the first layer has to be a really dark tone. You can either use indigo or neutrals and dark Payne's gray or even black. Then onto that you need to create these kind of patterns using a lighter tone of green and a medium tone of green in-between. Maybe you can introduce some town as well to make it look more beautiful and realistic. For now, I'm not going to introduce any brown. I'm quite happy with the way it has turned out, so I'm not great at it. Now the next step is to add the remaining texture onto the rock we have in the foreground, these two ones we haven't touched. And also we need to add some more onto the right side. So that's gonna be our next step. You already know how to create those dry brush patterns. You can go with some sap green as well as some lighter green ones have taken the paint on your brush, dab it on a paper towel, and be sure you're using a tripod paint and create as many textures as you want. You can simply scratch your brush and create some brand and dry brush patterns. It doesn't need to have any particular order or any particular size. It can be really messy and trough. Okay? So go ahead and create as many textures as you want. Don't add any paint onto the waterfall. That's the only thing you need to be concerned about. Okay, So let's do this. Right now. I'm using a really light tone of green and I'm adding some more travelers patterns onto all the rocks. Maybe we can add some over here asphalt using a lighter tone. Then some onto the rocks in the background. You should be working with different tonal values of green to make it look more realistic. I haven't added any white gouache or white watercolor into the paint that I'm using. I have simply went in with sap green and light green. It doesn't need to be really opaque. You can go with your watercolor asset is there is no need to add any white watercolor or white gouache. So I hope the idea is clear. Now, I'm going to quickly add some more patterns onto these rocks. Okay, so that's done. You can see how pretty that backwards-looking that Texas has come out really nice. Now onto this rock here, we have on the right side, I'm going to add some more leafy patterns using a much more lighter tone of green to make it look more prominent. So these are gonna be some teeny tiny leaves. It is not too big. And I'm randomly adding some more leafy pattern. Okay? We don't need a lot, just a little onto the top so that you can really differentiate between the elements in the foreground and the background. Otherwise, it will all look the same. You cannot really differentiate between the elements in the foreground and background. That's the only reason why I'm adding these leaves using a lighter tone. So that's done. Now the next step is to bring in some more depth in our painting, especially onto the top. We have just applied that backroom layer. We haven't added any details over here. So I'm just gonna go with a medium tone of green, a medium tone of sap green. And I'm creating some leafy patterns here. Onto either side. I wouldn't be adding a lot of the center where we have the waterfall. I'm concentrating mostly on the left hand right corner. And I'm adding some random patterns here using a medium tone of green. So it is a messy leafy pattern using a medium tone. I'm just keeping on pressing the tip of my brush and I'm creating some random patterns here. Right now, I'm using a medium tone of sap green. I will make it a bit more darker, especially on the corners, to bring in more depth in our painting. This step is completely optional. If you want to call it time, he can do that actually in the painting already looks quite complete. So this is only in case if you want to bring in more depth in your painting and add some additional detail. Be sure to go with a medium to smaller size brush tool, make it to pick. If you said because I stretched those patterns will also be because your painting will go out of scale. Use the smallest size brush or a medium-size brush and add some teeny tiny patterns like this. You can see it's a very messy pattern. Right now I'm using a little more darker tone of green. I have US-led laugh integral and have mixed that with sap green. As you can clearly see, the difference between the left side and the right side. So you can decide on whether you want to add a ton turnout. Obviously it will add some more depth in your painting. So I would say it's a good step to add it. So there's nothing to worry here. It's a very random, messy dotted pattern. And you're adding them close to each other. So the major colors should be a medium tone of green. You can use a medium tone of sap green. And only towards the corner, again, make it a bit taco. Alright, so I'm done with the right side now in a similar manner, I'm going to add some patterns onto the left side as well. Okay, so that's down to, you can see how colleges are painting is looking already. Now, there's one more step that I'm going to do with this. Again, optional. I'm going to add in a tree. It's a very simple tree and I'm going to add that to what's the right side. This is completely optional, as I said earlier, I just feel like the painting is looking the same throughout. So I thought of breaking that by adding a tree. I'm starting out with white gouache. Using white gouache, I'm going to add the base shape because we have so many taco tones over here. So if you use bonds in an acid is it won't be visible. That's the reason why I'm starting off with white gouache. But just like I said earlier, the step is completely optional. If you don't want to add it, you can completely skip this step and you can call it a ton. So first I'm adding that base shape using white gouache. It's gonna be a thin, simple tree. And I'm going to add just one or two branches. There is nothing complicated here. In case if you are following me along, if you're still painting, you can add a base shape like this using white gouache or white watercolor. Now onto this, we're going to introduce some brownish tones. For that you will need either burnt sienna or any kind of brown. We just need to let till. Now using the same brush, I'm going to introduce some brown tones onto the tree. I already have some white gouache on my brush. The paint that I'm picking here will be slightly lighter and it's going to be an opaque version. Okay, Now let's add that onto the tree. It looks a bit dull, so I think we need to cope with another layer to make it opaque. You can add one or two tree that's totally up to you. Maybe you can add, um, the one on the other side. Now, I'm going to add some branches onto this. I will add one branch over here and maybe another one on the top. So I'm using that same paint. I have added some white gouache with brown. And that's the reason why it is looking opaque. Okay. So it's a very thin basic tree. I'm not going to make it too complicated. Next, I'm going to wash out the paint from my brush. And I'm going to add some deeper tones onto this. And for that, I'm mixing some bonds are both neutral sense to create a really doctrine of brown. And using that color, I'm going to randomly add some lines onto the stray. Something random lines. Does this some simple lines. We are trying to create some texture on the tree. That's the reason why we are adding this. Some of the lines can be longer and some of them can be shorter. We don't need a lot of lines. Just add them in a very randomly and create some texture on the tree. And that's done. Now using the same color, I'm going to add one or two branches, especially at the top. Let's just add some lines onto this branch. Then using that same darker tone of brown, I'm adding another branch here. In case if you want to add more practice onto your tree, that's totally your choice. Maybe you can go the detailing brush and add some teeny tiny branches to make your painting look more interesting. And also you can add some more hanging branches from the top. Okay, so feel free to alter the painting however, you want to have added another branch on the left side. And with that, we're done with the opinion for the 18. I cannot tell you how much I love this painting. The colors and enter your fill of this painting is really great. I hope you guys enjoyed it too. Now it's time to peel off the masking tape. And curators here is have a car just waterfall. I cannot tell you how much I love this texture. I really enjoyed the process, and I absolutely loved the way the painting has turned out. I hope you guys enjoyed it too. Thanks a lot for joining me today. I will focus on with our next thing, landscape. 56. DAY 19 - Cherry Blossoms: Hello, hello, Welcome to the 19. Today we are painting a bunch of colleges to read blossoms. Cherry blossom, all the Sakura flower is actually the symbolic flower offspring. And I think they're a bit late to paint the cherry blossom better late than never. So today we are painting with colleges flowers. Okay, so first let's take a look at the colors you will need. I already have them on my palette. We can also try one flower with the background so that it is easy for you guys to paint the trunk protect. Okay, So I'll start with the color that you will need for the cherry blossoms. These are the two colors I'll be using, crimson and white for the flavor as well as for the background. I'll be using some titanium white. It is absolutely okay if you don't want to use it, you can just use water to make it lighter. For this levels to make it lighter, I'll be using white watercolor into the water. But then it is absolutely your choice. If you don't want to use white watercolor, that's perfectly fine. Now for the bathroom, I'll be using permanent violet and integral along with these two colors. I'll also be using some white to make it lighter. You can see that creamy, peaceful color on the top. So to get that creamy color, I'll be using some white. I think that paisley color looks really nice. That's the reason why I have used white watercolor for the background. But again, it is your choice. If you don't want to use white watercolor, you can just use water to make the color lighter. To paint those branches you will need some ponds. Sina are any problems along with that evolved from eating threatened or Payne's gray or black, to add in some taco tones that summarize all the colors you will need for today's painting. Now, I'm going to space them out. I'm starting with crimson. This is a color, you all may have a two color that comes in all the basic watercolor sets. So that's a major color we'll be using for the cherry blossoms. And along with this, as I said earlier, we'll also be using some white watercolor to make the color lighter. So those are the two colors you will need for the flower next to other colors for the background. So fs $1, you will need integral and some violet. You can choose any other color of your choice. If you want to go with some green or brown backdrop, that's totally okay. That's integral. The next color, violet. If you don't have wireless, you can mix and create your own palette. I actually tried a different color combination for this painting first, instead of integral, I used cerulean blue. So the backend was looking really light and I wasn't really happy with it, so I change that into integral. Now the next colors are brown and neutral tint. These other colors will need for those branches. The one I'm using, Curtis bonds c Now. The last color as neurotoxin. If you don't have any, then you can go with Payne's gray or even black, will be using this to add some taco tools. We'll be mixing this with bonds in articulated darker brown. So those are the colors you will need for today's painting. Now we will try a quick exercise on how to paint a flower, as well as the background. Cherry blossom as a simple five petaled flower. It's not a very complicated shape. You all can draw this flower. It is quite simple. It's just a five petaled flower. It grows and bunches and just add punch and the color that makes us level more special. Okay, So I'm going to add a simple sketch first, then we'll try painting it. You can see the image I have added here. It's a very simple flower. Okay, So let's add the pencil sketch is just a basic five petaled flower. I'm starting by adding a circle. Then around that circle, I'm just adding five petals. Phi similar petals. So that's the flower. Now I'm going to add some branches. We can add a meter thick branch and outsource model branch. Okay, So that is the ventral catch. Now we can start painting. For this painting we are going to paint the flower first. And for that, you will need some white watercolor as the base color. Onto that. We'll be applying some crimson. So I'm going to squeeze out some white for the color onto my palette. As I said at the beginning, if you don't want to use white watercolor, you can just apply a coat of water. The colors will be a little more creamy and opaque. If you use white watercolor, that's only difference. But if you like that transparent look of watercolor, you don't need to use white watercolor. You can just apply coat of water onto all the buttons and then follow the same steps that I'm going to do here. The first step is to apply a color to white onto all these petals. I'm going to use my medium-size brush. And I'm taking a generous amount of white, just slightly watery. And I'm going to apply that onto all these petals. The base color is going to be byte. Now after this, we'll be applying a medium tone of Trump's going to bring in that pinkish shade. Apply some white watercolor onto all the petals. Now using the same brush, I'm going to pick some crimson. First. I'm adding that at the center. And I'm just dragging that towards the petal from the center. You can already see that pixel pain because we applied whitewater color on the background. Now I'm washing over the paint from my brush. And using a clean brush, I'm just matching the color. Just much sad color and make those patches more beautiful. Right now those colors are looking a bit weird. You can either go with a slightly wet brush or some white watercolor. In ways we just need to smash that color into the background to make the petals more beautiful. So that's our base layer. You can see that cargo space we'll paint. This is the reason why I use white watercolor here. If we're using water, it will look slightly different than this. But then taking a tie us, if you want to use water, that's okay. Now, I'm going to pick a little more crimson, a much more darker tone. And I'm going to add that to the center. I want the center to be a bit more darker compared to the petals. So let's pick a little more Clemson. Chopping that at the center, which is roughly dropped out at the center. It doesn't need to be perfect because we'll be adding towards line Santos details at the center. So just don't worry if it hasn't blended properly, you can just leave with acids. Once we add those white lines and those details, this won't be possible. Okay, So that's a flower. Now we'll have to wait for this to dry. And after that, we will paint the background. Then we can add the final details. Alright, so that is dry completely. Now let's paint the background. As we already discussed. I'll be using indigo and violet for the background. You can go with any other color of your choice. Maybe you can go with some blue and pink or maybe some green. It's totally your tiles. Now first I'm starting with some white and I'm applying that onto the background. I'm not adding a lot next to the flower. Bit. Careful when I'm next to the flower. You can just apply some white around the flower, leaving some cap in between so that you don't accidentally added any paint onto the flower. It looks like I added some crimson in the background. Never mind. Anyway, I'm going to use some indigo and violet. So that pin doesn't really matter. Now I'm going to pick some integral and I'm dropping that onto the white background. We can see that basely shade. I'm carefully running my brush around the flower. You should be applying paint onto the backyard only after the flowers has completely dried. Otherwise, the paint is spreading to each other and you won't get a clean sheet for your flower. So that's integral. Now I'm picking some violet. You can see that basal violet here. That's a major reason why I used white in the background. I want the colors to our pixel tone. So just apply white onto the background or you can just apply some clean water. But when you're applying by two or water, be careful not to add a lot of water next to the flower. They were tiny cap around the flower so that you don't accidentally add any paint or water into the flower. So that's the only thing you need to be careful about. Now at some places you can go with a darker tone and at some places you can use a lighter tone. And carefully run your brush around the shape of your flower and fill up that background. Right now, we don't have a lot of space around the flower. So it's gonna be a bit difficult to play with the color. But then for the class project we are doing, there's a lot of space around the flower. So it's gonna be really fun to play around with these pixel colors. Just in case if you want to use masking fluid, that's gonna be really easy. You can apply masking fluid onto the flowers and first being the background. After you're done with the background and when it dries, you can take off the masking fluid and paint the flowers. It's going to be really easy if you have masking fluid. I got quite a lot of messages from my students saying they don't have masking fluid. So they prefer some projects which doesn't use masking fluid. That's the main reason why I tend to use masking fluid for this project. But masking fluid is a real game changer. In watercolor paintings, you can mask on the floor or any other elements in your painting. So you can easily paint the background without really worrying about that fulcrum element. Okay? So if you can get your hands on a masking fluid and try it out. Anyway, as you can see, I'm nearly done with the background. I didn't apply any paint onto that bigger branch, but then the smaller one, I just applied paint on top of it because we're going to use a really dark tone for that smaller brand. Now, I'm going to pick a little more integral, and I'm going to add in some darker tones randomly onto the background, a little at the bottom and other top. Alright, so that's the background. Now, we'll have to wait for this to dry and then we can add the final details. Okay, So that is dried. Now it's time to add the final details. For us. We will paint the branch, then we can add the remaining details on the flower. So do you think the branch, I'm going to use point Siena? First, I'm going to apply bonds in our onto the anterior branch. A medium tone of burnt sienna. Apply that onto the anterior branch for our project as well. We will have one thick main branch. Then from that, we'll have some smaller branches, will be using the same method to paint that as well. So I have applied bonds in our onto the anterior branch. Now, I'm going to pick some neutral scent. If you don't have neutrals and you can either use Payne's gray or a bit of black and apply that along the bottom line of this branch. The background is already wet, so just dropping that paint along that bottom line. Now watch the paint from your brush. A ton of paper towel, pick some burnt sienna. I came and spread that into the background. You have a darker tone at the bottom and lighter tone over the top. Now clean your brush again and go with some white watercolor or white gouache, slightly watery paint. It doesn't need to be opaque. And apply that along the top part of this branch. Just add a little. You can see the color I'm using here. It is not really opaque. We're just adding some highlights on the top. You can really see the difference when we added white watercolor over here. It has a more three-dimensional feel right now. Okay, so first you will have to apply burnt sienna onto the anterior branch. Then you will need to add some darker tones over the bottom and some white highlights on the top. And that will give you a very realistic branch. Now we need to add the remaining details onto the flower. And for that you will need a white gel pen or a detailing brush. We need to add some thin lines like these ones. So you can either use a white gel pen or a detailing brush and some white gouache or white watercolor. It is just some white lines at the center. We can either add them using a white gel pen or detailing brush. I'm going to switch to my detailing brush because there's something wrong with my fight chalcone. I'm going to pick some white to what Club because I already have a little on my palette. And I'm going to add some lines using my detailing brush. Don't add a lot of water into paint called a slightly thicker paint because these lines has to be pink. Now simply add some thin lines at the center. They can be slightly longer like this. Start adding that line from the center and simply take that into the petal and add them until you finish that entire circle. Okay, if X chart, now, I'm going to pick some bonds Siena, using the same brush. I'm going to add a dot onto the outer end of these lines. So I'm just taking some burnt sienna. And it's a simple dot onto the outer end. At that for all the line to have added. And that will complete your Sakura flowers. This is the same method that we will be using for our class project as well. But then we'll go into much more slow. Okay, we won't rush it. Now, I'm going to pick some neutral tint. I'm going to add the final set of branches. I'll add smaller one, which is leading to this flower. And I'm just wanting fat into that medial branch. And I will add some more branches using the same color. Maybe we can add one over here and maybe another one on the top. Okay, so that's summarized all the colors and the techniques you will need to paint his car, just Sakura flowers. Just like how we discussed earlier, you can either go with white watercolor or plain water for your background, as well as for the flower. If you want a more creamy and paisley shaped like this, use white watercolor. Or if you'd prefer more of a transparent field for your painting, you can just use water waves. That process is going to be the same. So you can just follow what I'm saying. I think now it's time to paint his car. Yes. Class project. 57. Cherry Blossoms - Part 1: Alright, now it's time to paint this beautiful cherry blossoms. How many people are already here? And I'm going to start with the pencil sketch. First, I will add a line which is gonna be the branch. Okay, So that's a branch. Now onto this, I'm going to add some flowers. You can add it to wherever you want to. I'm going to add my first flower here. So cherry blossom as a simple five petaled flower. You can simply add five petals around that circle. I'm planning to add three flowers and maybe two or three birds. You can add flowers variable you want to, and you can add as many as you want. Maybe you can go with four or five or ten. Okay, so compose your painting however you want to. So that's the first flower. I have added the flower on top of the branch. So this one is our main branch. I'm going to add another line and I'm making a thick. That's my brand. Tried to go the really organic and natural shape so that it will look more realistic. Don't go with the curvy straight line. Now onto this, I'm going to add some smaller branches. And then I will add two or three flowers. I will add one flower towards the top. And along with that, I would like to be adding a part. And in a similar way, I will add another flavor and deeper towards the bottom. This flower is going to be in a different orientation we are looking at from the friend. The other one was from the top. So I have added three petals. Now I need to add two on the top, one over here, and another one over here. So that's again five petals. Now I'm going to add another branch from here onto that. I'm going to add a bird. Okay? Now in a similar way, I'm going to add a bud and a flavour towards opposite direction. So I will add a branch from here. I don't want that. I'm going to add some love level and simpler, but okay, so just add the same thing in the opposite direction. I might even image of the finished painting queue so that it can take a look at the painting and add new pencil sketch. I think that's gonna be much easier. Okay, so I have added the other flower, and now I'm going to add few more branches and maybe one or two parts. I will add one show. Then maybe under one tried below that. You can compose your painting cover. You want to, if you want to add more levels or more parts or more branches, that's totally your tiles. I'm thinking we can add another branch at the bottom. And maybe we can turn the other one into our part. In this one here. I'm just going to erase that. And I'm going to turn that into a part. If you want to add more branches, you can add that while we're painting. Okay, so that's a ventral catch. Now I'm going to write always have the flower. We discussed the colors already. I'll be using whitewater color as the background. Then onto that, I'll be using some crimson to add that pinkish tones. So I already have crimson over there. I'm going to squeeze out some white watercolor onto my palette. And we can start right away. For the base layer, we'll just need these two colors. Now, I'll be using two brushes simultaneously. The bigger brushes to apply white paint onto the anterior flower anti-patterns. Then I'll be using a smaller brush to add some clumps and tones. Just be sure your brush is clean before you start. Now, I'm going to begin with some white watercolor. I have added some water and I'm using watery paint. This is just white watercolor, non white gouache. You can use either one of them. And then applying that on to all the petals. So carefully apply that following the shape of the petal. Now using the other brush, this one's a smaller brush. I'm gonna pick some crimson, a medium tone of Thompson. And I'm going to apply that at the center. Just like how we tried in the exercise section. Now, I'm tracking that from the center towards the bottom part of the petal. In case if you don't use white watercolor, you have applied water onto the petals, the same process. Once you have applied water onto those petals, become mediums, one of crimson and do the same thing. Now, I'm going to wash the paint from my brush and I'm dabbing it on a paper towel. And I'm smudging that into the background. Make sure your brush is not too watery. We just need a damp brush and smudge that color. You can go with a damp brush or you can just pick a level of white on your brush and do the same thing. You can see how pretty that color is looking. We have caught up colleges, pink here. And that's the exact same color of the cherry blossom flower. That's a base layer. Now we'll have to wait for this to dry. Meanwhile, we can paint all the other levels and the buds. I'm going back with white water color. And I'm applying that onto the other flower. For this one, I'm just applying white onto the bottom petals. First, we have two more petals at the top. For now, I'm going to ignore them. And I'm going to paint these three petals first. And once it dries, we can paint the other ones. Again. Now, I'm going to switch back to my smallest brush and I'm picking some crimson and I'm adding that at the bottom. So this time I'm dragging my brush from the bottom towards the top. Again, just adding some crimson tones at the bottom. Once you have added that, you can smudge that into the background and make your petals look more beautiful. Dabbing my brush on a paper towel. Dams margin that color. Just like how we did for the previous flower. It is just that this time the shape of the flowers have been different But then, but the process is just the same. You will need to add either white watercolor or just water onto the petals. Then you need to add some pink tones onto those flowers. Now what is similar way? I'm going to paint the other flower we have at the bottom. I will paint the first three petals first and other two, I will paint at the end when it dries. So let's do that. Okay, so BAPTA, we have to wait for this to try to win the other petals. Meanwhile, we can paint the bottom. So I'm going to start out with white. Let's apply white onto all the parts we have here. So that's the first one. This one is gonna be just like the petals we painted baby just applying a bit of crimson at the bottom to bring in some pinkish tone. Applied y. Now I'm going to pick some crimson. And I'm going to apply that at the bottom. Go with a medium tone, apply that at the bottom. Then SmartArt into the background. I'll apply crimson onto the other parts as well. Then I will smash them together. We have one more, but here I'm just adding some crimson at the bottom. I think maybe we can make the color a bit more brighter. Just like how we painted those petals. We're going to match the color into the background. For that, you can either go with a damp brush or you can just pick some white watercolor and merge them into the background to make it look more smarter. Okay, as to what the buds are done. Now we need to paint the petals that we missed earlier. To paint them, I'm gonna go back with my smallest size brush. This one is a size number two round brush. And then picking some crimson. Adding that with white watercolor. Now carefully applying that around this petal. The color that I'm using here is a medium tone of crimson. I have just added some white into crimson. Apply this at the bottom. You can follow the shape of the petal. And simply from that bottom part in this color, up to have applied a bit of pink. Switch to white and smarts the color. At the bottom, we will have a lot of shadows and deeper tones. That's what we have applied right now. Hi, I picked my other brush and I'm adding some white dots marching the color. Try to follow the shape of the petal. Maybe you can use the smallest size brush if that is more comfortable for you. Okay, So this one has nearly done. We'll be painting the other flower and a similar way. Okay, So that time, now we had to wait for this to dry completely before we paint the background. So let's take a small break and wait for this to dry. Alright, so that is dried completely. Our next task is to paint the background. So I initially started off the same painting with these two colors for the background, I used violet and cerulean blue. And this is a painting I did earlier. But then I felt that blows really bright and it looks really fake. And that's when I realized I should be changing that into integral. Okay, So these are the two colors I'm going to use, indigo and permanent violet. You can use any other color for your background. It can be cerulean, blue and pink or violet or green or any color that you prefer. Okay, So don't stick to the colors that I'm using here. If you want to try out a different color combination, feel free to do that. Have taken out some integral and I already have some violet to what their. Next, I'm going to squeeze out some white watercolor onto my palette. I'm nearly done with this Fight Club. We already discussed this multiple times, but just in case if you don't want to use whitewater color for your background, just apply a coat of water, leaving some gaps around the flower. Let's begin. As you can see here, that brand is passing through the anterior paper. So technically, our Packard has divided into two sections. So first I'm going to paint the bottom half. This way. We don't need to be really worried about the background trying now, we can first concentrate on the bottom half. And after that is done, we can paint the top half. Okay. So to paint, I'm going to use a because I stretched and I'm going to apply white watercolor first. I'm picking a generous amount of whitewater color and I'm applying that at the bottom. I'm being very careful when I'm closer to the floor. I'm not adding any paint closer to the petals. I'm leaving some cap around the flower and I'm adding some white for the club. So that brands are the center is my division. And considering the top and the bottom to be two separate divisions. Now I'm picking some integral and I'm adding that onto the white background. So we can already see that this will color we have caught here. Okay, So that is integral. Now, I'm going to pick some violet. You can go with any order if you want to add more violet on your background and that's totally okay. Or if you want to add more integral, even that is also okay. So go to your guts and add in the payment however you want to. Make it really interesting. At some places you can go with the taco tune, and at some places you can go with a lighter tone. This would make you back on, look more beautiful. You can see how creamy the colors are looking because we applied white watercolor onto the background. Right now, I'm using a much more taco to knock Clemson, missing smallest size brush. And I'm carefully applying that around the petals. Before you go with this step, make sure the flowers has tried out completely. Otherwise, the colors may spread into each other and can spoil the beauty of your flask. So that's one thing that you need to be completely sure before you go with a step. Now carefully apply the paint around them buds, as well as those petals. You can decide on whether you want more violet in your background or more integral. So choose your colors accordingly and adding that in your background. So technically there is no particular order that you need to be following. Wherever you feel like applying violet and hand wherever you want to apply integral, add that in Nashville. Okay, so let's carefully apply paint onto the leftover area. You can keep switching from integral to violet. As I said, there is no particular order and there is no particular room. Go with your gut and adding the paint how you want to. The only thing is you should be a bit careful when you're next to the flower. Don't add any paint into the flower. That's only thing you need to be worried about. Alright, so we'll have applied paint onto that entire section. Now, I'm going to wash the paint from my brush and I'm going to pick some white. I'm just randomly dropping that into the background. Just to make the colors more smarter. Because at some places the colors are not looking. So I'm just adding some lines. If you're already happy with your pattern, you don't need to do this data set. Now, I think we can make some media a little darker, especially the area around the flower. To introduce a little more contrast in our painting. Okay, So that's gonna be the next step. The background is still wet, so you can just drop in that darker tone variable you want to. I'm going to add a little around the flower. Let's add some around this petal. And maybe around this part as well. I'm not going to add a lot of darker tones. I will just add few onto this corner and a little around the buttons levels. That's it. We're done with the bottom part. Now, I'm going to start with the top portion. For the top portion compared to the bottom, I'm gonna go with more of a lighter tones. So I'm first starting off with some white. I think I had some blue on my brush, so I caught a lighter blue here, but never mind. Anyway, I'm going to apply some colors onto this so it doesn't really matter. Just like how we did earlier. I'm going to leave some cap around the flower. Then I'm adding this white color onto the background. Now I'm going to pick some violet, and I'm going to add that onto the background. I want more violet tones on the top. And I will add a little laugh, integrate towards the bottom, closer to that branch because we already have similar colors at the bottom. So to get that continuation, we need to add similar colors on the top as well. You will have to be really careful when you're applying paint around the flower. Maybe you can use the smallest size brush. The spatial world is really pretty right. I think it's a car just color. And it's kinda bringing a foggy feel too. Oh, painting. The color is looking really creamy just because we have added white. If you're using this to water, you might not be getting this result. Your background might be a lot more transparent than this. But that's a personal choice if you prefer that no pressure, just go with water. Now let me quickly apply paint around the bots and the flower. Finish off this area. I haven't added any integral yet. I'll be bringing some integral when I'm closer to that bottom branch. Because we have integrated the bottom and we need to continue that color over the top as well. So onto the remaining area, I will have to use some integral. As we have applied whites in the background compared to water, it is a bit more easier to smash the color. You will be able to get a smooth blend. Just dropping some integral around the flower closer to that branch to continue that bottom color. So be really careful when you're applying paint around the petals. You can use the smallest size brush so that it won't accidentally add any paint into the petal. Now just in case you accidentally added some paint. Don't worry. We can fix that with a lot of white gouache or white watercolor. Okay, so let me quickly drop in some integral onto the remaining area. Okay, so that's the background. Are back on the still wet. So if you want to drop in some darker tones, you could do that. Make use of the time, and maybe drop in some darker tones around the flower or closer to the branch. Okay, now we'll have to wait for this to dry completely so that we can add the final details. 58. Cherry Blossoms - Part 2: Okay, it's time to add the final details. I will just wipe off the color from this section so that I can squeeze out some burnt sienna and Eutelsat. Reducing burnt sienna and neutral tend to paint the branches. You can see how quickly I clean my palette. This is one of the major reason why I love using ceramic palette. It doesn't stain the palette. You can quickly clean it with a wet pipe. Okay, so I have made some space for the new colors. Now, I'm going to squeeze out some bonds in our annual total installed fonts. You can use any kind of brown. Interrupt neutral Cindy, you can either use Payne's gray or a bit of black. So I have taken out the colors. Now we need to apply burnt sienna onto that branch. Go with the smallest size brush and carefully applied that following the outline. Don't go too because I stretch. Make sure not to add a lot of water in your paint. Go to slightly dry paint so that it doesn't spread into the background. I have loved to small cap at the bottom. You can either fill up the anterior branch and burnt sienna or leave a tiny kept like this, where we're going to apply the darker tones. In a similar way. I'm going to add some burnt sienna onto this part. We have on the top, again, I have left a small cap at the bottom. Now I'm mixing a little off neutral tint with Ponzi now to create a darker tone of brown. And I'm adding that along the bottom part of this branch. Just like arbitrage in the exercise section. Item that Taco down at the bottom towards a dog will be adding some white to bring in some highlights. Okay, so at the bottom we are trying to add the darker tones. And on the tall they are trying to add some lighter tones. Simply add some darker tones following that outline. Once you have done adding that darker tones, you can smudge that losing a slightly wet brush. You don't need to put a lot of afford that Brown is still wet using a slightly wet brush, just my sad color into the background. Once you're done with that brush while the paint from your brush and go to invite watercolor or white crash, we just need to let them. It doesn't need to be too opaque. Now, add that onto the top portion of your branch, the top line of your branch. Over the bottom, we added some deeper tones. Now on the toga adding some lighter tones. You can already see the difference here is looking a lot realistic right now when we added that lighter tone, okay. It's kind of a soft highlight. It doesn't need to be too opaque and prominent. So go to paint with a slightly watery, don't go with an opaque paint. The slide to highlight, we make our plans look a lot realistic. Right now you can see it has got a 3-dimensional field. Now will have to do the same on to the other smaller part we have on the top asphalt. Okay. So because slightly watery white gouache or white watercolor and add some highlights and smarts that into the background. Okay, So the major brands is done. Next, I'm going to go the really dark tone of brown. I'm mixing some neutral scent that burnt sienna to create a darker tone. I'm going to add the rest of the branches. You can either use burnt umber directly or you can create a darker brown like this. Okay, so I have added a small shape at the bottom of that flower. Now I'm going to add up thin branch. So that one is done. Now in a similar way, we need to add a branch for that bird as well. I wouldn't be adding a lot of details for this. I'll just go to Taco tone of brown and I will simply fill up that bottom detail. So first I will add that branch. So to our major branch, this one is really thin. So you don't need to put a lot of effort by going with different tonal values of brown, you can simply use a darker tone and Philip that detail only for this, but I didn't add any paint onto those details at the bottom for the rest of the tastes and playful that entire burden pink color. But then it doesn't really matter because we're using a really dark tone of brown right now. Even if you have filled up that antibody and a pink color, it wouldn't be a problem. Okay, so this one is done. I'm not going to add any more details onto this. Maybe when it dries, we can add a small white highlight onto one of the side. Okay. Now I'm gonna go back with that taco tone of brown. I'm going to add another branch, ethical branch. When we added this case, we have added a branch over here. It is not really usable, so I'm just adding a branch. Have used a darker tone of brown. Now I'm washing off the pain. I'm going with a slightly lighter tone of brown. And I'm adding that at the bottom. So this one is a thicker branch. Assuming that this is going to the other side and there are some platters and buds on that. Okay, So that's a little branch. Maybe you can add some darker tones onto this end, as well as the bottom line of this branch. The shape looks a bit off here. I'm just making this portion a bit thicker. Only the CTO that's done. Now, I'm going to wash the paint from my brush and I'm going with some white with a slightly watery, it is not a peak. And I'm adding some highlights on the top, just like how we did for the previous branch. Again, just in case if you feel like your paintings looking empty, you can add more branches. Okay, So this one is done. Now, I'm going to finish the remaining branches. We have two buckets and one more flower there. We need to add the remaining details onto that. So let's do it. Okay, so that's time. Now for the next step, you will need to bite gouache. If you don't have white gouache, you can use white watercolor by gosh is more opaque than white watercolor. So if you have it, I would recommend going with white gouache internal whitewater color. Okay, So let me squeeze out a bit of whitewash onto my palette. We just need a little. First, I'm going to add some more highlights using white quash. The ones we added earlier is not really visible right? Now when it dried. I'm going to repeat the same step using a slightly watery wash now of white gouache. And following the same areas where we added earlier. And I'm adding some highlights. Let's add some over here and onto the smaller plant accessible. When you're adding that white highlight for the smaller branches, make sure it is a really thin line. Don't make it too prominent. I'm going to repeat adding that highlights onto this major branch. Add onto these ones as well. So add that as a broken line. Don't make it too bold and opaque. So just take a look at your painting. If you feel like you have already added in a fall white highlights onto those branches and they are looking quite visible. You don't need to add more. This just in case you feel like they're not enough. Always do what is best for your painting. Just because I'm doing something doesn't mean you should be doing the same. Sometimes adding those highlights. For the next step, you will either need a detailing brush or a white gel pen. We're going to add those white lines onto the flower. That detail at the center. I just realized I didn't add any deeper tone to the center. So first we can add some deeper tones onto that bigger flower. I'm picking a darker tone of Thompson. And I'm adding that to the center. I'm just adding some dots at the center. It doesn't need to have any proper shape and it doesn't need to be blended into the background. So just add some darker tones at the center of this bigger flower. Now, I'm going to go back to my detailing brush. So you should be either using a detailing brush or a white gel pen. Both of them will work. Maybe for the first flower, I will use a white gel pen. And for the rest, maybe I will use my detailing brush. Let's see which one is working. So it is nothing but just some lines. For this one starts from the bottom and add that. What's the top? I can keep adding them. Have to be little longer. So it should come outside the Pacto. Keep adding them until you reach the other end. So right now I'm using a white gel pen. This can be done using a detailing brush gospel. We shouldn't be going with the cannonball line. So go to the breadth which has a pointed tip. If you're using a brush, we need some thin and delicate lines and go than opaque version of white watercolor or white gouache. Now what are the tip of these lines? I'm going to add a small brown dot at the same way how we did in the technique section. So-called some brown and add a small town onto the tip of these lines. Okay, so that makes our first flower complete. Now in a similar way, we need to add details onto the remaining flowers as well. For the rest, I'm going to switch to my detail in brush. Has a really nice pointed tip. It's a miniature brush actually, just perfect for these kind of smaller details. Have taken paint on my brush. Now, I'm going to add some lines. For this one, we need to start from the center and take the line outward. And you need to add them until you finish that entire circle. So start from one side and keep adding those white lines. It has to be thin and long. Keep adding them. If you feel like white gel pen as much better, just go with that. It doesn't matter. We just need some white lines. So let's keep adding them. This brush is really nice. I'm very sure you have seen me using this multiple times in this watercolor challenge. It has a really nice pointed tip. I use it for my gouache painting cesspool, where I need to add those thin lines. It's a brilliant brush. These brushes are not that expensive compared to the artist grade watercolor brushes. And for these miniature brushes, you don't need to go with the most expensive brands as well. You can go with any cheaper ones. Even the cheaper brushes really work. So try one of the brushes and see the difference. You will get the mass. We need two brushes on detailing brushes. You just need to have one or two in your collection. That's it. I'm done adding the lines. The next step is to add those brown dots onto a tip off these lines we have added. So you can see the difference, those white lines and that dark need. The flowers are looking a lot better right now. They look complete. We're actually done with your painting, but then I feel like adding few more branches have taken a darker tone of brown. I'm just adding a branch or here. I'm not going to add any highlights or any other medium to answer anything onto it. I'm just using a darker tone and I'm adding a smaller branch. Similarly, I will add one or washer as well. If you want, you can add more branches. I'm quite happy with the weight as Toronto. So I'm kinda call it down here, several finished painting. You can see those pretty flowers and the beautiful background. I hope you all had a great time painting this car. Just Lars, thanks a lot for joining me today. I'll be back soon with the one extreme landscape. 59. DAY 20 - Green Lake & Pink Flowers: Hello, hello, Welcome to the 20. Here's the painting that we're going to do today. It's a painting you will learn how to paint that mountain and alter this floral middle. It's a pretty simple painting and you will learn quite a lot of techniques in this painting which you can use in your future projects. So I will quickly take you through the color palette which raise painting. And also we can try out that mountain. That way it's gonna be really easy when you try out the class project. I already have the colors ready here, so I'm going to swatch out one-by-one. So I will start with the sky. For the sky, I will be using cerulean. Blue will just need a medium tone. This is one of my most favorite color. I use it quite a lot for my blue skies. I already have the paint here. I'm going to add a swatch. It's a beautiful blue. We will just need a little. You can use any blue of your choice. You can use Prussian blue, cobalt blue, or any other blue. The next color is indigo for the mountain. The top color, you see that as integral. If you don't have indigo, you can just use Prussian blue or any other taco blue. So that's integral. I'll be using this for the mountain as well as for the taco tones. So that's our second color. Now towards the bottom of the mountain you can see in green here that sacrum. So that's our next color. For the mountain will be using both Indigo and sap green. Over the top, we will use a medium tone of indigo, and towards the bottom, we will use a medium Tonle Sap green color factorial. Now, if you look at the pink too, you can see these trees in the background, these darker ones here. For that, I'll be using a really dark tone of green. So I'll be mixing a little half integral, but sadly, to create that color, the next color you will need is cobalt green. This is the color I'll be using for the lake. It's a car just basically green. I'm a huge fan of this color. I use it quite a lot. I use it for night skies, and I use it for tropical beaches and also for clear water lakes like this one. It's a gorgeous color. In case if you don't have cobalt green, you can use a lighter tone off turquoise blue for the lake. Okay. So that's our fourth color. The next color you will need it to be cleaned. We will be using sap green, leaf green and indigo for the metal at the bottom. Along with saccharine and integral. To add some lighter tones, you will also need some leaf green or lemon yellow. So these are the three colors I'll be using for the metal lid clean, factory, and integrate. That's our next color. We already have integral and sap green on our color palette. So the next one is liquid. It's a college is green. I have listed quite a lot in the string particles. Excellent. Okay, so that's my next color. Now, the last color is permanent rose, which is a color we'll be using for those flowers. Permanent rose is not a common color, so you can use crimson instead. If you want some bright pink flowers, you can go for Oprah pink or any other color. You will also need some white gouache or white particular to turn the color into an opaque version. That's a color we'll be using for the flowers. I have just added some dads close to each other to create a fill off. There are some group of flowers there. Okay, so it's literally some Todd's using a rose color. So that's the last color you believed for today's painting. Now just in case if you want to go for a different color for your flowers, maybe you can use violet or orange or yellow or even white. So those things are totally your choice. You can decide on which color you want to use for your flowers. It is just some doors. There is nothing complicated here. So you can use any color FHIR. Alright, so that's summarized all the colors you will need for today's painting. You will need some blue for the sky. Then you will need integral sap green and lighter green or lemon yellow. You will need a piece of blue or green for the lake. And finally, you will need some bright color for the flowers. It can be any color of your choice. So we had a look at the colors. Now let's try with the mountain. Will use a quick try so that it will be really helpful. Then you paint the class project. You will know how to approach it, and also you can improvise it or modify it. Menu already know how to do it. Okay, so let's give it a try. First, I'm going to add a pencil sketch. You can add any amount and how will you want to. I'm going to add a simple mountain. When you're sketching your mountain, always go with the natural and organic shapes. You can add in some ups and downs in between. This will make your mountain look more realistic. Never go with the simple boring Curl. Okay, so I have added the basic shape of the mountain. Now we need to create some pockets onto the mountain and decide on where we are going to add the darker tones. So starting from all the tip, we can add some irregular nine. And that's where we'll be adding the chocolate tones. You can see the painting on the left side, and you can clearly see those darker tones. So it just goes deeper tones which will make up a mountain look more realistic. So it is really important to add those guidelines. If you're quite confident you can add them by your painting, you don't need to really sketch. Now, I'm adding a line. Alright, so that's our sketch. Now we can start painting for the mountain. I'm going to use integral and sacrum. I'm using a medium-size brush. This one is size number atrium Krish. I'm starting off with a medium tone of integral. You just need to follow the shape of the mountain and add this medium turn off integral onto the top portion towards the bottom, as you're approaching the horizon line, we will switch to sap green and fill up the remaining area. So carefully follow that outline and add a medium tone of integral. If you don't have indigo, you can use Prussian blue. Again, go with a medium tone. Don't make it too dark or too light. Let's add some more paint. I will add this almost to the center of the mountain. So towards the top we have integral and towards the bottom we're going to add some sap green. I'm washing off the paint from my brush. Here. I'm going to add some sap green. Again, I'm using a medium tone. It is not that line. It's upright and critical. We all know that watercolor tends to favor metal when it dries. So if you go with a lighter tone, it will fit again and the motor will look really tell when it dries out. So go to medium tone so that when it dries, you can still have a pretty color. Now simply add green towards the bottom and add a straight line at the horizon line. This one has a really quick and dorsal mountain which you can use in your future project. I'm quite sure today's painting is going to be an essay. You're going to learn a lot today because mountains are a great element to add in your watercolor paintings, whether it's foreground or background, they add a lot of life to the painting. So yeah, you will learn to paint the cars is green and blue mountain. I have applied some integral on the top and some sap green at the bottom. Now, I'm gonna go with a little more darker tone of integral, and I'm simply dropping that onto the wet background. I'm not blending that are unmarked making it smooth. I'm just dropping in that color onto the wet tobacco. Okay, so that's a base layer. Now we'd have to wait for this to dry before we call them next time. Okay. So the base layer has dried and you can see the color. It is not as bright as before, then the back-end will sweat. And that's the main reason why I told you to go with a medium tone, not lie to him. Our next step is to add some medium tones and darker tones onto the mountain to make it look more realistic. Right now it is looking quite flat. And for that, I'm going to go with a medium to enough integral with a slightly darker than the color we use for the background. And I'm going to create those irregular line from all this tapering point. I'm using a size number four on crush. You can go with any of your smallest size brush. And from all those steps you have on the mountain, add an irregular line using a medium tone. Don't go with a darker tone. If you carefully look at the mountain you have added, you will find so many little peaks. We're going to concentrate on those little peak and we're going to add the deeper tones over there. Okay, so pick one by one and you can add some deeper tones onto those pockets. Just some irregular line. It can be thick and thin. There is no particular shape for length for them. You can simply add them using a medium to darker tone. Don't make it too dark. It just has to be one or two tones darker than the background color. Now, I'm going to add them onto this bigger peak over here. So starting from that tip, I'm adding an irregular line. I'm taking it down. I feel like it is too dark. You can dip your brush and some water and smarts that color into the background using a wet brush. You can already see how predictable margins looking when we add those darker tones. So depending on how much detail you want to add new mountain, you can keep on adding these kind of lines onto the mountain. If the mountains really far from you, if it's in the background, you don't need to add a lot. If it's closer to you, obviously, you will need to add more details. You will have to work with more darker tones to make them more prominent. So the amount of detail will depend on how far or how close the mountainous. If it's like really, really, really far, you don't need to add these details. You can simply add that background layer. We used integral and Sakhalin and just leave it as it is. Especially if you have an another layer of mountain in the foreground. So that's the one mountain. Now, I'm gonna go back with a little more darker tone of integral. I'm going to add that onto these pockets. First, I will add that over here. I have a small pocket here. Now onto this bigger peak. Now onto this little pocket. In a similar way, you will have to pick all those pockets you have in your mountain and add in some medium to deeper tones like this. It is just some irregular line. It can be a combination of dry lines and red lines. In case if you feel like the color you have applied is really dark, you can go with a wet brush and smudge that color into the background to make it look more smarter. Now, along with us, you can also add some random lines using a lighter tone of integral onto the mountain to add in some more texture. Okay, so we're done with the mountain. Now, I'm going to go the really dark tone of green. I'm mixing integral with Sakhalin to create a darker tone. I'm going to add those trees along the bottom line of the mountain, these fonts here. So first I'm going to add a line using that darker tone of cream. Now onto this, I'm just going to add some lines close to each other. You can use the smallest size brush or any other brush with a pointed tip and simply add some lines close to each other using that darker tone of green. Some other lines can be longer and some of them can be shorter. This way it will look more realistic. So there's just some plain lines. These trees are quite far from us, so we're not going to detail them. Will just need to add some lines close to each other. I want to finish adding them. You will really feel like a group of trees. So it's a very simple step. You will just need to go with the smallest size brush or a brush with a pointed tip. And keep on adding some lines close to each other like this. We'll be using the same method to add trace onto a painting as well. We'll have two similar setup trees. The first set is going to be something similar, will be adding that on the right side along the bottom line of the mountain. And we'll also be adding a similar set of trees along the lake. Okay. So let me quickly finish this. As I said earlier, I'm using a darker tone of green. I have added some empty COVID sap green to create this darker tone. I'm simply adding some lines. Right now. I'm making them shorter. So it will look like the trees over here are shorter compared to the right hand. So I hope the idea is clear. Now, let me quickly finish this. I really love this technique and I use it quite a lot in my paintings. Whenever I'm adding some trees in the background, I never used to put a lot of effort. This is the way I usually go with it is quick, easy, and it looks realistic asphalt. It really looks like a dense sampling pine for us, which is really away from you. You just need to add some lines close to each other. As I mentioned, to make it look more realistic, you should be going with a smaller brush and add some thin lines. And also when you're adding these lines, don't make them in the same height. You can make some of them taller and some of them shorter. This will make your face look more realistic. Now, I'm going to add some shorter ones here. And I'm going to call it done. Maybe we can add some lines at the bottom and maybe we can add some color for the gas. Well, I'm quite happy with the mountain as well as history. I think it's a really gorgeous color combination. You can use it in your future paintings. Now, I'm going with some cobalt green and I'm going to add that onto the lake. I'm not going to put a lot of effort. I'm simply adding some cobalt green onto the water. As I mentioned at the beginning, if you don't have cobalt green, don't worry, you can just use a lighter tone of turquoise blue. First, I will add cobalt green onto the entire league. Then right below the mountain, I will introduce some reflection. Using sap green. You can see how pretty that color is. It's a gorgeous color, especially if you want to paint towards Clearwater Lake. Now I'm picking some sap green and I'm just adding some lines closer to the mountain. Just some random lines. Whenever you're using cobalt green or turquoise blue for your water. I mean Les Carr, a tropical beach or something like that. It is better if you don't add lots of details and make it look complicated, it is better to leave it simple. Make sure not to add a lot of reflection. If you make it too busy, it will kill the beauty of that color. So let's keep it simple. We'll just add some reflection, right, Anthony the mountain. And for these flowers, I have just added some doors close to each other using a pink color. It is just some simple thoughts which I have added close to each other. So that's something really basic and simple which you can follow while we're doing the painting. Alright, so that's some rice, all the colors and the techniques you will need to know to create today's painting. Now let's give it a try. 60. Green Lake & Pink Flowers - Part 1: Alright, so our first step is to add the pencil sketch. We will need to add a mountain. And we'll just need to add a line at the bottom to separate the lake and the meadow. I was taught by adding a line a little above the center of the paper. And that's where I'm going to add the mountain just had a simple straight line. Now we can add new mountain. As I mentioned earlier, go with a very natural and organic shape. Don't go with the simple code. You can add some ups and downs in between to make your model look more interesting. Okay, so that's the mountain. Now, I'm going to add another line here where I'm going to add some trees. For now, you will just need to add a line. We can add the trees when we are painting. For now, you just need to add a line. Now, I'm going to add another line at the bottom. Just a simple irregular line to separate the lake and the meadow. That area at the middle is the lake and what we have at the bottom estimator. Okay, so that's a pencil sketch. As a simple sketch, there is nothing much complicated here. You will just need to add that mountain. The rest is quite simple. Now, let's start painting. We already had a look at the color pallet and you all know the color that I'm going to use for the sky. I'll be using a medium to unnecessarily in blue. You can use any other blue. It doesn't need to serene blue. And I'm going to go with a wet on wet sky first and x line coat of water onto the sky. To paint the sky, I'm going to use a flat brush. You can either use a flat brush or a round brush. Go the medium tone of blue, which will be the blue data using. Now, I'm going to just apply some lines onto that Bet Sky. It's a very simple sky. You just need to drop in some lines using a medium to an upload onto that wet background. When you're adding the lines, try to leave some white gap in between. This will make the sky look more beautiful. So once you have applied water onto your background, just adding some lines using a medium tone of blue. If you want, you can go the gradient wash where you have a meeting tone at the top and a lighter tone over the bottom, or it can go the cloudy sky as well. We have tried all kinds of skies, so you can choose the one that you want to go with. Now, I'm adding a few more lines onto the sky. The ones I added earlier, it's not really visible. So I'm just adding few more. That is it. Now we'd have to wait for this to dry completely before we call it the next time. Alright, so this guy has dried completely. Next I'm going to paint the lake. And the color that I'm going to use for the lake is cobalt green. If you don't have cobalt green, you can use any other pixel, green or blue that Epcot or I can just use a lighter tone off turquoise blue. So I'm going to squeeze out a bit of cobalt green onto my palette. First, I will be applying a solid wash of this color onto the anterior leg. Then I will add some lines closer to the mountain using a bluish green to indicate those reflection have taken out the paint. Now, I'm using now medium-size brush, this one a size number eight brush, washington properly so that there's no other paint on it. We need a clean blue for the leg. Don't add a lot of water called a bright color. See that? It's a car, just basically cream. Now, I'm going to apply this onto the entire league using this medium-size brush. I'm nearly done adding the paint. You can see how price and rotate it. A car just color. This color Benson, a different motor, your painting. So I would say it's a gorgeous color to add enough collection. Now, I'm going to pick some sap green. I'm not washing up the paint from my brush. I'm directly picking some sap green and I'm adding some lines closer to the mountain. You can turn it into a little bluish color by adding a little blow into it. It can be any blue. It doesn't need to be certainly don't use a paint which is too watery. So if you feel like your brushes too watery, tablet on a paper towel and keep adding some lines. If the paint is still watery, it will spread into the background in a very vigorous way. We don't want these lines to spread a lot. And that's the reason why I told you to wrap your brush on a paper towel or a cotton cloth. Now keep adding some more lines right underneath the mountain using either sap green or a bluish green. With your eyelid affliction, try not to go with a darker tone, go to medium tone like this. Don't make it too dark. And also we don't need to add a lot of reflection. You just need to add them right underneath the mountain. You don't need to bring them towards the bottom. The major color of the lake has to be still that cobalt green or cobalt blue? I'm picking some more cobalt green and I'm just wondering the color. I feel like the colors a bit lighter. So I'm just going with the code and I'm making the color more brighter. This tip is really optional. If you're already happy with your background, you don't need to add another code. I just felt like the colors a bit lighter. I want the color to be really bright and beautiful. That's the reason why I'm going with another code. Okay, So just in case if you want to make it more brighter, goes under the code of cobalt green, or any other blue data by using. Okay, so that's done. Now, I'm going to add few more reflection right underneath the mountain. I'm going back what's happening and that bluish green and I'm adding some more lines. As I said, we don't need a lot and don't go with a darker tone, go to medium tone. So data set, I think we can call it a ton. I'm pretty happy with the colors. Now, let's leave this for trying. Once it dries, we will paint the mountain and also the Florida middle. So let's take a short break and leave this for trying. Our next task was to be in the mountain. For that, I will need some integral. So I'm just making some space for integral first. I'm just wiping that paint with a paper towel. Temkin squeaks out an integral onto my palette. Just like how we tried in the technique section, will be using sap green and indigo for the mountain. I already have some sap green on my palette. Okay, so we have the colors ready. Now, I'm going to start with a medium to another integral, and I'm going to add that onto the top of the mountain, almost a half of the mountain, I'll be using integral and towards the bottom, I will switch to sap green, and I will add that to the remaining area. You will have to go with a medium tone. Don't make it too dark or too light. So I'm picking some medium to another integral and I'm carefully applying that onto the mountain. You already have an outline there. Follow that carefully. We need that sharp shape for the mountain. Almost to half of the mountain, you can add an integral as just a medium tone. You can see the color here. Don't make it too dark or too light. The color has to be private entity because when the watercolor dries, it will tend to fade a little. So at the beginning itself, you will have to go with a medium tone. Now I'm picking a medium tone, a sap green, and I'm applying that onto a leftover area. This is our base layer. Once this dries, we will be adding some details onto it. We'll add some lines and some texture to make it look more realistic. For now, you will just need to add a medium tone of integral on the top and a medium tone of sap green at the bottom. The color that you're applying right now doesn't need to be a clean plant. It can have some rough patches in-between. That's absolutely okay. Baby will be adding some dry brush patterns and some details onto this. So how the background is looking right now, it doesn't really matter. It can be messy and it can be rough. Okay, so the base layer is ready. Now, we'll have to wait for this to try to add the meeting details will be adding some drivers patterns and some medium tones onto those to make it look more realistic. So the base layer has dried. Now it's time to add the remaining p teams. We need to make them out and look forward to elastic. Right now it is looking quite flat. And for that, I'm going to use a medium tone of integral, just like how we tried in the exercise section. And to add those details, I'm going to use a smaller size brush. This one is a size number 400. Okay, so I'm picking a medium tone off indigo color with a slightly darker than the color we had used on the background. And I'm going to start from the tip of the mountain. Okay, So go the medium to enough integral or any other taco blue and starting from the tip of the mountain at an irregular line. Now I'm using underbrush, which is slightly wet, and I'm smashing the color. I don't want those taco tones to be too prominent that the reason why I'm doing this. Now onto this drop, I'm going to add some darker tones. And I'm gonna do the same thing using a wet brush. I'm smashing that color. If you closely look at your mountain, the shape of the mountain you have headed, you will find these little ups and downs onto all those areas. We're going to add some deeper tones and we're going to smash that. Take it slow, don't rush. Go to all those pockets and add some deeper tones. And using another brush, you can smudge that. If you don't add the deeper tones, your Martin will look quite flat. It wouldn't have any texture. So this step is really important to make your mountain look more realistic. So pick all these little pockets you have in your mountain and add some deeper tones over there. If the paint is too prominent, you can Smart Start with a wet brush. You can already see the difference between the right side and the left side. The left side is looking more realistic compared to the right, as we have added multiple tones and add some texture over here. That's main reason why we should be adding this. So townscape, take it slow and add some deeper tones variable you want to. Especially onto those drops you have in your mountain. The same process can be used for any other mountain that you're painting. It doesn't need to be blue and green. You can use the same technique to paint a brown mountain or a snowy mountain. Are you in a completely Green Mountain for the top, we can go with a medium tone and what's the bottom? You can go to much more darker tone of green. And you can use the same style to paint the clouds just Mountain. Make use of the techniques that you're turning in today's painting in your future projects. Now I'm picking some sap green and I'm just adding that over here. I feel like the colors really dull and light. And I think that is something wrong with my paper. I'm not sure if the paper has lots of sizing. You can see those weird texture on my paper. Anyway. I'm just going to fix it. I'm not going to change my painting. And again, I'm dropping some more darker tones at the bottom. I will add some more darker tones. The novel Smart Start with a wet brush. Those darker tones I added right now is looking quite prominent. I don't want them to be too prominent. So I'm using a wet brush and I'm smashing that color into the background. So the site is done. Now in a similar way, we need to add some medium tones onto the other side as well. If you want to add more deeper tones, you could do that. I'm just adding some more lines over here using a lighter tone and a little over the side as well. That looks good. In a similar way, I'm going to add some texture on the other side as well. On the side, I won't be adding a lot of darker tones. I will use a medium tone. Okay? Now using that medium tone of integral, I'm just adding some lines, some random lines. Some of them are tech, some of the Martin. And I'm just adding that towards the bottom. I'm not going to add a lot towards the top. Towards the bottom, I'm making the lines won't pick up. My intention is to just add in some lines and bring in some texture to get rid of that flat fill up the mountain. It doesn't need to be smooth and perfect. You can simply add new lines. Be sure to use a medium tone. Don't make it too dark. Concentrate more on the top, make this area really clean and neat. Towards the bottom, you can just drag those lines and leave it as it is. Because at the bottom will be adding centuries. These patterns we're adding right now won't be disciplined. Focus more on the top. Over here, you can simply drag your brush and create some trends and patterns. It doesn't need to be clean. Now I'm just going to add some greenish tones over here as well. Some tracking my bridge from bottom towards the top. And I'm creating some lines. Okay? So today we are done with the mountain. Now we have to wait for this to dry. And we'll need to add those strings to make it look complete. For now, this is all we need. I'm not really sure what is wrong with my paper because this guy looks fine. Only the mountain looks a bit weird. I have some messy texture at the bottom of the mountain. Mind. I remember the ad, the trees, it won't really show up anywhere. Let's leave that for trying. And we can start with the landscape at the bottom. For the base layer, as we discussed, I'll be using leaf, green, sap green, and integral. So I will use a bigger size brush to add the paint onto this area. I need some sap green. Let me take out some green onto my palette. By the way, I caught my favorite green. I wasn't happy with the green icon from Winsor and Newtons while I was eagerly waiting for this to be back in stock. I'm using a bigger size brush and I'm starting off with some, leave. This one as the five number 12 round brush. You can use a bigger size brush or a medium-sized brush. I already have a bit tough lifting over there. I think that would be enough. For this area. There is no particular rule or method that you need to follow. You can simply drop in a lighter green, then a medium tone of green and a darker tone of cream. It doesn't really matter how you're applying the paint. Because onto this will be adding some leafy pattern and some grassy lines. And at the end when everything dries, we'll be adding some travels onto this. Okay. So just don't worry about how your background is looking right now. It's not going to affect your painting. I have added some medium tones and lighter tones onto the background. Now we need to introduce more of Taco tones. To add the deeper tones, I'm going to pick some integral, and I'm going to add that at the bottom. You can add those deeper tones along the bottom line and also towards either side. Okay? So pick a generous amount of integral and add that onto the wet background. And keep adding more darker tones at the bottom. On the top, we can leave those lighter tones and medium towards Tacitus. Onto the bottom, we can introduce more off taco tools. You can see how messy that background is looking, but nevermind. Trust the process and keypad he attack ketones until you feel like you're happy with the result. So just let the mountain, they're trying to create some texture and some patterns here. We don't want a flat and plain background. I could have added enough off taco tones and medium tones onto the background. For the next step, I'm going to pick a smaller size brush. And I'm picking some sap green. And I'm going to create some grassy lines on the wet background. So keep pushing and pulling that paint and create some grassy lines, Just some random ones. You will have to do this when the bank industry wet, don't wait for that to dry. Keep adding those lines and create some texture here. For today's painting, we'll be adding like hundreds and thousands of laws. We'll be adding a bunch of pink flowers. Literally will be filling this entire area and pink flowers. So how the background is looking right now, it's not going to affect your painting. You can keep on adding those lines and some patterns. Now you see the same tone of green. I'm going to create some patterns and texture over here along the top line. First I'm just adding some dots. Using a wet brush. I will smudge sat into the background. I just want to create some texture here where it looks quite plane. Okay, So just keep adding some dots over here. Then we can use a medium tone. We don't need to make it too dark. So I'm adding some dots using my smallest size brush along the top line of this landscape. I'm going to do this for this entire line is just some random dots and some patterns. Once you are done with that, you can watch the paint from your brush and go with a lighter tone of green. Just match that color. So all these are going to be the texture in the background. We don't want them to be too prominent. That's the reason why I'm smashing them. So go with a lighter tone of green as much time. Enter your background layer is done. Now, we need to add more details to make it look more realistic. We need to add those trees as well as the flappers. So let's take a small break and wait for this to dry. 61. Green Lake & Pink Flowers - Part 2: Alright, so this is where we have raised, everything has dried completely. Our next task is to add the trees in the background, as well as the flowers in the foreground, will be just adding some lines over here right underneath the mountain. Will be adding them close to each other to create a group of trees. Okay, So let's do that. Now. To end this, you will either need a brush with a pointed tip or smallest size brush. Don't go with a bigger brush. We want those lines to be really thin. So let's add them. I'm gonna go with a darker tone of green, just mixing a little of indigo with sap green. And using that color. First I'm going to add a line just to define that area. Along the bottom line of the mountain. Add a thick line using a darker tone of green. Or we can just use integral acids if you want a really dark tone. Now onto this, I'm going to add some lines. Just keep on adding some lines close to each other and fill up that entire area. Okay. You don't need to put a lot of effort here. You can simply keep on adding some lines close to each other. When you fill up that emptier area and similar lines, you will really get a feel of trees. Okay, So keep on adding them. I think you can already feel that we are done with the right track. I'm going to make the land shorter as I'm approaching towards the center. On the right hand, I will have taller trees and all the center I will have shorter trees. Okay, Now, let's keep on adding some lines and finished this anterior line. Just like I said over here, I'm using smaller lines. So it really feels like on the right hand you have toiletries and as you are approaching towards the center, they are getting shorter. Okay, So the site is done. Now in a similar way. I'm going to add trace on the other side as well. Just like how we did earlier, I'm going to make the trees taller on the left hand. As I'm coming towards the center, I'm going to make them shorter, go with a darker tone of green. And it's the smallest size brush or a brush with a pointed tip. And keep on adding some lines close to each other and finish that entail area. You can see how pretty old paintings looking already, those trees made a lot of different areas looking really pretty. And we have covered that bottom area of the mountain. This is the reason why I told you not to put a lot of effort here. We'll be adding some trees and we'll be covering that up. So this is what I meant when I said that. We have some more area left here. Over there. I'm going to add some shorter lines so that we can see that part of the lake in the background. I'm really happy with the background, the mountain and those strings are looking so good together. I think it's the beauty of the colors we have used here. I hope you guys are happy with the painting. To the only thing I'm not happy with this as the texture of my paper looks like there's something wrong with it. Maybe it's an old paper. Anyway, there is nothing that I can do right now, so I'm just going to ignore it. We're nearly done adding the trees onto this and I'm just adding some taco tone and maybe one or two rocks, some smaller rocks. This is some small cheap just add one or two. Okay, So with that, we're done with the trees. Now it's time to add the flowers. Before we add the flavors, we need to add some more texture here. And for that, I'm going to go with a darker tone of green. I'm randomly going to add some leafy pattern and some grassy lines onto this background using that darker tone of green. And there's just some random patterns. And we're going to add the flowers on top of it so that there is some texture in the background. So it's a combination of some grassy lines and some leafy pattern. You can add them in a very rough and messy way. You don't need to put a lot of effort. As this is going to be in the background. We're going to add hundreds of flowers on top of this. So these patterns won't be really visible. They are just trying to create some texture in the background to make it look more interesting. Okay? Just keep on adding some dots and some lines and some messy patterns like this. You can use a medium to darker tone and just add some patterns. You can see how carelessly and adding them. I'm not putting a lot of effort. I'm just randomly going around and adding some leaves and some lines. My intention is to just bring in some texture here. As I said, these are going to be in the background. On top of this, we'll be adding a bunch of levels. Let me show you the finished painting so that it will have a better idea of what I'm talking about. Here is our finished painting. You can see those patterns in the background, the green patterns and beautiful pink flowers on top of it. So this is the reason why I told you not to put a lot of effort. You can simply keep on adding some random patterns. It can be a very rough shape. You don't need to put a lot of effort adding each and every leaf. Just keep on adding some thoughts and some patterns using the tip of your brush. And along with that, you're going to also add some graphing lines to bring in more textures. Keep adding them until you feel like you have got a texture there. Once we are done with this, we can add our pin travels. Alright, so that's done. Now it's time to add those colleges, pink flowers and Trisha for painting. I don't have enough space on my palette. So I'm just going to clean up this section using a wet paper towel. I'm dipping my paper towel and some water and I'm wiping that pain. And there you go. Have made some clean space for the pink. Now let's take out the paint for the flowers. I'm going to use permanent rose. You can use crimson or any other pink tone. Or if you want to go with a different color, maybe you can use violet or yellow or white or orange in color of your choice. If you want the flowers to be really bright and treaty, you can also use opera pink, go, the color that you have chosen. And we need to add some white gouache or white watercolor into it to turn that into an opaque color. I'm just squeezing out a bit of white gouache. If you don't have white gouache, you can use white watercolor. Now, I'm going to mix some white gouache with permanent rose to create an opaque color and to add the flowers, I'm using my smallest expressed. This one is a size number two, round brush. Go to any of your smallest size brush so that I can add smaller dots. Have created that pain. Now comes the fun part. I'm going to randomly add some pink taught onto this emptier area. I'm going to add hundreds and thousands of them. I will just enter the area to be filled and pink flowers system doors close to each other. It doesn't have any particular shape or size. I'm going to add them close to each other to make it look like there are some punch of levels. Go with any of the color you have chosen. Atom white gouache in Tibet, it can be crimson or violet or orange or yellow or even white. It can be any color of your child, some white gouache or white watercolor. To turn that into an opaque question. If we feel like the paint is really thick, you can add few drops of water and then use the smallest size brush or a brush with a pointed tip. And keep on adding some torts like this close to each other to make it look like there's a group of levels over there. It's easy and it's fun. But then it might take a bit of time as we have to add quite a lot of them. So anytime you feel bored of adding these levels, take a break, get up from your seat and go for a walk or grab coffee and come back and add the remaining. This is a brush that I'm using, a size number two round brush. So go with any of your smallest size brush or a brush with a pointed tip and keep adding some tiny dots close to each other. It will be better if we can go to Pride color, don't go with any color. You can use Chrome cell instead of permanent rose, or it can use opera pink if you want them to be really bright. Or it can use some vermilion, try to go too bright and vibrant colors so that they will really stand out. Because for this anterior painting, we have just used blue and green so far. The color that using for the flowers as well, I'm going to make your painting more catchy. So try to go to the bright color. It can be any color if your child. Now, let's keep on adding more and more dots. I'm not lifting my hand. I'm just adding as many dots I can in one go. So you can see here I have two different tonal values of pink. I have a bright pink and a lighter pink. That just happened. It was not intentional or it wasn't a deliberate action. The first time when I pick the color, it was really bright. And the second time when I pick the color, I think I added some more white by mistake. I've got two different tonal values of pink here. But then I feel like those different tones are adding more beauty to a painting. I think it would be nice to use different tonal values of pink. At some places you can use a darker tone. I'm in a brighter tone. And at some places you can add some white and make it lighter. Now let's keep on adding these dots. I'm trying to fill this asap. I'm nearly done with the right side. You can see how pretty it is looking already. Now, I'm going to add onto this bottom-most corner. Over here we have a darker tone. And I think there we have a really beautiful contrast up that pink and darker green. I think we should have used more darker tones in the background. Anyway, the side is done. Now in a similar way, I'm going to add more flowers onto the other side. I'm starting from this top and I'm just adding some task close to each other using an opaque wash. Now froze. If your paint is too thick, just add two drops of water and keep on adding these dots. It's really a fun and quick exercise. You can even mute me, hand out the rest of the flowers. This is the only step remaining. Weathers will be tangible painting. You can use this technique in your other paintings as well. It can be a valley or Florida metal. You can change the color and use the same technique to create a call just Florida middle. I really hope you guys are loving the way of paintings progressing. I'm loving it and I'm really happy with the way it is turning out. And I'm enjoying it asked for I really like these kind of steps in my painting. They can just sing and pain. You are never going to make any mistake. Okay, so I'm going to put on some music and I'm going to finish off the rest. Alright, so we are done adding the flowers. You can see how pretty it is looking. I can't tell you how much I love this painting that lay candles, pink levels are looking so good together. Now there's one last thing you can do if you're interested. We have some leftover white paint here. I started with using have cleaned my brush properly. And I'm going to slightly watery wash now, white quash. Just a little. We don't need a lot. It doesn't need to be an opaque paint. Now using that color, I'm going to add some highlights or to a mountain just to make it look more snowy. This is a really optional step. If you're already happy with your painting, you can just call it tan. You don't need to do this. So in case if you're following this step, go to slightly watery version of white gouache or white watercolor. And add some lines. Just be sure the color that we're using is not really opaque. We want a dull white. So go to slightly watery paint and add some lines, especially onto the area where you have lighter tones. Don't add them close to the darker tones. We can add some onto this area where we have lighter tones. Onto the two passport. And just some random lines. Maybe we can add a little over here onto this green area that looks a bit prominent. So I'm just dipping my brush in some water and I'm switching to make it look lighter. The lines we're adding shouldn't be too prominent. That's the reason why I told you to go with the watery gouache. Otherwise they would really stand out. We just want some vitamins here and there. We don't want them to be too prominent. I'm going to add some more lines onto the tip of the mountain. And with that, I'm going to call it Dan. Data set. We're done with the painting for data. Now it's time to peel off the masking tape and adorable, beautiful painting. Here are several painting for the T. You can see how culture those flowers are. Just some dots close to each other and discard this mountain. We can see that texture on my paper. Looks like the paper is starting to lose its sizing. Mine. I'm happy with the overall painting. I'm just going to ignore that. I cannot tell you how much I love this painting and the anterior border of this painting, that lake, the flowers and the mountain, everything is looking so good together. It's a wonderful color palette. I really hope you guys enjoyed it too. Thanks a lot for joining me today, IP packets one, but our next spring landscape. 62. DAY 21 - Stairway : Hello my dear friends. Welcome to the 21. Today via painting and colleges stairway filled with flowers on either side. It was actually a very simple painting. You can see that characteristic show we have on the stair, as well as door's literally yellow flowers. The techniques that we're using today are quite simple. And you can see those sturdy love flowers. That's a simple, basic flower. We're not going to put heart of efforts. But then when you add quite a lot of them, it will look really beautiful. And that is exactly what we're doing today. So let's quickly take a look at the colors you will need as a simple color palette, obviously, you will need some green and some brown and some yellow for the flower. Okay, So let's take a look. I'll start with the blue. You can see there's a lot of sky that I'm showing here. So for that I will eat any of the blue that I'm using. Perylene blue has always, it can be any blue. It doesn't need to be cerulean blue. You can use Prussian blue or any other blue. We just need a letter back to a really light to them. So you don't need to squeeze out a lot of blue. Okay, so that's all first color. The next word is obviously the green. Will need quite a lot of saccharine for this painting. You can see there's a lot of landscape on either side. So that's saccharine. We'll need three different tonal values of green sap green is a medium tone. Along with this, you'll also need a lighter green as well as a darker green. The bottom we can see that darker green. For that, I'll be using indigo and I will be mixing that with cream to turn that into a darker green. Okay? If you don't have integral, you can use any other taco blue. So that's our taco tone. Now we will need a lighter tone, and that is leaf cream. You can either use lemon yellow or any other lighter green. Mario Kart shares the color that I'll be using. It's called leaf cream as a gorgeous green. We'll be using that for the background, as well as to add these classic patterns on the darker background. I won't be adding any white gouache or white watercolor. I'll be just using leaf green asset is to add those trashy pattern. That's our next color. We don't want those grassy pattern to be too opaque. That's the reason why I'm not adding any wild crush or white watercolor. But then if you want them to be really prominent, you can add up the two white gouache or white watercolor into any of the green that we can do a quick exercise to understand the intensity and opacity of the colors. Now coming to the colors you will need for the stairway, you will need some kind of brown or Pacino and some nutrients into our Payne's gray. I'm mixing these two colors and I will be creating a burnt umber color. I wouldn't be using the scalars acids. So the first color you will need is burnt sienna. Then you will need either Payne's gray or black or neutral tint. So just like I said, we'll be mixing these two colors together to create a burnt umber or a grayish brown color. We can try that out. Now, the very last color you will need as yellow, which is the color we'll be using for the flowers. You can use any other color. It doesn't need to be yellow. Ocher mixing, let love white gouache with the yellow to get the opaque version of yellow. The yellow that I'm using, cadmium yellow. If you're using a low, it can be any yellow, it can be gamboge, yellow, Indian yellow, primary yellow or yellow. It doesn't really matter. As we have darker tones in the background, we need an opaque yellow. That's the only thing that matters. So tutorial L0 into an opaque shade, you will need to add either white gouache or white watercolor into it. Now, I'm going to mix a little of nutrients and with bonds Sina to show that color that I'll be using for the stairway. This is the kind of color. If you want to turn the color into more grayish or blackish, you can add more neutral center Payne's gray. Or if you want a color which is more brownish like burnt umber, you can add more prominent to it. Okay, so that's the kind of color I'll be using for the stairway. Now, over here, you can see that taco 2GM over there, I'll be using a darker tone of neutral scent, as well as some brown. So that's summarized all the colors you will need for today's painting. Now, let's do a simple exercise to understand how to paint the background, as well as how to add flowers. It's going to be really simple. So first I'm going to start by adding indigo onto our section here. I'll just add a square or a rectangle. And I will fill that with integral. Right now. I'm not using any green, I'm just filling that anti-sexual integral. But when we are painting along with integral will also be using some green to make it more natural. Right now, it is a really dark tone. Okay, So that is the background. Now we had to wait for this to dry completely. Before we go with the next step, we're going to add some grassy patterns as well as some flowers on to this. So let's wait for that to dry. Alright, so here it is. It has dried completely. Now the next step is to add some grassy patterns onto this. And for that, I'm going to use a lighter green and I'm using my smallest size brush. Just like I mentioned earlier, I'm going to use leaf cream. I won't be adding any white gouache or white watercolor into it. I'm going to use the paint acids. Do. We can either use lemon yellow and mix that with a little offset clean to create a lighter green. Or we can use any other lighter green color. Now I'm going to add some random grassy lines onto this background using that lighter green. I haven't added a lot of water. It is still take. So you can keep on adding these kind of lines on to backpack around until you feel like you have caught a good density. Looks like the color I used earlier was to lose. Those crops are not looking that prominent. So I just reduce the amount of water. I'm going with a thick paint. You can see the color right now. It is more opaque than earlier. Now using this color, I'm going to add some more grassy lines. If you feel like the color is not at all prominent, you can add a bit of white gouache or white watercolor into it to turn the green into an opaque version and do the same step. You can add as many lines as you want. The more you add, the more beautiful your craft will be. Because it will look really tense and thick. And that will make your painting look more natural. So keep on adding these crazy lines until you feel like you have got a beautiful rosette. Here. We have only used indigo for the background. That is why it is looking quite flat. For our painting, we'll use different tonal values of green for the background, so that we'll have a lot of texture and that will make your painting look more natural. Now, the last step is to add the flowers. For that. I'm picking some yellow. The yellow that I'm using here is cadmium yellow. You can use any other yellow of your choice. It can be gambled yellow or in the new law or any other yellow. Or you can go to a different color for your flavor if you prefer that, you can use white assets or I can just use while at our orange or pink. Okay. So go with the color that you prefer. You can see those flowers. It's a very basic flower. I'm not going to put a lot of effort, but you'll have to add quite a lot of them to make your painting look more beautiful. Okay. I'm just pressing my brush and I'm creating a random shape. It doesn't have any pets hello or anything. I'm just pressing my brush. I'm just adding some small shapes using that yellow paint. Yellows are transparent color. To turn that into an opaque color, you will need to either add some white gouache or white watercolor. Otherwise it won't be visible. And also they using a really dark tone for the background. The color you are using has to have some opaque qualities for them to be visible. So it can be any color, but then add a little white gouache or white watercolor into it to turn the attempted opaque color. Okay, So keep adding as many flowers, Esteban, the brush I'm using here a size number two. Don't use a bigger brush. Go the smallest size brush. Otherwise your flowers will be to pick and your painting will go out of proportion. Use the smallest size brush and add enough of flowers like this. You can clearly see the way I have added them. It's a very basic shape. I haven't added any petals are in details onto it. This is the base layer. Now we have to wait for this to dry. And after that, we'll need to add these small dots are to the center of these yellow flowers. Okay, so that's the final step. I'm picking some neutral tint and I'm mixing that with burnt sienna to create a darker brown. I'm just adding a taut onto the center of all these yellow flowers. Make sure to use the smallest size brush or a brush with a pointed tip. That DOD has to be really small. Alright, so that is it. They have discussed the color palette as well as the techniques. Now it's time to paint the predict for the day. 63. Stairway - Part 1: Alright, so here's a painting that we're going to do today. It's a quick and easy one. First, we'll need to add a pencil sketch. We need to add that stairway. So that's what I'm going to do first. I'm attaching any wage heal over the finished painting so that it can easily add the sketch. Okay, so follow the image I have added and quickly add your pencil sketch. Okay, So that is terribly now we'll have landscape on either side. We have a bunch of plants and flowers over here. So some of them will overlap the stairway. And similarly we have some troubles or landscape on the other side as well. But I'm not going to draw right now. We can do that while we're painting. The pencil sketches ready? Now we can start painting. First, I'm going to start with the stairway. And for that the two colors, I'm going to use this burnt sienna and neutral. Just like we discussed in the previous section. I already have those colors on my palette. You can use any of the brown color you have caught and interrupt neutral tint. You can either use Payne's gray or a bit of plaque. Now to apply the paint, I'm going to use a size number eight round brush and then picking a little of burnt sienna, mixing that with neutral tint to create a grayish color. It's a grayish brown. Now I'm going to apply that onto the stairway, onto the flat area where we keep our food. I guess most of you know, I'm an architect. So when our architecture terminology, this one is called dread. And the one I'm painting right now, the bigger one that's called Atlantic. The smaller ones are culturally and the thickness is called a right? So okay, so the first step is to apply that medium tone off brownish gray or grayish brown onto the flat areas. Then onto that wet area, we need to drop in some darker tones. So you can go to much more tacos thrown off neutral tint. I'm just dropping that onto that with background. They're just trying to create some texture here. It doesn't need to be neat and perfect. So I'm going to do this onto all the flat area. I'm in those traits. So just mix some burnt sienna with neutral scent or paints grade or a bit of black and create a grayish brown. Now, apply that onto all the tribes. It has to be a medium tone onto the thickness will be applying a taco tune, the civil first step. Now onto this. While it is still wet, we need to drop in some darker tones to bring in some texture. I have one more left at the bottom. Let me apply this medium tone of brown onto this one asphalt. That's the last one. No, I'm picking a medium tone off neutral tint. I'm just dropping that onto these wet background. It doesn't need to have any particular size or pattern or shape. You can simply add that deeper tone of neutral center Payne's gray onto those wet background. We are trying to create some texture here. So it doesn't need to be perfect. It doesn't need to be completely blended into the background. It can stay rough. So keep repeating that until you finished anterior steps. We have two more at the top. Now, the last one. Okay. So that's time. Now we had to wait for this to dry before we go to the next step. Okay, So that has dried completely. Now it's time to paint that thickness, which is called Reiser. This thickness here. So that's the next step. For that. I'm gonna go with the taco, do enough nutrition and I'm using a smaller size brush. This one is a size number four round brush. When I added the sketch, I made everything like straight and clean lines. But then as I'm painting, I'm going to make it slightly irregular to give it a more natural field. So I'm not going to make it a straight line here. Use a darker tone off neutral scent or Payne's gray or pond ampere, or any of the darker tone. And just add an irregular line. At some places you can add some paint, like some thick paint. There's some patches using that taco tone. Now what I'm gonna do is I'm going to switch to a bigger brush and then picking a light tone of the color I used earlier. And I'm smudging that taco tones to make it look more natural. Okay, So keep two brushes ready. One smaller size brush. At a medium-size brush. Using the smallest size brush, go to Taco tone and add some taco patches here and there. And got an irregular line. Don't make it a straight line. Then you can use your bigger brush and it can either use clean water or we can use a lighter tone of the color you used earlier and match it to make it look more natural. Now, I'm going to repeat the same step for the other one. First, I'm adding that taco to adding an irregular line and some messy patterns using that taco turn off neutral. And now I'm switching to my bigger brush. I'm picking some brown. I'm smashing the color. There's a really easy step for so you will have to go with a darker tone. It can be either neutral or Payne's gray or black stone staircase. So first you can define the shape of that stone. Go with an irregular line. And along with that, you can also add some darker patches here and there. It doesn't need to have any particular shape or pattern. Then using underbrush, preferably a medium-size brush, you can go with a brownish gray, grayish brown color. So that's how we're going to do the writers, I'm in this thickness of the steps. Now let's do the next one. I'm starting with that taco to sustain defining the shape, I'm adding an irregular line. And along with that, I'm adding some darker patches. I'm just using neutral tint. You can see the way I'm adding that line. It's an irregular line. Now I'm picking my other brush and using that lighter tone off the grayish brown. I'm just matching the color to make it look more natural, more like a stone. Actually, we are trying to bring in some texture here. That's the reason why I'm switching from one color to another to bring in that natural feel and texture. So this one is done. Now we have one more at the bottom, then we have two at the top. In a similar way, I'm going to finish up the rest. This one is done. Now we have two more at the top. And picking from your trusted. And first I'm defining the shape. You can see how pretty it is looking already. I'm really loving this texture and that natural feel of the story. So it's a very simple step. First, you need to go with a darker tone, add some patches, then you can use a lighter tone and smart stack so that we have different tonal values to make it look more natural. So that is done. Now, we'd have to wait for this to try. Alright, so that's Terry has dried completely. You can see how pretty it is looking. I really loved those texture. Our next task is to add in the landscape. And for that, I'm starting out with a taco tone, which is indigo. Just like we tried in the exercise section. Like we discussed, we will need three colors, three different tonal values of crane. You will need a really dark tone. It can be integral or any other darker blue, then you will need sap green, or any other clean that you prefer. So these are the two main colors we'll be using for the background. Onto that, we'll be adding some details using a lighter green. And what I'm going to use this leaf green. So those are the three colors you will need for the next ten. I have taken out some integral. I'll need some more sap green. So let me take out that Asphalt. Okay, so the colors are ready. Now I'm going to take out my biggest size brush so that I can apply paint onto a larger area quite quickly. This one is my size number 12, round brush. And I'm starting off with some integral. I'm going with a really dark tone. I'm not adding a lot of water. See that? That's the color I'm using. It's really dark. Now we can apply that are due this entire area. Go the really dark tone like this. Don't add a lot of water. Over the bottom. We can add a solid color. But towards the top, when you're closer to the stairway, you can add some teeny tiny pattern to make it look like there are some leaves. Otherwise it might look a bit weird. So just turn to the top, go with a really irregular line. Alright, so that is indigo. Now onto this, I'm going to drop in some sap green as well as some light green. If you don't have leaf green or any other light green, you can use a bit of lemon yellow. You can mix that with sap green to create a lighter green. I'm just wiping off some paint from my palette and I'm making some space for leaf green. Right now we have only applied integral onto the anterior area. We need to bring in some texture and some tonal values of green here to make it look more realistic. Right now it is looking quite flattened, weird. First-time picking some sap green. And I'm just dropping that onto this integral background. There is nothing that you need to worry about. You can simply keep on adding some leaf green and some sap green onto that background. We are trying to create some texture here using green. You can be really careless. Just keep on adding some leaf green and sap green and create some tonal values of green here. And also it can be really rough and messy. There is no need to make it a clean blend, okay, so simply keep on dropping some sap green and some light green onto different area to bring in some texture. Towards the top, we can add some leafy pattern, just like we did earlier to make it look more realistic. While we are painting right now, is the base layer will be adding those grass and flowers onto this when it dries. There is no need to put a lot of effort right now. We're just trying to create some texture here using different tonal values of cream, okay, so make yourself free and keep on dropping different tonal Alice or clean. Right now, I'm using leaf green and I'm adding more onto this wet background. You can see how carelessly I'm adding that green. So in a similar way, dropping some light green and sap green onto that integral background. You can add in as much as you want and stop with whenever you're feeling happy with the result. Alright, so that's time. Now we're going to paint the other side. We are painting the side in a slightly different way. We're not going to apply integral all over, but I'm struggling with integral. So go the really dark tone and apply that at the bottom. Be careful when you're applying paint closer to the steps. Don't add any paint into the step, give it a good shape. If you want, you can use the smallest size brush when you're applying paint next to the step. And once you're done with that, maybe you can switch to a bigger size brush. So go with any brush that you prefer. Some carefully applying paint closer to the step. Right now, I'm only using integral. Over here. We'll need a darker tone. And as we're going towards the top, we will use some sap green and some light green. So be really careful when you're applying paint over here. I made a small error here. You can see that here. I will fix that with some gouache at the end. Luckily, it's a very small error. I have added an integral. Now I'm washing over the paint from my brush and I'm going with some sap green. Take a good amount of sap green and apply that right next to integral. You can keep smashing the color into each other. I'm using a bigger size brush so I'm able to apply the paint quite quickly. We can add some more sap green. Towards the right corner. I'll be adding some flow. So don't add any paint over there. Concentrate on the left side. I'm adding some paint on the top. As you can see here. I'm not touching the right side. I'm concentrating on the left side. Over here, I will need to introduce more lighter tones. So that is indigo and sap green. I think it is looking quite pretty and ready. You can drop in more target tones if you want. I have picked some integral and I'm just dropping that onto the screen background. I'm trying to create some texture here by introducing different tonal values of green. That's just a single tonal value. It will look quite flat and boring. So keep dropping in more darker tones to make it look more natural. Now I'm washing out the paint from my brush. I'm switching to some light cream, adding some water. Applying that over here. Again, I'm smarting the color. It doesn't need to be a clean and perfect plant. You can simply smudge the color into each other and create a more of a rough and messy planned. This will make your painting look more natural. It will look like there are some plants and trees over there. So just go that route, blend that light green. Now, we need to introduce some blue onto that tried Connor. I don't want a lot of sky, so maybe I will add some more green over here, a lighter tone. The color I'm using is leaf green. It's a courageous color. I have used it quite a lot in the Saturday vertical, a challenge. It's a very fresh and tender greenery, which is perfect for spring. Now I'm washing off the paint from my brush and it's time to switch to blue. So I'm going to take out some cerulean blue onto my palette. I should have done this earlier. We just need a little, we don't need a lot. Just a teeny bit of blow soggy name. It can be any blue. Or if you don't want to add any blue, you can just continue that green. Some picking really liked one of blue. And I'm adding that onto this comma. Be sure to start from the corner. Don't start on the green. Then you can keep smashing that into the screen. So you have a really little blue on the right corner. And the rest of soil greenery start from the opposite direction. If we start from the green, you will end up having green in your sky. You won't get that fresh blue. So start from the right corner when you're adding blue onto your sky. And also, if you want to show more sky in your painting, you can reduce the amount of green and adding more blue onto right corner. Now before the background dries, there is one last thing that we can do. We can add some more details onto the background. For that. I'm using a medium-size brush and I'm going with some green. And I'm just randomly dropping some leafy pattern onto that background. It's really messy pattern. I just want to introduce some more texture here to make it look like a forest. So this is really optional. If you're already happy with the texture, you can leave your painting acids. Otherwise you can just drop in some green and add some messy patterns like this to introduce some more texture over the top onto area which is closer to the sky. Don't use taco terms. You can use lighter tone of green or a medium tone. This area go with a lighter tone like I'm doing here. Don't use a darker tone. We need to retain that lighter tone over here and don't add any onto the sky. We only have a little of sky, so let's keep that in blue. Let's start this table at the bottom, you can introduce more taco tones, especially the area closer to the steps. So just add in some more leafy pattern or messy pattern, whatever you wanna call it. And let's finish off the background. I think our painting is looking quite good already. I really love the texture of that steps and the contrast it has with the green. Now when we add the flowers, it is going to look even more beautiful. So I'm going to add some more darker tones at the bottom. And I'm going to call it. Alright, so now we have to wait for this to dry. 64. Stairway - Part 2: Okay, So everything has dried completely. Now comes the fun part. We're going to add the flowers. Are paintings already quite beautiful, but then this tip is going to make it even more beautiful. Guys ready? Before we add the flowers, there is one more thing that we need to do. I hope you guys don't bow habits at the technique. We will need to add those graphic pattern using a green. So I already have some leaf green here. Just like we tried in the technique section, I'm going to add any white car-sharing white watercolor. I'm using the paint acids. Now using this green, I'm going to ask them leafy pattern as well as some crappy lines onto this background. I'm starting from the bottom. First-time, just add in some leaves. I'm not adding a lot. I'm going to focus more on those graphing a line that is what I want. But then in-between I'm adding some leaves as well to make it look more beautiful. Know, I'm going to add those grassy lines using the same color. The brush I'm using here, a size number two. You can use any of your smallest size brush. And just use that green asset is you can use any of the light when you have card, or you can mix a little loves happening with lemon yellow to create a similar color. And keep on adding these crossing lines. If you feel like the color is really light, it is looking dull. Add, if it is not looking prominent, maybe you can add a bit of white gouache or white watercolor to turn that into an opaque color. Let's keep on adding some classy lines and those leafy pattern. So this step doesn't have any limit. You can add in as many as you want. If you add more grassy lines and those leaves, it will make it look more tense and thick. And that will automatically make your painting look more natural. You can add in as many as you want until you feel bored. And maybe you can play with different tonal value as well. For some of the grassy lines, we can use a medium tone of cream. And for the rest you can use a lighter tone. You can reduce the amount of water and use a lighter tone of cream. Right now, the color I'm using as much more lighter than the color I used earlier. And this one is much more prominent. I haven't added any white quash or white watercolor using that leaf green acids. Now I'm just dropping in some leaves as well. And with that, I'll be done with the bottom part. Then we need to do the same thing onto the top portion asphalt. Okay. So the site is down and you can see the difference. Now in a similar way, we need to add some classic pattern on the other side, asphalt. Over the top. We have already added some leaves so we can include that part. We just need to add them at the bottom where we have that taco tone. So let's add similar grassy lines and leaves over here as well. Using that lighter cream, you can use any of the lighter green you have caught, or it can just make Phillips love cycling with lemon yellow. Just like I mentioned. We just need them to be visible. It doesn't need to be the same color that I'm using here. Alright, now let's keep on adding some grassy lines over here. I did ask many as you want and make it look really intense and thick. Nearly done. I thought a firing some thicker lines as well to make it look more natural. So using the same color. And if you lift cream cone, and I'm adding some thicker lines and different thick curvy lines to make it look more natural. In-between, we can add similar declines. When you're adding these grassy lines, make sure to go with a curvy dancing lines so that your painting will look more and more interesting. It will make it look more natural. So don't add straight lines. Some of them can be longer and some of them can be shorter. And add the mask COVID dancing lines. They can be in different orientations. Those things doesn't really matter. Now in a similar way, let's add some thick lines at the bottom as far am adding few in-between thick lines. I'm quite happy with the way it has turned out, so I'm not going to add in. I will just pile it. Okay. So that looks pretty good. I think we can call it time for the time being. If you want, you can add more at the end. Maybe you can use an opaque question of cream. If you are feeling it as looking to tell or if it's not too prominent. So those things are totally up to you. You can modify your PDQ however you want to. Next, I'm going to squeeze out some white gouache and yellow. We're going to add the flowers right away. I have taken out some white gouache. Now I will add some yellow. The one I'm using it as cadmium yellow. You can use yellow or any other color of your choice. The color that you're using should have some opaque quality. So it is really important to mix it with either white gouache or white watercolor. To add the flowers, I'm using a size number to Ron Fresh. This one is much more smaller than that one. And I'm mixing some white gouache with the yellow to create an opaque yellow. Now let's add plenty of yellow flowers and make your painting look more and more beautiful. We already tried how to add those levels at a very basic shape. I'm not going to detail it. So I'm just pressing my brush and I'm going with a very simple shape. If you want to detail it out, you can do that. If you want to add some disease or some other flower, It's totally up to you. Maybe you can clearly show those patterns. I'm going to show all the petals. I'm just going with a very basic shape. So I'm just pressing the brush and what will be the shape that I'm cutting? I'm just going with that. Okay. This is the color I'm using. I think yellow looks really good. But then if you want to use pink or violet or white, you could do that. You can go with the color of your ties and add in your flour. Just decide on the color you want to go over and sat on the shape of the flower that you want to go with. Whether you want to go with such a basic shape or you want to detail it, those things are totally up to you. So decide on those things and adding new flowers. Added as many as you want. You can make it really thick and dense. I'm just adding fuel on the top. I won't be adding a lot at the bottom. I'm just trying to create some smaller groups in between. I wouldn't be adding a lot. But you don't need to follow the way I'm doing it here. You can add as many flowers as he warned against. So let's do this. The bottom part is done. Now, let's do the same thing out of the top asphalt. Over here. I'm just concentrating on the area right. About those crafty lines we have added. I won't be adding a lot onto the top. So I'm just adding them at this level. The travelers add just a hint. They are very basic. So I'm just pressing the brush and creating some random shapes. To make a painting look more interesting. You can add them at different levels. Some of them can be towards the bottom, closer to the steps, and some of them can be at the top. Okay, So Adam, in an interesting way. Alright, so this is that we have raised, I think I have added quite a lot of flowers. You can add more if you want. It is still not looking to add tens. So it's totally up to you if you want to add anymore, just go ahead with that. I'm going to add few more flowers in a very random way. Not as a group. I'll just add few singles levels in a random way. So I'll add one here, maybe one over here, and maybe another one over here as well. Maybe we can add few at the bottom. I think the bottom we already have added in here. I can add in more and more levels, but then for the time being, I'm calling a tan. Maybe at the end, if I feel like adding more, I will add that aside. Now. I'm going to wash the paint from my brush and I'm going to switch to Brown. We need to add that dot at the center. I already have some burnt sienna here. I'm mixing that with neutral tint to create a darker brown. I'm using the same brush. You will have to use a smaller size brush or a brush with a pointed tip because the DOD has to be really small. The flowers we added are quite small already. The dots you are adding should be really small. Go with the smallest size brush or we can use a gel pen. You can just use a black gel pen and add those taught. It doesn't really need to be proud. You can just use black. Okay. I'm going to quickly go around and add an adult or to all these levels. This is going to be a simple task. And that this will be done with oil painting and data set. We are done with our painting for the T. Now, I'm going to peel off the masking tape. Make sure you're painting has dried completely before you peel off your masking tape and gently pelleted and ankle so that it won't rip off your paper. I think this one is easily one of my most favorite painting from the spring collection. I absolutely love the way this painting has turned out, especially the texture on the step and those tiny flowers. Even though they are really basic, it looks beautiful. If you look at the flowers carefully, you can see how basic they are. It doesn't have any proper shape, but we have added them as a bunch of levels. And that is what is making it more beautiful. Now, just in case, if you feel like those graphic patterns are not really visible, you can go with an opaque color and add it somewhere in-between. The same goes with the flowers as well. If you want to add more, you could do that. Okay. So that's all for today. I hope you guys enjoyed today's painting. Thanks a lot for joining every packet. So on with our next painting. 65. DAY 22 - Pastel Sky: Hello, hello, Welcome to the 20 to today's painting as a college, a spring evening, a pixel evening. You can see those cargos colors I use for the league as well as for the sky. It's actually a simple painting and I'm very sure you can fill up the process. So without any more waiting, let's take a look at the colors you will need for today's training for the sky as well as for the league. We're gonna go with pixel colors. If you already have pestle colors with you, you can use them directly. So just in case if you don't have any peaceful color with you, we're going to apply color to white onto the sky as well as multiple league. Just like how we have tried in the previous painting. And onto that white layer will be applying the colors. That's what technique we have used in our previous painting as well. Which will instantly give you a call just paces chi. So that's exactly what we're going to use today. Asphalt. These kind of paisley colors are already available in the market. You can either get them or I can just add some white into it and turn any color interface of color. You can see the pigment number here. It's SPR to row nine and PWC. The pigment number of white is also PW six. I think I will get a new tube so that I can clearly see the number. Okay, here you go. So the pigment number of why the speed W6. So that clearly means the spatial pain is a combination of white as well as a pink color is the same thing with this lavender as well. It's a combination of a violet, add some white. So what we're going to do here is also the same technique. Instead of adding bite into the paint, we are going to apply a color to white onto the background. And we're going to apply the paint onto it. And these are the two colors I'll be using for the sky, as well as for the league, indigo and permanent roles. You can go with any color of your choice. It doesn't need to be these two colors. If you want to go with a violet and an orange, or maybe some pink and purple, blue things are totally up to you. You can see the painting here and decide on whether you want to go the same colors or some other color combination. Also, instead of integral, if you want a bright blue, you can use any other clue. I wanted a muted color for the sky. That's the reason why I used integral here. If you want your painting to be really bright, you can go with Prussian blue in strophe indigo, or even wireless. While it would be a great choice. If you don't have permanent rose, you can use crimson instead if you're going with the same color combination. Okay, so those are the colors you will need for the sky as well as for the lake. The next set of colors you will need is the one for the landscape, which is obviously some green. So you will need a lighter green for that. I'll be using leaf green, then you will need sap green for the medium green, and then you will need a darker green for that. I'll be mixing some indigo with sap green to create that tackle green. Those are the colors you will need for today's painting. Other than that, you will also need white watercolor to apply on the background. And also some white gouache. If you have gouache to add in those tiny flowers, I will quickly as fast these colors and we can start with or painting. So first I will go with integral, which is the color I'll be using for the league as well as for the sky. If you don't have integral, you can go with any other blue. I just wanted a muted color for the sky. That's the reason why I'm using integral. But if you prefer a brighter blue, you can use cerulean blue or pushing low or any other blue. Okay. Also be using integral for the landscape to add the top ketones. The next color is permanent rose, which is a bright rules. I really love this color. If you don't have this color, you can use Chrome cell or any other rules are I can call it a different color of your tires. So that's the second pillar that we'll be using for the sky as well as for the lake. Now comes the color that we're going to use for the landscape, which we already discussed. We will need exactly because the major color we'll be using for the landscape. I guess you already may have it. It's a common color that comes in all the basic watercolor sets. I already have indigo on the left, so the next one is leave cream. In drop this color. You can also use lemon yellow or any other lighter green that you've got. All these colors, you will also need some white watercolor to apply on the background. And some white gouache or white watercolor for these tiny flowers. That summarize all the colors you will need for today's painting. If you want to go with a different color combination for your sky and the league, please feel free to do that, okay, now it's time to give it a try. 66. Pastel Sky - Part 1: Alright, so let's pick him. I hate when people ready here. First we need to add a Pinterest kit. It's nothing complicated. We just need to add a horizon line and a small mountain and some landscape at the bottom. There's some simple lines. Okay? So I have added a line almost in the center. Now I'm adding a line over here with the sloping down towards the right side. On the left I have a higher end. Towards the right, I have a lower end. Now over here, I'm just adding a land. It is just an irregular line to show the land and also to separate the water. So that is our sketch is actually a very basic sketch. This is all we need. We can add the remaining details as we paint. Ok. So now it's time to start painting. We already spoke about the colors that I'll be using for the sky as well as for the water. So these are the two colors, indigo and permanent roles. In throw of permanent rose, you can also use crimson. Now, just like we discussed, I'll be applying a photo white onto the entire sky. And I'll be applying the colors on top of it to turn that into a pixel tone. The step is completely optional. If you don't want to apply white onto your background, you can skip that. You can just apply a coat of water and add new paint on top of it. So I have all the colors ready. Now, the first step is to make your backroom wet. I'm in the sky wet. For that. I'm using a 1 " wash fresh and an applied and clean coat of water onto the entire sky. We can pin sky first and then we can slowly come to the water. So that's a nice even coat of water there. Now, I'm going to pick my size number 12 to accomplish. I'm washing it thoroughly so that there is no leftover paint on it. This is a size number 12 round brush. You can use any of your medium two because as fresh and take a generous amount of white and apply that onto your entire sky. I have applied Dakota white watercolor onto the sky. I'm not going to wash out the paint. I'm going to directly pick some integral using the same brush. So I'm starting out with integral. This is the color I'll be using on the top of the sky. You can see that college is basically blue as a beautiful color, especially to use for evening skies. Now again, washer the paint and mechanical whatever second color, which is permanent rose in my case, you can use crimson or any other color that goes well with integral. Now applying that or to the white background, I'm blending that well. I'm cleaning my brush again and I'm going back with permanent rose right now, my brush may have some blue on it. That's the reason why I cleaned it. And then picking some more rules and I'm applying that at the bottom. I want the bottom area to be really bright and fresh. So apply some rules are constant over there. So what we have done right now is the base layer. Now we need to add some clouds onto this. For that, I'm going to switch to a medium-size brush. This one is size number eight, round brush. To add the clouds, I'm going with a slightly brighter tone of rows. I will start from the bottom over here. I'm just adding some lines using that brighter pink. If you think Clemson go to slightly brighter tone of crimson. Just add some lines. Now using the same color, I'm going to add some more clouds on the top where we have integral. Picking some more paint and adding that over here. I don't want to make the Skype too busy, so I'm just adding few clouds. I don't want a lot of them. But if you want to make it really dramatic, you can add more clouds. I will just add few onto the right corner. I'm not adding a lot. I really love this color combination. Actually, I try the same feeling with another color instead of indigo, I used thoroughly in blue, but in the sky was really pride. And I wonder a muted color combination. I thought of trying with indigo and I really loved it. If you want to go with a different color combination, It's absolutely up to you. You can go with some purple and orange. I mean, Payne's gray and orange. So try out with any color that you prefer. If you want to turn that into pixel color, you can apply color white and the background first, then add new colors. I'm quite happy with the weight as Toronto. You will have to add these clouds quickly before the backroom tries. Okay, so that's the whiskey. I cannot tell you how much I love this color combination. Now we're going to use the same color for the Lucasfilm. Will start from the top and we'll start with pink. Then coming towards the bottom, we will apply some integral, just like how we have painted the sky. So I'm going to go back with my bigger brush and I'm going to apply some white onto the lake. Because I'm white watercolor. And apply that onto the lake. The sky is still wet, so don't add any paint next to that. You can leave a tiny cap. So pick some white watercolor and apply that onto the lake, make it wet. So I have applied bite onto the entire background. Now I'm going to pick some rules. It's going to be a simple variegated wash of rows and indigo. Some starting off with rules. If it using clumps and you can use that or any other color that you're using for your sky. So start with that. I'm going with a slightly brighter tone down the sky. And I'm applying that over here. I will apply this color, almost half of the lake. It's a gorgeous pink because we have white in the background. Now we can watch the paint on my brush. Let's go with indigo. And I'm applying that at the bottom. And I'm making it a clean blend. It's a simple variegated wash of these two colors. You can go the same method, which will be the color that you're using, whether you're seeing pain can toilet or maybe Payne's gray and orange, any color combination that you are using the same method. Now, just at the bottom, I'm going to add few more lines using integral, a darker tone of integral. On the top. I'm just leaving a Tacitus. I won't be adding any shadow or flexion over there right now. We can do that later when we paint the landscape. So I'm picking some more integral. And just at the bottom, I'm just adding one or two lines. It is just to show that upwards, we don't need a lot. Just one or two lines. Use a slightly darker tone of integrate and the background and do it before your background drives that asset. Now we'll have to wait for this to dry before we go the next step. Alright, so the background has dried completely with the colors have become slightly to health than earlier. But then that is something very abnormal with watercolor. So these are the four colors I'll be using for the landscape. Actually you can ignore been Sina, it is not really necessary. I realized that when I started painting. Okay, so just go with saccharine into Cu and some light cream. So technically we just need a light cream and a medium green and a darker cream instead of indigo, you can also use Prussian blue or any other darker blue just to turn to green to a darker one. So I have the colors ready. Actually, when I started the painting, I thought of mixing some light green with burnt sienna to create a muted greens. So that's what you saw right now. But later, I realized it is not really necessary. We can just go with leaf green and sap green. You can just ignore what I'm doing right now and you can readily use leaf green or any other eye cream. Okay? So start with that color. Then you can slowly start adding some sap green to bring in some medium tones. The majority of the barcode has to be made him clean. We don't need to use a lot of light green as your painting and even seen, the colors won't be that bright, it will be slightly dark. Okay. We'll be using the light green only to add some highlights. So the majority of the backlog has to be a medium green and a darker green. I'm picking some more sap green. And I'm adding that at the bottom. I think over here onto this photo and we can retain that lighter green. And for the rest of the area, we can go with a medium green and a darker green. So let's add some more sap green at the bottom. Just simply fill up that anterior area, in fact came over to the bottom and to the kernels will be adding some indigo to make it darker. Okay, So I have simply applied Sap green over the bottom. Now, we need to add in some darker tones. For that. I'm picking some indigo mixing that exactly. I'm adding that what's the kernel as well as at the bottom. We need to make this area really dark to bring in that even in kind of a field, right on the colors are quite bright. They don't want him to be too bright like this. So let's simply keep on adding some darker tones and the bottom, as well as onto the background in a very random way. So there is no particular ruler order for this. You can just keep on adding that darker tones how you want to. We're just creating some texture here. So the way it is looking right now, it doesn't really matter. We'll be adding some flowers onto this. So does just a matter of adding some texture. Now you see the same color. I'm going to add some shadow underneath these spaces. So we call those pieces you have and add some taco tool. First, you can simply add a line like this. And once we're done with that, we can smudge that into the background. So I'm just dabbing my brush on a paper towel and I'm picking some light green. And I'm just marching that over here. We just need some taco tunes. We don't want them to be too prominent. That's the reason why ants marching them. And also we don't want them to appear as lines. We just need some darker tones. Okay, So keeps merging them until they feel like they are not appearing as lines. Once we are done with this, our next task is to introduce more texture. At the bottom, right now we have simply applied a plain wash off substring. We need to add more lighter tones as well as more taco tomes to make it look more realistic. So for that, I'm picking from light green. I'm creating some texture just at the top. I won't be adding a lot at the bottom. Over the bottom, I will have to go with a darker tone. So just go with any of the light green that you're using. And simply keep on pressing the tip of your brush and create some texture here. Again, this doesn't have any particular shape. You can simply add some random patterns here. We're just trying to create some texture. As I mentioned earlier, they don't have to be in any particular way. You can simply keep on adding some thoughts and some random patterns using the tip of your brush. All we needed some texture here to get rid of that Flatfile of the background. So first, go to a lighter green and just create some texture. You can see the way I'm adding them. You can just press R, scrub your brush on whatever you wanna do, and create some texture here using a lighter cream. Once we are done with the step, we'd have to do the same thing with integral to bring in some darker tones at the bottom. It is only when you play with different tonal values of cream. Your painting will look more beautiful. Otherwise, it will appear quite flat and boring. So decree that real textures, it is very important to play with different tonal values of cream. The reason why I'm using light green right now. And that's the same reason why I'm about to use indigo also on the same background. So I think we can call this done and we can switch to integral and do the same step. Again. I'm switching to indigo and I'm just dropping that at the bottom. Again in a similar way. I'm just pressing the tip of my brush and I'm creating some random patterns. You can earn as much as they want if you want a more darker background and get introduced more, I'm focusing mostly on the bottom as well as on these corners. I want more darker tones over here compared to the rest of the area. Okay? So I'm just dropping in some darker tones using the tip of my brush. Honestly, there's no particular name for this method. I'm just scrubbing and scribbling and adding some tall attack all sorts of things onto this background is in a taco tone. We're just trying to create some texture here. Now I'm going to wash out the paint from my brush and I'm going to switch to leave cream. So right now the background is not that wet, it has started to dry. So those highlights we're adding right now will be a lot more prominent than earlier. Focus on this top line of the landscape and over there, simply keep on adding some thoughts and some random patterns, just like how we did earlier. But this time the background has dried. And that's the reason why they're looking a lot prominent. And Galileo. So keep repeating the step until you feel like you have caught some nice texture in the background. You can clearly see the difference those patterns made earlier. It was looking quite flat and boring. Right now. It looks a lot realistic. That's the reason why we used multiple layers of texture. First we added them on a wet background, and right now we're adding them on an almost dried background. And you can clearly see the difference. These fonts are really prominent and they're adding a lot of beauty TO painting. I'm really happy with the textures I have caught here is looking cartoons. Now we need to switch to a taco, don't have crane, and we need to add some darker tones on the further end. Over here, we don't have any texture. It is looking quite plain compared to the bottom. Right. Underneath this area, we can add some darker tones. Depending on the shape we have followed for your landscape, you will have these horizontal lines. Oh, there, we need to add some taco tones. Don't add a continuous line just to add some small dots and small lines and finish off that line. This will make your painting look more realistic. So add them wherever you have these horizontal lines. Alright, so that done, I'm really, really happy with the way it has turned out. Now we'll have to wait for this to try. And after that, we can add the rest of the details. Willing to add some trees on the horizon line. And also we need to add the reflection and some flowers. 67. Pastel Sky - Part 2: Okay, So this has dried completely pink. We can add in some more darker tones over here. We can add some more darker tones over there so that the shape will be a lot more defined. Okay, so I'm gonna go back with the darker green. And to add that, I'm using a smaller size brush. This one is a size number photon trash. And I'm picking some darker green. And just like what we did earlier, I'm going to add some tiny dots and lines along that bottom line. I'm adding them like small tiny grass. I don't want them to be a long, continuous line. So that's the reason why I'm filling this area, but some tiny lines and some dots. This will make your painting look more realistic. It will really feel like there are some grass over there. So just don't add a simple straight line. Got some teeny tiny lines like this, and finish up that area. You can do this along that MTO bottom line to make it look more defined. Just add some teeny-tiny lines and fill up that area. I think earlier I used a medium tone and it is not looking back visible that everything has tried. That's the reason why I'm using a taco truck right now. Okay. So this is how it is looking right now. It looks a lot more defined than earlier. Our next means your task is to add in the trees along the horizon line. We agree with the medium to another sap green. And first we will add the pastry. Make sure your background has dried completely before you cover this tab. I'm just going to add the base shape. We need a clean line at the bottom. Now, what I'm gonna do here is I'm going to create some shape of trees using the tip of my brush. Using this top portion, I'm just pressing on the people and creating some trees. See that on the left side you have toiletries. And as you're coming towards the right side, I'm making them shorter. The brush I'm using a size number eight, you can use any of your medium-sized brush and just press that on the paper to create these trees. Now it became some light green. And I'm doing the same. On the left side, I will have more target trees. Towards the right side. They will be shorter and they will be often like to turn. My focus is on the left side, towards the right side. I'm not going to add a lot of trees. I will just Philip Tattaglia. I'm just switching back to light green. And I'm adding few more smaller trees here. And the rest of the area, I'm going to simply get some sap green. This is just a base layer. We're here to add the details. We need to bring in more tonal values of green onto those to make them look like trees. Right now they're looking quite weird, but it's okay. This is just part of the process. First we need to create that background layer. Then onto that we'll be introducing some taco tones. Here. I'm just filling that area. I'm not adding any trees. Now, we need to fill up this anti-abortion we have left on the bottom, tried to make it a clean straight line. At the bottom. You can see how pretty old paintings looking already, especially that color combination. We have used. The green and the fingers complimenting each other and I think I'm really loving it. Okay, so that's a base layer. Now for the next step, I'm using a smaller size brush, this fantasize number four, round brush, and I'm picking some darker green. I have some integral here. I'm mixing that with some sap green. And I'm going to define the shape of the trees. You can see that pointy tip be created here using the brush. Those are individual trees and we need to retain them, will be applying some medium tones and darker tones, concentrating on those shapes. So I'm just adding some taco tools onto the right side of all those shapes. Also, we need to add some darker tones at the bottom. Along the bottom, I'm trying to make it look like there are some bushy plants over there. I'm just leaving some random gap at the bottom and then I'm adding the taco tombs. This is really important. Don't add your taco tones right along the bottom. You need to leave some cap. And then you can add new taco tones. You don't need to wait for the background to dry. You can simply keep on adding them on that wet background. And also that shape at the bottom doesn't really matter. You can leave a random shape. See that? I have left some cap at the bottom. I have added that taco tone right about that. Now, let's start defining the trees like we did earlier. So onto the right side, I'm adding some taco tones onto all the shapes I have here. So consider all those shapes as individual trees and add some darker tones or do one of the side and reading the lighter tones on the other side. So right now, I'm not really looking at the way it is looking. I think I can come back with a lighter tone to make it look more defined. I'm just cleaning up the shape right now using a taco tool. So you can see those individual trees I have created using a taco tone. On the left side, I have taller trees. As I'm coming towards the center, I have made them shorter. Know I'm picking from light green and I'm going to drop in that light to accrete onto those trees. Just to make it look more beautiful. I couldn't really retain those lighter tones earlier. So that's reason why I'm pulling back with lighter cream and adding them onto these trees. You can see the difference right now. It's looking a lot better than all you're. Okay. Now, let's add some random trees over here. Okay, so that's nearly done. As you can see here. I'm not really adding a lot of details onto the right side. I'm focusing more on the left side. Now, overkill, I weren't top into multiple tones. So I'm switching back to integral. And I'm dropping in some darker tones right about that gap we have left at the bottom. And also or do the right side of the tree is to make them look more defined. Just keep on pressing the tip of your brush and add in some taco tunes onto the right side of the trees to make them look more defined. You can add some teeny tiny patterns over here as well. Just some thoughts. Maybe we can add one or two, trace asphalt, some small pine trees. Just add one onto the right side. As I'm super small trees, you don't need to put a lot of effort go with a very simple, basic tree. So that's the first dream. Don't make it too huge, called the similar size. Now right next to this, I'm going to add one more, but I think the color I used here as quite dark. Maybe we can go with a medium tone. So I'm mixing some sap green. I might need to take out some more paint. So I have taken out the paint and mixing that with a bit of sap green, adding some tropical water. And I'm going to add the second tree right next to this one. This one is much more smaller. Maybe we can add another one. I won't be adding a lot. I just wanted to Syria to be quiet, empty as we already have quite a lot of trees on the left side, maybe I can add one more, a smaller one here. In case we want to add more darker tones onto those trees. Or if you want to add more smaller place, you could do that. You don't need to limit them just because I have added three. I'm just adding some more darker tones onto the tip of these trees. We have two more here, just adding some talks onto the tip to make them defined a little more. And maybe I can add two more smaller trees. I think I should call it done. Otherwise I will add details and I might spoil the painting. Our next major task was to add the reflection. So for that, I'm going to go back with my medium-sized round brush and I'm starting off with a medium tone of sap green. We're going to meet only focus on the left side that had those trees. Start off with a medium tone of sap green. Don't make it too light and don't make it too dark as well. It should be a medium tone and little tiny gap, like a really tiny cap. Applying that made him pronouns green, right about that pink. So we need to replicate a similar shape that we have on the top. It's gonna be like a mirror image. Apply that green as if it's a mirror image of that landscape we have on the top. Now, let's pick some integral and add that along the top line. And the bit underneath where we have the trees. So right now we have added the reflection as a solid shape, but we need to get rid of that shape to make it look more realistic. Good to add some horizontal lines and we're going to break that shape. For that, we're going to use a lighter tone of green. And we're simply going to add some lines, just some horizontal lines. They can be short and they can be long. You can just pull out those paints and add some lines like this so that we can get rid of that shape. So there's just some lines using a lighter tone of sap green. You need to be really quick and you need to add in these lines before that base layer dries. So we're just pushing and pulling that paint outside and we are adding some lines. You can see here we have broken that cheap and that flexion is looking a lot beautiful right now. It doesn't look like a weird shape. So you can keep on adding these lines until you feel like you have broken that shape. Now using the same color, I'm going to add some lines over here as well, right underneath that shape. I'm just adding some lines here. I'm not making it too prominent using the same green. I'm just adding some lines. You can stop adding those lines when you read the spine. Okay, so that's how our reflection has turned out. If you want to add more lines, maybe using a lighter tone of green, you could do that. But don't go overboard. It should look something like a mirror image of the landscape we have above the horizon line. Okay? So keep that in mind when you're adding these lines. For the final step, I'm going with a taco tone. So I'm picking some indigo. And over here, I'm just adding some lines from top to bottom. I'm just dragging my brush and I'm just pulling that paint down to make the reflection how beautiful it will look like the reflection of the screen. So just pull your brush down and add some taco tombs. Along this line. We can add some over here as well, right underneath those small trees. And with that, we're done with the reflection. If you're really happy with your painting, if you don't want to add the flowers, that's absolutely okay. Because add the flowers as our next step and we'll be done with our painting for the day. So to add the flowers, I'm going to use white gouache. If you don't have white gouache, you can also use white watercolor. And gouache. Gouache is a bit more opaque than watercolor. So the color will stay really opaque and prominent. But watercolor will also work. If you don't have white gouache, you can use your whitewater color. And to add a levels, I'm using a smaller brush. This one is a size number two brush. And I'm just going to add some teeny tiny dots onto the landscape. I'm not going with the permanent shape for the flower. But in case if you want to add a proper level, maybe some DCS or some other kinds of flowers. You could do that. Also if you want to go with a different color, that is also totally up to you. I'm adding some super tiny dots close to each other using a smaller size brush. So they're gonna look like some small wildflowers. And I'm randomly adding them. I don't have any particular image or anything in my mind. I'm just creating some random groups of these white flowers. So add in as many flowers as you want. You can go the different flavor or a different color. Those things are totally up to you. And if you don't want to add the flowers, that's also totally up to you. So let's do this and finish up the painting. Add the methyl group, and also if possible, and go to the smallest size brush or a brush with a pointed tip, don't add bigger dots. Make them as tiny as possible. I cannot tell you how much I love this color combination. The sky and the lake has turned out really great. It's a gorgeous color combination and I think I would definitely try automatic sky using the same colors. And also that pink and the green is going so well together. I think it is complementing each other. I really had a great time painting this car, just faceless sky. I hope you guys enjoyed this asphalt. Now it's time to peel off the masking tape. You have to always wait for your painting to dry completely before you peel off your masking tape and gently peel it at an angle. You can also use a blow dryer or H02. This will loosen up the glue off the masking tape and it will prevent the paper from dropping off. So here's our painting for the day. I hope you all had a great time being in the car. Just baseless guy and all streets and the little flowers. Thanks a lot for joining me today. I'll be back and so on with our next spring landscape. 68. DAY 23 - Lavender Fields: Hello, hello, Welcome to Day 23. Today via painting and cautious lavender field. I think this is one of the most beautiful painting I have ever painted. I think this is one of the best from this anterior 30-day watercolor challenge. You can see because gorgeous mountain, the car just sky and those bright and beautiful lavender fields. I think it's a beautiful color combination. It's a pretty easy painting. I know when you look at the painting, it might seem a bit difficult, but that's not the case. It is quite simple. You will just need to follow the steps. You already know all the techniques that we're going to use in today's painting. So I will quickly take you through the color palette and I think we can start painting right away. Okay, So these are the three colors I'll be using for the sky. Violet, opera, pink, and yellow. Just like we did in the previous painting, I'll be applying color to white onto the anterior background. And then we'll be applying these three colors onto the sky. So those are the colors I'll be using for the sky. Opera pink and violet are the two major colors you will need for today's painting. It is what makes the painting look bright and vibrant. If you don't have opera pink, don't worry, you can use any other pink or rose color you have card. If you don't have any pink and roles, you can use cramps and also, your painting may not look as bright and vibrant as mine if you don't use opera pink. But that's okay. It's still going to be pretty so don't worry about that. Most of the artist doesn't like Oprah pink because it is quite bright and flashy. And also it might not be a useful color for you. If you don't prefer using bright and vibrant colors, decide on whether you want to get it or not once we're done with this painting. So just like I mentioned at the beginning, I'll be applying color to white onto the entire sky. And on top of that, I'll be applying violet, pink, and yellow. Alright, so those are the colors I'll be using for the sky. Now, I'm going to quickly swap them out. When we did above previous painting for day 22, we already discussed about the pestle colors that are available in the market. So if you have those colors, you can use them directly. You don't need to apply white watercolor onto the background. Now, let's add the swatches. I'm starting with Wyman. That's a color we'll be using for the sky and also for the lavender field. The one I'm using here is permanent violet from Sheehan. As a college is violet. I just love this color. The next color we have here is Oprah, pink. This is another major color you will need for today's painting. You can see that call just neon pink. But if you don't have it, don't worry, you can use any other pink or crimson. So that's holistic in color. Now, the next color is yellow, will be using these three colors for the sky. We'll be using yellow at the bottom, pink at the middle, and violet on the top. You can see these lavender fields here. For this as well, we will be using opera pink and violet. And towards the bottom to add the deeper tones, we'll also be using a bit tough integral. Integral is our next color. For the mountains as well. We'll be using integral and a bit of civilian blue. I don't like this integral allowed that refund by mixing a little extra lean blow with Interco when I'm painting the mountain. So that's the next color. You can see the mountains here. For the one in the background, we'll be using a medium tone. For the one in the foreground will be using a darker tone. I'm adding a swatch of cerulean blue here. If you're having a blue indigo, you can use that directly. You don't need to mix any other blow into it. I really love cellular integral. So if you have it, you can use it directly. So we have discussed all the colors for the sky, the mountain and the lab into figured. Now we can see that small pathway at the bottom for that or you leave, you will need some green. So the next two colors are sap green and leafy green. We don't need a lot of green today, we'll just need a teeny bit of green. You can see that pathway, it is really small. So don't squeeze out a lot of green. We will just add a little for this section. Leave fleeing or a light green is our last color. Actually, you already have some yellow there. You can just mix that with faculty to create some milk cream. You can choose to make some green and yellow to create a similar light cream. Because we just need a metal, we don't need a lot. You can see that portion at the bottom. Alright, so that's some rice, all the colors you will need for today's painting. I can't wait to show you how to paint. This college is lavender fields. I think now it's time to give it a try. 69. Lavender Fields - Part 1: So we already had a look at the color palette and now we can start painting. So how many people already here? First I'm going to apply a piece of masking tape a little below the center of the people. So the top portion is going to be the sky and the bottom is going to be the lavender field. So just apply a piece of masking tape. This step is completely optional. If you don't want to apply your masking tape, that's absolutely okay. You can start meeting as chi and when that dries, you can start painting your lavender field. I just want to separate the sky and the lavender field. That's only reason why I have applied the masking tape. Okay, So that's ready. Now, we need to take out the colors and we can start painting just like the previous painting today also will be applying color to white watercolor onto the sky to turn the colors instead pixel colors. So I'll be taking notes and bite onto my palette. This is also optional. If you don't want to use white, you can apply the colors acids. That is white watercolor. Now, I will take out the rest of the colors or need a bit of civilian blue for the mountains. Then I will need oprah, pink, violet, and yellow for the Skype. So these are the three colors I'll be using for the sky. You can go with four colors or you can just go with two colors. Those things have to clear choice. Or if you want to go with a different color combination, you could do that as well. Now the first task is to apply a coat of water onto sky for that and getting my one-inch brush brush, I'm picking some clean water. I'm applying that onto the sky. First time making the background wet. Onto this. I'm going to apply some whitewater color. For that. I'm going to use a bigger sized round brush. This one is size number 12 brush. First, I will clean it thoroughly so that there is no paints tints on it because we're going to use y. Now. I'm picking some white and I'm applying that onto the sky. You can just fill it up. So I have applied a kudo white watercolor, or to the entire sky. Now we can start applying the paint directly onto this white background. As a beautiful technique. We have tried it quite a lot of times. Make sure the white paint has reached everywhere. Now using the same brush, I'm going to pick yellow first. I'm starting from bottom and I'm going towards the top. Have taken some yellow on my brush. As I already have some white, it has turned into a pixel yellow. Now, I'm going to apply this at the bottom, right about the masking tape. You can see that car just basically yellow. If you already have this little, you can use that directly. So that's yellow. I'm not going to go with a lot of yellow. I just need a little at the bottom. I have left some gap in between. Now I'm going to wash the paint from my brush. I'm going with second color, which is Oprah pink. If you don't have a pair of pink, you can use any of the pink color or you can use Chrome. So I'm mixing that with a bit of white. I'm applying that right next to yellow. You can apply it how you want to. You can see that car just blend of colors here. That pink and yellow is going so well together. I think I can make the color a bit more brighter. It is really light right now. I'm picking some more pink, a brighter pink. And I'm applying that at the top. I'm going to apply yellow at the bottom, pink at the middle, and violet on the top. You can follow the same order. And you can apply your paint however you want to. If you want to go with a gradient wash, You could do that. I'm just randomly dropping in the color onto the spite pattern. I'm not falling he meets or anything. Next I'm picking some violet and I'm going to apply that on the top. So you can decide on whether you want more violet or more Pinckney of sky or more yellow. Decide on those things. You can add a new color. How will you want to? The only thing you need to keep in mind is applying the paint while the background is still wet so that the color will blend into each other very nicely. You can see these clouds I added on top of pink. In a similar way, I'll be adding more clouds using violet on top of pink. Ones have apply that base color ones have applied yellow, violet, and pink. Our next task is to add enough of clouds. For this as well. There's no particular order. You can add more pink clouds or more wild class. Those things are totally your choice. But when the clouds go with a slightly darker tones and the background color so that the clouds will be visible. So I'm picking some brighter wireless. And I'm going to add the clouds. I think I can use the smallest size brush for that. So this one is size number eight round brush. And using this brush, I'm going to add some clouds. Maybe 4 s start with the pink. And I'm going to add some bright pink clouds over here onto this in-between space as well. So we can add them variable, you want to just add them before the background. Dr, That's the only thing you need to keep in mind. We can go with any kind of shape or any size. If you feel like the paint is dry, you can pick a little wide and you can smudge them using some white watercolor. This will make your clouds look more softer. So whenever you're not feeling happy with the shape of your clouds or whenever you're feeling like they're looking quite strong and rough, you can pick some white watercolor and smash hit. This will make your sky look a lot better. This is where I have raised right now. I think I can add some more clouds. Maybe I will call with wildlife. And I'm applying some clouds on the top. I want the sky to be more dramatic. Right now it is looking quite soft. Let's make it more dramatic by adding more paint. But then if you're happy with your result already, and if you don't want to add more clouds, you can call it done. Just because I'm adding more clouds doesn't mean you should be doing that too. Okay. I won't be adding any Cloud to the bottom. I want the bottom media to be soft and the top to be traumatic. I'm just wondering whether I should add more clouds or I should just leave it as it is. I'm already happy with the result. I think I'll just leave it like this. I don't want to take a risk. Maybe I might end up spoiling my sky. Maybe I will just add one or two lines in the yellow part. Okay, So that is the identity, this chi, if you want to make it more dramatic, if your background is still wet, you can add more Cloud using violet and pink. Okay? Now we'll have to wait for this to dry before you go to the next step. This guy has dried completely and the colors are looking. Asked her Diaz before, I cannot tell you how much I loved that traumatic Chi those colors are looking so good together. Now I'm going to peel off the masking tape and start painting the mountains. I already have some cerulean blue on my palette. Along with that, I will also need some integral for the mountain. So let's take out the color. This integral that I'm using here. It doesn't really look like an integral from the other brands. Honestly, I don't like this color a lot. It is really dark. It doesn't have any bluish tone. I'm mixing a little of civilian blue with integral to make it a bit brighter. You can use Prussian blue or you can use your normal integral. So that's a color I'm going to use. I'm adding a few drops of water. Now. I'm going to add the first set of mountain, which isn't the background. The color that we're using to be a medium tone. It shouldn't be too dark and it shouldn't be too light asphalt. Just take a look at the color that I'm using and go to similar tone. So first I'm adding my mountain at the center. It's a very low-lying Mountain Dew, make it too huge. This one is quite far from you, so-called the smallest size. So that's a size and that's the color. I have just makes a little half integral, but certainly in blue, the color might be a little greenish because we have yellow in the background. Just ignore that. That's absolutely okay. Okay. So that's the first mountain. Tried to go. The simple shape like this, don't make it too huge. Now we had to wait for this to try to add in the remaining mountains. If you want, you can use a blow dryer to speed up the process. I normally don't use blow dryer a lot. I always let the painting dry by its own. Only when I'm brushing, I use blow dryer. This has dried completely. Now we can add the next set of mountain. So I'm going to use a darker tone of the same color that I created. I'm mixing some integral with cerulean blue. I'm using the same pressure. This one is a size number two round brush. And I'm going to darker tone this time. I'm going to add two mountains on either side. So the center we have this mountain but isn't a lighter tone. I'm going to add mountains on either side using the taco tone. You can go to any shape that you prefer, but don't cut up that mountain in the background. I'm starting from here. And template you my curve. Onto the right side. On the top, I have a darker tone. Now towards the bottom, I'm going to make the color lighter. Same thing goes on the other side. On the top I have a darker tone. Now I'm washing out the paint from my brush and I'm picking some clean water. And I'm making the color lighter towards the bottom. This will make your painting look more realistic. It's always great to play with different tonal values in your painting to bring in that. That's the right side. We have to do the same. On the left side. I have already added the sheep. I think maybe we can make it a bit more darker. Mustard color. I don't have any paint on my palette, so I might need to take out some integral. First we can add in that chain and then we can make it a taco on the top. This is your background layer. We are going to add any other details onto the mountain. Maybe we can add some small trees are some landscape at the bottom, at the end. But for now this is all we need. So we have added two sets of mountain here. We have added barn in the background using a medium tone, and right now we're using a taco tone. Tonal values are a great thing to achieve a beautiful depth in your painting. So always try to play with different tones and values. You can already see the difference when we added the other mountain in the foreground. So I'm picking some more taco tone and I'm adding that on the top of this mountain. And I'm against matching the color like I did earlier. I think this guy is looking even more pretty right now and we added those mountains. I'm really in love with the colors we have used here. Alright, so that is chi and the mountains. Now we have to wait for this to dry. And our next task was to paint the lavender field. 70. Lavender Fields - Part 2: So everything has dried completely. Now we can start painting the lavender field. That's the most exciting part of this painting. For that, I'm going to make followed love opera pink with vomit. I don't want to use the opera pink acids because it can be a really bright pink. It can be really flashy condone the painting. So I don't want to use that asset is picking on love, opera pink mixing that with wireless. So we have a nice pinkish pipe palettes. I don't know what to call it. So that's the color that I'm going to use for the lavender field. Now before you start applying the paint, I want to add in some guidelines. We need to create that perspective of lavender fail. So these lines are really important. If you add these lines before you start putting the paint onto the paper, it will act as a guideline and it will help you understand where to put the color. So I'm going to add in the lines. I'm going to do my vanishing point to be somewhere on the right side. If you only can add new vanishing point at the center. And from there we can start adding inclined line towards either side. But it is much easier to get the perspective right if you add the vanishing point onto one of the corner, I'm considering my vanishing point to be on the right side. And from there I'm going to add some inclined line towards the bottom. So that's the first line. Now I'm adding another line. Again, another one. Now one more line. That the sketch, we will be adding other colors according to these lines. You can see these different sections here. They are going to paint them separately. We will start with the first one on the top, this bigger triangular section. I will just make this line a bit more darker so that you can clearly see that division. Now, let's start adding the paint. I already have created that bright violet here. I have mixing opera pink with violet. Now, let's start applying the paint. I'm using a medium-size brush here, and I'm applying that bright valid we have created at the bottom of this triangular section. If you don't have a pair of pain, go with any of the ping you have card or you can just mix a bit of crimson with violet to turn that into our purple color. Apply that color towards the bottom. Just follow the shape you have added there. Okay. You can use a medium to be concise trash. Now towards the top, I'm going to pick some pinkish color into the same color. I'm going to add some more oprah pink. Let's pick some oprah pink. Mix that with some violet. Let's add that towards the top. Fill the remaining area using this bright pinkish violet. You can already see that car just lavender field. Now we need to add in some more texture and some patterns onto this to get rid of that flat look. Right now we have just applied that wireless and pink color is looking quite flat and boring. What we need to introduce some textures to make it look more realistic. That is our next task. For that, I'm going to pick some violet and much more darker tone of violet. I'm going to drop that at the bottom. Over here. Along the bottom line, you will have lots of shadows. We can just add in some texture. From the bottom. I'm just dragging my brush towards the top and I'm creating some random grassy pattern. It's not really a grassy pattern. That's kind of a message of pattern. I just want some Taco Johns at the bottom. You can just pull your brush towards the top and create some kind of fatter. Now I'm going to dab my brush on a paper towel to get rid of that excess amount of water. I don't want the watery paint. That's the reason why I'm dabbing my brush. Now. I'm going to add some dotted pattern onto the lavender frequent. To add in some more texture. Just go randomly, add some dotted pattern wherever you want to. Especially at the bottom. Don't add a lot of patterns closer to the horizon line. You can lead to serious software and clean. So I'm going to add some more texture. At the bottom. I'm just adding some dotted pattern using the tip of my brush. The background is already wet. The color that you're adding well, nicely spread into the background. Don't use a watery brush. If you feel like your paint is too watery, dab it on a paper towel. We don't want these patterns to spread a lot, so just be sure the paint is not too watery. Now I'm switching to Oprah pink and I'm going to do the same thing. I'm going to add some more dotted pattern. Be sure not to add an OT towards the horizon line. You can concentrate on the bottom. This is where you will have lots of shadows and darker tones. As the serious quiet closer to you. You can see how gorgeous it is looking already. It's a beautiful color, right? Actually, opera pink is the main feature of this painting. So if you're using Chrome center or any other color, you're painting might not look this vibrant, but that's okay. I don't think most of the art is like opera pink as it is quite bright. So yeah, only if you feel like you will use this colonial future painting, you can get a tube of a pair of pink or it can just go with crimson are permanent rose or any other pink color. Now, we're going to add some more darker tones at the bottom. And for that, I'm going to use a really dark tone of integral. So the darker tones we are applying right now is going to define the shape of the second section. That second row of lavender use a smaller space Parrish, go with either a taco tone of integral or a darker tone of violet. Now I'm going to create some bushy shape at the bottom of the section. Goods and rough curvy shapes don't make it a straight line. This will make it more natural. Just run your brush in a cliche when you're adding those darker tones at the bottom. You can see the way I'm adding those taco tones. I'm going with a very irregular line. This is how you should be adding in. Don't go the straight line. So that's done. Now. I'm going to wash the paint from my brush. I'm going with the second section. For that. I'm starting off with that bright palette. I'm mixing some oprah pink with violet. Um, I do that right below these patents we have created. You can really start applying the paint. You don't need to wait for that previous layer to dry. Please be sure not to go with the watery paint. It is just that those colors should int float into each other. That's the only reason why I told you not to go with the watery paint. Now you can clearly see that second layer of lavender. And you can clearly see that shape we have defined here. This is the main reason why we applied a darker tone right next to this event in with a very natural shape so that we can define the shape of the second room much easily. Now towards the bottom, I'm gonna go with a taco tonal File. On the top we have a medium tool and towards the bottom we're going to introduce a darker tone, just like how we did earlier for the previous section. I'm going to squeeze out some violet onto my palette. And I'm going to apply this color. But the bottom over here, we're going to introduce some green as well, not like the previous section. So first I will add violet, then I will switch to Queen. So I'm just randomly applying that onto that pinkish color. I will just add a little for now. We can add more. Now I'm washing up the paint and I'm switching to green. So right over here, I'm going to add some sap green. We have already added that line. You can follow that line and add in some sap green in-between. You can also drop in some leaf green to bring in a different tonal value. Have you thrown a flag, leaf green towards the top and over to the bottom? I have used some sap green. Now I'm switching back to wireless, and I'm going to add some deeper tones. We haven't really defined this section. So let's do that right now. Let's pick a bit more darker tone of violence and add that at the bottom. Along that line we have added earlier, adding some taco tones of violet. Okay, so that's looking great for the time being. Now, I'm going to add some violet onto this corner. And now I'm picking some pink. Let's add that onto the top of this section. Does the same way how we did earlier. We have a darker tone at the bottom and medium tone at the top. Over the bottom, there'll be lots of shadows. And it is really important to add those taco tones to define the shape. On the top you can go with a medium tone, lighter tone. And towards the bottom you should be adding more darker tones. We're going to add more details onto these two sections at the bottom. The smallest sections, we're going to leave that topic area, acidosis. We won't be adding a lot of details over there. Now I'm picking some more paint and I'm going to make the colors motor. I have some rough patches of violet here. And also at the bottom, I'm going to make the CDS mortar. After we are done with this tail, they will need to add the final details. I'm just dropping in some pink here to make it a bit more brighter. So that's done. Now, we can start adding the final details. For that. You will need some white gouache or white watercolor to add the final details willing to lighter tone off while a champion for that album, mixing some white gouache with that pink and violet. So I'm picking some quash mixing that with the pink and violet. You can mix your white with either pink or valid or the board, depending on what is left there on your palate. Okay. So clear that light tone. I think I have used more pink here. That violence, never mind. You can either use pink color violet. Now, just watch out the way. I'm adding these lines. I'm adding some teeny-tiny lines, but then I'm adding them in a cursory way. First I'm adding them along the top portion where we have this medium tone. They can be a combination of small lines and dots. First you can add them on the top and then you can slowly start bringing them towards the bottom Nikoli line. See that? That's how the lavender field look like if you have seen some photographs or if you have seen the material. So starting from the top at some small dots and small lines and bring them down in a curvy line. So this is how you should be adding your lines. Towards the bottom there you're closer to the masking tape. You really have to follow this curvy shape and you're adding, you started patterns and lines. But towards that vanishing point, you don't need to really follow it. You can simply add some dark pattern and lines onto the top because that area is quite far from us. So you're going to put a lot of effort here. But at the bottom, following that curvy line is quite important as it is much more closer to us. So let's finish this off. Okay, So this is how it is looking right now. You can clearly see that a friend is looking a lot better than the out of doors detail. Now you've seen the same color. I'm going to add few patterns onto this section as well. Just some teeny tiny dots in a video phantom V. I wouldn't be adding a lot. I don't want to make this area, but use the same color and add some teeny tiny dots and a variety of phantom pain. Okay, So that's trying to now we have one more section left at the bottom. Onto the top. Just like how we did the previous one. We need to add some rounded proceed pattern of the top. Use the same color, adding some white question why toward the clever either opera pink or violet? And create a light opaque, turn off either one of them. And just add some small shapes onto the top to define the shape of the lavender field. It is this step which will make your painting look complete. So just don't ignore the step. Now I'm washing up the paint from my brush and I'm going to add some cream and picking some leaf green. Just like we did right now, I'm going to add some patterns onto this section. This is the pathway in between. So using a lighter tone of green, you read the mix, any white gouache or any white watercolor. You can simply use lifting acid-test or any other light green and just add some teeny tiny dots to make it look like there are some crossover there. They're just trying to create some texture here. Just add few patterns. We don't eat a lot. Okay, so that's time. For the final step. I'm going to switch to a smaller size brush and I'm pulling with some integral. And I'm going to add some small shapes along the horizon line just to make it look like that or some trees or plants over there. It's a very smart sheet. Using indigo. If you don't want to add them, you can ignore the step you're painting is already looking quite pretty. I'm just randomly adding some small irregular shapes. These are quite far from us, so just a random shape assault me. We don't need to add an Amy Alto details. That's, that's maybe we can add one smaller shape at the center. Okay. So bad that we are done with the painting for the day. I'm really, really happy with the way it has turned out. It is one of my most favorite painting from this anterior collection. Now it's time to peel off the masking tape and admire. Our goal is lavender field. I think it's the beauty of opera pink that pride, wireless and Pringles really adding a lot of beauty to this painting because we played with different tonal values that lavender fields are really standing out. We used a medium tone at the top and a darker tone at the bottom. And we'll also add some tiny details on top of it. Everything has turned out just perfect. I hope you had a great time painting this college lavender field. Look at tat. I cannot tell you how much I love this painting. Thanks a lot for joining me today as the packet, so on with our next spring landscape. 71. DAY 24 - Green Mountains: Hello, hello, Welcome to day 24. Shares are gorgeous painting for the t. It's a simple yet a beautiful painting. We're going to try a new snowy mountain today. You can see that in the background. Also we are going to try some pine trees. It's a really easy painting and you're going to learn quite a lot of techniques today. So I'm going to quickly show you the colors you will need. I will start with the sky. So for the sky, as you can already guess and be using cerulean blue. By now. You all know my love for this color. I use it quite a lot in my days. A gorgeous color. So that's the color I'm going to use for the sky, will be going to the simple gradient wash. You can use any blue that have caught. It can be pushing to cobalt blue or any other blue. Now for the mountain, as you can see here, I'll be using a muted green and to create that color, I'll be mixing a bit of burnt sienna, but certainly in blue. If you have only green or any other muted green, you can use that asset is, or you can use burnt umber. We just want a muted green or a mutant drown. So that's the color I'll be using as just a mix of some cerulean blue and burnt sienna. It's more like a muted green. See that? That's the color I'll be using for the mountain. We'll be using a really light tone for the mountain. You can see that from the painting here, we will leave burnt sienna also for the tree trunk. For the mountain. It's gonna be a mixture of several in blue and burnt sienna. You can use any of the blue that you're using for this guy. We just need to mix a little of cerulean blue or any other blue with burnt sienna to create a muted green. So that's our next color. I think the rest of the colors you can already guess by looking at the painting. We will need a light green, sap green and indigo. I'm going to swatch out sapling next. We will need this color for the mountains as well as for the landscape at the bottom, then you will need any light cream. The one I'm using here is leaky. And the last one is indigo, will be using this color to add the deeper tones. And we'll also be using this for the pine trees. And other than that, you will also need some white gouache to add that snow onto the mountain. That summarize all the colors you will need for today's painting. Next, I'm going to quickly show you how you can draw this pine tree. It's a pretty simple tree. It's not that complicated. So you can just try it out if you're not getting it right. If you don't want to add it, you can skip it completely when you're doing the painting. This is the one that we are going to try now. First I'm going to add a tree trunk. It's going to be a slightly irregular line. And I'm using a size number two round brush here. Now our next step is to add some lines on either side of the straight trunk. On the top we will have smaller lines and as we're coming down, we will have to make them wider. So start with some smaller lines like this. It can be slightly and irregular line. It doesn't need to be a straight line. You can see the line to the bottom. They are more wider than the ones at the top. So this is how you should be adding your lines. If you want to make the tree look more dense so you can add more lines. So that's our basic skeleton. Now using the same color. I'm just adding some irregular line towards the bottom part of those lines I have added here. It doesn't need to be a perfectly spaced, small lines or it doesn't need to be perfectly shaped. We just need to simply fill up that line. Towards the bottom, keep adding some lines and fill that shape. If you want to make it more denser, you can add more lines. It's a very simple tree. Do give it a try. When you look at it, it might look a bit difficult, but then when you start doing it, It's really simple. You just need to add that skeleton first and then you need to add these kind of messy lines at the bottom. And you need to fill it up. And also when you're adding that basic skeleton, you need to make sure that you're not adding straight lines go with an irregular line. This will make your tree look more beautiful and more realistic. So depending on how dense and how thick you want your tree to be, you can reduce the spacing between those lines and you can add more lines in order to make it look more denser. So that's the basic idea. You can see that tree on the left side will be using the same technique. We're nearly done. We have few more lines at the bottom. And I'm just adding those irregular, messy lines to fill it up. You can see over here, I'm going with much more denser lines compared to the ones on the top. So I'm just adding some messy lines. What's the bottom? I'm simply filling that up. You just need to give it a try to understand how simple it is and the ratio. You're going to love this tree and you can use it in your future paintings as well. The more you try, the more comfortable and more faster you will get with your trees. Because pine trees are a gorgeous element that you can add new painting. If you know how to draw it, it is going to enhance the beauty of your painting. To give it a try before we go to our class project. Next, I'm going to try these small trees we have in the background. It's a very basic shape. It is not at all details. For this one as well. I'm starting with a tree trunk, which is just a straight line. There is no basic skeleton here. I'm simply adding some lines on either side. And I'm just filling that tree trunk. And then you go there, we have our tree. I'll do another one. First, add a line, then just keep dragging your brush towards either side. And keep filling that tree trunk. On the top, you should have smaller lines and as you're coming down, we will have to make it more wider so that it's super simple. We're adding them in the background so they don't need to be that detailed. I hardly took 10 s for each of these trees. It is that simple. Take out a scrap piece of paper and try to draw five or 10 h at street. And you will know how simple that is. Also, you will get really confident at it. You can use these trees near future painting fast food, it can be a good element in your background. That summarize the color palette and the techniques you will need for today's painting. Now it's time to give it a try. Okay, so join me in the next section. 72. Green Mountains - Part 1: Okay, so we're about to begin with our painting for day 24. First, I'm going to add horizon line. So almost three-fourths of all people is gonna be the sky. And we have just a small area at the bottom where we'll be adding some landscape and then we'll have some mountains. First we can add the mountain in the background. This is gonna be right at the center. And just going with one mountain. That's snowy mountain and the background. I'll just erase all that horizon line for the time being. We can add that later. Once we add the second layer of mountain, right in front of this, I'm going to add another set of mountain. I'm going to add them on either side as the sloping down towards the center. Okay. Now on the left side we're going to add a huge pine tree. I'm just going to add a reference line right now. Just to indicate a location. We can detail that when we are painting. Okay. So that's a sketch. Honestly, there is nothing much in the sketch. The major thing is that mountain in the background. The only thing you should be adding rarely the rest we can add them you're painting. So we have this gets ready. Now, I'm going to take out some cerulean blue, which is the color that we're going to use for the sky. You can use any other color, as I mentioned earlier, we are just going to go the gradient wash of cerulean blue or any other blue. And also if you wanna go with the cloudy sky, you could do that as well. Okay, So we're going to try a wet on wet sky. And the first step is to add a clean coat of water onto the entire sky. It's okay if you add some water onto the mountain, it is not going to affect your painting. So make your background Where at a nice shine equal to water and make sure the background is evenly wet. Now to paint the sky, I'm going to use a flat brush. This one is my half-inch flat brush. I'm just washing it properly just to be sure there's no other pain since on it. Now, I'm gonna go with a medium tone of cerulean blue. I'm adding a few drops of water. I'm turning that into a medium tone. Now let's add that on the top of the paper. And as we're coming down, we have to make the color lighter. So go with a medium tone on the top as you're coming down, or shut the paint from your brush and go with some clean water and make it lighter. So my brush doesn't have any paint right now with is just wet. Now, I'm going to run my brush from left to right, no horizontal way until I get a clean blend. So the idea is we need to have a medium tone on the top and a lighter tone at the bottom. You can go from bottom towards the top, or from the top towards the bottom. Those things are totally your choice. I know some people prefer working out the way. I always prefer adding my taco tone first and then making it lighter. But some people do it the opposite way, which will be the method that you follow me just need a gradient, wash off any blue. Now we have to wait for this to dry. Alright, so that is dry. I used to blow dryer and you can see that shape here, the sphere shape. I think I blew too much of air towards that side. Anyway. I'm just going to ignore that and I'm going to go the next step. And for that, I'm going to take out some burnt sienna. For the base layer of the mountain. I'm going to use a lighter tone of brown. I will take out some painful. Now, I'm going to use my round brush, this one as my size number eight round brush. I'm adding a few drops of water and I'm turning that into a lighter tone. For the base layer, we are going to use a lighter tone of brown. Just be sure that the background has dried completely. Otherwise, wait for few more minutes until it dries. On the top, we will be adding snow later. You can see that shape I left over here. We'll be adding some white gouache. So you really don't need to leave that area right now. You can fill that area also in town. So I'm using a lighter tone of brown and I'm filling that anterior shape of mountain we have added here. It doesn't need to be a clean, smooth, solid wash. You can add a new paint. How will you want to? We just need a light tone of brown for the background layer data set. Okay, so that's my background layer. Now onto this, I'm going to add some medium anthem taco tones. I hope you guys remember the muted green we created in the previous section. So that's exactly what I'm going to do next. I'm picking some cerulean blue and I'm mixing fact but some container to create a muted green. See that? That's a color I'll be using to add the medium tones. You can use olive green or maybe bond number. It doesn't need to be the same color. Okay? So that's the color. Now using the same brush onto this wet background, I'm going to drop in some medium tones. If your paint is too watery, dab it on a paper towel. Just randomly add some medium tones. You can add them variable you want to. Okay, So just keep on dropping that medium tones onto the vector background. We have used a really light on brown for the background. And right now we are using a muted cream. And you can see the way I'm applying those medium tones. It's a very rough and messy. We never tried to get the perfect blend here. Let it be messy and let it be rough. Because we are trying to create some texture here. Now I'm applying that green at the bottom and I'm filling up that shape. I'm just pulling that paint towards the top and I'm just finishing it off. Okay. So that's the base layer. Don't put a lot of effort to make it look perfect. We don't need a perfect answer. We want a rough and messy results. Now, I'm creating the same color and a bit more darker form. So I'm picking some more serene blue mixing that with burnt sienna. I came to make it a bit more darker. Now, I'm going to repeat the same process, and I'm going to add some deeper tones onto the mountain using the same color, but this time it is slightly darker than earlier. If the paint is too watery, dab it on a paper towel, and keep adding some medium-term seawater mountain. See that? I'm adding some irregular random patterns. And also the background has started to dry. It is not wet, but that's okay. Keep adding them. You don't need to worry. Try not to add a lot and cover up the background colors. We still need to see some brown and some green in between. Okay, so keep that in mind when you're adding your taco tones. Now, I'm going to add a little at the center. Once we are done, adding these darker tones will be going with a wet brush and we'll be smudging all these patterns we have applied. Even if your mountain is not looking bad creator the moment you don't need to worry about it, we're going to fix that. You need to trust the process and keep adding your attacker and medium tones. So I have added enough onto the right and the left side. I'm going to add few more lines at the center. You can see my margin is quite messy. It doesn't look like a mountain at tower. It looks really weird, but that's okay. As I said, you have to trust the process. Now. I have tickets and water on my brush and I'm going to smash the color using that wet brush. Okay, so once you have applied early or medium and darker tones, wash out the paint from your brush, then go with a wet brush and smudge the color. So they're doing this tip to make those patterns look more subtle. We don't want them to be too prominent at this mountain in the background. So by smashing the colors, we will have some nice texture on the mountain which are not really prominent. Go the clean coat of water and match those patterns. Alright, I think that looks great. We don't need to fill up that top area. You can either fill it or not valid. That's totally okay. Because we will be adding some snow on the top using white gouache. So it doesn't really matter whether you felt upon art. You can see those causes textures. I want those patterns to be a bit more softer. So I'm just washing up the paint from my brush. And it's just a clean, wet brush. And I'm a plane and go to water on top of these patterns to make it a bit more soft. So that's a real mountain. Now, we have to wait for this to dry before we code the next time. Alright, so that has dried. Our next task is to add the mountain in the foreground. For that as well, I'm going to mix a bit of cerulean blue with burnt sienna to create that neutered cream. But this time, I'm going to really dark tone. It's not a light tone like earlier. That's a color I created. It's a nice muted green. Now, I'm going to add the first mountain on the right side. So I'm just pressing the tip of my brush and I'm creating some random patterns on the top to make it look like there are some trees over there. This is the color. I have mixed them burn see now, but certainly in blue. Depending on the blue you're using, the color might look slightly different, but that's not a big deal. You can use any blue. And it started with the PyTorch brown or bouncing and apply that on the top. Now I'm washing the pin from my brush and using clean water and making it lighter towards the bottom to create that fog effect. On the top. Remember to add those teeny-tiny patterns towards the bottom, you can make it lighter. We're going to do the same thing on the other side. But before that, we'll have to wait for this to dry. You don't need to fill up the anterior left side over there will be adding another mountain. And that's going to be slightly darker than this one. So it's going to cover this area. You can just leave this area acids. Now let's add the other mountain on the left side. For that as well. I'm going to use the same color. This time. I'm making it a bit more darker by adding more subtle in blue. You can use any kind of dark gray. It doesn't need to be a mix-up, certainly in blue and fancy now will be the standard dark green for the smarten. You can make it, how will you want to? Maybe you can mix a bit of indigo but tap clean like we used to do on other days. So go with any method that you feel comfortable with and create a darker tone of green. Using that color at the basic shape of your mountain. And you can apply that color almost to half of that shape. Now, I'm going to wash the paint from my brush. For the previous one, we use clean water, but for this one, I'm gonna go with a light tone of sap green. And I'm going to add that at the bottom. On the top we have a darker tone of green. And towards the bottom we are using fat can go with a light tone of sap green and fill up the bottom area. I'm adding some small shapes towards the right side. We have a nice snowy mountain in the background. Yeah, it to make it. And then we have another mountain in the foreground. We made it lighter at the bottom to create a fog effect. And for this third mountain, we used a darker tone of clean at the top and towards the bottom. We used sapling dataset. Our next step is to paint the bottom part. We have to paint a landscape, but before that, we'll have to wait for this to dry. Okay, Now we're about to paint the landscape at the bottom. For that you will need some leaf green or any of the lighter green, sap green and some integral. Okay, So I'm just squeezing out some leaf green onto my palette. This is a color I'll be using on the top. I already have some sappy. So the next color I will need some integral. We have the colors ready. Now, I'm gonna go with my medium-sized strong crush. This one is size number eight, and I'm starting off with leaf green. I'm going to apply this right over here. And as I'm coming down, are we making the color more darker? So from this, I will switch to sap green. And towards the bottom I will introduce some indigo to make it more darker. Look like veins to try, I'm adding a few drops of water. Now I'm painting some sap green. Adding that next. Now let's just blend them. It doesn't need to be clean blend because we'll be adding some crazy pattern here. What if we have a clean blend in the background? It won't be really visible. So just don't put a lot of effort in making it a clean planet. Just start with a light cream. Then you can switch to saccharine. And towards the bottom you can make it more darker by introducing any blue or integral. You can see the color I have used two at the bottom, it is quite dark. Now. I need to make it a bit smoother. Right now the colors are looking really odd. It looks like there is a strong correlation between each color. So we need to make it a bit smoother. So I'm just picking some sap green and now picking some leaf green to make it a bit smoother. So just like I mentioned earlier, it doesn't need to be a clean plant. It is just that it shouldn't look like different bands of colors. So I'm just running my brush back and forth to make it a bit smarter so that it doesn't look like different bands of colors. That is the base layer. Now I'm going to add some crazy pattern for the bathroom drive. I'm just keeping this pressure side and I'm going to switch to a smaller size, brush size number to use any of your smallest size brush and keep pulling the paint towards the top and add some graphing lines. You can just make use of the pain you have in the background as it is still wet. We have tried this technique quite lot. No other paintings. So I'm very sure you all know how to do it. You will have to do this while the background is still wet. Make use of the time and keep pulling the paint towards the top to create some grassy lines. You can also pick some paint in between if you feel like it is getting dry. So right now I'm picking some leaf cream and using this color. I'm adding some grassy lines. I'm just pushing and pulling the paint to our turtle. And I'm adding some grassy line at the bottom. You don't need to add these grassy lines on the towel there we have that lighter green. We just need them at the bottom where we have that taco tone. Right now, I'm using a lighter green. I'm simply adding some grassy lines. Once I'm done with this color, I'll be switching to a darker green. And I will add some more lines at the bottom along the marketing team. So go with any light green. You don't need to add any white watercolor or white quash into it. You can use that color acetals and keep adding some cross your lines. Some of them can be longer and some of them can be shorter. Okay. So keep adding this until you feel like it is looking like the grassy meadow. Okay, so that looks fine. Now, I'm going to repeat the same step using a darker tone. I'm just picking a laugh integral, mixing that with sap green. And I'm repeating the same steps. This time. I'm just adding them at the bottom. I'm adding those grassy lines starting from the masking tape. And from the masking tape, I'm just pulling my brush towards the top to create these grassy lines. On the top we have a nice light green, which is closer to the mountain. And towards the middle we have medium tone of green and at the bottom we have a darker tone. This will really bring a nice depth in our painting. Just be sure not to add any medium or darker tone towards the top, closer to the horizon line, we need a light tone over there. Okay? So just add these grassy lines only at the bottom. Alright, so that's done. Now. We have to wait for this to dry. And after everything has completely dried, we'll be adding those teeny tiny pine trees in the horizon line. And also that big pine tree on the left side. Okay, so let's take a small break and let's wait for everything to dry completely. 73. Green Mountains - Part 2: Okay, Now we're about to add the finishing details onto the painting. First, I'm going to add those teeny-tiny pine trees in the background. We try this in the technique section. I hope you guys have tried it and you guys are confident at it. It's a very simple trick and we're not going to add a lot of details. Asset is quite far from us. So to add those pine trees, I'm going with a darker tone of green. I'm mixing some integral with sap green. And I'm going to add them along the horizon line. For this step, you will have to use the smallest exponent. So start by adding the tree trunk. That's my first ray. That's gonna be the size. Go the similar size, don't make it too big. So I have added a thin straight line. Now onto this, I'm going to add some simple messy lines. I'm just running my brush towards evil site and I'm just filling up that tree trunk. We are adding these trees along the horizon line and we're making it look like they are really far from us. So you're going to put a lot of effort and you don't need to t, t, We just need a simple, basic shape of a pine tree. So that's our first tree. Now in a similar way, I'm going to add different groups of pine trees. I will add three or four of them close to each other. And then in-between adolescence, please, and again, alone at similar groups. Now, along with this, to make it look more realistic, I'm adding some plants as well. It is nothing but just some dots. Again, they have to be really small. You just need to keep on pressing the tip of your brush and add some dotted pattern. So that's a combination of pine trees and some plants. Again, I'm going to add few more pine trees next to this. And I'm going to make it a group. First, start by adding a straight line. This one is really small. That's a secondary. It's such a tiny tree. Maybe the next one we can make it a bit more bigger. So my plan is to add some group of pine trees. I'm not going to add them along the entire horizon line. That would take a lot of time. Now, I'm going to add the next one. So I have just added a line. And onto that, I'm just adding some messy lines and I'm filling up that data set. We have added a pine tree. Now maybe we can add another one over here so you can compose your painting. How will you want to, if you want to add more trees, you could do that. Or if you want to reduce the amount of trees that is also up to you, but be sure to go the similar size, don't make it too big. Okay, so that looks like a nice group of four pine trees. Now I'm just adding some dotted pattern to make it look like there are some plants next to this. Okay, So that's Whole Foods Group. In a similar way, I'm going to create another group. Let's start by adding a straight line. Now onto those we can add some smaller lines. I'm just running my brush from left to right and I'm just filling up that tree trunk. Okay, so that's our tree. Just like we did earlier. We are going to add some dotted pattern next to it to make it look like there are some plans. Now I'm adding my next tree. Have added the tree trunk. Now I'm filling data. I'm adding the foliage. Okay, That's Alissa country. You can see how simple it is. We have already tried these trees in the technique section, but just in case you missed it, I'm going to show that I can on a bigger scale, I have a scrap piece of paper here. So first I'm adding a line which is the tree trunk. Now onto either side, I'm just adding some messy lines. It's really messy lines. So as you're coming down, you will have to make them wider. On the top, they have to be shorter and towards the bottom, they have to be more wider. This one that I'm adding right now is quite big. They're going to go with a miniature version of the same tree. It is really simple. You have to let go of that control and start by adding a straight line. Then just add some messy lines towards either side. Okay? So give it a try. I'm very sure you're going to love your tree. Now, I'm going to try a smaller version of the same tree, but it's the one we'll be using in the painting. I guess we'll start by adding a straight line. Then simply keep on adding these kind of rough and messy line towards either side. Just like I said, towards the top, they have to be shorter. And as you're coming down, you can make them more wider so that you have your pine tree single right? Now Let's add some of them onto a painting. We already have added some onto the right side. We have to add few more onto the left side. Okay, so let's do that. So you can see here, I'm adding those three SAS different groups. I'm not adding them on the entire horizon line. So on the right I added four trees and I left some cap in-between. Then I added another set towards the center. Now I'm again leaving some cap and adding another group. So you can compose your painting however you want to. You can add as many trees as you want. By just the size. Don't make it too huge. We are trying to make it look like these are really far from us because we are going to add another tree in the foreground. So to get that sense of distance, you have to make them really small. That's something that you have to keep in mind. Other than that there's nothing to worry. You can add as many as you want. Okay, So I'm going to quickly add few more trees towards the left side. Okay, so now we're going to add a little bit pine tree. I'm going to add title here. So compared to the ones we have added right now, this one is going to be really huge, so it has to be a bit detail. We tried this already in our technique section. I hope you guys have tried it. Okay? So I'm going to pick some integral first, and I'm going to add a tree trunk. I will just add a reference line using a pencil. So it's gonna be this long. Okay? Now onto those will be adding some branches. It's not going to be bad tens. So I'm leaving some gap in-between when I'm adding these lines. This is just a reference line. You don't need to add them. I just want to show you how it's going to be. If you miss the technique section. We're going to add a long pine tree here. First-time starting off with integral will also need some burnt sienna towards the bottom. The brush. And using your assignment number four, you have to go with any of your medium to small sized fresh and add a line. It can be a bit irregular line to make it look more natural. Now, I need to take out some burnt sienna. I don't have any left on my palette. Later. Now towards the bottom part of the tree trunk, I'm going to add in some fancy now. Let's pick some burnt sienna and add that towards the bottom. The tree trunk can be a bit thicker. So I'm just adding some bones in our towards the bottom and also a bit towards the left side. This way our tree trunk will look more realistic. You can see that beautiful irregular line got the similar line. It will really make a difference. Don't add a straight line for your tree trunk. Okay. So that's our tree trunk. Now onto this, I'm going to add some branches. Maybe before that we can add some crassly lines at the bottom to cover up the tree trunk. I'm just matching the color first writer. It doesn't look like it is loaded onto the ground. First match the color. Then you can add some grassy lines over there and cover up that bottom part. You don't need to add a lot of lines. We just need to cover that part to get rid of that. We heard look. Okay. So that's done. Now. We can add some branches onto the straight trunk. I'm starting from the top over here. I'm going to add some thin lines. I'm leaving some cap in-between. If you want to make the tree look more denser, you can reduce the space between those branches and make them too close to each other. You can see as I'm coming down and making them more wider. To make the task is here maybe you can add some guidelines using your pencil and then just follow that line using your brush. You can see the lines I'm adding here. I'm deliberately making them a bit wavy to make it look more realistic. I'm not adding them as a straight line. Now as I'm coming down just like I said earlier, I'm making them move either. Okay, so that's the basic skeleton. Maybe we can add few more at the bottom. Now onto this, I'm going to add the foliage. That's my next step. I'm just filling up the bottom that some small lines and some patterns will have to do this for all the lines we have added here. If you want to make it more dense and things, you can add more foliage. And also you can reduce the space between them so that it will look really dense and thick. Okay. I've added quite a lot of gap in-between for some reason I like it this way, but then you can reduce the gap in-between and you can add those branches close to each other if you want your tree to be really tense and thick. The color I'm missing here is a dark green. I have added some integral into Sakhalin, and that's the color I'm using. I have added foliage on the top, but we have more branches left at the bottom. I'm going one-by-one and I'm going to fill that up. You can see the way I'm adding that foliate, it is just a messy lines. I'm adding those lines towards the bottom. So for the one that I added right now, you can see the lines are a bit more Lanka. This way you can play with your foliage. For some of the branches, you can go with thick and dense foliage. And you can make those lines Lancome. And for some of them you can leave it empty. Those things will add a lot of beauty to your painting. Alright, so in a similar way, I'm going to add foliage onto the other branches as well. You can see how pretty old pine trees looking already have some more practice left at the bottom. There is a lot of gap over here, so I'm just adding a new branch. I have are no branch. Maybe we can add another one or to the left side. We have quite a lot of space over there. It is looking really empty. So once I'm done with this, I will add another branch towards the left side. Okay? So competitive brand is on the top. I have added more foliage on the ones we have at the bottom. You can see the difference. On the top I have added smaller branches and I have added less foliage. And towards the bottom, I have made them really tense and thick. So you can really see that natural transition. Okay, so that's all pine tree. Now we are going to finishing step of this painting with this adding snow onto the mountain. For that, you will need some white gouache or white watercolor. I'm going to take out a bit of white gouache onto my palette. Just a teeny bit. They're not going to add any flowers onto the metal today. We are going to leave it empty. So we'll just need this fight for the snow. And I'm using my smallest size, brush, size, number of full-time Trish. Make sure your brush is clean. I'm just adding that white auto top of the mountain. Just take a look at what I'm doing and you can follow the same shape. I'm using an opaque paint. I haven't added much water. So whether you're using white gouache or white watercolor, go with a really thick and opaque color. Now fill up the top of the mountain in white gouache or white watercolor. And as you're coming down the mass some lines. So just push that paint towards the bottom and leave the mass some lines. You can already see that snowy mountain. It's a very simple step. So technically with this technique, you can turn any mountain into a story mountain no matter what color you are using the background. For today's painting, we used a bit of brown and a muted green. You can use some blue or a green for your mountain. Then you can add snow using the same technique. But then you have to be sure that we're using a lighter tone for the background. Don't make it too dark. I'm adding some more white gouache onto the top. And that can be done with a wall painting for the day. You can see that beautiful snowy mountain. We have easily made it snowing. It was just putting mountain before. So now it's time to peel off the masking tape. Here's the finished painting. You can see that beautiful snowy mountain and those pine tree. It's a simple, common beautiful painting with the right amount of TTD. I hope you all had a great time painting. This college is green mountains. Thanks a lot for joining me today as your packets, the one with the one next green landscape. 74. DAY 25 - Red Tulips: Hello, hello, Welcome to Day 25. Today via painting a car just tulip field. It's a bright and beautiful painting. First we can take a look at the color pallet. Then we can try one or two tulips. The splenius actually a repetition of multiple tulips. So you just need to learn to paint one hard to tell labs and those leaves. Then you just need to place them variable, you want to add composite painting. So first let's have a look at the color palette. I already have the colors on my palette. We don't need a lot of colors today. We just need a blue for the sky, then a red and orange for the killer, and a light green and a medium green for the leaves. So I'm starting with the color that I'm using for the sky. Obviously, I'm using perylene blue. You know, my love for this color. I'm obsessed with this color. So that's a color I'll be using for this guy will be trying a wet-on-wet guy. We're going to go with a beautiful cloudy sky. You can see that glowing sky we have caught here will be linked some cap in between to create that white clouds. So that's a color I'll be using for the sky. The next two colors are the major one you will need for this painting. You will need any kind of orange and red. The one I'm using this brilliant orange and pyrrole red. These two are really bright and beautiful colors. You can use vermilion instruct brilliant orange, and you can use crimson instead of pirate red, or we can use any other read. Some swatching out brilliant orange next, just like the color scenes, it's a beautiful and brilliant orange. You can see how vibrant that color is. So that's the base color I'll be using for the tulips. Then along with that, I will also be using some red, this one spiraled read to add the medium tones. So don't worry if you don't have brilliant orange and red, you can use any red and orange. It can go the different color for your children. Maybe you can go with purple or a bright pink tulips. Okay. So those are the two major colors I'll be using for the tulips. Now along with that, you will also need a taco to know Fred to add those deeper tones at the bottom and also on the top. For that, are we mixing a little love, certainly in blue with red to create that tackle tone. Okay, the next set of colors are the ones we'll be needing for the leaves, which are obviously green. You can see from the painting, I'll be using three different tonal values of green for the leaves. So you will need a light green. I'm using leaf green here. You can use any of the liking you have caught, or it can mix and create your own light cream. The next color you will need a sacrum. You will also need a darker tone of green. For that, I'll be mixing some integral WhatsApp clean. Oregon mix the blue that you're using for the sky with the green to create a darker green, it doesn't need to be integrated. So you will just need six colors for today's painting. You will need a blue for the sky and an orange and red for the tulips, and some green for the leaves. That summarize the color palette you will need for the day. Now let's try one or two tulips. It is really easy. You just need to learn how not to. Then you can kill this painting. First I'm going to add a pencil sketch. I'm going to add the base shape first. It is something like an egg. That's a big shape. Now I'm going to add the petals onto this. So this is going to be the base shape. It can be like a U or oval shape. Now I'm going to add the petals. So that's the first petal. Now I'm adding one onto the other side. We have a smaller one on the top. There you have it two labs. This is how I'll be adding the two lips in our painting. I'm not going to add a lot of details because we have so many tulips there. So I'm going to let them really quick and simple. But we will be adding them at different heights and we'll be adding them at different orientation to get rid of that annoying reputation. Now let's try painting it. So first I'm picking some orange. The one I'm using here is brilliant orange. You can use any of the orange you have caught. If you don't have any other orange, you can use vermilion Asphalt. Okay. So I'm just adding vermilion along the shape of that first petal. We have on the left side. Just follow the shape of your petal. Now towards the bottom, I'm going to introduce some trade. Just keep dragging your brush towards the top and add some medium tones at the bottom. That's the first petal. Now I'm going to pick a teeny bit of cerulean blue. And I'm going to mix that but read to create a darker tone. We don't need a lot of blue, just a teeny bit. Mixed, add that array it and create a darker tone. Now, just like how we did earlier, had that at the bottom. We have a bright orange on the top, a medium tone of red at the bottom. Now we're introducing a taco tool. Okay, so that's our first petal. Now I'm going to paint the other petal. I'm using the darker tone, offering it, animating that over here and a bit at the bottom. Now, I'm going to wash out the paint from my brush. And I'm gonna go with some ray. Let's add that right next to this taco to enough, right? Give it a good shape. Now I'm picking some orange and I'm going to fill up the remaining area on the top. I think now it looks like a tulips. You can see how beautiful it is looking already. The colors are so bright and beautiful. Now we have one more small petty left on the top. For that. I'm using that taco tone of red and I'm going to simply fill that up. So just like I mentioned earlier, as we have quite a lot of tulips in our painting, I won't be adding a lot of details. I'll be really quick when happy ending the tulips. But this is the basic method. If you want to make a tulips more interesting and more realistic, you can add more details. You can look for images of tulips and add all of it lives in different way. It doesn't need to be of the same shape. So this is the basic method I'll be using. I'll be going with the three petal tulips. You can add full petals or more. Or you can go with a different shape altogether. Okay? So those things are totally up to you. Depending on the level of detail you want in your painting, you can choose to decide on those things. Okay, so that's a tulip. I didn't wait for this to dry, so I'm just fixing that better. I think it is looking pretty decent even though we have just added three petal. Now, let's add the stem and some leaves. I have cleaned my brush and I'm picking some sap green. And I'm going to add, fixed him just a straight line. So that's the stem. Now, let's add some leaves. It's gonna be a long pointy leaf. That's a Firstly. Right now, I'm not going to play with a lot of different tonal values. I'll just add few links using light green and maybe a darker tone of green. But for our painting, we'll have to play with different tonal values. Will be adding some leaves using light cream than some medium green and a darker green. And we'll be filling up the entire bottom. Actually the flowers are quite simple. We want the leaves us some book. It's a very basic shape, but then adding quite a lot of them might take a bit of time because we need to fill up the ante of cap and the bottom. Anyway, it's an interesting painting and I'm very sure you're going to have a lot of fun. Alright, so that's summarized the color palette and the techniques you will need to paint this column as to the plant. Now let's give it a try. 75. Red Tulips - Part 1: Alright, so we had a look at the color palette and the techniques, not as put them all together and painted car just to live field. First, we will need to add the pencil sketch. As you all know, we will need to add quite a lot of tulips to make it look like a figure. It's gonna be that simple Tula they tried earlier, that fleet petal tulips. Honestly, you don't need to follow the same way. I'm adding those flowers, you can compose your painting. How will you want to, just in case, if you want to add in your pencil sketch exactly the same way how I'm doing and attaching an image here of the finished sketch. You can follow this and adding EarSketch. Okay, so let's do this. We're nearly done with the sketch. You can see the way I've added the tulips. I have added them at different heights to make our painting look more interesting. Okay, so those are the flowers. Now when we are painting, we'll be adding hundreds of leaves at the bottom. Just like habitat in the technique section, we will be adding so many of them to fill up that entire bottom area. I'm just showing you how it is going to look like. You don't need to add them right now. Along with this, we'll also be adding some small tulips in the background. These small tulips, asphalt urinates kiss them right now. We can do them when we are painting. Maybe you can indicate the location, but you don't need to put a lot of effort. The major thing should be those big tulips. Finish off your pencil sketch and we can start with what painting right away. So I'm going to start by painting the sky. Like we mentioned earlier. I'm going to use cerulean blue for the sky. I'll be going with a medium tone so that we have a beautiful contrast between those bright red tulips and the sky. I already have the color on my palate. So first I'm going to apply coat of water onto the entire paper using my one-inch brush. You don't need to look at the tulips. You can apply the water on top of them. So just make your entire paper wet. Use a bigger size brush and our new brush multiple times just to be sure the water has reached everywhere. We need an even coat of water. So my papers evenly wet. Now I'm using my size number eight round brush to apply the paint onto the sky. I'm adding a few drops of water. And I'm cool with a medium tone of cerulean blue. I think I will need some more paint so you can use any blue you have caught. It doesn't need to be settled in blue. So feel free to use Prussian blue, cupboard flow or any other blue. We just need a medium tone. So I have taken out some more paint onto my palette. Now I'm adding a few drops of water and I'm turning that into a medium tone. My background is still wet. I'm dropping the paint onto this wet background. While I'm applying this paint, I'm leaving some cap in-between, especially where I have the tulips. You can see the way how I'm leaving to spite caps. Those are going to turn into the clouds. And the blue that I'm using Qt is quiet price. It isn't that light. You can decide on whether you want to work with a lighter tone or a medium tone like this. So carefully run your brush around those tulips. You can see my paint is not spreading a lot. This is because my background is evenly, but I don't have pools of water. That is one thing you need to be careful about. You will need to run your brush multiple times to be sure that the water is even. Now, let's apply that towards the bottom as well. We'll be using a really bright and vibrant color for the tulips. That's the reason why I'm not really worried about paying getting into the tulips. So just try to leave some cap where you have the two lips. It doesn't need to be perfect. And also you can leave some clouds. It is just some people white. So we're done with the sky. Now we'll have to wait for this to dry before we call it the next step. Alright, so the background has dried completely and my sky is glowing. I'm really happy with the way it has turned out. Our next task is to painted tulips. They already tried painting one Tulip in the previous section. I'm gonna follow the exact same method. So just like I would try, I'll be using brilliant orange and pyrrole red and I have to, but she's ready here. I hope you guys have the colors. Just like I mentioned earlier, if you don't have really an orange, you can use vermilion or any other orange. And if you don't have thyroid, you can use crimson or any other kind of red. So we have everything ready. Now, let's start painting. Just be sure the background has dried completely before you cope with the tulips. That's the only thing you need to be careful about. Let's start with brilliant orange. I'm adding a few drops of water and turning that into a medium tone. First, I'm going to start with those two lips. As we have quite a lot of tulips, I'm going to make it real quick. I'm going to apply orange onto the entail tulips first, then I will slowly start adding those deeper tones. The technique section, we try painting it petal by petal. You can follow one of the approach. We just need some orange in the background and some medium tones of red and some darker tones of red at the bottom. You can follow any approach. So I have applied orange onto the anterior tulips. Now I'm going to pick some grade. I'm using my other brush so that I don't have to wash all the paint. This way. I have minimum wastage of paint. Using my smallest size brush. I have picked some red. Now I'm adding that at the bottom. I'm just dragging my brush towards the top and I'm adding some medium tone at the bottom. Now, I'm going to divide those petals. For this one, I have added full petal. I have two bigger petal and one small petal on the left side and also one at the back. We have the small petal behind these two petals. For this one, I'll be using a taco tune. And also for that smaller one on the left side. So that's the basic shape. Now I'm going to pick a bit tough, cerulean blue, mixing that with red to create that taco tone. First, I'm going to drop that at the bottom. Again. I'm dragging my brush towards the top and adding anti-matter infused deeper tones at the bottom. Now, a bit over here to define the shape of the petal. And finally, I'm going to fill those two patterns and that darker tone. Now we can clearly see the shape of those petals. It is rarely defined. It looks like that's done. I'm pretty happy with weight has turned out those colors are looking really pride temperature T. Now in a similar way, let's paint the next two labs. If you want, you can add more details. Those things are totally up to you. So I already have some orange paint or my other brush. I haven't watched it. I'm picking some more paint and I'm applying that into the second chelates, the one we have on the left side. So just like I did earlier, I'm going to apply orange onto the anterior of sheep. And gradually I'll be adding some medium tones and some deeper tones onto this to define the shape of the petals. In the technique section, we painted petal by petal. Right now we're painting the entire shape first. So you can go with any one of the approach. You can either use that one hard, this one. Now I'm picking some gray and I'm going to add that at the bottom and dragging my brush towards the top. And also I'm defining the first petal, the one on the left side. Now I begin that darker tone and I'm painting that small petals we have at the back is really simple. It's not that complicated. You will get the hang of it. Once you paint one or two tulips, it's a beautiful painting. You can try out the same painting with some other color for your two lips. Maybe you can try yellow or pink. If you're using a lighter tone for your two lips, it is better if you can apply masking fluid onto them and preserve the people right? Otherwise, the colors won't that look when you have blue in the background right now using are really bright and vibrant. That's the reason why we didn't add any masking fluid. Now, I'm going to pick a bit more darker tone and I'm going to hi there at the bottom. All right, so that looks nice. We are done with 22 labs. We have a lot more to go. So let's go with the next one. Okay, so we're done with three tulips. Now, I'm going to paint the fourth one. I have already applied orange on to that. Now I'm dropping some red at the bottom. Now I'm picking some taco tone. Again, dropping that at the bottom. Now I'm going to define the shape of the petals. So we need to apply that taco tool onto that small budget we have at the back and a few at the bottom as well. And that will be done with our tulips. Honestly, it is really simple. I hope you guys have got it right by now. We have tried for tulips so far. First you can apply that orange are 1 million or any other color that you're using onto the anterior shape. Then it's just a matter of adding some medium don't and some deeper tones to define the shape of the petals. Okay, Now I'm gonna go with the first one. Over here. We have two flowers overlapping each other. So first, I'm going to paint the one on the left side. Then when this dries, we can paint the other one. Alright, we have progressed a lot. We only have few more tips to paint. This one has dried, so I'm going to paint the other one which is overlapping. I'm starting with that taco tool because I already have it on my brush. I'm applying that at the bottom. Now as I go towards the top, I will switch to write and to orange. And I will fill up that shape with some great. I'm adding red onto the left side so that we can differentiate between those two levels. Otherwise they may look the same. Okay, so I have added some red. Now I'm picking some orange and I'm going to fill up the remaining area. I think I'm losing my patients somewhere. The first two flowers I painted, I was really patient. And I think we can really see the difference. The ones that I painted right now are looking quite shabby. Anyway. I'm just going to finish it off now just in case if you are also feeling the same, if you're feeling bored of painting too many tulips, take a break and come back when you're feeling relaxed. Okay. Now we have some more at the bottom. For these ones, I'm not going to put a lot of effort. I will quickly apply a code of orange and I'll drop in some medium and taco tone in a really quick way. And also, if you want to add more tulips, you can do that right now. We are going with a very basic shape at the bottom. I'm not going to detail it out. First I applied orange onto the anterior shape. Now I'm picking some red and adding some medium tones. Now in a similar way, I'm going to paint the rest asphalt. Alright, so now let's link this for drying. 76. Red Tulips - Part 2: So all the flowers are in. Now it's time to add leaves. For that. I'll be mainly using sap green and leafy green. And we'll also be using a bit of indigo to make a darker tone of clean. But then the beef color is going to be leaf green and sap green. Okay, so let's start adding them. I'm going to use my smallest size brush to add the leaves. This one is my five number four round brush. First I'm picking some leaf green. And I'm going to add a thick pointy leave. All the leaves should be thick, long and pointy. Some of them can be long, some of them can be short. You can go with different orientation and different kind of arrangement to make your painting look more beautiful. Okay, so that's the first leaf. I have used leaf green here. Now I'm going to pick a bit of sap green, and I'm going to add some medium tones onto the right side. You can see that leaves is quite thick. This is how I'll be adding delays. Maybe we can drop in some more sap green to make this area more darker. So that's how we'll be adding the leaves we have just added. One will need to add quite a lot of them to fill up this entire bottom part. So I'm going to add the next one. Now when you add in the leaves, try to leave a tiny gap in-between. Don't make them touch each other. In those in-between spaces, we will need to at least using a darker tone. For now leaves some gap in-between. We can come back and fill those areas when these ones dries. Now I'm again adding one more leaf over here. The color I'm using this leaf green, and I'm adding another one. You can see the different kinds of shapes. I'm going put. Some of them are long and pointy, some of them are shot. And I'm adding them in different orientation to make our painting look more natural. Tried to make the tip pointing. Now I'm going to pick some sap green and I'm going to add some medium tones onto all these leaves. You can pick either left or right side and add some darker tones. So I'm picking some sap green and I'm adding that onto the right side. I'm starting with this leaf. At the same way how we try the first one. You can just add in some deeper tones. So that's done too. Now, I'm going to keep on adding more and more leaves to fill up that entire bottom area. Now I'm picking a darker tone and I'm adding another leaf in-between. I'm going to add that over here. So first I added a tiny part on the top, and now I'm adding the remaining at the bottom. In a similar way. We need to fill up the entire bottom area. We need to fill up all those caps. So first you can go with a lighter green and add some veins. Then onto that we can add in some medium tones using sap green. And when those dries, you can go with a darker tone and add some more leaves in-between to fill up all those gaps. So right now I'm using a darker tone and I'm adding another leaf over here. The leaves I have there already hasn't dried yet, but I will just add some more leaves in between just to make you understand how this is going to look like. So I'm picking some more darker green. And I'm going to add another one here. You can see that small in-between space. So our idea is to fill up all those gaps in-between. You can play with different tonal values of green. At some places you can use a lighter tone. Then you can use a medium tone in-between and also a darker tone. Now I'm picking some leaf green and I'm adding the one small leaf here. We can pull that a bit into the sky. So be creative and add in your lives in a very natural way. Some of them can be long and some of them can be shot. Play with different kinds of orientation and thickness and also different tonal values. So this area looks quite complete. I have some more capital over there as well. I'm going to add a light green leaves. The site looks complete. And making that line a bit more long ago. Now, maybe we can drop in some medium tool that you can add new leaves however you want to. You don't really need to follow the same way. I'm adding them here. Maybe you can make them more longer or shorter. We just need to fill up that entire bottom media. There shouldn't be any cap. That's the only thing you need to be careful about. The rest is totally up to you. Okay. So the situs nearly done. Now I have a small gap leftover here. Over there. I'm adding another leaf. You can see the way how it is looking right now. We have filled up all those calves and it looks quite complete. We will need to do the same thing on the other side as well. So that's our next task. So first I will add some leaves using a lighter green, and then I will drop in some medium tones on to that. And then those leaves drives, I will come back with a darker tone and I will fill up the caps using some darker leaves. I hope the idea is clear. Now let's go for it. I'm using my size number eight brush and I'm using leaf green. I'm just randomly adding some leggings using that light cream. So I have added the base shape. Now, I'm going to pick some sap green and I'm going to add some medium tones onto the cleaners. Randomly adding them. I'm not really worried about whether I'm adding it on the left or the right and simply dropping in some taco tones. Alright, so that's ready. Now to make the process real quick, I'm going to use a blow dryer. And I'm going to quickly make this dry so that we can go with the next layer using a darker tone of Queen. Otherwise, I may have to wait for quite a lot of time. Okay? So you can either wait or you can use a blow dryer or a heat tool to speed up the process. Alright, so that is dry. Now I'm going to pick a darker tone of green. I'm mixing some integral with sap green to create a darker tone. I'm using my size number four round brush. And onto all these in-between spaces, I mean, all those gaps. I'm adding a leaf. You can go with any shape and size. They can be longer or shorter. Our intention is just to fill up those caps. We shouldn't have any gaps at the bottom. That's the only thing I'm worried about. The rest is totally your choice. They can be long and pointy. They can be, they can't go eat. Those things are totally your choice. Now I'm adding another one here and I'm filling up that cap. Alright. We have some more space on the left side. So depending on the way you have additive leaves, you might have more caps or less cap. Now your task is to fill up all those gaps using a taco to just be sure to go the very natural cheap for your leave. This will make your painting look more interesting. Some of them can be long and COVID, and some of them can be taken pointing. So play with different kinds of shapes. Okay, So I have to let those caps. Now, our next task is to add in the stem. For that, I'm going with sap green. I'm just going to add a straight line for all these tulips. At some places you might need to break the line. Okay. So this one I'm stopping Kia. I'm not taking it to the friend. It doesn't need to be thin line. It can be slightly thick. Okay. So go the similar thickness. Now I'm adding for this one, maybe you can take it with a friend or I can leave it there. In a similar way. Add in the stem for all the flowers you have there. If you have a leaf or a flower overlapping, you can break the stem and continue from the bottom. Okay, so let's do this simple task. It's just a line, depending on whether you want it to be in the friend or in the back, you can break your line. This one I'm stopping here. And for this one, I'm trying to make it look like it is behind the wheel slaves. So go ahead and add in all the stems. All right, So that time now I'm going to wash the paint from my price. I'm going to schools are a bit or white watercolor onto my palette. We're going to add some highlights using whitewater color. I'm adding a little bit of orange into white to create a lighter tone. Now using this color, I'm going to add some highlights onto the flower. This is basically to define the shape of the petals just in case if you feel like they're not looking to prominent or the shape is not really visible. You can add some white highlights onto the right side of the petals. I'm in the opposite side where we have added those chocolate tones. It's just need to be some simple small lines. Some thin lines. Don't go with white asset is add some orange into it. And you can simply add some highlights onto the flower to make it look more defined. The step is completely optional. This is just in case if you feel like those flowers are not looking back. I will just add some highlights onto this one as well. So take a closer look at your tulips and if you feel like they need a bit of adjustment, you can go with a lighter tone of orange and add some highlights onto it just to make it more defined. Okay, I'm not gonna do this for all of these tulips. I will just add them onto these two. I just wanted to show you that there are ways to fix your flowers if you're not really happy with them. For the next task, I'm gonna go with a much more pride to turn off orange into the same mix. I'm going to add some more orange. And I'm going to add some tiny flowers at the background. For these funds are not going to add any medium tones or any taco tools. I'm just going with a very rough shape and I'm adding some levels onto these in-between spaces. You can go the similar size are much smaller ones don't make them too huge as we are not adding any details or any taco tones onto them. Okay, So pick up those gaps in-between and add some more tulips. You can add in as many as you want. There's no limit. But then watch out the size, don't make it too huge. That's the kind of size I'm going well, maybe I will add but a washer. So depending on the way how we have added the leaves, you might need to break your shape in-between. That I made it look like this one is behind those leaves. Okay, so go ahead and add in as many as you want. Alright, so that's done. Now we're gonna go with the last task. For that you will in a darker tone of red, sand picking bit of cerulean blue and mixing that with pyrrole red. I'm going to add some deeper towards, underneath all these tulips, right where the stem is starting. To add some darker tones over here. Do this for all the tulips you have. Alright, so that's time. That was the last task. Now there's one thing you can do if you're not really happy with the shape of the leaves, you can pick a lighter tone of green. Maybe you can add a petal white, watercolor or gouache into it to turn that into an opaque color. And using that, you can make the shape of the leaves better. Okay, So this is just in case if you want to fix the shape of the leaves or if you want to add some lighter tones in between. Okay, so that is it for the day. They are done with our painting for today, 25. Now, I'm going to quickly peel off the masking tape. And here is of a car just ratchet. I think it's a wonderful color combination. It has a beautiful contrast. Give it a try. If I get to try it, I'm very sure you're going to love it. Alright, thanks a lot for joining me today. I do packets over the one next spring landscape. 77. DAY 26 - Spring Evening: Hello, My dearest friends. Welcome to Day 26. Today we're painting a really simple and really pretty spring evening. It's a quick one which you can finish in less than 30 minute. So first, I'm going to take you through the color palette you will need for today's painting. We will start with the sky. I'll be using two colors for the sky. The one you see on the top as Clemson, and the one at the bottom is brilliant orange. Okay, so that's crimson. Now the next one is brilliant orange. If you don't have brilliant orange, you can use vermilion or any other orange, or we can even use yellow. So that's our second color. We'll be using the same color for the flowers as well as for the league. These are the two colors I'll be using, crimson and brilliant orange. This is the same color we used for the tulips. It's a gorgeous color. P 016 is the pigment number. Maybe you can try getting the same color from a different trend. Okay, So those are the two colors we'll be using for the sky. The next is the color you will need for the landscape. Obviously you need some light green, sap green and integral. So those are our next color. Have some paint leftover here. I'm just going to use that. So that sap green, which is the major color we'll be using for the background. The next color is light cream. The one I'm going to use, this leaf green, the color that I use normally. We will be using this color to add those grassy pattern onto that darker background. And finally, you will need some integral, will be using indigo for the mountain, as well as to add the deeper tones for the landscape. I think I need some more integral. I don't have any left there. So I'm going to take out a bit of integral, will need quite a lot of indigo today because today we're painting an evening scene and the color should be darker. We cannot use fresh and bright grains today. Okay, so that's our last color. It's a simple color palette, as you can see here. And the painting is also quite simple. And for the flowers as well, I'll be using crimson and orange. We'll be adding a bit of white gouache into it. Turn that into an opaque color. Okay, So that's all about the color palette. There is no need to try any new techniques today, you guys are already quite killed. This guy is going to be a simple variegated wash off crimson and orange and the landscape. We have tried similar ones already. And finally, those flowers are just some dots which I added close to each other to make it look like a bunch of flowers. Okay, now, let's give it a try. 78. Spring Evening: Alright, so here we are. I have my paper ready here. First, I'm going to add a pencil sketch. It is just a simple sketch. We just need to add that mountain in the background. And also we need to add the outline of that small narrow leak we have in the background. Let's add the sketch. I'm starting by adding a line a little about the center of the paper. So that's my horizon line. Now, I'm going to add the mountain. I'm going with the low lane mountain. I'm not gonna make it too huge. The cost is quite far from us. So that's the size I'm going to go up. Okay, So that is the mountain. Now we need to add the lake the lake asphalt. You should be going with a small narrow shape. Don't make it too huge. We are trying to make it look like this is far from us. So it has to be a small, narrow, irregular shape. I'm adding a curvy line here. Now, I'm running that line towards the other end. So that's the shape of the leg. You can go with a similar shape or a different shape, but make it narrow, don't make it too huge. So we have this case ready. Now, I'm going to squeeze out the colors. I already have the grain, so my palette, I will need some crimson and orange, which is the color we'll be using for the sky as well as for the lake. Okay. So let me take them out in case if you want to try out a different color combination for your sky, you could do that. Maybe you can try purple and pink or maybe blue and pink. Any other color combination that you prefer, just be sure to use the same color for the leak asphalt. That's the only thing you need to keep in mind. Okay. So just like I mentioned earlier, I'll be using crimson and brilliant orange. And I'm going to use my flat brush to apply the paint onto the sky. I'm just washing my brush to make sure there is no other pain stance on it. For today's sky asset is quite small. I'm going to go with wet on dry technique, which means I wouldn't be applying any water onto the sky. I'm going to directly apply the paint onto my sky. I'm starting out with a medium tone of Clemson. And I'm going to apply that onto the top of my sky. If you'd all have a flat brush, you can go the round brush, but be sure to go with a bigger brush so that it is easy to blend the colors. I'm using a medium tone and I'm applying that on the top. You can see the way I'm applying the paint. I'm running my brush from left to right. Now I'm taking some orange and I'm adding that right where extract the Clemson. And I'm trying to make it a clean blend. So this is called variegated wash. We're using two colors here. And you are trying to create a clean blend of these two colors. Towards the bottom, I'm making the color lighter. So I have some water along the horizon line. I'm making the color lighter. Looks like some water dropped onto the sky. No mind, we can clean it. I'm going to pick some more crimson and I'm adding that on the top. So that looks fine. Now I'm going to leave this for drying. Okay, so this guy has dried, but I'm not really happy with the intensity of the colors. It is looking really dull. I want it to be a bit more bright. I'm going to pick some more color. I mean, a brighter tone of crimson, red, orange. And I'm going to do the same step again. You can see the intensity of the color that I'm using right now. It is much more practice than earlier. Now I'm washing off the paint from my brush and I'm switching to orange. Even that is much more brighter than earlier. Now washing my brush again and making the color a bit lighter towards the bottom. It's the same thing that I did earlier. It is just that I wasn't happy with the intensity of the color. So I decided to go for one more layer. If you're already happy with the result, you can leave it as it is. You don't need to do this. Okay? So that's done. I think the colors are looking much more brighter right now. I'm quite happy with it. Earlier it was looking really dull. So it has dried completely and this is how it is looking right now. I think it was a good decision to make it more tighter. Now the next task was to paint the league for that. I'm going with a lighter tone of orange, and I'm going to apply that onto this entire lake. So we have added an irregular shape here, follow that outline and add in a lighter tone of orange onto that Antonio shape. Once we're done with those, we'll be going with crimson and we'll be adding some deeper tones. Now, depot maybe some medium tones. I'm using my same flat brush and I'm using the tip to add the paint. You can use a round brush, maybe a smaller one. Now, just in case they're using different colors for your sky. You start color you have used at the bottom for the lake. And do the same thing. Now to add the medium tones, I'm going to pick a bit of crimson, just a teeny bit. And I'm dabbing my brush on a paper towel so that the paint is not too watery. Now along these lines, these horizontal lines we have here, follow these areas and atom medium tone of Thompson. Just be sure the paint is not too watery. If you feel like it is really watery, dab it on a paper towel. Now we have to wait for this to dry. I'm not gonna wait. I'm missing a blow dryer to speed up the process. You can either take a break and come back when it has dried completely. Or I can use a heat tool or a blow dryer to speed up the process so that astride completely. Now, our next task is to paint the landscape at the bottom. For the base layer will be using sap green and indigo. I already have sap green on my palette. So I'm going to take out some integral as well. Towards the top, closer to the horizon line will be adding sap green. And as we come towards the bottom, we will be switching to integrate to make the color darker. So to apply the paint, I'll be using a round brush, this fantasize number a trauma brush, and I'm starting now, but sapling. Carefully apply your paint following the outline of the lake. We need to retain the shape of the lake. So be really careful when you're adding paint over here. Maybe you can use the smallest size brush so that you can easily follow the shape. So go there, try to turn off sap green, don't make it too light. You can see the color I'm using. It's quite dry. The brush I'm using here a size number eight. It has a nice pointed tip so that I can apply paint onto these kind of videos. If you're not confident enough, you can use a smaller size brush when you're applying the paint. We have a small piece of land here which is going into the lake. This little piece has to be really narrow, don't make it too thick. The reason why I told you to go with the smallest express, if that is what you prefer. That's done. Now we can apply paint onto remaining area. So almost half of the section, I'm going to apply sap green. And as it come down, I will be switching to integrate to make the color darker be shown, or to add a lot of water, we need a really bright color over here. So go with a medium tone. Now just in case if you're running out of sap green or if you want to use split it in green, that's totally okay. Or maybe hookers green or some other cream. Go the really bright and vibrant tones and apply that almost half of the section. Okay, so that's actually now I'm going to switch to integral, amazing a bigger size brush. And I'm picking a good amount of integral, mixing that with sap green. Then applying that over here, you can see that color I'm using, it has really dark. This is the kind of color we need because we are going to add some troubles and some classic pattern here. Ok, So quickly fill up that entire bottom area. We need a medium tone of green on the top and a darker tone at the bottom. You can use any green of your choice. Okay, so that's time. You can see the intensity of the colors. You have to go with similar tonal values. Now you'll see that same darker green. I'm going to add some deeper tones and the background. I'm focusing on the outline of the lake, and I'm adding some deeper tones over here just to bring in some texture of a background is still wet. So you just need to add some lines and let it out onto this area. Don't add, Lord, we just need a letter. We're just trying to create some texture here. Otherwise, it will look quite plain. Just add some medium tones over here before the background trials. I think the color of the sky and that landscape is going so well together. We have got a beautiful contrast here. They both are complementing each other. It was a wonderful decision to make the color of the sky more brighter. Now I'm adding some small lines here, just extending that patch of land into the lake. So that is set. Now we can start adding those classic pattern at the bottom. I feel like making the bottom area a bit more tacos. So I'm picking some more indigo and I'm adding that over here. I want those flowers to be really prominent. That's the reason why I'm making this area more darker. It doesn't need to be clean blend because we're going to add some crazy pattern onto this. So it doesn't really matter whether it has a clean blend or not, because the background is not going to be visible when you add those grassy pattern. Let's add them in. For that. I'm using my smallest size brush. You really don't need to wait for the background to dry. So this one has a size number four round brush. I'm using this pen to add those grassy lines. Now to add those grassy lines, I'm going to use a lighter tone of green. I have some lighter green here. This one is leaf green. I don't want the green to be really light, so I'm just adding some sap green to make it a medium tone. And using that color, I'm simply adding some grassy lines onto the background, especially onto the bottom there we have those taco tomb. You can see my background. It is looking quite messy. So my main intention is to fill up this area. You can see that patch here. I'm going to add plenty of classy lines over here to cover up that weird patch. As I mentioned earlier, you don't need to wait for the background to dry. You can totally go and add in your crazy lines. This is the base layer, will be adding one molar of coffee lines, then everything has dried. So right now you don't need to worry about whether you have got a clean blend or a draft planned and your background has tried or whether it is still wet, you can just leave those things aside and simply keep on adding these kind of lines. You can see the way I'm adding them and simply dragging my brush towards the top and I'm adding some message behind. Your task was to simply cover that area by adding as many lines as possible. Okay, ready, Let's do this. All right, so that's done. You can see how pretty it is looking already. Our next task was to paint the mountain. For that, I'm picking a darker tone of integral. You can either use a darker tone of green or we can use indigo acids. I'm still using my size number four, I'm Trish. And they have to add a low line mountain. The sketch I added there, it's not really visible, so I'm just going with a right hand sketch. See that? So that's the maximum size you should be going with. Don't make it too huge. Using an integral or a darker tone of green add in the best shape. You can see I have less than gap at the bottom. Now I'm going to brush with the paint from my brush and then picking some sap green. And I'm going to fill up the remaining area at the bottom. You have a darker tone on the top and a medium tone at the bottom. Now simply fill that up. Use the smallest size brush and make it a straight line at the bottom. You want a clean horizon line? Okay, so we're done with the base layer. I have just integral on the top and settling at the bottom. Now, we need to add some texture and some details onto this to make it look more realistic. For that, I'm picking familiar cream. You can use any of the light cream and just add some insight line from the tip of the mountain. And you can just leave it as it is. You don't need to blend them into the background or you don't need to put any extra effort. And also, this has to be done while the background is still wet. So those lines will look slightly blurry. It wouldn't be too prominent. So tat, as said. You can see the way I have added him. I haven't added a lot and I have added them only onto the left side. I haven't added them onto the right side. You have a darker tone on the right and lighter tone on the left. That's done. Now using the same color, I'm going to add some more grassy pattern at the bottom. Right now, everything has dried completely. So this is the time when we should be adding our second layer of crazy lines. Earlier we added those grassy lines when the backend was fed. So right now they're looking kind of blurry piano too prominent. So the ones we're adding right now will be prominent. As a background has dried completely. I'm adding a bit of sap green into the screen because it was looking too bright. I don't want those grassy lines to be too prominent. Okay. So that's the color I'm using. Now, just like I did earlier, I'm going to add some grassy lines onto the same background. This way, you will have a nice density. It will really look like it's a lush greenery. Go the smallest size brush or a brush with a pointed tip. And simply keep on adding these kind of free hand lines. Without lifting your hand, adding a bunch of these kind of lines. There's just a freehand line. Keep on adding them until you feel like you have got a current density. Alright, so that's done. Now what we'll find that task was to add the flavors. For that. I'm taking out a bit of white gouache, and I'm going to mix that with the orange and crimson I have here. If you don't have gouache, you can also use white watercolor. We wanted opaque version of orange and crimson. Now I'm going to mix a bit of white gouache with brilliant orange. Maybe we can mix a bit of crimson also together with this. So that's a color I'm going to use for the flowers. Now for the flowers, I'm going to simply add some dots close to each other. I'm just randomly adding some dots. If you want to go with a definite cheap, you can do with that. You can go with the file petal or a six petals, basic flower. This is the way I'm going to add the flowers. I'm just going to create some bunch of wild flowers. So you can see the color I'm using hand the way I'm doing it. If you are not really liking it, maybe you can use a different color and you can go with a different shape for your flower. Okay, So feel free to choose the way you want your flowers to be and add them. According to that, I'm going with a very rough and simple approach. I'm just adding some dots close to each other, using the tip of my brush and creating a bunch of flowers. So I'm using the same colors I use for the sky, for the flowers as well. Maybe you can try the same approach. If you use a different color for your sky, it is better not to bring in a different color. Tried to play with the same colors you have in your painting. You can see how pretty those flowers are looking because we have a darker tone in the background and they're looking really prominent. So we're nearly done with this side. I'm not going to add a lot of a lot of levels on the right side in and slowly than other switch to the left side. And also I won't be adding any at the top. I will just add them at the bottom where I have this darker tone. Okay, so that's the way I'm going to add them. I'm nearly done with the right side. Now in a similar way, I'm going to fill up the left side asphalt. Amir lead an army travels, as you can see here. I'm only adding them at the bottom. I won't be adding them at the top. If you want, you can add them at the top as well. But be sure to code small dots don't make it too huge like this one. So that's one thing you need to be careful when you're adding parabolas or to the top and also closer to the horizon line. Actually, I had tried the same feeling with a different color combination. I will show you that once we are done with the painting. Okay, so I'm going to add some more dots. Over here. You can see the way I'm adding it. I'm just adding some small dots. I'm not adding any punch of levels. Okay, So this is how our painting has turned out. Now, have one small final task left. We're going to add some reflection on the lake. For that, I'm going back with Clemson. This time I'm using a really light tone. I'm adding a few drops of water and I'm turning that chromosome into a lighter tone. Now right underneath this patch of land, this long piece of land here. And also anthony the mountain. I'm going to add some lines using the slide to turn off crimson. We shall not use a darker tone, go to medium to lighter tone, and just add some lines like this. You can barely see those lines. And this how you should be having them. Now I'm adding similar lines underneath the mountain. See that? Go the similar tone. Don't make it too dark. Okay, so that was the final task we are done with the painting for day 26. Now let me clean up the masking tape. Here is about finished painting. I really loved the color combination, especially that beautiful contrast we have caught here. This guy is looking so pretty and those flowers, and that is going well with the landscape. Now, I will show you the painting that I was talking about earlier. So here it is. A same painting. I use a different color for this one. It is more of blue and green that typical sprinklers. If you want, you can try this tool at a simple, he had a beautiful painting. It's exactly the same. It's just a different color palette. So that is it for today. I hope you all had a great time painting this car just spring evening. Thank you so much for joining me today as the packets on with our next spring landscape. 79. DAY 27 - Canola Field: Hello my dear friends. Welcome to Day 27. Today we opinion and colleges can allow feel. They can see how pretty it is looking. We're painting a stormy sky and pride, yellow canola field as a symbol and a quick one, you will take less than 30 min for today's painting. Okay, so first I'm going to introduce you to the color palette, which is quite obvious. I think you will need an indigo for the sky, then some yellow and green for the canola field. Yes, that's right. Those are the three colors you will need for today's painting. But along with that, you will also need some white. Will be applying color to white watercolor onto the entire sky. And we will be using indigo to create that stormy sky. You all know, I don't really like the integral from this brand, so I'll be mixing a little laugh, cerulean blue with the same color to make it a bit more bluish, you can use any of the Hindu you have caught. Here is the color that I'm going to use for the sky. If you're using integral from Sennelier are White Nights. I think they look perfect. You can use them directly. The next two colors you will need are yellow and sap green. I'll be using cadmium yellow and sap green. You can use any of the yellow you have caught. So those are the three colors you will need for today's painting in DB2, sap green, and yellow. Now, I'm going to swatch out these colors and mixing a little of indigo, but certainly in blue to create that bluish indigo. I think I've said this before. I'm not really a fan of this integral. This one looks more of a grayish if I use that asset. So to turn that into more of a bluish color, I'm adding a bit of acetylene blue. That's a color I'll be using. As I mentioned earlier, we'll be applying code or white watercolor onto the entire sky. So the base layer is going to be white watercolor. Onto that, we'll be applying some integral will leave some cap in between and we will create those white fluffy clouds. So that's how we'll be painting the sky. You can see those gorgeous clouds. That's actually white wet cloth hair. Okay, so that's our second color. Now, the next color you will need as yellow. I will be using cadmium yellow. Actually, I started off with lemon yellow, but then that was looking really dull. So I change that into cadmium yellow. You can use gamboge, yellow, Indian yellow, or any other yellow. We just need a bright yellow. So that's our second color. Now the last one is obviously sap green. It's actually a very simple color palette. These are the three major colors you will need integral, i, yellow and sap green. So that's our third and final color. Now you can see a wind turbine on our painting. For that, I'll be using some white gouache. You can also use white watercolor. If you don't have white gouache, It's Guangxi This better so that it will really stand out. It's a very simple shape, will be just filling that with white gouache. That summarize the color palette you will need for today's painting. I don t think you will need to learn any extra technique for today's painting. You all are quiet skills. You can pick them quite easily as we paint. So it's time to give it a try. 80. Canola Field: Alright, so we're all set to start my paper ready here. The first step is to add a pencil sketch, which is nothing other than just a line. So you will need to add a curvy sloping line, which is what separates your canola field and the sky. So that's the line. That's all you need to add. Now, we can start painting. As I mentioned earlier, I'll be using indigo for the sky. If you have integral from Sennelier or White Nights or any other brand, you can use that directly. This one is more bluish color that I would like to use. But then as I started off with other brands, I thought I will stick to that itself. So I'll be mixing a little of cerulean blue with integral to create that bluish integral, I have taken out of the top integral. Now I'm taking a bit of civilian blue asphalt, just a teeny bit of cerulean blue. And I'm going to mix these two colors well, to create a cardiac integral, but it's not grayish. Now you will leave some white watercolor. So let me squeeze out that onto my palette. Now. Oh, first task was to make the sky wet. First, I'll be applying coat of water using my one-inch wash brush. Then I'll be applying some white watercolor onto it. So this guy will be really bad. And it will stay wet for a longer time so that we can paint the sky quite easily. Because with watercolor making a background stay. But as the biggest task, if you can do that, then it is going to be a lot easier here because we are applying a coat of water onto that. We'll be applying a vet code or white watercolor. These multiple layers will make couple backgrounds to vet for a longer time. So I have made the backroom wet. Now. I'm going to pick my size number two brush. And I'm going to apply a generous amount of whitewashed glow onto the entire sky. Go to slightly watery consistency and apply that or to the entire sky. You don't want white gouache, just white watercolor Rosaline. Apply that onto the entire sky. Use a bigger brush so that you can apply the paint easily. Follow that outline and fill up that entire area in between. That's turn. Now the next task is to drop in some integral onto this wet background. For that, I'm using my size number eight brush. You can use any of your medium-sized brush. I'm mixing a bit of indigo with serene blue. That's a nice color. So that's the color I'm going to use. Now. I'm starting off from the right corner, the top corner. And I'm dropping that paint onto this white background. Some cap in between, which is gonna be the clouds. It is actually the same technique that we used in some of our other paintings, where we painted doors, blue and white, cloudy sky. So we can see both shapes. I have left here. It is just that today we have some white watercolor in the background. That's the only difference. Okay, So I have some cap on the top. In a similar way, I'm going to leave another cloud here, a smaller cloud. Now, I'm going to make the color lighter at the bottom, I'm just washing up the paint from my brush and I'm picking some wine and I'm making this area lighter. You can see my sky is looking quite messy. Mind we can fix that. Have just apply the paint leaving some clouds in-between. Now what I'm gonna do is I'm going to wash the paint from my brush. Now, W Bush on a paper towel to remove the excess amount of water. Now simply smash those colors to make those clouds look more smoother. Be very gentle. Don't put a lot of pressure. You just have to do this along that outer shape. You don't need to touch any of the other paint. Your brush should be just down. There, shouldn't be any paint or water on it. If there is some water or paint on your brush, it will start turning back into the painting and it will create some blue and some blades there. So be sure your brushes just down. Okay, So that's this guy. Now we'll have to wait for this to dry. Alright, so this guy has dried. For the next step, you will need some yellow and some Sap green. As I mentioned earlier, the yellow, I'm going to use this cadmium yellow. I actually started off with lemon yellow, but then the color wasn't that bright. So I changed that into cadmium yellow to make it more brighter. So you can just ignore what I'm doing here. And you can release tablet cadmium yellow or gamboge yellow or any other prior to yellow. I'm using my size number 12 round brush. And I'm starting off with lemon yellow just like I said earlier. But I wasn't really happy with the color. It just handle it is still dry. But then I felt like it it's not really going well with the color of the sky. Are we ready to adjust my teaching? I don't know. Anyway, I switched from lemon yellow to cadmium yellow. I wasn't really happy with this color. In case you feel like lemon yellow is looking nice, you can use that or it can use any other brighter yellow. Okay, So I'm going to take out some cadmium yellow onto my palette. And I'm going to apply another layer on top of this to make it more brighter. But it is absolutely your choice. If you feel like lemon yellow is looking nice, you can keep that. I'm just applying another layer on top of it. Alright, so I have applied yellow. Now, I'm going to pick some sap green using the same brush. And I'm going to apply that at the bottom. Today we're not going to add a lot of darker tones at the bottom. We're going to leave it as medium tones. On the top you should have some nice and fresh yellow. And towards the bottom you can introduce a bit of sap green. Now make it a beautiful blend. You can see the color. We have a beautiful yellow on the top and medium green at the bottom. Maybe we can make the green energy more brighter at the bottom. But then don't touch the yellow. We need a fresh and bright yellow on the top. That looks nice. Now using the same green, that lighter green, I'm going to add few lines on the top. Just a few don't add a lot. We need to retain that yellow. I'm adding a line over here. This is to make it look like there are two directions in the canola field and there is some part over here. That's the reason why I'm adding a division there. Now I'm thinking of making the bottom a bit more brighter. I think it is looking really light. So let's add some more sap green over here. I think we can make that color Alice more darker. So I'm picking a bit tough integral, a teeny bit, and a mixing palette, sap green. And I'm adding that at the bottom, only at the bottom. You can still see that color. It is not that dark, it is still a medium tone. I didn't know what it looks perfect. Now using the same color, I'm going to make this line also a little more taco. Over here. I'm trying to make it look like a pathway. So you have two options for the canola field. What top part and bottom part. Okay. So now we'll have to wait for this to dry. And after that, we can add the final details. Okay. Oh, Bactrim does ready. Now, smaller size brush. I'm going with a medium tone of sap green. This one is a size number two round brush. And I'm going to add some random grassy lines at the bottom. You can simply keep on adding these kind of lines using a medium tone. That is something you need to keep in mind. Don't make it a darker tone. Okay? So just keep on adding these kind of lines and maybe you can add some dots or so in between. We are trying to create some texture here. It doesn't need to be a perfect shape. You can simply keep on adding these by just like I said earlier, go with a medium tone, don't make it too dark. So we're going to add them at the bottom where we have the sacrum. Don't add a lot into the yellow area. We'll be adding some yellow flowers on top of this. So it doesn't really matter where they have a clean lines are not. Some just adding them at the bottom. And also where I have this junction where the yellow is transitioning into cream. Usually used to go to Taco tone, but then to review using a medium tone, you can clearly see the color that I'm using. Now you see all the same color. I'm also adding some dots. This will make our background look more beautiful. Maybe you can pick a bit of indigo, mix that with sap green to create a slightly darker tone, but not to the heart. So let's keep adding this until you feel like you have caught some texts you there. Okay. So that's how it has turned out. You can see over the bottom, I added some lines and messy lines. And on the top there we have that yellow transitioning into green. I added some dots in a very random way. Okay? Next we're going to add some yellow flowers at the bottom. Plus we can splatter some yellow. Then we can add some flowers using our brush. So I'm just covering up the sky and I'm picking some yellow. I'm not adding any white watercolor or gouache into it. I'm just using yellow acids. Now. I'm using another brush, am tapping on the smaller brush to create some splatter. And I'm adding them right at the bottom. There they have this green. We don't need a lot. You can just add a little over the bottom. Just to create some very natural texture. I'm just adding them at the bottom. Now. I'm going to add some dots onto this background, maybe like hundreds or thousands, using the same brush and using the same color. You can concentrate on the leather yellow is transitioning into crane. And simply keep on pressing your brush and add some random dots. It doesn't need to have any particular size or shape. We're just trying to fill up this area. Use the smallest size brush and simply keep on adding some dots. Go to slightly thicker paint. Don't add a lot of water. If you add a lot of water, when the painting dries, it will look transparent. It won't be prominent. So just add few drops of water and go to slightly thick and opaque paint. Just keep on adding some dots over here. You can see how pretty that right side is looking where we added these yellow dots. Now I'm gonna do the same thing onto the left side. You can add as many as you want. There is no limit. It should feel like a natural transition. Okay? So keep on adding these kind of yellow torques. You can see how it has transformed. Maybe you can add some more to the background as well, so that it will look more natural. Now to make it even more beautiful and come to pick some white watercolor. And I'm going to add some yellow into it, create a slightly lighter tone of yellow. Now using that color, you can keep on adding some more dots. Once you do this, there'll be two different tonal values of yellow in your background. And this will make your painting look more natural. Okay, so keep on adding these dots. Are the leafy like that. Yellow is transitioning to agree in a very natural way. It shouldn't look like there are two separate sections, so keep on adding them until they feel like it is looking very natural. Alright, so that's done. Now. I'm going to wash the paint from my brush. Now, I'm gonna go with a darker tone of green and I'm going to make this nine more prominent. So I'm picking a bit of indigo mixing that with sap, green and dark. It is still a medium tone. So first you can add that line over here. We're going to make it lighter by picking some yellow, the color when we put stark. Use any of your smallest brush and just add a darker tone there. Now what should the pain and tap it on a paper towel. Now, let's multiply it. So I'm just matching the color and making it lighter and softer. So we are trying to make it look like there's a pathway over here. Use any of your smallest size brush and go to similar thickness. And also use a medium tone. Once you have added the taco to simply keep on smudging that into the background. You can go the damp brush or you can pick some yellow. This will make it easier to smash the color. I have cleaned my brush and I'm picking some yellow. I'm going to make this line clean. You can add a little white watercolor into a yellow and go that opaque color. Now make the sign clean. There are chances blue might have gone into the yellow or some yellow mitochondria blue. So you might not have a clean line here. Try to make it a clean yellow line. Now in a similar way, I'm going to make this area also clean. That bottom area underneath the green line. Now, we'll have to wait for this to dry. We need to add a wind turbine and also we need to add some details along the horizon line. But before that, I'm planning to add some details at the bottom, some more medium tones. So I'm picking some indigo, mixing that with sap green. And I'm randomly adding some texture at the bottom. I feel like we can introduce some more darker tones over here. That the yellow will be more prominent. I'm going with a slightly watery paint. I don't want them to be too prominent. That is this that I want to bring in some more texture. So I'm just adding some dots and some little scribble to bring in some more texture here. This is completely optional, just in case if you want to introduce some more darker tones, go the slightly darker tone, go the watery paint, and keep on adding some thoughts and some lines and some scribbles. It doesn't need to have any particular shape. You can see the way I'm adding it. I'm just grabbing my brush and adding some dots. I think it looks a lot better now. Those yellow dots are really standing out. You can see here I'm adding it. It is really some messy it afterwards and some lines. Alright, so that is it. I'm quite happy with the way desktop. Now our last step is to add those final details along the horizon line. And also the wind turbine. I'm washing up the paint from my brush. And I'm going to add the details along the horizon line. For that, I'm using a darker tone of green. I already have some integral there. I'm squeezing out some sap green. I'm going to mix these two colors to create a darker tone. I'm still using my size Dimetrodon crush. The details along the horizon line has to be really small. So go to the smallest size brush. The details are quite simple. I'm gonna go with a small bushy shape. So along the bottom make it a clean line. Follow that same line. Over the top, make it a bushy. She simply keep on pressing the tip of your brush and add some small patterns to make it look like. Those are leaves and plants. That's the kind of size I'm going breadth, don't make it too huge called the similar size. That's the reason why I told you to go to the smallest size brush. Now I'm leaving some calf and I'm adding another one. If you go with the smallest size for your plants, it will really bring a sense of distance in your painting. If you make up to beg, you won't get that sense of distance. Okay? So that's the size I'm going back. Now, I will add another bunch of plants onto the left side, onto that left corner. Alright, so that's our last half goes to add a wind turbine. Before that, there's one last thing I wanna do. I'm picking a medium tone of green and I'm just adding some dots or Hill. And I'm continuing that dot temp, taking it to the other end. I'm going to add that wind turbine along this pathway, so we need to get that continuation. That's the reason why I'm adding these dotted lines. Okay, so I'm going to add wind turbine work here. I was actually planning to add a three over here, but then I came across a reference picture. And a wind turbine looked much better than a tree, and it is much easier to like not. This wind turbines completely optional. If you don't want to add it, you can call your painting done. You can add some more details along the horizon line, or you can add a tree. Okay, so feel free to choose what is best for you. So first I'm going to add a line using my pencil just to decide on the height of the wind turbine. So that's gonna be the high TAM going wet. Now, we need to add those fan blade. You will have three lines. From this point. I'm going to add one straight line onto the left side. Next we will need to add an inclined line towards the top and a similar one towards the bottom. Okay, so that's the basic shape. I'm going to add an image here so that it is easier for you guys to understand the shape. It's pretty simple. It is going to add a lot of beauty to your painting. So I would recommend how to ignore it. You can either use your white gel pen or we can use white gouache and a smaller size brush. So I'm going to squeeze out some white gouache onto my palette. I'm going to use my size two round brush. First I'm going to add that vertical line. It's going to be a thick vertical white line. If you don't have gouache, you can also use white watercolor, but be sure not to add a lot of water. We need an opaque paint and use the smallest size brush to add in that sheet. So the first task was to add that to what Kim line. Okay, so that's done. Now we need to add those three blades and Madigan image here. Similarly, you can look at the picture and add them. So I'm starting with the first one or two, the top, this inclined one shell. So first you will need to add a line, then you will need to add thickness towards the bottom area. Okay, So let me try to concentrate and add button. You can take a look at the reference image and adding that in a similar way. Just like I said earlier, go the smaller size brush, otherwise you won't get it right. If use a bigger brush, it will look really thick and bold. So the interior painting will go out of scale. Okay, so be sure to use a thin brush, amino smaller size brush with a pointed tip. You can also use a white gel pen if you feel like that is more comfortable for you. It always we just need to get that turbine in, nearly done with this first blade. In a similar way, I need to add two more, one horizontal one and another inclined on towards the bottom. So let's start with the horizontal one and then come back to that bottom one. Okay, so I'm picking some more paint. And first I'm adding straight line. I think it is much easier if I switch to my smaller brush. I'm in the miniature brush. Okay, so let me grab my miniature brain. This will make the job easier. I don't know why I started off with the other brush. This one could have been a lot easier, any way better late than never. Okay, so I'm picking some creamy, nice white gouache and I'm going to finish off the second blade. That's the second one. Now, I need to add one more. So just in case if you want to add one more wind turbine like the one at the picture, you could do that. Be sure to go to smaller size and it was a smaller sites fresh. It is really important to get that sense of distance. Don't use a bigger brush. So let's quickly add the last one and finish off the painting. Okay, so we have added the base shape. Now, we need to add some shadow onto this for that and picking some integral. And I'm mixing that with white gouache to make it lighter tone. Now, I'm going to add that onto the right side of this. What your mind. We are trying to bring in some shadow. You can also use Payne's gray instead of integral. Use a lighter tone and just add some shadow onto the right side. So that your line is done. You can see how pre-deal wind turbines looking when we added that shadow. Now we need to add shadow for the Blake task force. In a similar way. You can have a look at the image here to understand it better. I'm using the same color, lighter tone of integral. And I'm going to add the shadow. I'm adding a line here just to indicate that blade. Now I'm adding some shadow onto this bottom area on the top plate. Now onto this one, I'm just adding a line using a lighter tone of integral data set. You don't need to put a lot of effort and don't go with a darker tone, with a lighter tone. So that if you want to make it more prominent like the image, you can go with a much more darker tone of integral. That is it. We are done with the whole painting for the day. Now, I'm going to peel off the masking tape. I cannot tell you how much I love this painting. It is really simple and it's so beautiful asphalt at a simple color palette. And I think that wind turbine add a lot of beauty TO painting. I love this guy as well. So it's altogether a lovely painting. I hope you guys enjoyed it. Asphalt. Give it a try if I had to try it and let me know if you like it. Alright, so that's it for the day. Thanks a lot for joining me. I'll be back. Get on with our next spring landscape. 81. DAY 28 - The Cabin: Hello, My daughter's face. Welcome to Day 20 years. Today we're painting this beautiful cabin on a flower field Valley. It's a simple yet a beautiful painting. You already know all the techniques that you'll need for today's painting. You know how to paint that sky, the middle, and how to add those flowers. So I'm going to quickly take you through the color palette and we can start right away. I'm going to start with the color that I'm going to use for the sky, which is obviously serene blue, my favorite color. Okay, So that's it I'm going to use for this guy. Just like I say, every day you can use any blue of the choice for your sky. It doesn't need to be suddenly employee can use Prussian blue, cobalt blue, or any other blocks. Will be going with the wet on wet sky and we will paint a simple cloudy sky. That's the first color. The next one is the color you will need for this cabin, which is obviously brown. So I'm going to use some burnt sienna along with that to add in some taco tones. I'll also be using some integral. So you will need to round our burnt sienna. Then you will need indigo to add the deeper tones. Instead of integral, you can also use Payne's gray to add the deeper tones. So that's our third color. I'll be using integral for the landscape password to add the deeper tones at the bottom. So that's our third color. I missed to mention, along with brown, I will also be using some permanent yellow orange for the cabinet. You can see this area here. That lighter don't have you as permanent yellow, orange. See that? That is permanent yellow, orange. That's the next color. I'll be using the same color to add the flowers as well. Yeah, I only brown or Ponzi now then some permanent yellow, orange or any of the orange, and some indigo or Payne's gray to add the deeper tones. This is the color that is called permanent yellow orange. It's a yellowish orange. I'll be using the same color to add the flowers as well. You can see that on the painting. Now comes the color you will need for the landscape. I'll be using leaf green, which is the color you see on the top. Then you will need some sap green, which is a medium green. Sap green. Now, along with this, as I said earlier, to add the deeper tones, you will also need the integral or any other darker blue. Now comes the colors you will need for the flowers. You can see I have added a quieter flowers at the bottom. There are some white flowers, some orange and some blue. I'll do some cerulean blue, that permanent yellow, orange, and some white to add the flowers. Alright, so that's summarized all the colors you will need for today's painting. Now let's give it a try. 82. The Cabin: Alright, so we're all set to begin our painting for today. First we're going to add a simple pencil sketch. I'm starting by adding a valley. On the right side. It is higher and towards the left it is sloping down. Okay, so first add a similar line. Now onto this we're going to add the cabin. I'm going with the bigger size because this is the main feature of our painting. You can make it much more bigger or smaller style by adding a triangular shape, but just the roof. Now onto either side, add a small horizontal line. Okay? Now add another parallel line to define the roof. Now you need to add vertical lines on either side. So that's the basic shape of the cabin. Now we need to add induce onto this. So first I'm adding a line over here. And I'm going to add two windows. Been towards the left side and the one towards the right side. So this one will be half hidden. So that's our pencil sketch. As you're painting, we'll be adding some horizontal and vertical lines onto this to define the wooden texture. It's going to be something like this. You don't need to add them right now. We can do that where we are painting. Okay? So to summarize the pencil sketch, now we can start painting. I will start with the sky first. I'm going to apply a cream could have water onto the entire sky. It is okay if you add water onto the cabin. As we're going with darker tones for the cabin, it doesn't really matter. But be sure the cota waters even. Now, I'm gonna switch to a round brush. I'm going to use my size number e-tron brush. And just like I mentioned, um, can you settle into the sky? Go with a medium tone? Don't make it to lie. Now, I'm going to drop this wet paint onto wet sky, leaving some cabin between, which will gradually turn into clouds. Okay, so that's the color I'm using. You can see it is quite bright and I'm leaving some cap in between. There's some random shapes. Now, I'm going to continue that towards the bottom. Writing some more clouds. Now filling up the remaining area. So taxes chi, it is as simple as that. So first you will have to make the bathroom bed and go to meet him to an acetylene blue or any other blue, and then apply that wet paint onto the wet background, leaving some gap in-between, which is the pupil wide world turn into the Cloud. Okay, so that's a little pretty blue sky. Now, we'll have to wait for this to dry before we call it the next day. So let's take a small break and come back and the background has dried. This guy has dried beautifully. You can see that Collier's clouds. Now let's tag meaning the cabin. I'm just wiping off this paint and making some space will print Sina. Now I'm going to take out some burnt sienna, as well as a bit of permanent yellow, orange onto my palette. You can use any kind of orange and brown. It doesn't need to be the same color. So that's burnt sienna and pulmonary glow orange. Now I'm using my size number eight round brush. First, I'm going with burnt sienna. Be sure the background has dried properly. Now I'm adding that onto the top. I'm leaving the roof. I'm applying burnt sienna onto the cabin. Apply that carefully along the outline. As you're coming down, as you closer to that horizontal line, you will have to switch to permanent yellow, orange or any adult yellowish orange. Now over here, I'm going to switch to permanent yellow orange. I'm using another brush. This one has a smaller brush. I'm filling this up. That's a base layer. Now onto this, before it dries, we're going to add in some deeper tones. I'm picking a bit off suddenly in blue. Just a teeny bit. And I'm mixing that with bonds and articulated taco drove problem. You can use any darker blue or Payne's gray to create a taco truck. And I'm adding that along the roof line. I'm just introducing some darker tones before the backroom tries. Okay. So just add that underneath the roof. Along this inclined line. Because the background is wet, the colors will spread into each other in a very natural way. So make use of the time and added new deeper tones along the route line. Now I'm going to drag that paint down. I'm going to add some lines to some vertical lines. So simply keep pushing that paint down and add some lines. It doesn't need to be equally spaced or anything. We're just trying to create some texture here. So just keep pulling that knee in towards the bottom and add some texture. Now I'm gonna go with a darker tone of brown, a much more darker tone. For that, I'm squeezing on some integral onto my palette. And I'm going to stop it been seen how to create a really dark tone of brown. Now let's add that along the roof line. I think the color we added earlier, it's not that dark. That's the reason why I'm doing this one more time. So that's quite dark. I think it was a medium tone. It was in that dark. Now you can smudge that if the background, to make it less prominent. For now, you can leave it like this. We can add more details when it tries. Now, I'm going to use the same darker tone and I'm going to fill up the bottom. I have mixed some pontine out with integrated Corita taco tone. And I'm using my smallest size brush. I'm adding that along this horizontal line. So my idea is to make the bottom area more darker and the top area more lighter. Over here, I'll be using mainly Tucker and medium tones. First start with a darker tone. Then onto the remaining area, you can simply fill up a medium tone of bonds. Here. You can see the color I'm using, it is quite dark. You can simply feel that emptier area and this color those windows and fill it up. Now let's pick that taco tone. And let's add that along the top line a bit more. Let's merge that into the background. Now we can really see that three-dimension field for the Cabinet earlier just looking quite flat. So we're trying to create that shadow. I think this area is looking quite field. I think I'll need to smudge it. I'm picking some more brown, a medium tool, and I'm smudging that towards the bottom. I'm still keeping that lighter tone. I don't want the bottom to be darker. I want to read in that orange color. I think it looks better now. Leave the color was looking quite V0. Alright, so let's leave that for drying. And once it dries, we can add the final details and finish up our capital. That has dried completely. Now for the next step, I'm going to use the smallest size brush. This one is size number two, round brush. And I'm starting by picking a darker tone of brown. We're going to add those lines onto the cabin. So be sure to use a smaller brush or a brush with a pointed tip onto that triangular part. I'm going to add vertical lines to make them look like they're equally spaced and make it as clean as possible. I'm just adding some vertical lines until I finished that. Enter your idea. Start from either left or right and keep adding some vertical lines. So I have added those vertical lines. Now, I'm going to dry paint, W Bush on a paper towel, and just add some dry lines onto the same area. We are trying to create that wooden texture. It doesn't need to be too prominent. Be sure to dabigatran of paper towel and go to slightly dry paint. Now keep adding some texture. We don't need a lot, just a little. Now let's add some horizontal lines onto the bottom. Here you might need to go with a darker tone because the background is also dark. In order for them to be visible, you should be using a darker tone and add equally spaced horizontal lines. On the top of the added vertical lines. And over here we are adding horizontal lines. Here. You don't need to add those texture because it is quite dark comedy and it won't be visible. Now I'm picking a much more darker tone. And I'm going to add the bientot, leaving a tiny border. I'm adding two rectangular pieces. So that's the first one. I'm using a really dark tone of brown, more like a black sheet. Now, I'm leaving some Kaplan between. I'm adding the second, please. Please don't worry. If you couldn't leave a clean bottle for your window. We can fix that using white gouache at the end. Okay, so that's done. Now. I'm going to do the same thing onto the other window, the one we have on the right side. Alright, so the cabinets nearly done. We just need to add the roof and also we need to clean the shape of that window that we can do at the end. Now, I'm going to switch to my size number 12 round brush and we can start painting the middle. I already have some leaf green show. I will need some sap to Nashville and I think I have some integral. So those are the three colors you will need for the base layer. You will need any kind of light cream or lemon yellow, then some sap green and a darker tone of cranium. First time starting with the leaf green. And I'm going to add that along that sloping line. Go the beautiful bright, light green. You can add that almost three-fourths of your valley. You can see how gorgeous that color combination is looking back to green and blue sky is looking so good. Just to gather. Now towards the bottom, I'm going to introduce some sap green. Go with a medium tone and apply that at the bottom. It doesn't need to be clean and even blend. You can simply keep on applying a medium tone of sap green at the bottom. I'll just fill up that area. So that's how I have applied the paint. Now. I'm going to use my smaller size brush. And I'm going to simply push and pull the paint into each other to create a texture here. It doesn't need to be any crazy patterns. You can simply keep pushing and pulling the paint. While we needed some texture here. We're going to add some flowers onto this. So to make it look more realistic and cultures, we need to get some texture in the background. And that is what I'm doing right now. On the top you have a really light tone of green. And towards the bottom we have gone with a medium tone. You can add any kind of lines and maybe some dark taskforce. Just like I said, our intention is to create some texture here. It doesn't need to be any particular pattern. You can add some texture in the background as well. But over here you should be good with the lighter tone. Use a lighter tone of green and just add some dots and some lines. You can see the way I'm adding it. Just randomly adding some texture. It doesn't have any particular shape or any particular size. I'm just dropping in that wet paint onto the wet background. Similarly, keep adding some lines and some dots onto the background. Be sure to use a lighter tone along the top barrier closer to the cabin and towards the bottom you can use a medium tone. Okay. Look at that. So pretty already. I think to make it even more pretty, we can add some deeper tones at the bottom. For that. I'm picking some integral and I'm mixing that with sap green. And I'm going to add some similar patterns using a darker tone, especially at the bottom. Maybe onto the corners we can add more. Okay, So go to the darker tone. You can either make some blue our integral at sap green to create a darker tone. And just like we did earlier, keep on adding some lines and some dots using that taco tone. My background has started to dry, but never mind. Let's add some more quickly, especially onto these corners. Because when we add those flavors, if you have a darker tone in the background, it will really compliment those levels. That would make opening they look beautiful. So let's quickly add some more darker tones at the bottom. Before it completely tries. You can see I'm adding that only at the bottom. I'm not adding any at the top over there. I need to read in that medium, add lighter tones. Just adding them over here. And again see how VOD dislodging, because my package has started to try. No mind. We have ways to make it beautiful. That is it. Now, let's leave it for trying. It has to completely dry before we go with the next step. Alright, so that is dried completely. Now comes the most interesting part about painting with this adding the flowers. For that, I'm picking out some white gouache onto my palette. And I'm going to wash my brush properly. I think we can finish out the cabin first and then come to the flowers. That will make sense. Okay, so I'm picking some burnt sienna, slightly darker tone. And first I'm going to fix the shape of the cabinet. Onto the left side. I'm adding a straight line and making that shape proper. I think earlier it was looking like this slanting. Now, same thing onto the right side. I'm adding a straight line here. That looks fine. Now fixing the shape of these corners. That also looks fine. Now what I'm gonna do is I'm going to pick out loud white gouache. I'm going to mix that with some bonds to create a lighter tone which is opaque and it's in that color. I'm going to add the row which is just a thick line. Use any of your smallest size brush or a brush with a pointed tip and go the similar thickness and make a clean line for the roof. You can see the color I'm using. A light tone of brown, which is opaque. Add that on the other side as well. Be sure to use a smaller brush. Otherwise you won't get that shape right. Let's finish it off. I think the cabinet is looking quite good already. It has multiple finished look right now. Earlier it was looking quiet. Once we have added that rule, it is looking really beautiful. Now I'm just washing up the paint from my brush. And I'm going with that taco tone. I'm going to add a thick wall onto the right side. Using a darker tone of brown, add a thick line over here or a rectangular piece. Now I'm just washing out the paint and I'm picking that same color to fix the roof. I added some paint over here accidentally. So that's done. Now. The last task was to fix the shape of the venturi. For that, I'm taking some white gouache and clean up that outline. For this step, it is really important to use a smaller brush or a brush with a pointed tip. Arm can use a white gel pen, which might be more comfortable. So if you have a white gel pen, feel free to use that. Okay. So let's go ahead and fix that outline after winter. Alright, so that's done. Now comes the most interesting part of the same thing with this adding the flowers. So I'm using the same brush. This one is a size number two round brush, and I'm taking some white quash. I'm going to add some random dots onto the background using, right. So as I mentioned earlier, I'll be using three colors today for the flowers. I'm starting off with white, then I will go with orange. Then I'll also be using some blue. I'm just having some small and big dots using the tip of my brush. Doesn't have any definite shape. You can see the way I imagine it. If you want to go the definite shape, if I want to add some disease or some other flavor, feel free to do that. I just want to fill this entire bottom part that soon when you buy flowers. So if I'm going with a definite shape, it might take a lot of time. So I'm just adding some random dog. Especially at the bottom there we have those medium and darker tones. We have used the same technique to add flowers in our previous meetings as well. So I guess it is a comfortable technique for you. So let's add so many buy flowers onto the background. And once we are done with the white, we can switch to orange handle the scene. And also if you're adding those levels in the background closer to the cabin, go with much more smaller dots compared to the ones at the bottom. Over the bottom, you can go with thicker and denser groups. But closer to the cabin and closer to the background, go with smaller dots and smaller groups. Okay, so let's do it. The bike lovers are in, I'm really happy with the way it is turning out. You can see over here they're looking really pretty. Then we have a darker tone in the background. Maybe we can add some more and we can stop adding white flowers. And we can go with our second color, which is orange. I already have some white gouache on my brush and mixing that with permanent yellow, orange to create an opening question of orange. Now using this color, I'm again going to add more flowers. I'm going with the same method which I use for the white flowers. Some dots are big and some of them are small. And I'm adding them in-between white. You can add them as many as you want. But just like I said earlier, if I added them closer to the cabin, make those Arte smaller and towards the bottom you can go with thicker and denser groups. Now just in case you want to add only white flowers, That's totally okay. Maybe you can take a look at the finished painting and compare it to yourself. It does not really necessarily to add flowers using orange and blue. So feel free to go with what your mind is saying. If you have with me, if you want to add orange flowers, Let's do that. Alright, and then adding traverse fishing orange. Now let's go to the last color which is blue. I already have some certainly in blue here, which I use for this guy. Mixing that with some y with this color, I'm just adding a few dots, smaller dots, not as pretty as the orange and white. Again, if you don't want to add it, feel free to skip. I just want to make it look like a Florida heaven. I think the blue is looking good with these two colors, but I don't know what you guys feel like. You don't want to add it. Just like I said, feel free to skip it. I'm going to add some more time. And we'll be done with a wall painting for the day. Alright, so that's time. I cannot tell you how much I love this painting. Now there's one last thing to do, but I just don't remember. So I'm just cleaning my brush properly. And going back with that leaf green, you will have to use any lighter cream similar to the one you used about. Don't add a lot of water. Go with a slightly thicker consistency, and simply keep on adding some small lines or show along the sloping line the plaintiffs naught or peak. Maybe you can add a pinch of white gouache, just a tiny bit of white gouache. And you have to use the smallest size brush. The glyphs simply add some lines over here, make it apply that are classier. Along that sloping line. Simply add some small lines close to each other. It can be some thick and thin lines. On either side. They had the sky. It may not make a lot of difference, but over here, they have this brown cabin. It will make a lot of difference. It will really look like there are some grass over there. Okay. It's a very simple step, but then it is going to have a lot of impact on your painting. So go with the smaller brush and use a lighter tone of green. If it's not opaque, you can add a little bit of white gouache or white watercolor. And just add some teeny-tiny lines close to each other. You can see the difference here. There you have the cabin. If you're using a really bright and darker tone for the sky, it will make a huge impact on either side as well. Right now, the color we have used for this guy is quite light over the bottom. So it does not really visible. But I think it has turned out really pretty. Alright, so we're done with our painting for the day. Now, it's time to peel off the masking tape. Here's our painting for the day. I really loved the way it has turned out. Those flowers and the cabin and the colors. So pretty. I hope you guys enjoyed it too. Thanks a lot for joining me. I'll be back as well with our next spring landscape. 83. DAY 29 - Cosmos Flowers: Hello, hello, Welcome to the 29. And here is the car, just Cosmos levels that we're painting today. Honestly, I never knew these flowers are called cosmos. They bloom in different colors, yellow, purple, pink, right? And so many colors, It's a cartoon flower actually. I'll be using pin for our painting. I'll be using three different tonal values of pink. You can go with any color of your choice. So first I will show you the color palette. Then we can take a look at some images to understand the shape of the flower. I'm going to start with a color palette. These are the three colors I'll be using today. Brilliant pink appearance and permanent rose. But limping is a pistol pink. You can see that flower at the middle where I have used a lighter tone that is brilliant. It's a color you can create easily. You just need to add some white watercolor into any of the pink or rows that have caught to create a similar color. So that's the first color. Now along with us, I'll also be using two other colors, which is opera pink and permanent rose. My intention is to play with different tonal values of pink. That's why I have included three different pink travels quiz how these colors onto my palette. And I will spasm out quickly. Now just in case if you don't have these many pink rose color with you, you can just use crimson. You can simply add different amounts of water or white watercolor to turn that into different tonal values. Now, I'm going to swatch all these colors. I'm going with Oprah pink firm that, that neon pink you see on the top. It's a very bright and vibrant color. It is too bright for the highest and I don't use it much sometimes in my sky. And maybe to add some flavors. Those things are fine, but then otherwise you cannot use it in the background, does really bright. The next color is brilliant pink. Just like I said earlier, it's a paste with pink. And you can see that clearly. We can simply add some white watercolor into any of the pink car rolls. You have got R. We can just add some white into chromosome. Creating this color is quite easy. You don't need to worry if you don't have the same color. Now the last one I have here as permanent rows. Instead of this color, you can use crimson or any other pink rose color, a brighter one. This way I have three different tonal values of pink here. I have a lighter pink, which is brilliant pink. Then I have a pair of pink, which is really bright and pretty pink. And for that darker shade, I have pulmonary drawers. So those are the three colors I'll be using for the cosmos flowers. If you're going with yellow or purple, you will just need to find our three different tonal values. Now, let's take a look at some images to understand the shape and the color palette of these flowers. Here's the first one. This one is more of a lavender purplish color. It's not really pink. And we have another one here, which is more like magenta or a pyrene pick. The first one was a light tone, and this one is more of a medium tone. And here's a gorgeous photograph. There you can see different levels and different tonal values obtained. So we're going to try something similar, and here's another one. As wide, a light pink, a brighter pink, and so many different tonal values of pink here. It's a gorgeous photograph. Or you can also see that different tonal values of green, which adds a lot of depth to the painting. The next set of colors you will need is obviously some greens. I'll be using light green, sap green and integrate. Those are next colors you will need. I'm going to quickly expand them out. I already had the colors on my palette, and I'm starting out with leaf green, which is the lighter green I'll be using. We'll be using this mostly towards the bottom. You can use any of the light when you have caught. So that's a good first screen. The next one is Sap green. Just like how we have used different tonal values of pink for the flower. We'll be using different tonal values of green for the background. So it's gonna be a really nice combination. I guess. So that's the second color. And the last one is indigo. Along the top part of our painting, we'll be using indigo to create a beautiful depth. You can see that here already. We have a really dark tone of green on the top. Then we have some medium green over the metal and the lighter green over the bottom. So that completes the color palette. Now, let's quickly try one flower before we call it the class project. For this painting, I have used a side profile of the flower. I'm not going with a top view. That central portion is not seen. I'm going to quickly add a sketch here. You can go with five petal or six battle, or maybe you can even go with that top view. So those things are totally your choice. And even the shape you can go with some other shape for your flower. I'm going with a very basic shape and making it as simple as possible. So right now, I have added five petals. Now let's add this term. You can see it's a very simple flower. And I'm adding this term, which is just a line. So that's a sketch. Maybe we can add one more petal over the bottom, a smaller one over here. Alright, so that is it. Now let's start adding the paint onto this. For this one, I think I will go with opera pink. No matter which color you're using for your flavor, the technique is going to be the same, whether it's different tonal values of violet or purple or yellow, it's all the same. Okay, so let's give it a try and picking some opera pink is really bright and vibrant pink. And I'm going to apply that onto the entire flower. So the idea is to use a medium to lighter tone for the background. I'm in that base shape of the flower. Then using a slightly brighter tone, we're just going to add some lines. He has added literally some lines which I'll be adding onto each and every petal. So we'll be using a slightly brighter color than the background. And we'll add some lines from the top of the petal towards the bottom, as well as from the bottom towards the top. It's gonna be really simple flower. You will get to see that shortly. You can see here for our painting, I'll be going with four levels and three bytes. You can go with a different composition if you want. Also, if you want, you can also use masking fluid. You can mask out the flowers and then paint the background. The background is done. You can come back and remove the masking fluid and paint the flowers. So go with whichever method you're comfortable with. For this one, I'm not using any masking fluid. I'll be painting the flowers first, then I will carefully paint the background. So that's the method I'm following. But then your field produced masking fluid, we have one more petal left TO I'm going to fill that up. Then we'll need to add some taco tones onto the flower. While it is still wet. The background is still wet. It hasn't dried. Now using the smallest size brush, this one is a size number four round brush. I have taken some permanent rose or darker tone of permanent rose. I haven't had a lot of water and I'm simply adding some lines from the bottom towards the top, which will be the base color you're using for the flower. To add the details, you have to go with a slightly darker color than the background that it is visible. Now, I'm going to add some lines from the opposite direction. So I'm going to add some lines from the top to the bottom. It is awesome. Blast the towns. So you just need to go for a medium to lighter tone for the base layer. Then using a slightly brighter color, you just need to add some lines from bottom towards the top, and also from the top towards the bottom. Right now, uh, how you store bright color for the base layer. That's why those lines are not really visible. But you'll have to use the same technique no matter which color you're using. So that's a flower. We need to add the details onto this using green. I'm mixing some leaf green with sap green to create a medium green. I'm using the same brush. You will have to use a brush with a pointed tip. We're going to add those lines at the bottom of the flower. I don't know what is it called? Those green lines. So I'm just adding some lines to the bottom. You can see them clearly on the painting here. I'm going to do the exact same thing. Using a medium tone of creon. Simply add some lines. That's turn to now the final task was to add this term using the same color. I'm going to add a stem. I already have a pencil line there. So I'm just following that line and adding this time. So right now we have only added the flower for you not to be adding a background. And that is when our painting we'll get high. If you can see that beautiful depth here, menu, just add the flag or you won't get that for you. No matter how the flower is going to be. When you add that background, it is going to make a lot of difference. You can see here, I only liked the flavor where I used for limping. The rest of them are looking quiet. Okay. I'm not really happy with them. But then when I added the background, it made a wonderful impact on my painting. I really loved that depth and contrast I have got here. I think now it's time to give it a try. 84. Cosmos Flowers: Alright, so first we need to add a pencil sketch. I'm going to add maybe three or four flowers and maybe one or two buds. So first I'm just adding the lines. Now onto this, I'm going to add the flowers. At a basic level. We try them in the technique section so you can add them. How would you want to and variable you want to. I'm going to add the flowers at different heights. This will make your painting look more interesting and more natural. You really don't need to follow the same locations that I'm adding the flowers. You can compose your painting however you want to. You know, the shape of the flower, so it hadn't met where you went to. Okay, so I'm going to add the finished sketch here so that you can look at it and add new sketch at your own pace. Okay, so that's the lift catch. Now we can start painting. Just like I mentioned in the previous section, for the flowers, I'm going to use different tonal values of pink controls. These are the three colors I'll be using. A pair of pink, Permanent Rose and brilliant pink. We already had a chat about the colors, so I hope you have chosen your colors. Interact permanent rose, you can use crimson and interrupt opera pink, you can use any other bright pink. And if you don't have brilliant thing, you can add a little white to Crimson to create a similar color or just water. We just need a lighter tone of pink. Okay. This color is nothing other than some pink and some white. You can see the pigment number here. It says PR 209 and P W6. Pw six is nothing other than white watercolor to any pink or rows. You can just add some white watercolor to turn that into a similar color. I have taken out the colors onto my palette. I have a pair of pink, Permanent Rose and brilliant pink. Now we're going to paint the flowers using v3 colors. To paint the flowers. I'm using my size number eight brush. Here it is. And I'm cleaning it properly. So that tells me other paintings on it. I'm starting off with brilliant pink. You can see that's a car just paisley pink. You can simply add a bit of white watercolor into any of the pinker rows to create a similar color. And I'm going to apply that onto this flower we haven't the middle. Now I'm going to carefully applied that following the outline of this level. You can either add some water to your paint or you can just add some white watercolor. Now I'm picking some water and I'm making the color even more lighter. And I'm filling up the remaining of the flower. We have applied the base layer. Now onto those, let's start adding some details. Right now it is looking quite flat. I'm picking up the top permanent rose and I'm just adding some lines at the bottom that looks really watery. Let me pick a paper towel. We'll use any color for the background. It can be a brighter pink or lighter pink. And then we need to add some details onto it. I just dab my brush on a paper towel and I'm adding some lines at the bottom. We can see the way I'm dragging my brush. I'm just pulling that paint towards the top and I'm adding some taco tones at the bottom using a very light tone of permanent rose. Now, I'm going to do the same thing from the opposite direction. From the top, I'm dragging my brush towards the bottom, and I'm adding some medium tones over here. I have cleaned my brush. Now. I'm just dragging that paint towards the bottom to make it look more smarter. You can use any color for the background. It can be a brighter pink or lighter pink. Once you have applied the base color, go with a color which is much more brighter than the base color, and adding your deeper tones. Okay, so that's all first-level. For the next one, I'm going to pick some pair of pain. I think we can apply that onto this one here. The one on the top. First I'm going to fill up that anti-inflammatory and opera pink. Opera pink is a really bright and vibrant pink. If you don't like it, you can go with crimson or any other rules. Follow the outline of your flavor and apply a pair of pink onto the anti-inflammatory. It is more like a neon pink, which is fairly bright and vibrant. I don't use it much, but for some painting, it really brings out a beautiful contrast. If you remember the lavender fields we painted in that painting, opera pink really helped to enhance the violet. It made the interior painting so vibrant and pretty for that painting, it really worked. But in general, I'm not a huge fan of this color. But then for some painting, it rarely works. So that's a base layer. Now, let's have a deeper tones using permanent rose, just like how we did earlier. Imagine that at the bottom. For this one, you can go with a much more darker shade as the color we have used in the background is also much more brighter. So before the background drives, add some lines on the top as well as at the bottom. That is our second flower. Now for the next one, I'm going with permanent rose. I'm going with a really bright shade. And I'm adding that for this level. The smaller one at the bottom. I think that is looking really dark. Maybe we can add a little of opera pink to make the color a little brighter or lighter. Okay, that looks much better. Now I'm going to fill this entire flower and this color for the first-level be used to lighter pink. And for the second one we used opera pink, which was a much more brighter pink. For this one, we're using a much more darker pink. My intention is to go with different tonal values of pink and rules to make your painting look more interesting. You can try the same with any other color of your choice. Maybe you can use yellow or purple or violet. The color doesn't matter. What matters is playing with different tonal values. That is what makes your painting look more beautiful. They have painted three flowers now, have one more left for this one as well. I'm going to go with the same color. I'm mixing a bit talk permanent rose with opera pink. And I'm filling this one. This one is so much more smaller flower. We only have four petals. I'm going to fill that up. Then we have three buckets for that as well. I will use different tonal values of pink. I will use a lighter pink for one and a brighter pink for another one. And for the third one, I don't know. Let's see here we can use some other kind of thing. Okay, So this one is done. I just used a flat brush off permanent rose. I haven't added any details onto it. Now. I'm going to wash the paint from my brush and I'm going to switch back to that brilliant pink. So for one, but I'm going to use this lighter pink. Maybe let's start with this one here. Please don't worry if you don't have a paisley pink, you can simply add a bit of white watercolor into Clemson or any other Pinker rows to create a similar color. Now, I'm going to add the same color onto this one asphalt. Now, pitching a bit of permanent rose, dabbing my brush on a paper towel. And just like how we added those lines for the petal. I mean, for the flowers, I'm going to do the same thing for the badass, but don't go the watery paint. The paint is watery tablet brush on a paper towel. And just add some lines at the bottom. Let's do the same for this one. Asphalt. Just a little darker tones at the bottom. Alright, so we have one row but left. I think for that we can use permanent rose asset is the same color I used for chocolate tones. Let's fill that out. And this will be done with step one, which is painting the flowers. So we have to wait for this to dry before we go the next step. Alright, so that is dried completely. You can see how called just too slow silicon. We have used different tonal values of pink and rows here, and they're looking for coaches. Our next step is to paint the background. For that, I'll be using different tonal values of green. I'll be using integral on the top. A really dark tone of integral. I'll be using that over here. And as I'm coming down, I'll be using sap green and leafy green. Towards the bottom, I will have a lighter green. Okay, so that's the plan. First, I'm going to take all the colors onto my palette. That's integral. Then you will need sap green, and we will also need some leaf green. Alright, so the colors are in. Now to paint the background, I'm going to use my biggest size brush. I will first start with a really dark tone of integral. This one is a size number 12 round brush. When you're closer to the flowers, you will have to use a smaller size brush because we need to retain the shape of the flowers. First-time. Starting off with a really dark tone of integral. You can use indigo or any other darker blue. You can mix a little of green to it to make it a darker green. You can see the color I'm using. It is really dark. Now. I'm picking some sap green and I'm adding that right next to it to make it a darker green. Our intention is to create a darker tone on the top. And as we're coming down, we'll be using more of medium tones and lighter tones. You can use any darker blue mixed at the sap green are colored in green and apply that on the top. Now I'm picking more sap green and I'm adding that. You have to be really careful when you're closer to those flowers. Use a smaller size brush. Right now, I'm not really going to fill that area around the level. I'll come back to that after I have finished to enter your background. Because over there we will be using are rarely talked to enough green, which is quite easy, differ but then over the bottom will be using a lighter tone that is more difficult. For now. You can leave some cap around the flower. And we can come back to that once we have finished the entire background. Now, I'm going to pick some leaf green, and I'm going to fill that at the bottom. I'm using a really vibrant to an athlete gray which is little watery, so that it is easy to apply the paint onto the background. If you use a bigger size brush, it is really easy. You can apply the paint onto a larger area quite quickly. If I'm using a smaller size brush, you will have to run your brush multiple times to fill that area. Use a medium-size brush or a bigger size crash. And you can clearly see that we have left some cap around the flowers. I haven't filled that area. For that, I'll need to switch to a smaller size brush. So I'm going to keep my bigger brush aside and I'm picking my medium-sized brush to add the paint around the flower. You'll have to be really careful. Otherwise you might end up missing the shape of your flower. Especially the light pink one. The brighter one wouldn't be a problem. But be really careful when you're closer to this lighter pink. This one is a size number eight round brush. You can go with a much more smaller brush if that is more comfortable with you. Okay. Now let's carefully apply that light green around this flower. Here we're going to play with mostly leaf green and sap green. Onto the top, there'll be using more of Taco tones. You can just ignore that top area for now, even if it is dry, it's not a problem. We can still fix it. But over here we're going to add some flowers onto the background, which is going to look blurry. So first we need to fix the bottom, then we can slowly code towards the top. So carefully, apply paint around the buds and flowers at the bottom. I have a little more area left here. Let me carefully fill that. So that's done. Now, I'm going to add the same color around this flower. Be really careful. Looks like the background has dried and never mind, we can fix that. Let's keep applying that light green around the flower. You can, you can clearly see two different paths of crane here. We're going to fix that for that and picking a bit of sap green. I'm just dropping that onto the same area where we have applied that lighter green. And I'm just going to leave it Tacitus. The color will spread into the background, leaving a beautiful natural plant. You can see the difference now. You can simply smudge the color in and out to create a natural blend. So they're not really looking for a perfect gradient here. We are simply pushing the paint in and out to create a natural field. Keep pushing and pulling and smudging the color until you feel like you have cut a natural blend. Now, I'm picking a darker tone of green and I'm adding that around the flavor. Just want the top so that it will go naturally with the flowers on the top. Okay. Before the background, Dr. let's add that in. So it will very well smashed into the background. You wouldn't need to put a lot of effort. Okay, So that looks perfect for the time being. Now, I'm going to wash all the paint from my brush. And we're going to switch back to paint. I'm using this brilliant pain that they still think I used earlier. I think for this, I will use my smallest size brush. This one has a size number four round brush. And then picking some pacer pink. Let us not too watery. And I'm just adding some random shapes onto the background. They had that lighter green. We can pick a bit of opera pink castle, and add some details onto what you will have to do this before the background dries. So be really quick and add as many flowers as you want. So over here as well, we're trying to bring in different tonal values of pink. So you can start with that based with pink. Then onto that you can drop in some brighter pink. Be sure the paint is not too watery. If you feel like the paint is too watery, diarrhea, brush on a paper towel. Let's add some more pink flower. Go with different sizes. Some of them can be big and some of them can be small. And also we can add some dots as well, which will look like the buds. Now I'm going back with opera pink, adding some medium-term. We are trying to make it look like there are flowers in the background which is really far from us. So the shape won't be really visible. We need to get a blurry field. That's the reason why they're adding them onto the wet background. I think I have added enough. Now. I'm going to wash the paint from my brush and I'm calling with sap green. We need to add some green tones also in the background. Go with a lighter tone and just dropping that onto the wet background in a very random way. This also has to be blurry. You can add them next to the flower. I'm picking some water. I think over here the paint has started to try using some watery paint. I'm smudging that so that it will look more natural. I'm really loving the results so far. Maybe we can drop in some more green before the background dries. I'm picking some more cream, maybe slightly darker one. And let's add that around the flowers to bring in a little more depth in our painting. I'm using 100% cotton watercolor paper here. So the people will stay wet for a longer time compared to the cellulose paper. If an odd using 100% cotton watercolor paper, there are chances your background might have tried already. In that case, you can skip adding more green. You can just add some pink flowers and some green and just leave it as it is. Okay, So with that, we're done with the bottom. Now. It's time to fill up the remaining area we have on the top. For that, I'm going back with a darker green. I'm mixing some indigo with Zachary. And I'm carefully filling the cap we have over here. I'm using a smaller size brush and I'm running my brush around the flowers. Most of the background. My toe tried already, just ignore that. You can keep adding that taco tune around the flowers, going to smudge the color using some sap green and sunlight cream after we have done adding the color. For now, just keep continuing adding the paint around the flowers. Okay, So this is where we are. And again, clearly see my bag and has started to dry already. It is not wet. Now we're going to fix it. So I'm going to wash the paint from my brush. I'm going with some leaf green. Maybe we can mix a bit of sap green button, go the slightly watery paint, and then to match the color into the background to get rid of that strong shape. Picking some more cream. And it's merging the color over here to make it look more natural. So wherever you feel like the paint has dried, you have to pick a lighter tone. It can be lighter green, or it can be sap green. And just using a slightly watery paint, smudge the color to make it look more natural. Now, I'm running my brush around this level. It's not a difficult step. Just give it a try and you will understand how simple it is. Okay? Now, I'm going to fix the left side and picking more integral. And I'm adding that over here. Now picking up the tough leaf green, smudging fat into the background. Now washing out the paint from my brush, picking some more leaf cream, smudging it again. Alright, so now we have some more area on the top. I'm going to fill that up using integral. We need to fill that area around the flower as well. I'm using a smaller size pressure, the shortest smallest size brush. And carefully run your brush around the shape of your flower. Bud here. Then I have one more flower on the right side. So we need to do this for all the flowers we have. He'll be really careful. Try to retain the shape of the flower. Okay, now I'm going to fill this up and I have one more flower on the right side. I'll do the same on to that one asphalt that is a bit deaf kept left on the top. Let's do this. Alright, I'm nearly done filling up this area. You can see how pretty it is looking. Those colors are having a beautiful contrast. Now I'm washing over the paint from my brush and I'm picking some leaf green and I'm just dropping that onto this wet background and a very random Murphy way. We are trying to create some texture here. I don't want the background to be really playing. I'm just trying to create some texture here by dropping in a beautifully green on the wet background. And I'm just matching that. I don't want this to be a clean planned. So I'm dropping in more leaf green to bring in a natural texture. I think it is looking really nice right now, when we added those texture, maybe we can add a little more. Because the bank understood that. Let's make yourself the time. That looks really cartoons. Now, let's leave this field trying. Okay, So the background has dried completely. Now our last step is to add the remaining details. For that. I'm taking out some sap green and I'm going to mix that with a bit of leaf green. We need to add this ten and the remaining details. I'm using my smallest size brush. You will have to make sure your background has dried completely before you go with this step. So first I'm going to add the details onto the bottom of the flower. We need to add that spider-like thing. I don't know what it is called. It is just some lines right underneath the flower. So depending on the color you have chosen for your level, you might need to go with a darker tone or a lighter tone. Over here. I think this color works, it is visible. I think we can make it a bit more lighter. So I'm adding some olive green into the same color. And I'm just running my brush on top of the lines I have added earlier. Okay? So this is much better. Now, we can add the stem using the same color. Go with a thin line, don't make it too bold. Use the smallest size brush if needed, or any brush with a pointed tip. Go with a nice curvy line. You get either started from the bottom or from the side like this. This is the kind of thickness you should be following. Don't make it too bold. Now using the same color, I'm going to add a stem for the badass. For once I'm done with the bug, I will have to do the same thing for all the flowers are happier. Okay, So let's go one by one. I'm using the same color for the bird. First we can add the details at the bottom. It is just some lines, some declines. So that is n. Now let's add this Tim. For this one as well. I'm taking line from the side. You can add it either from the bottom or from the side. Alright, so that's trying to, now we have three flowers and two, but they have to add some details onto those fans asphalt. For this one, the color we used earlier is not really working. It's not visible. So I'm using a much more taco, don't have cream. I think this one is flexible. So for this one you can use a darker tone and using the same color, I'm going to add a stem. Okay, so that one is also done. Now we have one bud left to add the details at the bottom. Now let's add this term. Alright, so that now we can add some leaves onto this and we can finish our whole painting for the day. I'm using a medium tone of green. I have just mix a bit of sap green with leaf green to create a medium tone. I'm just adding some long declines and I'm calling it leaves. Okay, so just add similar leaves in a very random way. It is just some short lines. Feedback. It's very simple and it's a very basic shape. I'm not going to put a lot of effort. Now using the same color. Let's add some onto the top as well. There we have that taco tone in the background. It will look really nice when you add them over here. Because of that contrast, we can add some more, one more heel and maybe some more on the top. I think we already have a good texture in the background. So there is no need to add a lot of leaves. But in case you want to, you can do that. That is not limit. Alright, so that does it for the day. We are done with the whole painting for day 29. Now, I'm washing out the paint from my brush and I'm painting of the masking tape. And here is our painting for the day. I cannot tell you how much I love this color combination. Those trials are really standing out. I hope you guys loved it too. Thanks a lot for joining me today. I will pack your super soon, but our last painting for the season. 85. DAY 30 - The Swing : Hello, hello, Welcome to day 13. And that means that today's painting, we're wrapping up the 30-day watercolor challenge. Here is what we are painting today. It's quite different from the other paintings we have done. You can see that swing the tree. I really loved those textures and the Skype enter composition is really my favorite. I haven't done such a painting before. So this one was really interesting. Without wasting any more time, let's take a look at the color palette. And then we can quickly start with oil painting for the day. Other than the texture for the tree, the rest of the techniques are quiet comfortably for you. We have try them all here. So I will only be showing the color palette. The rest we can follow while we're painting. The color that I'm going to use for this car is hurdling flu, which is quite obvious. I'll be using a really light tone of civilian blue and have a listen Captain between degrade those clouds. So that's the color I'll be using for the sky. As I always say, you can use any other color that you have caught. It can be cobalt blue, Prussian blue, or any other blue. Turquoise, blue. So that's the first color. Now, the next colors you will need as grains. You will need leaf green. With the satellite to green I have used in the background. If you don't have this color, you can mix a little bit of sap green with lemon yellow and create a similar color. Or you can just go with any like when you have caught that till the next color. Then obviously you will need sap green. That's our third color. Swatch out sap green. We'll be using that for the background as well as for the fulcrum. That is sap green, which is a very important color to paint spraying. You will need integral to add the deeper tones. I'll be using that over the bottom. And also for that plant in the background, you can see the darker shade. That's integral. So that's our next color. Okay, So we have cerulean, blue, leaf, green, sap green, and integral. The next color you will need is brown, which is the color I'll be using for the tree as well as for the swing. You can either use brown or burnt sienna. And also you will need a violet shade for the flowers. So alpha spat out brown. I loose flowers are optional. If you don't want to add them, you can just leave it as green. Brown is our next color. To create a deeper tone of brown, I'll be adding a little half integral with it. You can see that deeper tones have used to create those textures. So that is a mix of indigo and burnt sienna. I'm in brown. And the last color is permanent violet, which is the color I'll be using to add those flowers. I'll be adding some white gouache with violet to turn that into an opaque lighter tone. And that is how I'll be adding flowers. You can go with any other color of your choice, or if you don't want to add them, that is also totally up to you. Though, summarize the colors you will need for today's painting. You can see how gorgeous this compositions. I really love the tree, the texture of the swing, the flowers, and everything about this painting. You can see that car, just tech sales. I think it's gonna be a really helpful technique to use in your future paintings. Alright, so without wasting any more time, let's start with the whole painting to rotate 30. That issue you're going to love today's painting. Okay, so let's give it a try. 86. The Swing - Part 1: Alright, so let's start with oil painting. The first step is to add the pencil sketch. So I'm going to add a line over here. This is what separates your sky and Alaskan. It is right at the center of my paper. Now, we need to add the tree. I'm going to add the tree towards the right side, and I'm just showing half of the tree. You can add it towards the left or the right. That's totally your choice. It's a pretty old tree. So when we are painting, I'll be adding some towards some old ground roots at the bottom. And we'll also be adding some holes and some details to make it look like a whole tree. Okay? So that's a basic shape. I'm just adding half of the tree on the right side. Now, we need to add a branch onto that will be adding the swing. I'm just adding a branch over here. And over here, I'm adding the spleen. First add to what your lines. Now we need to add that would imply a little bit of the center of the paper. So it's going to be somewhere here. The rectangular piece with a little thickness. And that's it. That's a sketch. When we are painting, we can add the remaining details. We'll be adding more branches, and we'll also be adding some plants in the background. So those things can be done when we are painting, will also need to add the leaves for the tree. Maybe we can add the landscape here so that we have a reference to add the paint onto the sky. Just add a rough shape here. Okay, so that's a sketch and how we can start painting. We will start with the sky. And just like I mentioned, I'll be using a lighter tone absolutely. And blue for the sky. It's gonna be a wet on wet sky. So let me squeeze out a bit of saline blue onto my palette. As I mentioned earlier, you can use any other blue that have caught. It does need to be cerulean blue, will just need a lighter tone of blue. So just add some drops of water into the blue. And it's the kind of color that you're going to use. The first step is to apply a clean CO2 water onto the entire sky. Use any of you because I splatter, brush and apply an even coat of water, you can add the water onto the tree as well as onto the landscape. It doesn't really matter because we are going to use a really light blue for the sky. Now, I'm just dropping in that blue onto that background in a very random and messy way, laying some cap in-between. You can see the way I'm leaving those camps. I'm not really concerned about how it is looking right now. My only idea is dropping the paint before the background tries, leaving some gap in-between, which is going to be the clouds. So I'm picking some opaque and I'm adding that onto the top. You can clearly see how messy my backgrounds. But that's all you need when it dries, it's gonna be really beautiful. And also we'll be adding some landscape at the bottom, and we'll also be adding some leaves on the top so the sky is not completely visible. So however you have got it now, it's going to work. Don't worry about it. Okay, now, let's leave it for trying. This guy has dried completely. Now the next task was to paint the landscape. For that you will need leaf, green, sap, green, and indigo to paint the landscape. I'm going to use my size and my children crush. And I'm starting off with leave Crete. This is the brush I'm going to use. If you want, you can apply a masking tape or masking fluid onto the swing and you can preserve that. Or it can be careful when you're applying the paint and you can just apply the paint around it. I'm not going to mask it. But then if you prefer that you could do that. Just run your brush around that swing and apply a light cream. And as you're coming down, slowly, switch to sacrum. So you need a really light tone of green towards the top and a darker green towards the bottom. So I'm picking some sap green and then applying that the bottom. I will color this area. Then I will introduce some integral to make the bottom more darker. And also you don't need to worry about the roots of the tree right now. You can simply add your paint like this, will be fixing that and we are adding the crowd. Okay, for now, simply apply your paint. Now at picking some indigo. And I'm applying that at the bottom. So we started out with a lighter tone of green and truly we transitioned into sap green. And right now we're using integral to make the bottom darker. So right now you can see the background is looking really messy. Now I'm going to keep this brush aside and time switching to a smaller size brush. We need to make the background look better again. So that's our next task. Right now. It is really a mess. So take any of your smaller or medium-size brush. Now go to slightly watery version of sap green and keep adding some lines. Mostly at the bottom. We're going to leave the top area acids. We don't want any lines over there. We need a clean light green over there. So limit your line towards the bottom. So by adding these lines are automatically making the background look better. Keep pushing your brush back and forth and add some lines. You can see the difference it made. That is looking a lot better. We'll be adding the flowers at the bottom. So over there, it is good to have a darker tone so that the flowers will be visible towards the background and try to leave it as that lighter cream. Don't add any medium or deeper tones over there. You can see the way I have left it. Maybe I think we can add some more deeper tones at the bottom and the top. We can call it down. So I'm picking some more integral. And I'm adding some more deeper tones over here. I'm just dragging my brush back and forth and I'm adding some random lines. Okay? We don't need a clean blend here. You can link the lines acids. You can see my background. I haven't gone with a clean planet. We'll be adding the grassy patterns on top of this. So it doesn't really matter whether you have a clean Blender. Not the only thing I would suggest is to go with a lighter tone in the background. Leave it as it is without adding more deeper tones. And towards the bottom tried to get a deeper tone. That is it. Now we'll have to wait for this to dry. So that has dried completely. Our next task is to paint the tree. I'm making some space for brown. I'm just wiping off that glow pain because we don't need that again in this painting. I made some space for brown. Now let me squeeze out some brown onto my palette. As I mentioned earlier, you can either use brown or burnt sienna. This is going to be the base color, will be applying this color on the entire tree. And onto that, we'll be adding some details using a darker tone of brown. So just go with burnt sienna. If you don't have brown, I'm using my medium-size brush. This one is size number eight, round brush. And then picking a medium tone of brown. You can see how pretty that color is. More of a reddish brown Bernstein as more like a yellowish brown. I also have a small-sized brush right next to me other than that medium brush. So whenever I'm in need of adding some deeper tones, I'll be using that one. I have created a medium tone of brown here, and I'm applying that onto the tree. You can see the color here. It's a medium-term. Go to similar tonal value of brown power plant Siena, and apply that onto the tree. Now to create a darker tone of brown and picking a bit tough subtly in blue and mixing that but Brown. And I'm simply adding some lines onto the tree. So go to base color, which is brown or burnt sienna. Then go to a darker tone of brown and add some lines on to that item. We can apply brown or burnt sienna onto the entire tree first and we can slowly introduce more details and textures. When switching back to Brown and filling up that anterior tree in a medium tone of brown. You can see the color here that is quite bright. It is not that light. And be sure to add a similar hole on your tree because that is going to make your tree look more older. That's gonna be a major feature. Don't miss to add Pat. I filled up the anterior tree in a medium tone of brown. Now let's start adding the taco tool. For that. I'm switching back to my smallest size brush. I already have it ready here. Using a darker tone of brown, I'm simply adding some lines onto the tree. It is to embed. So it's a good time to add in your texture and details. Just keep adding some lines, just some phantom lines. It doesn't need to have any particular thickness or any particular style. We can simply keep adding them. And towards the bottom, tried to add them along the roads. Now I'm adding them along that whole. Okay, so that's the base layer. We have added enough texture. I have simply mixed a bit tough cerulean blue with brown to create the taco tone. You can either mix up the top Payne's gray or integral or any other blue. I can directly use burnt umber. Now I'm using a much more deeper tone of brown. And I'm adding some more lines. First time defining that hole. And I'm randomly adding some more lines. My intention is to bring in as many textures as possible to make it look like an old tree. Just add some lines onto that brown background. And you feel like you have got some textures along the body of the tree. You can randomly add some lines and you need to add that hole as well. But towards the bottom where you have the roads, you need to be a bit careful. You need to consider the bottom of the tree as different segments and add the deeper tones onto the bottom side. You can see the way I have added it. So you have a lighter tone on the top side and a darker tone towards the bottom side. That's all you should be adding the deeper tones at the bottom where you have the roots. Okay, so that's a base layer of the tree. We have more details to add. It is not done yet. But before we go any further though, we'll have to wait for this to dry completely. Our next task is to paint the landscape. It's gonna be really easy. We have tried to solve. Maybe starting off with integral, when we use an integral towards the bottom and towards the top will be introducing more of lighter tones. Letting me take out some more sap green. So we have integrals, sap green and leafy greens really there. Those are the three colors you will need. I'm using my size number eight round brush. I'm going with a really dark tone of integral. We can see the color. I'm using it as much closer to black. It is that dark. Now add that at the bottom. Depending on how huge you want your landscape to be, adding your integral or any other taco tone of blue or dark green. Okay. Add that at the bottom. Villager, careful when you closer to the tree, follow the shape of the tree and add that paint over here. On the side. I'm trying to make the landscape a bit taller compared to the rest. That's the reason why I'm adding more paint over here. Now I'm washing of the paint from my brush and I'm going with a light green. I'm mixing a butterfly cream That's Sap Green. And that's the color I'm using. I'm just adding that onto this darker color I have added here. You can see the difference already. Go to meet him to smallest size brush. And just keep on adding some dots and some literal patterns onto that, that background to create some texture. See that it is looking so natural. That's the way we'll be adding some leaves over here. Once we are done with this step, we'll be going with a lighter tone and we'll be adding some more leafy patterns on the top. So once you have applied your base layer with this indigo or any of the taco blue or darker green. Go to meet him cream and apply some random patterns on top of it to create some texture. You can clearly see the difference between the left side and the right side. You can see how cars and that is looking, it is looking very natural. It is one of my most favorite technique to create that natural-looking landscape. Now, I'm going to leave this for trying and I'm going to add the remaining details. When it has dried. You can either continue the same pattern towards the left side or it can leave it for trying. I just want to show you how we're going to approach this. Okay. Let's leave this for trying. Alright, so that is dried. Now we can go to our next time. That is adding more leaves. For that I'm using my smaller size brush and I'm going with the leaf green. You don't need to add any white watercolor or white quash into it. You can just use your leaf green acids. Now using that color and using a smaller size brush or a brush with a pointed tip, keep adding some leafy pattern on top of the landscape. You're trying to layering technique here. We have a darker background and we're using a lighter tone. And using that lighter tone, we're simply adding some leafy pattern here to make it look like some landscape. Now, we're gonna do the same thing throughout this entire line. First I'm picking some medium to now cream. And I think I will start from the left side and I will slowly progress towards the right. You have your base layer already here. We have started out with integral. And onto that, we added some medium tone of green to bring in some texture. And the left half for trying. And now we're using a lighter tone of green and we're adding some more leafy pattern. Everything has dried completely. So the leafy pattern that we're adding right now will be really prominent. And that's the reason why we're doing this. So start from either left or right and keep adding these kind of leafy pattern along the top. Over the bottom, you can leave that integral asked us you don't need to add any leafy pattern over there. That darker tone stay. And only towards the top, we can add this leafy pattern. Go with any of your smallest size brush or a brush with a pointed tip. And use a lighter tone of cream. And simply keep pressing the tip of your brush and create some random pattern. That's the color I'm using. I'm not adding any whitewater color of white gouache into it. I don't want them to be too opaque. See that I'm just running my brush in a very random way and creating some patterns here. They're not really looking like leaves. I'm not putting a lot of effort. I want that overall fail. I don't want to put a lot of effort in detailing. So just keep pressing the tip of your brush and create some lab pattern. Okay, so this is a bad we have reached. You can see how predators looking. We have a taco tone at the bottom and we have some beautiful leaves on the top. The next step is to go with that really liked one of cream. I'm just washing up the paint from my brush. And I'm going to leave green acids. And I'm adding some more leafy pattern on the top using a really light one of cream. Along that outer line. I'm going to add some more leaves using a light tone. As we have just a really light tone of blue for the sky, he believes will be possible. You can go with your light green directly. So it's just like how we had done earlier. You can add some more leafy pattern around the top. You can see on the top we're using a lighter tone of green right now. And over the middle, we have already used a medium tone. And at the bottom we have a taco tomb. So we are trying to make it look like the bottom has lot of shadows. Over the top, we have a lighter tone because the sunlight might be sitting over there. So that is what I'm trying to create here. You can keep adding them until you feel like you're happy with the result. I'm quite happy with the way it is looking right now. I think I can call it done and proceed with the tree. We need to have a lease for the tree Haskell. I'll be using similar technique to create the leaves as well. I'll be just pressing the tip of my brush to create that leafy pattern. Let's give that a try. I'm picking that same leaf green. I'm using the same brush. And at some places I'm adding a beaker patch, and at some places I'm just adding some dots. Now I'm picking a medium tone. I'm doing the same. Over here, asphalt, we are trying to play with different tonal values of grain. In-between you can use a darker tone and in-between you can use a medium tone. Now let's pick a taco tool. And I'm again adding some dotted pattern to create some leaves. It's a very simple step. You have to give it a try to understand how simple it is. You can see how easily I created that foliage. Now, I'm going to do the same thing over here, closer to the tree. I started with the taco tool and I'm adding a very random shape here. Now around the shape, I'm going to add some leafy pattern, just like how we did earlier. Over the bottom. First you can go with a medium tone and add some leafy pattern at adjacent dots. Once you're done with a medium tone, you can go back with a lighter tone and again add some more leafy pattern. So you just need to keep pressing the tip of your brush and add some random patterns like this. Eventually it will start to look like foliage. When you add quite a lot of them close to each other. I'm picking more leaf green and I'm adding more leaves. I'm not following any particular order here. At some places I'm using a taco tune, and at some places I'm using a medium tone. Then I will also be using some lighter to keep switching from different color, different tonal values of green, and create your foliage. When you use multiple tonal values to slaves will, automatically will look more beautiful and more realistic. That's the reason why we are playing with different tonal values. This is really important when you're painting a tree. And also when you add in the leaves, try to leave some gap in-between. You can see that it is chi through those leaves. That will also add a lot of beauty to your painting. So don't fill up the entire area. Try to leave some gap in-between where the sky can be seen through. Now I'm picking a darker tone and I'm adding some more leaves. I think I have added enough off darker tones. Now let's go back to that leaf green and add some more leaves. Especially on to that branch where we're going to add the swing. Okay, so that's done. Now, let's add the final details onto the tree. We have to add more textures and more details onto a tree to make it look more realistic. I'm using smallest size brush and I'm using a darker tone of brown. I already had some cerulean blue here. I just mix that with brown to create a darker tone. You can either use burnt umber directly or it can create your own version of darker brown. First, I'm going to start with this whole I'm going to make it more prominent. The center, I'm just adding some oval-shaped now, leaving some cap. I'm adding another beaker. Oh, well. See that now, at some places you can make your line molto. This will make it look more realistic. So I'm just adding some shadow at the bottom of that hole. On the top and at the bottom, I added some deeper tones and ethical way so that it will look like the hole is really popping out. Now, we can add some random lines and some texture onto the tree. As I said, the main feature is the hole. Once you're done with that, brush on a paper towel and remove the excess amount of water. And simply add some trade lines onto the tree to create some texture. Make sure your brushes dry, keep dabbing it on a paper towel them and just add some try patterns. We are trying to make it look like It's an old tree. So we need to add more and more texture. It is really important to go with dry paint. Don't use the watery paint. Once you have taken the paint on your brush. If an auto sure. You can dab it on a paper towel multiple times and then add those dry lines. Okay. Our intention is to create that really old bark texture. So keep adding them until you feel like you have got those taxes, right? So this is how my tree has turned out and I'm quite happy with the texture. It is looking really cartoons. Now to make it look even more beautiful, we need to add some more details to it. For that, I'm going with the wet paint. I'm still using darker tone of brown. I have some more civilian blue here. I mix that with brown. Now using that wet paint, I'm going to add some more lines. Just some random irregular line. Some of them are long, some of them are shot. They're very thin, they are not in bold. That's the only thing we need to keep in mind. Now, I'm adding them along this route, just like how we did earlier. This time. I'm going with a much more taco to divide those roots section and add some deeper tones. I'm going with the second section, adding some lines over here. Now on to the last division. Okay, So that's John now using the same taco tone of brown and using the same brush, I'm going to add the branch as well. Mixing brown with that leftover, steadily improve and creating a taco tune. And then adding that branch. I'm going to add a lot of details onto this because it's quite thin. And even if I add the details, it won't be visible. So I'm just using darker tone of brown and I'm running my brush along that line. I have added their earlier go with the irregular shape to make it look more natural. Maybe onto this, you can add some more thin branches. For that, you should be using a smaller size brush or a brush with a pointed tip. Let's add some more thin practice onto this. Try to make these branches as soon as possible. Don't use a big brush. You can use the smallest size brush or a brush with a pointed tip and add an aspirin you practice as you want. I will just add one more here and maybe another one on the left side. Alright, so that's turned, I'm really happy with the way it is progressing. Now, our next task was to paint the swing and also add the remaining details on the landscape. We need to add some grassy pattern, and also we need to add some flowers to make it look even more beautiful. Okay, so let's do that. 87. The Swing - Part 2: Now we're about to add the final details and also we need to paint the square. So first, I'm going to leave cream. I'm going with a slightly thicker consistency. I'm not adding a lot of water, and I'm using my smaller brush. Now using this color, I'm going to add some teeny-tiny lines along this bottom part of the landscape. It is just some simple lines. You need to add them close to each other to make it look like there are some grass. Go with any of your smaller size brush or a brush with a pointed tip. And just keep on adding those lines until you've finished that anti-align. It's a very simple step, but then it is going to have a lot of impact on your painting. As we have a darker tone in the background. These lines you're adding will be really the sober. And it will really look like there are some crossover there. Okay, so let's quickly add these graphic pattern and finish this anti-align. Okay, so that's done. Now, the major task was to add the crafty line to the bottom. For that, I'm using a miniature brush. This one has a much better pointed tip than the other one. So to add the grassy pattern, I'm using this brush. Go with any of your smaller size brush. It can be zero or double zero or even one. Now I'm just adding some pointed grassy lines. They are very thin. You can add as many as you want. But the only thing is, don't go with a thicker brush, go to the smallest size brush, or a brush with a pointed tip. I use this brush quite a lot. It has a very nice pointed tip. You can see that pointy grassy lines. It's good to have our media to brush in your collection whenever you need to add some thin and delicate lines, this kind of brush is really useful, as you can see here. First, I added the grassy lines, right Anthony the tree to cover up the man's because we haven't added much of details onto the road. They were just left assets to cover up all those. Vietnam. I have added some grassy lines over here. First. Just keep on adding those grassy lines right underneath the tree until you feel like you have hidden those roots. Okay? And after that, you can keep on adding some grassy lines in a very random way. Over here we have a light green. So I'm picking some medium green to add the grassy lines. We're not going to add a lot over the background where we have that lighter cream. I will just add some over here because it is closer to the tree. So just go with a medium tone of green and keep adding some more grassy lines. Over the bottom, I'll be going with a darker tone as well as a lighter tone. So first we can add some more over here. And slowly we can start building that density. We need to make it really thick contents to make it look more natural. Let's pick some more green and add more and more crafty lines. You can keep switching from one color to another. At some places you can use a taco tune, especially at the bottom. Right now, I have picked teller laughs integral. And I'm using that color over here. Over here we have used a darker tone for the background. I'm just following the same pattern and I'm using a darker tone while I'm adding the grassy lines. So my plan is to make it look like there are some shadows over here, and that is why it is dark. And onto the other area that is some sunlight falling. And that's the reason why I made it lighter. So that is what I have in my mind. I don't know whether it will come out like that. Anyway, let's give it a try. Using a darker tone here. Especially at the bottom. I'm going to add some random grassy lines. Only over here. I'm using a darker tone onto the rest of the area. I'll be using more of medium tone and lighter tone. I won't be adding any darker tones onto the remaining area. That's something you need to keep in mind. Wherever you have medium and lighter tones, just treating them and go with similar colors when you're adding the grassy lines. Okay. Well, let me add some more over here and then we can proceed towards the top. Okay, so I have added them at the bottom. Now, I'm going to medium green. I'm using sap green. And I'm adding some crappy pattern. Once I'm done with this, I'll also be using some light green to add some more crafty line to bring in some different tonal values of cream. So first let's use some sap green and adding some grassy lines. You can keep switching from different tonal values. You don't need to follow the same order that I'm using here. We just need to create some tense and thick looking graphic pattern here. That's the only thing what I have in my mind. Otherwise, it will look quite empty when we add the travels. So it is good to have a dense and thick landscape at the bottom. Now I'm picking some leaf green and I'm going to add some over here. So I won't be adding any grassy pattern after this line. That is my lemon. I'll just add some using a lighter value. And the rest of the area. I'm going to leave it as evidence. If you make the backroom to see you won't be able to get that depth in your painting. So does really importantly the background acids don't make it busy. I'm quite happy with the background. Now. I'm going to pick some olive green and I'm going with one last round of profit lines, especially at the bottom, closer to the tree, as well as towards fat masking t. I'm just going to randomly add them. There is no particular order or anything that I'm following. I will just do a quick run down. We'll add some more coffee lines. So if you're already happy with the result, you can just leave it as it is, or you can add more until you feel satisfied with that as well. Okay, that looks so good. Now the next task is to paint this when I'm washing with paint from my brush and I'm going packet brown. I'm using a slightly watery consistency paint. And first I'm going to fill up that entire swing. I mean, that entail put and client in a lighter tone of brown. It is slightly watery. It's not a medium-term or it's not a darker tone. It's a lighter tone of brown. You can either use burnt sienna or use the smallest size brush and follow that shape properly. Fill it up with a lighter tone of brown. We showed to follow the shape. If you use a bigger brush, it might be slightly difficult for you to get that shape. Use the smallest size brush or a brush with a pointed tip. Once you have applied a base layer, pick a darker tone, a slightly darker tone, and just drop that onto the wet background. You can add some lines and some tones. We're just trying to create some texture. So just dropping the paint however you want to. For the next step, you will need to invite what the Cloud, you don't need. White gouache is quite watercolor is all we need. I'm going to squeeze out of the top white watercolor and adding that into an inflow of brown. I want a lighter tone of brown which is opaque. I'm being on a low white water color. Mixing that with a dark brown. Here is the color I have created. You can see that lighter brown. Now, using this color, I'm going to add some highlights onto a tree. If you look at your tree, there are areas where we added that taco tool. We're going to add these lighter tones right on the opposite side. Over the bottom we have that Taco Tuesday. We're adding these lighter tone onto the other side. It is just some simple lines and won't go with a very prominent color. Go to similar color. But it's not really prominent. We just want some subdued highlights, so don't add a lot of white watercolor. That's a color I'm using. I'm going to add those highlights onto this top part. I think I should call it top face. So I'm just adding some highlights. Now let's add some onto the whole asphalt. I'm using the same color and I'm just adding some lines. You can clearly see the difference right now. Now using the same color, I'm going to add some random lines, asphalt. And I think that will be done. We already have some textures on the tree, so don't add a lot and add some thin and delicate lines. It can be some tie lines and some broken line. Don't go with a thick and bold line. That is a bit the tree. Now we have a branch on the top. We simply use a darker tone of brown with air. Now onto that as well, I'm going to add some highlights onto the top area. That top surface. Just add a broken line or what they're using, that lighter tone of brown that we had done with the tree. Now, let's add the remaining details onto the swing. Make sure it has dried completely before you go with the taco tunes. Now, to add the details, I'm using a darker tone of brown. I have some leftover here. This is all we need. I'm adding two drops of water, then reactivated for that pain. Now first I'm going to add this thickness, this wooden plank, we have a slight thickness. So first let's add tapped. It will look more realistic. See that it already has a predilection for you to it because we added that thickness. So that's a first step. Now we need to add more details onto that wooden plank. So I'm just adding some random lines, some try lines and some broken line. Again, you don't need a lot, just few lines, maybe like three or four. Also, you should be using a thin brush. We just need something and delicate lines. Okay, so that was the first step. Now we need a much more darker tone of brown. I'm picking some integral and I'm mixing that but some brown to create a darker tone. It has to be a really dark tone. Now we are going to add that row. You can see how pointed this brushes. You should be good with a similar brush or you can use a pen. Just watch old what I'm doing. Because it is really important to go the very thin and delicate line. Otherwise your swing will look out of proportion. If you don't have a similar brush, I would recommend to go with a black pen. First we can add a line to the bottom. I'm adding two dots on either side. That's a foresight. Now, I'm adding two dots on the side. Now from these dots, I'm going to add an inverted V. That's a first-line. Now I'm making it up. Similarly on the other side, asphalt. See that it's a symbol inverted way. That it's nothing complicated here. But be sure to go the pointed brush or a pen. That is something which you have to keep in mind. So that's the shape. Now from this point, I'm going to add a straight line. You can see that pointed line. That's the reason why I told you it is good to have a pointed brush or a miniature brush. I always used to get know was when I'm adding some lines using my other brushes. But this one as like a safe here. It's a very cheap brush, but then I care for it a lot, maybe more than my expensive brushes. Okay, let me show you this part. You can see a loop there as just an oval shape. So that's how the rope is connected onto the tree. Now similarly, I'm adding underline on the right side. Once I have this at all, I will be adding a loop there. I think that looks really thin. Let me make that line a bit more thicker. You can see how thin and delicate that line is. So be sure to get a similar brush or you can use your black pen. Now, I'm going to add that loop. Okay, so that's a rope. Now to make it even more beautiful, natural, we need to add but no detail onto it. And for that, I'm going back to that lighter brown we have created earlier. And I'm going to add mine what he'll especially there they have that landscape. Earlier this part was not visible. So just add a thin line using that lighter tone of brown. This will add a more realistic feed to your swim. So don't skip this step. The line has to be super thin. That is something you need to keep in mind. If you don't have a smaller size brush. In that case, you can skip this step. Or you can use a white gel pen and go to the broken line that we had handled the swing. Now the final task is to add the flowers at the bottom. For that, I'm going to use permanent violet, as I mentioned earlier, adding the flowers are completely optional. If you don't want to add them, you can skip it or it can go the different color, that's totally your choice. I'm squeezing out a bit of violet onto my palette. And I'm going to mix that with some white watercolor. I'm not going to take out any bike crash onto my palette. I will just use this white watercolor. If you use the violet Tacitus, the flowers won't be visible. So we need a pistol tune of violet. That's the reason why I'm adding some white watercolor into it. And also we need an opaque color. So that's the color I'm using. And I'm using the same brush. Now, I'm going to simply add some dots onto some of the grassy lines I have here. I'm not going to go with any specific shape for the flavor. It is just like I have done on most of the days, and just adding some dots close to each other. And that is how I'm going to add the flowers. Now. I'm going to add some on the bottom over here, the flowers will be really visible as we have a darker tone in the background. Compared to the top. These lungs are going to be really pretty. Let's add more over here. Just in case if you don't want to use violet or if you don't have violet, you can go with any other color of your choice. You can use white acetals or can go with yellow or even pink, maybe orange, or even blue. Just like the forget me not. Just use the color of your choice and add in your flowers. Also. If you don't want to add them, that is also completely okay. So go ahead and add in as many flowers as Yvonne. This might take a bit of time. But please try not to rush, go with small dots. They're trying to create some small lives levels here. So just keep that in mind. If you want go to smallest size brush in case you're adding white flowers, you can use your white gel pen directly. I'm really happy with the CDR. It is looking so pretty. Now in a similar way, I'm going to add more flowers. And that's gonna be the last task. Alright, so data set, we attend little painting for the T. Now I'm going to quickly peel off the masking tape and I will show you the finished painting. Be really careful when you're peeling off the masking tape. Make sure the painting has dried completely. Maybe you can use a blow dryer. The heat from the blow dryer will loosen up the clue and it will prevent your paper from ripping off. Here's our painting for today 30. I cannot tell you how much I love the texture we have card for the tree and also this teeny tiny violet flowers. I think it's a car just compensation. I absolutely loved the way it has turned out and I think it's a wonderful painting to end the strategy consultants.