30 Day Watercolor Challenge - Winter Landscapes and Christmas Vibes.

1. Hello and Welcome Back: Vento is the doctest and often the coldest of the seasons. But the width, chin and the possible snowfall comes the holiday season and ample movements for Posey retrieved and hibernation. Who doesn't love calling up with a winter cocktail by a fire, please, snuggling up with a blanket and indulging Verbit. Window is magic. Oh, I'm a machine, an artist, and an art instructor. You can find me on Instagram, YouTube, and Pinterest as creating from the heart. Heart is like a therapy to me and I love sharing this therapy with each one of you out. You're welcome to another Skillshare class with me on painting beautiful winter landscapes with the Christmas wipes on either one of those people who say, I can't read for winter. Then when it gets your my fingers and toes, I hold my nose is running and I'm ready for summer again. If you're feeling anything like IN then maybe these window paintings with all the Christmas lights, then help you appreciate the season of bit more. Even if you are a big note, you can still join us because I will first be guiding you through all the basics that will be helpful to you for painting each of the class projects, easy me, and just like a pro, we will be learning how to create beautiful textures and do a painting using different materials. And I will guide you through each office and even initially discussed each of it with you so that you know what we are going to be getting into the coming days. I would even be sharing the entire material list that I will be using for the class projects in the coming days. And I would even keep telling you about the colors that we are using through each class, project. Through each class, I will be guiding you through all the steps in real time to how we're adding what details and at what point, how you as opposed to using the palace and the best alternative colors that you can use it. We will be learning to create these misty, beautiful, blurry background and paint beautiful landscapes in just realtime with each other. Doesn't is beautiful snowfall paintings Rouse your inner child to dream and play once more. We are all like the snowflake, all different in our own beautiful being. So come and join me into this Watercolor Challenge class, where we will be painting these beautiful window landscapes, which brings the Christmas wipes on. Window, is not the season. It's a celebration. Winter comes with the happiness and joy of Christmas wives. So I would like to see you all join me into this class. And these beautiful winter landscapes with me through the bombing, CATI is creating such beautiful Christmas wipes around. You can even use these paintings as the obvious Misko Scott and send it to your loved ones. So without further ado, let's get up into wipes on with these beautiful paintings. 2. Materials You will Need: So let's have a look at the materials that you would be needing in this class. You would be needing what other people? I'm going to be using this 300 GSM, 100 percent cotton. Then by two inch into seven inch watercolor paper from the brand, go home. It's academy level watercolor people fat. So this is a block of people I will post and then the sheet off from the top edge and remove it after bending. You can see this people has a texture and that will be very helpful in adding textures using the dry brush stroke. So this is the paper that I will be using in each of the class for the coming term, TVs. Coming next, you would be needing a pallet to mix down your colors. You can go ahead and use any palate which is available at your end. It may not be the same as my. Next, you will be needing a masking tape to tape down your paper onto all the four edges for all the coming days. Next, you would be needing of your brushes. You would be needing a flat brush or medium-size round brush, a smaller sized round brush, and vd lA brush. So you can go ahead and use whichever brushes are available at your end. Next year we'll be needing a pencil and an eraser for doing some pencil markings. Next, you would be needing this free water for evading the surfaces at cases and for adding texture. And you would be needing right field as well to add the texture. So for the white, I'm going to be using this white dwarf separately for splattering the small stars and providing some pictures as well in the wet on wet background to create some snow effect into the background as well. Next, you would be needing two jars of clean water for Egypt, the class project. One job you would be needing to apply clean coat of water and the other one to keep cleaning your brushes from time to time. Next, you would be needing in water follows. So I will, using in this Magellan mission set apart from this, I will be using a few sheets from the white knight set. So this is Naples yellow paint, indigo. So these three to four fellows that I would be using it from the other set. So you can go ahead and use any watercolor set that is available at your end. It may not be the same as mine. Next, you will be needing a lot of tissues. You will be needing issues for or, you know, adding perfect reflections. And in case if you want to spread the fisher around by just plugging this task so as to avoid the pleas from getting the right spots, then you would need a lot of tissue, so keep them handy and ready. Next you are going to be needing in soil, we are going to be using in salt for adding textures into a view of the background. So this is just normal, regular cooking salt that I have used in your patron data. I'm going to keep a reflow to also had liquidly for dabbing off excess water or paint. I would also be using in our hair dryer too quickly speed up my drying process in between. So I would not be recording this part, but you can also use a hairdryer to make your paper dry out quickly and so as to speed up your process for feeding. So these are all the materials that you would be needing in for the coming for TVs. You can grab all of them and we can begin painting our first class project for today after discussing some basic techniques in the next lessons. 3. Technique 1 - Basic Wash: So before beginning with today's class project, Let's discuss some basic techniques which will be helpful for you if you are a big note with watercolors. So the first one is going to be wet-on-wet and the wet-on-dry technique. We will discuss both of these techniques and then move ahead and discuss further, are there techniques that will be helpful in creating beautiful backgrounds? So as the name suggests for the first one, it's wet on wet. That is we have a wet background and undo that. We're going to add in vet beam search smallest piece on which I applied at the input of photo. Now I'm just going to pick up any random color, and I'm just going to wet this color. I'm going to apply to a Buddhist Webpack though. So this is called wet on wet technique. It's useful when you want to pin surfaces and you'll do not want any harsh edges in between. Now as the second technique, wet on dry technique. So that is your background is dry and you'll begin with wet paint onto it directly. This is helpful when you just need to be smallest offices or adding in DBS. And all you know, it will be very difficult to paint larger surfaces or the technique wet on dry because you would begin to get sharp edges in between. So you can see, you can use both the techniques depending on the size of the people or size of the area that you are willing to paint in. Even be using both the techniques in each of our class projects. Next is a gradient wash. That is, you'll get different values of fun color, either from bottom to top or top to bottom. So I will quickly just apply water onto the surface first and then show you how to get the gradient for getting the bleeding. We are using the wet on wet technique here. So now I have the red undo that I just applied, a layer of color at the top. And now with a damping trash, I'm just pulling that color from the top to the bottom. So you can see at the top I have got the darker bones and as we move down, what's the bones have? Don't light up. So this is called a gradient wash. Now I will show you the same gradient wash from warping. Who thought the first one we did was taught to water. So for bottom to top, we will apply the color at the bottom space and then just use a clean damp brush and pulled up close to the top speeds and get ingredient. See, you can get video with two colors, three colors depending on the project that you're working on. So this is how you can achieve gradients. We are going and using this gradient technique for building mountains and skies in the coming D's class project. Even for today's class project, that is going to be the Class Project 1, where we will be painting the misty landscape we are going to be using in this technique to being these beautiful mountains. We are going to be using this technique into these class project itself. I hope you could understand all the three techniques that we discussed in the first file. That is the wet on wet, wet on dry, and the gradient washes. In the next lesson, we will further discuss how to get water control when you're working wet on wet with different colors. 4. Technique 2 - Water Control for Blurry and Misty Backgrounds: Now that we've understood the wet on wet technique, Let's begin to understand the water control in wet on wet technique. That is when you already added in the fourth year of color. And then while that calendar your best in red, and you wish to go ahead and add another layer of color, then how you need to control the water to achieve the effect. We are going to be using this technique a lot in many class projects to create a blurry, misty background, and also for creating some beautiful pine trees into the backbone. So I've just mentioned it here. It's the water control for wet on wet. So I haven't heard of photo and unfold that. I am foster playing in the first layer of color. You can see the first year of color does not make a lot of problem. But even in the First New York control the weapons, you do not want a lot of light effects, okay, Now this background is big and you can see in this painting these created the background using this technique itself, that is the wet on wet technique. Even in the other class projects, you can see the blurry effect that we have achieved. So now I can just pick up some things Greek adequately and buying this background is in bed. I will begin applying earlier of beans green column. For first I'm picking up the beans be in a very liquidy consistency with a lot of water. And you will see that the pins are spreading a lot and they will not be creating a perfect look as you need, and even just fled and create a batch of the palette instead of maintaining the look that you're trying to add in. So you are, you can see the background was still a lot of it and you added extra bad thing. So it just created another square off the Payne's gray color. Now I can just make another block here quickly and show you how the need to go the right way. That was the wrong way that we discussed. Forced templates are planning or clean the water. Now I've just added in the layer of color quickly and you can see we've got the perfect color. Now at the bottom, that is a lot of water. So I'm just going to pick up little of the water and dab it off. Now or before beginning to applying the second year of follow, I will just read for a few seconds for this neo to just soak in a bit and dry in just a little bit. And this time I'm going to pick up the beans, be also the cholesterol photo. I will quickly be dabbing my brush on do a reflow to audit issue before beginning to add in your so that if there is any excess water by any chance, it will be the moves and absorbed by the tissue so quickly dabbed it. Now after a few seconds, I am beginning to add in. And you can see now the pins are not spreading much as the first one. Also, you are able to achieve the sheep that you are adding them in. And it's creating the perfect glory mistake that you'll want them to your paintings. So this is how you need to add these details in the right to be. You need to control the water and you also need to wait for about say, OF US against for the fourth layer to set an in before beginning into add the second meal. Now you can see on this I aggregated darker details and even their standing out but having the software and the blurry edge. So you are the key concept again, I repeat, is that you'll need to control the water nag you are adding in the Talia, that is the neural find genes that I added right now. And you need to wait for a few seconds for the fourth layer to just set the name. We are going to be using this technique to create these beautiful background. She's which are bloody. And also creating this beautiful background by injuries you're in a blurry view. So this technique we are going to be using a lot in the other buildings as well. And it will be very helpful if you practice this technique of few times on a rough paper before beginning to add these into your class projects into the coming days. So I hope you get to control or what is water control technique? And I will see you guys into the next lesson where we discuss some textures that we will be hi. 5. Texture 1 - Using Water and Paint Splatters: So now that we've understood the basic techniques of wet on wet, wet on dry, the gradient washes, and the water control. Let's begin to create some textures which we will be using in the coming days. The first lecture that we will be looking into is creating textures using waters plateaus and using the spray bottle and the white beans plateaus. So I'm forced just feeding a small patch and onto this, I'm going to quickly go ahead and add the indigo color this time, you can add any color for practice purposes. It may not be the same sheet. You can go ahead with a initiate of your choice. First, I'm just going to add a layer of the color completely. Now first I will show you this flag, those using a spray bottle. So the three important that we discussed in the material section, I'm just going to pick up that's pretty Bowden. So a drop of water from the cap just spend down so I can quickly just adapt this EDA and keeping the surface before showing you the right technique. So you need to be careful about this thing that, you know, not excess water should fall in, otherwise it will create a big blue. So I will just quickly leaping the surface. And now I'm going to use this play button and I'm just going to spray some water droplets from a distance. So approximately 15 to 20 centimeters, five from the people. Okay. So it's from this far off the paper that you just need to splatter some water using this play button. And you can see that it showed that it is pleading by just reacting with the beans on the paper. It gives the smaller blooms. And you can use this technique when you want a very fine snow effect or no effect in the low galaxies. Okay, So this is the technique that we are going to be using it for readings flappers at times. I'm going to use the second technique that is creating these rules using it, the brush technique. So first being the surface also with the indigo color. Now this time I'm going to pick up a brush which has a little water into it. And I'm just going to splatter some water droplets from fire on to this area. You can see you get larger blooms as compared to the blooms that you get by plugging using the spray bottle. You can notice that what do you get in the spray bottle? You'll get VD smaller moons because it's very small droplets. And then you use the brush, you get these big rooms, okay, so you can add as many as you want. Also, I'm going to use right? So just picking up the right thing just as you picked up the water on your brush and Ivan splattered mature and show it to you. So you can see the difference when use black and white things, you get clear white fetches. And when you use a water balloon technique, you get them lighter bone off that be creating a lightest no effect or no effect of stars in the galaxy may be. So this is how you're going to be using this technique for creating the blurriness, no backgrounds at the background. Oh, you don't. It will be really helpful for creating beautiful textures into your painting. Wet on wet. So we did all of this wet on wet, that is the paint was backed by nice black and the white beans or using the spray bottle also. So this technique is going to be quite useful to you, are creating in the snow effect into the paintings. And also you can use this technique for creating some grass effects, antimony effects as well. It works really great and gives you really good pictures into your pin thing. Second one, Let's pick a more water and see how a GX, my background is still wet. I'm just picking up a brush but knitting what? I'm dabbing some water. You can see how you definitely again, it's creating a blue and the snow effect. You just need to be careful about one thing, that you should not have excess water on your brush. Otherwise, as in the beginning, I dropped a big glob of water. It will create rules. Okay, so this is the first test shot. In the next lesson, we will further discuss more textures. 6. Texture 2 - Using Salt: So now let's begin with the next step. I'm going to apply a clean coat of water first. This time I'm going to apply it on black because surface we are going to be creating textures using the salt that we discussed we will be needing in the material section. So impulse going the head, adding in the Euro photo. Now on to this item quickly added the indigo color again, this time. Again, you can go ahead with any color for all you know, learning this technique has very, it's completely your choice. I'm just picking up the Pamela's very candidly so quickly using my round brush, I will just add the integral follow onto this entire surface. So I'm done adding the indigo color. Now, I will pick up soiled and I will begin splashing the soil onto this wet surface. So at the top space I'm going to splatter the stars VD randomly far away from each other and from a distance. And after block them, I will be adding salt in patches and tribal show you the dividend results. Most of it will be giving me. So now you can see at the bottom, I'm adding a lot of salt into factions together. So we even see both the effects that we get and at the top against matching those salt from the distance. Now using this technique, we are going to be creating beautiful snow effect like this into our paintings as well. So you can see the effect that we have is using the salt tech shop. So now let's wait for this to dry completely. Do not use a hair dryer for drying this because if you will use a hairdryer for joining this, it will not give you the same effect. So let this dry very naturally on its own. So I can wait for this to dry first. So now beyond my texture is completely dried and I have written stopped the soil and you can see the beautiful texture it. So you get this noise effect using this plateaus and you know the white fiend as well. But with this also you can get snow effect innovating different texture like this into your findings. So both of the techniques create very different look and what are the techniques we will be using for creating different textures into offending. And at the bottom you can see the patches that are creating by adding soil as a batch. So you need to be careful what kind of pattern you want. Whether you want to open your Python like the bulb or patches at the water and according to splatter the stars. So this was all about the salts technique. 7. Texture 3 - Using Brush : Now the next technique that we're going to look into is creating some grasp patterns into the weight back on using the back-office brush. So I'm quickly going to need a yard of color. I'm going ahead with a wet on dry technique. Your because the paint is going to stay for a little time and I don't want the whole lot bedtime. Now just using the tip of the brush, holding the brush perpendicular, I'm just going to pull out some grass drops very randomly moving in different shapes and angles. And you can see the beautiful effect that this is creating. This automatically creates the effect of the same fallow and chose as into the palette there. Now, this has to be done when your background as well. So you can see on the left side, I'm uneven to achieve the glass effect vent because it began to dry quickly. And on the right side I have been even will achieve the glass effect. Perfect, neat because it was still wet and it is still back for me to keep adding a few more grass tops. Now, this, this will be very helpful for you for creating grass strokes while painting widows and even by adding smaller the beans. And it gives very beautiful look when you want the grass of the cell stone into a vacuum. And that also easily just using the tip of your brush. So the risk that you need to hold your brush perfect if you know by pulling up these glass door and use a pointed tip. And you can see the right side is terabit and hence I'm even able to pull out his troops even now. Now under this, let me show you one more thing. I'm just going to pick up the indigo color and just going to add a very light tone of the indigo color onto this. Now you can see it's kind of a glazing technique that we are using in your. Now again, using the tip of the brush, I haven't followed the Facebooks while this is still back. So this time you can see we are getting the gospels with the indigo color, the orange color of the US troops underneath are also stand there. And we can see both the brush stroke and it creates so much valence and build up the index. So this technique will also be a lot helpful for adding in the glazing technique or grass effect as well. So this was about adding the grass roots wet on wet, using the tip of your brush and add in some textures into your fiendish. Now next we will discuss about adding some stars and define Gs and the dry brush strokes. 8. Texture 4 - Adding Snow , Snowflakes and Stars: So for discussing the folder techniques, I have already created a patch of the blue color and I have let it dry completely. Now using the Payne's gray color adequately add a mountain range onto the left side and we have to wait for it to dry completely before adding the dry brush strokes onto it. And also under this top itself, I will just add a few pine trees and then show you how even be adding in those details onto the find genes. That is this no badges on to define g. So now you can see I'm going to be painting the pine G is very randomly and nothing much in media. I'm going to be using the simplifying g, the deal that we are building right now. And some of them, I'm just going to add the least cost that is not with much foliage onto them. So you can notice I'm using the very basic binary and this is how I'm going to be adding in the pyogenes. Now let's be for this to dry and then let's see how we are going to be splashing the snow. So first pledging does nor we are going to be using invite washed and using a round brush. We are just going to dab our fingers onto the tip of the brush and then you can see you get these flatted off. Notice. Now when you're weightless, plateaued at this V is going to create a mess around. So for that purpose, I'm going to eat officials around so that I don't have to clean my people again and again. If you want and find stuff, you can lose a pour-flush and splatter this task, this will give you verifying status. You can see it creates Verifying stuff and all you want, you can add both the techniques to create a balance into your snow effect. So with both the techniques that will be a lot of whites flappers on the site. So I'm going to use the shoe paper and spread it all around and keep my painting onto that and then splatter the snow so that I do not have to keep cleaning my surface again and again. Okay. And it's going to create a little mess on your hands has been. Now next, let me discuss with you how we will be adding of your snowflakes and do a few of the buildings as well. So now using a smaller sized round brush, which has a pointed tip, I'm just going to begin adding in the snowflakes. So first we are going to be adding in a plus sign, then a small cross in between this, which is going to be smaller than the plus sign. And then just add these little details onto these are lines that you have added to feed the snowflake blue. We are going to be using this to adding it into your pin things to make. You can see that we've added in this class project, this video, we're going to be adding in snowflakes in different sizes. Now next we are going to be creating some Chinese task. So for that first I'm going to pick up the white color and create a very small round. And I'm going to create it in under dim light tone, as you can see. I'm trying to blend this silicon with a backbone and it has a very light tone to it. And then we will wait for this to dry and then add the shining look to these tasks. We'll be adding into your graphene things. Then the other kind of styles that we will be adding in these small shining stars and some shooting stars as well like this. Okay, So these are the different things that we will be using it for adding in the stars and the details and who are fainting. Now these patches have died in for this time. I'm just going to mix in a little yellow with my gosh, I'm just going to add the shining look to these tasks using a yellow color. And you can see it stands out so differently. So for these, the bees DO has to be blended with the bag down so that it creates a light bloody shining effect for the backbone. Now, my opined genes have dried and we will begin adding in the snow patches on Buddhist. So for that I'm just going to be using in the white quash and using the tip of my round brush, I'm just going to add some small, small batches like this as you can see. So now you can see the fine G automatically gets a lot of detail because of this no effect. You need to wait for your binding to dry completely before adding in the snow. Otherwise, as you can see in the center, feet up I love begins to spread in. Now in the next lesson, we will discuss about the dry brush stroke and the deflections. 9. Texture 5 - Dry Brush and Reflections : Now next let's begin to learn to add some reflections. So we are going to be adding a lot of GDP is I'm just smaller branches into a bin things. So like this, see we've added a few branches and now to this we will need to add the deflections. So for adding that reflection, I'm going to keep our tissue handy with me every time. And I'm going to use the same themed color in a very light consistency. And depending on the movement and the angle of the sun, I'm going to add the reflection and quickly dab it with a clean edge of the visual. So right now I'm showing that the sunlight is falling towards the right side, and hence these deflections are moving towards the right side. You can see I add the reflection with a very light and watery tone and quickly dab it with a tissue of give it much lighter tone. Now, see this side, the reflection is moving towards the left side, so I will add that flexion towards the left. So that is the sunlight is moving towards the left side and hence the tree reflection of these genes is on the left side. Now the key here is that you need to use a clean side of your tissue and not use the DOD side. Otherwise it will create a bad image onto the reflection. So this is how we are going to be adding reflections and do API index. I hope you could understand this and make sure to use a clean side of the tissue. And also, you need to quickly debate by the distance and positive flexion. As you can see, we've been using the beans in a very watery consistency with just a little touch of the pigment. So that is how we will be adding all the deflections into the painting. Now the last thing, let's begin to understand how we are going to be adding in the dry brush strokes into a painting. So my mountain is completely dried. I have picked up some bike wash that off the excess paint issue and just using the tip of my brush, you can see I'm pulling out this triplets tube onto the people. Since the fire has a little texture, it's making my job a little easier for adding the texture. Now I'm going to pick up some fresh by cosh without adding any water to it. I'm just going to add some darker highlights. And you can see you get so much DB by just using the fellow without adding any water. So make sure when adding in the dry brush you do not add a lot of photo. We will be using this dry brush technique with different colors to add some snow-capped mountains and other details in our being done. So this is all about the techniques that I wanted to discuss with you all, which will be helpful for you all in the coming Curtius class project. I hope. And I would recommend all of you to practice all of these onto rap sheets. And let's begin painting after these class project for the one which is going to be this beautiful misty landscape for today. So let's begin painting this in the next lesson. 10. Day 1 - Misty Landscape: So before beginning with today's class project, Let's discuss some basic techniques which will be helpful for you if you are a big note with watercolors. So the first one is going to be wet-on-wet and the wet-on-dry technique. We will discuss both of these techniques and then move ahead and discuss further, are there techniques that will be helpful in creating beautiful backgrounds? So as the name suggests for the first one, it's wet on wet. That is we have a wet background and undo that. We're going to add in vet beam search smallest piece on which I applied at the input of photo. Now I'm just going to pick up any random color, and I'm just going to wet this color. I'm going to apply to a Buddhist Webpack though. So this is called wet on wet technique. It's useful when you want to pin surfaces and you'll do not want any harsh edges in between. Now as the second technique, wet on dry technique. So that is your background is dry and you'll begin with wet paint onto it directly. This is helpful when you just need to be smallest offices or adding in DBS. And all you know, it will be very difficult to paint larger surfaces or the technique wet on dry because you would begin to get sharp edges in between. So you can see, you can use both the techniques depending on the size of the people or size of the area that you are willing to paint in. Even be using both the techniques in each of our class projects. Next is a gradient wash. That is, you'll get different values of fun color, either from bottom to top or top to bottom. So I will quickly just apply water onto the surface first and then show you how to get the gradient for getting the bleeding. We are using the wet on wet technique here. So now I have the red undo that I just applied, a layer of color at the top. And now with a damping trash, I'm just pulling that color from the top to the bottom. So you can see at the top I have got the darker bones and as we move down, what's the bones have? Don't light up. So this is called a gradient wash. Now I will show you the same gradient wash from warping. Who thought the first one we did was taught to water. So for bottom to top, we will apply the color at the bottom space and then just use a clean damp brush and pulled up close to the top speeds and get ingredient. See, you can get video with two colors, three colors depending on the project that you're working on. So this is how you can achieve gradients. We are going and using this gradient technique for building mountains and skies in the coming D's class project. Even for today's class project, that is going to be the Class Project 1, where we will be painting the misty landscape we are going to be using in this technique to being these beautiful mountains. We are going to be using this technique into these class project itself. I hope you could understand all the three techniques that we discussed in the first file. That is the wet on wet, wet on dry, and the gradient washes. In the next lesson, we will further discuss how to get water control when you're working wet on wet with different colors. 11. Day 2 - Winter Sunset: Hello everyone and welcome back to D to E to D even be painting this beautiful countryside kind of words. Do we view the panelists that you need for today's class project? This beans green, Naples, yellow, black, white goulash. And you would also be needing a little thing to offer orange color as well. So today, we will first be using the technique that we learned for water control and creating the misty sky, and then add in the rest of the detail in the foreground space. So now I have my people now onto all the four edges and we will begin painting. I will first begin with a very rough pencil sketch. I will mark the distinction between the horizon line, that is the skies fees, and the rest of the foreground space. And by marking the horizon line. And then on the right side, as you saw in the beginning, we are going to be having offense space. So I will quickly roughly mark out the fence space. Then I'm going to be adding in now onto these. I'm going to be adding in fence. So the backlog, things are going to be quite small and as you reach glues or defense is going to be taller in height. So now you can see as we're moving closer, we are increasing the height of this fins. And the one-step is that the backspace Neopets summarized in life is going to be quite smaller than Hive. And we've tried to give this a little circular movement as well. Okay. I can quickly just mark very rough rest of the fence as well. Now, I'm just increasing the height, which are much more closer to us. You can see, if you want, you can directly add this widow beans instead of adding it forced with the pencil mark. Because if you remove an electron from this pencil map, the background charcoal months we've been visible as the background is going to feel quite lighter tones. Father being the mean this fence, although they are going to be having interconnections resist giving him some light pencil sketch for that as well. So that is it for the pencil sketch. Okay. I just start with a very light pencil sketch of the T as vent that we'd be adding later on with the themes directory. So I just want to apply UCLA important for both or neither my horizon line and forth to even begin painting in the sky. So now I will just keep in this masking tape under my board and keeping people tilted downwards so that the flow downwards. Okay, So I will post beginning with the shade of Naples yellow. I'm going to use my round brush and thickly applied. So before that I will just set up our luxury out on my palate. Now you need to be careful about one thing that there is no excess water. Then if you can notice on my horizon line, I have gotten a little excess water because identify people. So all the water has gathered near to double rise in length. So using a clean edge of the tissue, I'm quickly going to pick up that excess water. Now I'm just getting the thelodonts ready. A little touch of orange and more of the Naples yellow and the Payne's gray color samples for him to begin with the Naples yellow near to the horizon, right in the center of the sky space. Now just onto the top of the Naples yellow adenine, very little of the orange color. And you can see, because I have kept my default denotative, all the things are flowing downwards and blended each other in the downward direction. Now just for you to pick up things Greek or low, I'm just going to add it about the orange color. Now if you see I have when using all the follows, Inability limestone and not too dark. Now new to the horizon line, I will just pick up the excess water and dab it onto a tissue because then we are going to be adding in the grass effect into the background space. So if you remember, when we learned in the water control, we learned adamant that by dawn blurry trees and uploaded details. So that is the technique that we will be using in your, I just added a little bit more of the orange near to the beans dried. And now I'm just going to add a little more of the yellow again as well. Because remember watercolor dries adorned by token what they seem into the paper at the moment. Now just adding a little tinge of the bond CMR color as well at the top space. If you want, you can skip this step. But all of this is wet on wet that I'm adding in. Now I'm just going to pick up until after bone sienna color, I'm mixing Payne's gray. You can even mix in orange and Payne's gray color if you do not want to use the bone CNR callow. Now I'm just going to mix watercolors and almost an equal consistency. I'm going to get a medium consistency of these things. And using a smaller sized round brush, I can begin adding in the details. So as you remember in the technique also, I had told you you need to wait for a few seconds for your sheep to just settling into the space that you want to add these details and then begin adding these details. So then that way these details one spread even much and even still have that soft and blurry effect. Okay, So I just quickly dab some excess water we do is still flowing from the top side. Now using my round brush, I adequately begin adding the details here. You need to make sure that there is no excess water. So I quickly remove the excess water from my brush. And also by adding the details at the top space. I'm just going to use the tip of my brush as you can see. So you could see how in a controlled way I was able to add these details and they've got a soft edge because my paper was still wet. Now, another important thing, your voice that we get the masking tape underneath our people to keep up a tilted so that automatically the pins won't flow towards the top side and they would only give flowing towards the bottom side. So I would recommend you to keep your paper tilted as well. Now just picking up a little darker tone of what the previous two on that I have picked up. I'm just adding some darker highlights because again, as I told you what the calories will dry upload like dot. So that is it. I'm done editing the complete skies piece and this laudatory effect, if you can notice, I have added these two reasons actually that the background, yellow, orange beans read round. All the colors are still visible of the sky. You can see the yellow color being perfectly visible just near to this G life. Ok. So you got to be a little careful and make sure all the deals are visible. Now let's wait for this to dry completely. So now you can see my sky spaces completely dried and I've got the perfect effect to the piece that I wanted to add it in, the blurry effect. Now I'm going to pick up, pick up some freshwater and apply water into the rest of the bottom space to begin painting the foreground. For the foreground, we're just going to be adding very little of the eyes effect using the same colors that we used in the sky to reflect this tight space. Your then adding little dry brush with the Payne's gray color and adding the fence detail and a few tree and then the small effect. So that is all what we are left to be adding in the foreground now. So first, I'm just giving a very light wash of the Naples yellow that we used in the sky. You can see the pattern is so light and it's even lighter than the sky color. We just need a very little touch of these colors as a reflection on Buddha ISPs because of the sunset view that we have. Now in the same vein, I have just picked up a very little touch of Payne's gray and the brown color on it and just adding it from the edges, you can I have picked up the fallow in such a light consistency without any water on my brush, hence just evil to add it onto the edges and get that gradient. So in the center space trying to maintain the yellow light and from the edges just pulled out this light tone of the color and make sure that the palace have very light even compared to the skies piece. Now I'm going to quickly add in the transplant does your AUC, so as to add little more depth to this price-based that we are adding it. So with the Payne's gray and the brown color mix, just adding splatters wet on wet. So this is the paper is still wet AND gate goes into the palace plugging technique. I had taught you this technique using white color, but we can do that with any color neo to these fans speeds onto just adding little patches already wet on wet, so as to add little more debt when we add in those or, you know, thanks details needed on. So you can see how lightly I'm adding this ground column make innovative night consistency. Again, your since we are adding all of this wet on wet, you need to have the what the console against clutching a little converge at the bottom, please. And Europeans believed it feels so much depth into this. Isps that we are creating your, the reason that I'm using these colors for ICR is to reflect the sunlight onto the ice. So basically the color of the sky effects the color of the eyes as well. Okay, now, I'm just going to mix in a little more of themes three and going to add the tree that I have added in the same dose. Now, I just started a few branches with the pencil sketch. So I will pause, try and cover that up. And then I will add the rest of depth of we cleave very randomly. Now make sure that your bottom species dry so you can see, since there wasn't a duvet at the warping space, the paint is beginning to spread. So I will quickly pick up a clean brush and oh, you know, docker logs from there so that it does not spread a lot. So now ready to randomly just quickly add the branches to this G. Make sure to add the not the God Apollo branches and tribal VD the branches throughout so that it looks like an actual tree. So since my brush has appointed, you can see me, but we'll add all these details just using this one brush in this, if your brush does not have a pointer at the Big-O of branches with all of the Co, brush and then shift to a detailer brush for adding in the smaller branches. So now you can imagine the smaller branches also just using this brush and in-between, I'm just darkening these branches. So I'm done adding that gene, the center. Now I'm going to pick up this color and begin adding the fence. So I'm going to use the Scholar in a very medium consistency force. And I'm going to keep our tissue handy so that I can that and light in the background fence. It's quite a blurry background that I want to add them. So you can see I'm quickly adding boot revenge and just dabbing it quickly with a visual, just as I have shown you into the reflection technique section, how we're going to be adding the reflection thing. You ought to meet the back daunting a little glory and a little out of the side view. I'm quickly adding in these and dabbing it with the help of the tissue. Now, as I've been begin to move more towards our close up view, I'm going to darken the fence area as well. So now, while adding these fans your near to the t, I have darken the color that is amusing the ballerina little multicore consistency. And you can see you are getting one tone darker than the ones that you were using at the back end. And now as slowly as I move towards the more foreground species, that is this piece that is more closer to our view. I even begin adding this width of any dark bone of the beans Greek follower. And I won't be diving these off with that issue anymore. So I'm almost done adding all of the fences, Just last two of them are left. And then we will act of all horizontal lines as well into this fan speeds that we had added using the pencil mark. Now at the backside I'm going to add the water is on the line also in a very light tone and quickly dab it with the tissue and add the foreground space that is more inclusive. You, I'm going to add them with the darker tone just as we added the vertical lines with the Dakpo door. So for the background, you can use a more diluted form, the technique you would not want to dab it with the tissue. And for those of you that is closer to you, you can use the pons and darker consistency. So automatically it will balance the view that we are trying to add it. Now, I'm just going to pick up a little of this beans green mix. I'm just going to splatter a little of this Carlo very than the mean Neo-Orthodoxy, things that we have added in. So make sure that you add these black dots in a very controlled manner. In this, if you feel that just like Bozeman spread towards this guy's beast and make sure I propose this guy EDI vetoes off before so that these plateaus do not move towards the sky. Now I'm just adding a little of these plateaus, even into the center of the fan speeds medially near the fence. As you can see, I'm adding a fairly close to the fence and hence I'm able to control the splatter limit in peace, if you will, or use a bigger size brush, it will move towards the sky as well. So you really need to control this plateau as you begin to add them. Now just going to add very little newer to the backspace. And you can see a little bit moving into this guy's face. So I haven't. And I will just cover this piece now and quickly add this plaque does to the bottom of this spins as well. Now I'm just going to keep the tissue onto the other side and splatter and Digital of this node towards the left side as well. Make sure that even by adding the shadows, you control the water. Now I'm just going to add little of the dry brush strokes as well. So and I'm adding the dry brush strokes. You can see I'm dabbing off excess water onto the tissue before adding it onto the people. And you're just going to add very little dry brush and then just going to add small batches and do the areas. So you can see just a little up the batch in between the speed and just on a gel onto the left side that we added in. So that is it for the dry brush stroke with this color. Now I'm going to quickly shift to the whitewash and begin adding in patches of snow into this E. Okay, so we try and push all that already. It's a completely ISPs filled at the bottom. But now we're going to add some snow badging as well, trying to show some smoke elected at thesis forming some rough mountains of snow. So I'm just going to begin adding the snore baby than the mid Meiji onto the left side and very little on the right side onto the. Make sure that you pick up the white portion of editing consistency so that you'll get the A-B-C blue. And in using by decree, Let's make sure to not add any water. Otherwise, it will be very difficult to achieve the look of the acrylic beans vital for watercolors will not be able to do this grid justice to you and give you this A-B-C Look because it's going to act like watercolors and it will be transmitted making the bottom background still visible. Hence, I would recommend you all to either use by quashed, by post Apollo's all white acrylics. Now just flattening the middle of this nor make sure that you can lay down the shoes onto the edges and then please the people so that do not have to keep cleaning your table again and again. And this time I'm quickly just flushing the snore and you can see I'm splashing it so I'm a little distance. So I'm getting these plateaus of different though sheets and different sizes. Now at the bottom space, your, I'm quickly going to add a little more of the small batch, okay, and I'm just going to cover this extra dots, these here with the white color. So in these wind up being things, you can easily cover up any space with these snow patches and correct your arrows because whitewash is going to act as an opaque one onto these light watercolors. Now quickly, I'm just going to add, let's lock this nope election onto these pens very random. So in between the connection of these fancy, you can just add little patches of this white piece to deprotect know being collected onto these connection points. And that is it we are done with our painting for the two, Let's remove the masking tape and see our final painting. Make sure that you remove the masking tape at an angle from your people and be careful if the white foreigner, white elks feeds is still wet, otherwise it will begin to spread onto the edges and the fellows may get lifted onto the edges as well. So beyond this and calculate by taking off the masking tape or read for the beam thing to dry completely. So you always have been doing for the dual. I hope you guys enjoyed painting this beautiful sunset view with me today. It was a very simple one. And yet outcome. I will see you guys into the D3 tomorrow. 12. Day 3 - Red Snow house: Hello everyone and welcome back