30 Days Gouache Challenge - Aesthetic Paintings For All The Artists

1. Introduction : Do you know some people believe that you have to be born with an artistic talent to be an artist? And there are some people who feel like there's no point even in trying because they won't be satisfied with the perfect result. In fact, anyone can paint art and I think everyone should do art. Hello everyone. This is a Sultana. I'm an artist, standard dentist. I'm based in Bangalore, India. Today, I'm here to take you all to a beautiful journey where we are all going to experience like never before, very magical medium, as many artists are familiar with it as its trending. It is an opaque water based medium which acts both like watercolor as well as acrylic. Creating art is not just about the end result. There are a lot more benefits. It is more like a meditation, that's where I started painting. It is more like a meditation. Creating art leads you to identify the details and pay more attention to the environment. Creativity is just more than art. Albert Einstein once defined creativity as intelligence. Having fun, if it's been a long time expressing yourself creatively. And if you don't know how to begin, I'm here to help you. I'm super duper excited to invite you all to a beautiful beginner friendly gauche class where we get together painting 13 minute paintings. And the best part is that each of them can be painted in ten, 20 minutes. This class is specially designed for the beginners as well as intermediate artists. Even if you're using Gauche for the first time, you can join in. I'll be talking about each and every material required in detail. This will help you understand the medium and the material and get comfortable with it. And also I'll be explaining you about the techniques, how you can incorporate that into the painting. You don't have to have any particular artistic skills to get you started. You just need some patience and of course, some passion to get started. All right, let's diamond and get started. 2. About Gouache : Let's get to know about Gauche before we start off with the scores. As a beginner, you might have so many questions related to it. Coming to what is gauche? Gauche is a type of paint that is similar to water colors, but it has a thicker consistency and a more opaque finish. It is often used in illustration and design, coming to the pros and cons of gauge. The pros are its vibrant color that can really make your artwork pop coming to the opacity. It has a more opaque finish compared to water colors, and the mistakes can be corrected. The third is versatility. Gach can be used on various surfaces, including paper, canvas, and even rod. It can be applied thickly or thinned down for a more watercolor effect blend ability. Gach paints can be easily mixed and blended together, giving you the freedom to create a wide range of hues and shades coming to the drying time. It has a very quick drying time. Fragility can be more prone for smudging and damage compared to other mediums. Limited transparency cost be more expensive compared to other mediums. To the types of gas. There are two types of gosh, that is regular Gh and acrylic gosh. Regular Gh or traditional gach behaves like watercolor, whereas compared to acrylic gosh, it gives thicker consistency. It is available in tubes, pants, or even cups, but I would recommend you to go with tubes, although the tube starts to break out from the edges and create a mess. But it's good in this cup form, you can see how fast it dries and it creates a mess. Yeah. Whichever is okay with you, you can go ahead with it. But whatever you're using, make sure that you rehydrate it very well and then bring it to its consistency and then use it. Now coming to how to reactivate, gosh can be reactivated simply by adding water to the dried paint on your palette. Gradually, add small amount of water and mix it, the paint until it reaches the desired consistency. What brushes suits best for gosh? Any brush which works for watercolor and achylic, I would recommend synthetic brushes, brushes for general painting. Fat brushes for broad and larger strokes, and detailing brushes for details. Which paper is good for G? I would recommend more than 160 GSM paper. You can check it out, whichever suits for you can we use on canvas? Definitely, we can use on canvas. And but before applying it on the canvas, for we have to go with a layer of gesso on it to make it waterproof and then we have to use it. How do you see? Can be sealed using a varnish or a wax medium. I would recommend you to start as a beginner with because it is versatile and a forgiving medium that allows you to experiment and learn different techniques. Plus it is easy to clean up and have fun exploring. Yeah, these are some of the s, If you have any more questions you can go ahead and ask me. I would be happy to answer. This is how you should mix the paint. Slowly, add some amount of water, and just try to remove those chunks by adding more water and mixing it. I hope this Epics help you to know what is. Go, and let's move ahead and get to know more about it. 3. Materials Required : To create a work of art is to create the world. With that said, let me just quickly tell you about the materials required for this class. I have considered a beginner friendly products. You can always go ahead and use a better quality ones than this, or even the ones which you already have. I would recommend to use the one you already have and explore with them. Coming to the list of requirements, here I'm using a square sheet of gosh pad. You can use a paper which is more than 160 GSM as well. This is Zen Square Pad, uh, and below which I'll be sticking a board, a random board along with that, a masking tape, a cloth, a mixing palette. And now coming to the jar of water. Before that. Yeah. Now coming to the list of brushes and stationery, I'll go with the first line brush. As you can see, I have taken a thin line U brush, this is from Merlin. Along with that, a fan brush and flattened brush, which is of small size, I'm taking a palette knife. This is for the cup of, uh, to remove the paint. This is again, flattened brushes, which you are very familiar with if you have seen other videos of filberh for making flosdrushs, small one and then under brush which is like slantlyu I don't remember that name but yeah, I have no clue be using that. But yeah, these are all the supplies which I have as of now which I'll be using them. Investing in detailing brushes is very important. If you're into the detailing part along with that basic stationary pencil erase a white gel, black gel pin. I'll be also using a golden marker and a white marker. Once you have grabbed your supplies, let's move ahead with the G paint here. I'll be using Mimi Gh paint as well as Russto Gach paint. The tube and the cup jelly carton. Whichever you have, you can go ahead and use. It has its own advantage and disadvantages for the colors. I would also tell you about the ones you can alternatively use if you don't have that particular shade. Since Mima has so many colors, I have just forged it out so that it is helpful for me to grab those particular color and use it. If you're ready with the list of supplies, grab them. Let's go ahead with the painting. 4. Gouache Techniques: Hello artist. Let's learn about the Gache first. Once you have got to know what is Gh and what are the ices behind the Gh and its consistency. Now we'll look into what is the actual consistency of Gh. Along with that we'll go with the techniques which we'll use very often with. So we'll go with that. Yeah, Let's begin with this. As I've told already about the gas gauche comes in various forms, tube and cups. Before we actually use them, it gets dried very fast. You have to hydrate it and then use it. Gauche consistency is very tricky be very thick. It should neither be very thin. If it is too thick, it'll give you a dark finish. And also it might cause the brush to ruin very easily. If it is very thin, it'll look like a watercolor. The thick consistency you can use for dry brush technique, but the actual form of Gh technique is fun. We'll see how it goes. Okay, this is directly from the tube. I'm here washing my brush thoroughly because it was dry. Then I'm just applying the consistency of, gosh, look how thick it is. And it's giving you a dry brush technique. You can see how much difficulty I'm getting while getting that stroke. This is what the consistency of looks like as soon as you take it out from the tube. Now we will be adding two drops of water and making it into a thinner consistency. As you can see, as soon as I have added drop of water, two drops of water, I'm just going ahead and mixing it properly. Along with that, I'm making sure that the crystal is taking up the right consistency of paint into it. This is very essential because it will lead you to have somewhere thick, thin paint, while you're putting down that Bristol onto the paper. This is the correct consistency of ah, it is neither too thick and neither too thin. Now I'll show you the water color form. Again, I'm adding two more drops. That is four drops completely. Then I'm mixing it thoroughly. As you can see, I'm just like rotating the brush as well and then I'm directly applying it. You can see how much thin it is, you can actually feel it. If you're practicing this on the paper, just see how it looks like. Also to mention that there's so much difference in cotton paper and silos paper. Made some notes after experimenting it with the cotton paper. And sell los paper the cold pressed one cotton paper in that the color sings properly and creates a very good background. Whereas se lo paper, the paint moves but doesn't sing completely like cotton. This is where you learn the right consistency by practicing your hand, by adding or deleting dion of water into the paint. It depends on where you are and how much of water is required for hydrating the paint. If you're using the cup form, it'll take more water. Now, coming to the basic techniques used in gosh. Firstly, we'll go with the wet on dry and then wet on wet technique. In wet on dry technique, we'll wet, the brush, basically means the brush is wet and the paper is dry. So we'll be taking the Um, paint and then directly go over the paper without wetting the paper. This is how the brush is wet and paper is dry and Tony effect is completed. You can go ahead and use a consistency of gouge. I have thinned down the paint, you can go with the thicker one also. The wet Rytt technique has its own pros and cons coming to the wet. The pros, I'll tell you, wet on dry has a good vibrant color after completion of the painting. It gives you a sharper edge, whereas on wet will give you a nice blending, a softer edge. And it'll look more like a galaxy painting, which I'll show you in a few seconds. In wet, on dry, I'm just getting the right consistency of gach first and then applying it onto the paper. As you can see, it is thick, yet creamy. Now I'm just taking a flattened brush and then applying water onto the paper. Here I have a tingch of purple in it just to show how I have wetted, Since it is a white background and it won't be seen a tinge of purple. I had added, I hope you can see that in wet on wet, I've used flattened brush and layered it onto the paper. Now I'll do it again because water absorbs really fast in cotton paper than loose paper. Also, if you're doing the galaxy painting in a, just make sure the water consistency should be correct. If you haven't seen my other course, I tut you about the correct consistency of water for painting galaxies or any other stuff. As you can see, as soon as I applied the color, it started to blend and move around. And it's leaving a softer edge rather than a rough edge. This will take time to dry. It depends on where you are for paint to dry. Because sometimes it dries in a matter of a few seconds and sometimes it'll take time just because of weather in Bangalore. It depends what time, what weather is there, no one knows. Yeah, Whenever you're painting, just make sure it has completely tried and then move on with the next one. Now let's move ahead with the third and fourth technique, which is also commonly used as dry brush technique and layering technique. Now, for the dry brush technique, here I have thoroughly washed the brush. As you can see, I don't have a shiny surface when I run the brush onto the behind of my hand, that means that the brush is completely dried. I'll be just taking a few amount of pain while painting it. You can see the first consistency that is first one. Before that we'll just remove some excess water from the belly of the brush. Okay. The first layer will always be wet, so it's always recommended that you try it onto the rough sheet and then do it. So you can see I'm just rotating the brush like this. And then you can see I'm getting the dry brush effect. You can go from bottom to top as well. From top to bottom, you hardly get, but from bottom to top you'll definitely get. But the first few strokes will always be wet, but after that it'll be like thin. You can see now the wet consistency of the brush when I run behind my hand. Now coming to the layering technique here, I'll just draw one flat wash of paint. I'll be using another color to demonstrate the layering effect. Here I'll be using a rose color from Rostro that is kind of purple and pinkish mixture. Always three steps in layering, add color and then let it dry completely and then add the next layer and blend it. Blending should be as few strokes as possible, since I have just added the color and did not let it dry. Here, I want to show you that you can't really differentiate the colors, two colors. Also, one more point to remember is that celos paper, in that the underneath color will react very quickly compared to the quaton paper. Here are a few more strokes where I'm demonstrating that you can't really add a color when it is completely wet. Because it'll lead to blending of colors instead of layering it so you can see it is not completely dried, It's semi dried. The places where I'm putting the strokes right now as the places where it has dried completely. And you can see how bold it is when it is completely dried, it'll pop up really nicely. Now, coming to the blending part. Blending can be done in various techniques. It just depends on what technique you like. Here are the four techniques which I'll show you. One is with the brush itself, mixing the colors using the same brush. Here, I have added a layer of hot pink. And now from the bottom I'll go with the rose color. And you can see I have thoroughly washed my brush before going with the rose color. And then I'll be applying it from bottom to top, and then mixing it with the same brush. I'll be adding both the colors from hot pink and then moving down to rows, and then adding rows, and then going on to the hot pink. It just depends on what dominant color you require. Moving on with the second blending technique here, again, I'll add the hot pink and then a layer of rose at the bottom. The blending of these two will be by pre mixing the color in the color palette and then adding it. You can carry a single or double brush for painting it. Now coming with the third technique here, I'll be using the same blocks, that is hot pink and rose. And then mixing will be done with a flattened brush. And you can use any brush as well, just that we'll be using plain layer of water to mix those two colors. This technique is usually done for those colors where you get the muddy color mixture for those colors like yellow and blue, which forms green. Especially when doing the clouds muddy color in the sense that it creates brown color, it looks very dirty. For those type of paints you want to, if you want to mix, you can use this technique. I have left the third one just like that because I have added extra layer of photos, so I wanted it to dry. Now you can see that I'm just blending it out. And you can see the edges aren't that smooth. It is sharp, but not that sharp as well. If you want to leave a wide space in between, you can go ahead and leave while it with the clear water. If not, you can just do the thing which I did now. Now, coming to the fourth and final one, which is mostly used in G paints, I've added two layers of paint. That is two blocks of paints. Now I'll be using titanium white to mix those two colors. You can see how it transforms its whole color, obesity thickness, and everything into a C much smoother. And much vibrant and better looking painting. You just keep seeing after running the brush thoroughly from left to right and right to left a few more times and you can see how blended it looks and look at the consistency of the painting. And also the two layers have blended together properly, making it as a single color. You can do this with more than two colors as well. All the techniques, you can do it with more than two colors as well. These are the few techniques which we commonly use. And if you're looking forward for more of water color consistency and more watercolor colors, but you want it in a vibrant manner, then you can go ahead and use whatever techniques you use. For watercolors, For example, the water, just experiment with the colors and then go ahead and use them. The few techniques which we see, which we commonly use, and if you're looking forward for any other techniques and wanted in detail, you can just come in down so that I can help you out with it. Now that you know all the techniques used in, gosh, let's use this and paint beautiful paintings with it. 5. Taping down the paper: Let's prepare the paper before we start off painting it. For preparing the paper, we'll apply the tape that is masking tape onto the borders. Just look at those paintings. They have crisp borders for that. You have to use masking tape or painters tape, or even washy tape For preparing this, you have to apply the tape and you should run over the tape with the fingers just so that if there is any air tapped inside that can be released or else it might cause the paint to leak out. There are I usually prefer masking the tape onto the board has it gives a clean border and it prevents from buckling up. Buckling the paper will raise just to prevent that, you can mask the tape around. Also, it is much more comfortable while you are painting it. You can just turn it around and lift. You can do all sorts of stuff on the table. You can just rotate the board and everywhere, 360 degree. You can paint also while removing the tape. One thing to keep in mind is paint has to be dried before removing the masking tape, because it can rip off the painting along with the tape. The second thing is removed in a plant manner. If the tape is too sticky, use a header to melt the glue and then remove it. I hope this is the thing which you'll keep in mind. I won't be repeating the same thing. This step has to be followed in every painting. Quickly, fix your first piece of paper and join me in the next section. We will start off with our first painting. 6. Day 1 - Palm Trees Painting : Hello and welcome to our first painting class. For this class, the colors require as violet, black, and titanium, white. As you know, this is a very simple painting. If you're beginner, just follow the instructions and you'll get the exact copy. If you have the right materials with you for this. I'm using hemi gh paint. I'm just disposing some colors onto the mixing palette for the background. We'll be mixing violet and white and making a graded wash for the background. Following which we'll be using Filbert brush for the clouds, you can see how the C shape may made the cloud. And the last step will be the painting of silt. The silt is coconut tree using black color. Once I have disposed the colors into the mixing palette, I'll go ahead using flattened brush and painting the background. Firstly, we'll start off with the violet color, and as we proceed towards the bottom, we'll mix white into the violet and create a mixture and apply it. And that will give us a pastel shade at the bottom. You can see and follow me along. I'm just taking the paint onto the brush and completely dipping it and taking it in a gauche consistency. And you can see I'm just running the brush from left to right. Since I'm using a flattened brush, it is covering up a broader area. You can use a bigger flattened brush that will be helpful to cover most of the area at a time and make sure you cover the edges properly. If the paint is too thick, you can add some amount of water into it. Then whenever you're taking up the paint or adding any water or any other color, just make sure that you mix the paint thoroughly so that there's no left out area on the Bristol which cause texture into the paper. As you can see, I have covered most of the paper with violet color. I'll be adding some amount of violet and white into the paper here. You can see I have just directly took up some white color. And then I'm just gradually building up. That's because I know that there is a violet color left left inside the Bristol. That will help me in giving shade. If you're wondering what the Bristol is, it is basically the tip of the brush carrying paint. See running the brush from left to right and gradually building it up, down with white color, How smooth blend it has given, and how much of smoothness you can see. It doesn't have any sharp edge. Do you notice that there is complete fading of the color from top to bottom? Now, using a fill bird brush, I'm just taking some amount of white here. I have a thick form because I know the background hasn't right, completely. I'm just taking it in a thick form and just dabbing it over. Like lifting the brush and putting down onto the paper. Just like that, I'm doing. You want to go with a slow motion and follow me if you're left over behind. Then just pause the video and then you can just paint it. You can see here, I'm just dabbing it and building it up. You can use the tip of the brush or you can use the side of the brush. You can see how much texture it creates while having at the tip and at the flattened type. Also, if the brush becomes dry, it'll give you more look of the cloud. If there's too much of violet onto the cloud, you can just build it over with white. What to do if you don't have a billboard brush? Yeah, I know. Because this is a special brush and you find it at rare places. I feel because for me itself, it was very difficult to find that brush. So basically if you don't have that, you can use a round round brush and just run the brush in a round motion for making the clouds. I have further classes coming up. I mean, in this course itself where I'll show you how to make clouds using round brush. We just follow me along for this and then I'll show you in further session how to use that. Now I'm taking a small round brush, you can use a liner brush as well. And filling the Bristol with black color. Just make sure that the consistency is of wash. And then I'll just make a line. As you can see how I'm holding the brush very lightly and not pressurizing the Bristolsjt broader area and thinner area. Just light pressure. Firstly, I'm drawing the irregular lines. But Wherever I want thick. I'm just doing it where it is thin, there's thin a part, you can see the bottom part a thick, whereas the upper part is thin. Once we are done with that, we'll just put the leaves just make sure the background has dried first and then you can continue as you know go dries faster for making the leaves first you have to do the skeleton and then go over with the lines. As you can see, if you're confident with the shape, then you can just directly start painting the leaves. There's no need of doing the skeleton. The skeleton, I mean the five main lines just like a star. Do it slowly and with the help of the tip of the brush, you put there that much fine line you get. If you put more pressure, the thicker line you get just practice with that. I'm very sure that you'll get hang on if you use that for painting this structure. Once we are done with the three coconut trees, let me add some birds here. Adding birds just that we are doing it in a V shape where one line is thicker and one line, if you might notice, everything is not in V shape, some are broader, some are flat V. Wherever you want to add some details such as those trees were. I want the bottom part to be thick and top part to be thin. I want those mean structure to be seen properly there. I'm adding color. Wherever you want to add details, you can go ahead and add details. Once we're done with that, we'll remove the masking tape in a slant manner. If the tape is too sticky and it's just sticking to the paper. Just make sure that you run over the heating gun. Over it, heating gun. By which I mean the hair dryer, not too much of heat to be applied onto the paper. You can always just do the detailing wherever you require just that. You have to do the detailing before you put the varnish, because once you apply the varnish, you can't paint it again. This was a simple painting for the day and I hope you all enjoyed it. And here's a close up look. I hope you have replicated the same. I would love to see it me on Instagram. Post it in Project section, and I'll see you in the next painting. 7. Day 2 - Galaxy Painting : Hello and welcome to the D to painting. In today's painting, we are going to paint this Galaxy painting here. I'll be using my zodiac sign to paint the stars. And we'll start off this painting with wet on wet technique. As you can see, I'm just pumping out some water onto the paper and either use a spray bottle or you can just directly lift some water into the brush and directly apply. Just as we did in the technique section, we're just going to wet the paper and then evenly distribute the water onto the paper with the brush. And then just wait for a couple of seconds. You can notice how I'm running my brush, that is top to bottom as well as from left to right. Once we are ready with the paper, we'll just take some color that is here. I'm using bad blue and rose. That is pink color. You can go ahead and use any color of your choice and just put it on onto the paper. You can see I'm just randomly placing the paint with the flattened brush. The color first I applied was a mixture of ball blue and pink. Now here I'm using pink. You can see I'm just dabbing, dragging, and also giving a round motion to the brush and then painting it over onto the paper. Just make sure that whatever you're doing the paint should be in flight, watery consistency, but not to water as well. Here we are, doing wet. You know how it works. Now, I have left some space over here and there we'll fill that up. You, you can also mix some pink into that and then just apply it, but more of blue will look good with think you can see how the two colors are blending with each other. Look at those edges. They aren't so sharp. They're smooth and they're transparent. Once I fill up the panes onto the paper, this will complete our first step. You can go over it with one more layer, but just make sure that wetting the paper again will ruin the whole color. Yeah, be careful with that. Once you're done with the background, let it dry. Now, let's take some white color into the line of brush and make the consistency of white paint a bit watery, but not too watery. Too watery will lead to give bigger stars. More platters are one concentrated area. Just make sure the consistency of the star should also be in even manner. It should neither be too thin or not too thick the paint, this is how you do the plattering method. Just take brush and hit it over with your finger with another brush. If the paint is not coming, just use the liner brush step and then apply it. This completes the second step of this painting. Now coming to a biggest star. You can choose whichever silhouette or whichever you want to paint behind in front of this background. You can go with a couple silhouette, or you can go with any kind of silhouette as well. But here I'm choosing my zodiac sign. I'll be using black paint initially to just sketch out how it looks. And then I'll be using a golden marker to place the stars brightest stars. Just wait until that white color completely absorbs the paper. Absorbs into the paper. Once the paper is dried completely, we'll move on with a third step that is painting the brightest stars. Here, I'm using a line of brush again and pointing out where to put the biggest stars. As you can see how I'm putting it, whatever syllable you're doing, just have a reference image and then paint it. Draw with the pencil and then paint it over if you're not confident enough or you can just directly paint over it. Now here I'm using a golden marker. This is acrylic golden marker. I'm just putting out onto the black area, wherever it is. Yeah, that finishes our painting. Be careful with the markers because sometimes it will leak out completely. Practice onto the rough paper here. I have done it on the masking tape side of the masking tape and then I'm just painting over it. You can see there's some black lines also being shown. You can just leave it over or you can just cover it up just like that. If you don't have a golden marker, you can go ahead and use any color of the gauche paint and then use it in a gauche consistency and apply it onto the paper that will look like more boulder. I'm using golden just because that was easy for me. And here I'm adding some more golden dots, but these are very tiny dots. This was the painting of the day. That is day to painting. Let's remove the masking tape. You can see I'm removing it in a slant manner and how easy it is. One more thing is that you can lift off the painting from the table with the help of this board. This board is very essential if you want to lift it up or rotate the painting, it's very easy if you don't have such a cardboard You can also use the behind part of your notebook or the exam pad. You can see you'll find the product anywhere inside your home itself. There's no necessity to buy a separate board for it. Here are some of the paintings we'll be painting in the upcoming classes. Stay tuned and show me all projects in the project section. I would love to see them. If you have any queries, you can put out in a discussion box so that I can help you out with it. I'll see you in the day three painting. 8. Day 3 - Floral Field Painting : Hello and welcome to day three painting. Today we are going to paint this beautiful flower field. For this, the colors required is sky blue, emerald green, rose, and titanium white. You can also use Erlin blue instead of the sky blue and also pink or magenta or even crimson pink, which you can use for the flowers. And then emerald green. Instead of that, you can go with sap green or any other shade of green, whichever you have along with that white color, which is of course needed for any gosken. Here I'm disposing some of the paints. The first step for painting this will be the background. First we'll paint the blue and then the green. And then we'll add depth into the clouds by using the fill bird brush or any other brush, whichever you have, then the flaw wheels will define it more. This is the outline of the painting. Once I dispose the color, I'll see you around in the class. If you have tube format, then you can directly dispose it. If you have such a cup form, you have to remote with the knife, palette knife, brush, clean brush and then use it. Or else molds will form which will be very ritatinge. Every time you dispose a color, make sure that you wash it thoroughly and clean it and then go for another color. Because if the paint is left out and you go and remove from other paints, it'll lead to color mixture and mold formation. Once we are done disposing the color here, flattened brush, and then directly going ahead and using the sky blue and adding it onto the paper. If you have seen blue, then go ahead and mix some of it with white. And use that mixture. If you want to add white, you can go ahead and add white. And then use it. Just make sure that you're using it in a go consistency. Since the brush was also wet, it was in the go giving us transparent look. Okay. Take a thicker form and then just add it onto the paper. Once you wash the brush, try man onto the tissue or a cloth just so that the excess water gets removed for the background. You can go ahead and use such a graded wash as well. I'm doing it because down a part will be green, it'll be more of far. Look for that, I'm just adding a blue and then white at the bottom. White and blue mixture at the bottom. Here is also a graded. I hope you're following me while painting and you can see I'm running my brush from left to right and evenly spreading out the paint. There's no transparent or opaque look at any sort of place. I have shifted my brush to a round brush. I'm using white color and then some of the emerald green. You can go ahead and Sen as well. I'll just go over the background first in a U shaped manner and then I'll fill it up as told before, just mix the paint properly so that every bristol of the paint brush gets the paint and then use it onto the paper. The corners of the paper will have the highest amount of grain. At the bottom, it'll be the lowest. It'll be just like U shape. You can see how I'm doing it. Once I'm done, I'm adding more of a emerald green into that mixture. And you can see how I'm adding a stroke, just like from bottom to top line and top to bottom line. I'm leaving space also in between. And you can see it's giving me some sharp hairy look. Or you can also do this by adding a black color in the background. And then go ahead and add a green. And then light green and then light is green onto it and this will build up the color. But here I'm just using the green so that it is showing a daylight color. And there won't be any darker shade in this darker shade, by which I mean the darkest is black. I don't want that black interior. But you can also do that. I'm using the emerald green for the darker consistency or darker look. Now, once I feel this is enough as of now, I'll go ahead and build up clouds. Before making clouds, I'll be using a Pb brush. Can go ahead and use round tip brush, but make sure that you run it in a round shaped manner. But Filbert Brush has a shape, it's already giving us the cloud shape. I'll just go ahead and dab over some paint over it. And then if you want a thinner clouds, just use the tip in a 90 degree motion and then just drag it. And drag it, you can see I'm just rotating and then getting it over the clouds as well. It should be at the center of focus on the focus point is at the center, all the cloud end points will be at the center. As you can see, once I'm satisfied with the clouds, I'll go ahead with the pink color. You can use the pink and white mixture and go ahead and add the flowers. For this, I'll be using A as well. You can see I'm just drawing the random shape here. You can see it's not completely like a flower, it's just like some shapes onto which I'm adding one more petal type, just like that bottom part. Also, I'll be adding some of the flowers building depth into the flowers. I'll go ahead and use the pink and white mixture and add it over it Here I'll be adding a smaller shaped flower. Smaller flower than the original which we painted before or you can just add it at the center, just like that. Few drops of shape, we can do it in between. That's more than enough. Just keep saying how I do it. You continuously watch me and then paint it. One step also might confuse you a bit. Yeah. Make sure that you pause and then watch it and then do do it with me so that there's no confusion and you're following me. Once we are done with the floral part, let's move ahead with the grass again. Here I'm adding a white mixture with the emerald green and making it to pastel color. You can see how much pastel it has become. Now I'll be using this mixture of paint for those strokes. Again, look how much of a difference they are making. And the behind painting is giving us depth of its, building up the color as we go lighter and lighter. Now with the final line of brush, I'll go ahead and add emerald green, which is touching the bottom part of the flower and then carrying it to the bottom. You can see I'm drawing just a single line, but here and there I'm giving it a shape of C shaped, U shape. It's not in a straight line, it's like bending towards the center. You can see how I'm doing it right. Bring more details with the fine line of brush to the flower and to the flower field. Now this was it for the painting but just I felt the clouds are empty without birds. I'll be using a black El pin and then adding the birds. You can go ahead and use a black marker or even black paint. You can see how I'm doing the R S. You can also do a V shape. You can bring the variations in those two alphabets and the draw it over. This is why I don't want the grass to be black because I want everything to be in a different color and it'll look natural. Yeah, that's it for this painting. Now, we'll remove the masking tape. But before removing the masking tape, ensure that the paint has covered evenly on all four sides. If not, just cover up at the side, especially at the bottom or top or at the corners. This always happens, just make sure before removing it. Also the detailing part. Whenever you feel there's something which is not filled, you can go over and over it, but just make sure that you don't smush the bottom layer and ruin it. That's it for this painting. Let's remove the masking tape. Yeah. Again, removing the masking tape in a slant manner as you can see. Also, one more thing. Not all masking tape suits the paper. You have to just keep trying to see which paper works best for you, for that paper, which masking tape will work best for you? You can also use tap, tap here by holding in difficulty removing it. It's because two masking tapes have overlapped each other. Remove the masking tape slowly and gently. And that's it for this painting. I'll see you in the next class. Make sure you share your projects in the project section and tag me on Instagram. I would love to see them. 9. Day 4 - Ferris Wheel Painting : Hello and welcome today for painting for this painting, colors required a sky blue, pink, salmon, pink, violet, white, black, and lu. By looking at this painting, you might think it's very difficult to paint. But trust me, it's super easy. The first step to this painting is painting the background for which I'll be using the sky blue and pink and making a wash of it. Blending is quite okay, but I'm not completely blending it. I'll be adding clouds without blending it properly. Then I will add the Ferris for the wash. I'm just using the sky blue and coming from top to bottom. Whereas now I'm taking pink color Using the flattened brush itself, because it covers up large area. As you can see, I haven't wash my brush. You can go ahead and wash it properly and then use it. Or you can just like lift some pain from the cup and then just directly apply it on the paper. Or you can just thin it down into gauche consistency in the mixing palette and then use it. You can see some of the purple color is also seen. But being a dominant color, most of it will be of pink color itself. You can thin down so that at it will blend easily. The excess paint, as you can see, I'm just lifting it over and then applying it at the corners. Make sure you apply it carefully and let it cover all the edges. This pink and blue. As you can see, the pink has a pinch of purplish shade, a very tiny tinge. You can completely avoid that by directly adding the pink color in the mixing palette and then using it. If you're using a tube format, then well in good wash the brush thoroughly and then apply it. Now coming to the salmon pink, you can also use the orange color. It resembles 90% orange itself. You can use that. As I said in my first class, you can see how I'm making the clouds using a round tip brush. This is how it makes wherever the edge is there between the sky blue and pink at that particular area. I'm doing this step, adding clouds, you can just go in a random shape, but just make sure that the brush is rotating. It has a rounder motion at the edges. It's going like a thin. At the center, it is thick. Now, using the violet color, you can go with purple color as well. The mixture of orange and purple is giving a muddy shade. So make sure you take the fresh purple as you can see. If that muddy shades on your background, it's looking pretty, then you can go ahead and use no problem in that. But if it is looking too muddy, then it's better that you use a fresh purple color, wash the brush, and then use it. As you can see, the borders which was there in the background between the blue and the pink has slowly faded away. Now using the lemon yellow, I'll be adding more depth into the clouds and also adding some more clouds. You can use the lemon yellow directly or you can mix it with white and then use it Orange and yellow will give like super awesome combination on the senter. We'll go ahead and add some more clouds at the cloud. You can use any other color mixture as well, pink or orange or yellow. You have slidly faded away With the brush itself, you can just fade the cloud. But we'll add some more color onto it so that there's depth in it later on. Now, we'll go ahead and do the Ferris wheel once the background is drying as you can see. I'm just drawing shape two shapes. Do this step slowly and have a reference image. There is one C which is intercross in the other one. And then a stand at the center of ulta V or you could say an E shape at which the centers meet, a triangular shape at which the apex is the center of the ferrous. Once we are done with that, we'll go ahead and add colors onto the Ferris wheel. For this, I'll be using the salmon, pink or orange. And then going ahead and adding the shapes with the paint. You can use a thin liner brush for this step. Investing in line up brushes is very essential. If you're up into the detailed part, then definitely you have to go with it. It is very helpful as you can see. It's super easy and it'll not give you a stroke that is too wide. Now using the black color, I'll go ahead and paint that triangle shape, the center, and then draw the line. Now using the orange and black mixture, I'll go ahead and define the fells wheel and also the inner part of fells wheel. As you can see, I'm just drawing the outline and then I'm painting it. I'm painting the outline. And then also be adding some more lines at the center just like the wheel cycle. Now, for the cabins, you can go ahead and use a brown color shade, this is completely optional. Or you can use the orange, black shade, which will give you the same color. You can use that or the color. And then go ahead and add cabins. As you can see, I don't know what it is called but I'll go ahead and call cabin Okay. You can just add randomly but make sure you add it in after leaving a few spaces and keeping the perspective in mind and also the shape size has to be according to the perspective. That is an will go ahead and define those with black color. You can use a marker for this. Or if you have a line of brush and you have a hang on with that and you're comfortable to use, you can go ahead and use that. You can use lemon ello for the center or white color for the cabins. I'll mix some lemon ello and orange and then go again add the you'll see the brown was of no use just for the background purpose to highlight it now the cabins are looking much more brighter. As I said before, you can go ahead and use lemon lo with titanium white and this will give you a brighter cloud. Or you can use it at the starting, I mean at the center of the cloud. Or you can use it for highlighting purpose as well. Highlighting is better be, it'll give you much brighter look. As you can see, it makes a different shade and it defines like super awesome clouds. You can add some more clouds. Obviously details are different, some of them are happy with it, and some of them require more details. You can concentrate on whatever you like and then go ahead and paint. I think this is enough for this painting in just that I want to add some more white color highlights, which I'll add over the cabin here. I'll be defining the stand that is strangled. Just that I'm doing this black color outline on the center part of far Sheel. Now using the Uniball paint, white color, I'll go ahead and add some highlight onto the center of the ferry wheel and also onto the cabins, just few lights. If you want to avoid this step, you can completely avoid instead of marker, you can also use the paint, brush paint. Just remove the masking tape. I hope you have followed me along with it. And when you're done with the painting, if you are ready to show up, then go ahead and post your painting in the project section. Even if it is in progress, go ahead and post. I would love to see them. If you have any related doubts, go ahead and post it in the discussion box so that I can help you out. You can tag me on Instagram and post it on your stories. I'll see you in the next painting. 10. Day 5 - Waterfall Painting : And welcome to Defy Painting. For this painting, we are going to paint this amazing waterfalls, the colors required as acid, blue, black board blue, titanium white, and emerald green. Firstly, we'll fill up the spaces and then we'll go ahead and in details for the sketch, you can pause the video and go ahead and cop it. It's very simple. You in your sketch tab and also your undisposing the colors. Once you have drawn and ready to paint, we'll start off with the flattened brush and you're disposing some white. White is very essential color which is required every time and everywhere, especially in painting a flattened brush. And go ahead and fill out those places. Firstly, I'll start off with the acid glue. I'm mixing the paint with some water, And here I'm filling every paint onto every Bristol of the paint brush. See how much of paint I have carried out and who of the Bristols are carrying it. Now, I'll start off with the top part of the paper. Flat brush helps a broader area. As you can see in just two strokes, how much of the area is covered. And it's almost fill up the sky by now. Just give it a very good stroke from left to right and right to left so that it is thick enough and consistency. Now moving on with ball blue, the same thing I'll be doing for the down part. I'll be filling out those spaces as well. Those spaces by which I mean extra tiny, little one area, you can see there's some transparency which you can fill it out. Again, just gone with the first stroke where it's in transparent consistency. Now you can go ahead and use the ph consistency and fill it up. There's always a color block method where you block all the colors, which color comes and then go ahead and add details and the second layer, third layer, and finally the details. That will be like that requires a lot of patients. Here, I have tried to depict stuff like that by color blocking the Ana. Again, I have color block the ana with this one black color here, leaving the middle space. I'll go ahead and cover up everything else with black color. It's so easy with flattened brush, as you can see, infraction of minutes, it's covered up here. I have left white area, that's for the waterfalls. I'm adding shape with the Bristol, if you might notice, on the top apart. I'll add the stone area with the same paint which we have drawn earlier. Look at that. I'm just taking from left to right and just going in a baby Maggie motion. But you're giving a shape. Just shaking my hand and it's already giving a shape now using a round brush. I'll go ahead and take some might for the clouds here. You can go ahead using the dry brush stroke. Or as you can see, I'm trying to make a dry brush stroke by dragging the brush where the brush is completely dry. Paint is not that we now I'm adding a bit of water into that carrying the dry brush effect. So once you're done with that, will go ahead and some white and had some light onto the cloud. I'm removing the excess water from the brush and then just going from top to water so that I can drag on some of the glue from the sky and come down. You can see at the top, I'm just trying to blend it with black as well, but not too much. You should remember that the brush is dry and the paint is also dry. Then I'm going ahead for the water. I started for a rough motion from left to right. I'm not adding white everywhere since it's dry. It's already giving me texture. And the paper is also cold pressed and it's giving texture, plus the dry brush effect is giving texture. Once we're done with white, we'll go ahead and paint the mantels with the emerald green using the round brush. I'll go ahead and take some emerald green. You can also take emerald green and white mixture. I'll just be adding random shapes just like dotted type where I'll be adding condensed one at the top and towards the waterfall area as we go far and below. I'm just leaving gap between each tort. I'm just dabbing it, you can see how it is happening. It's giving life to the painting some more. Emily Green onto the stony part of the area, also emerald and white. It, using the dress stroke, we can just go from top to bottom and bottom to top. If you don't know how to use, then just use dabbing motion. I would recommend that you create texture, how much ever you create texture, that will be so much good. And look at those area, it looks so much heavenly. Who? Painting is based on the dry brush effect, if you might notice everywhere it's used. Now, coming to the detail using the line of brush, when below the stony area in the water and some in the waterfall as well. Look how beautiful it's turning up. When I'm dragging the brush from left to right, it's giving so much of a dry brush effect and it looks so real. The waves in the water. Yeah, that's it for the sizing painting. I hope you all have painted beautifully and I would love to see them just posted on the project section. I'd be happy to see it. I want the masking carefully and I'll see the gloves. 11. Day 6 - Boardwalk and Cabin Painting Near Beach: Hello and welcome to D Six Painting. For this boardwalk painting, we are going to use acid blue, cobol blue, burn, siena violet rose, titanium white, black and lemon ello for the alternative colors. You can see the caption for this. We are just going to sketch out your stuff and then we'll go ahead and paint. You can follow me up, you can just have a reference image of your own or you can just directly paint and then row and then go ahead. Detailing part, you can completely avoid sketching if you're confident enough. Here I'm using two colors for the background. One is acid blue and other is cobald blue. You can use serulin blue instead of acid blue. It looks similar using the flattened brush. As you can see, I'm using the left to right stroke, right to left stroke, and covering up the edges, having smooth blend with each layer. Once we are done with sky blue or acid blue or Erlin blue, we'll go ahead with the cobalt blue. You can use ultramarine blue as well for the water instead of bald blue. So you can see I have taken more than half of the page for bald blue and a tiny bit of the acid blue is seen now for the boardwalk I'm and brown mixture. First, let's go with brownish mixture using the same flattened brush. I'll go ahead and do such a way the background is still wet, that's why it's giving a mix shade of blue and brown. Once it is dried, you can go ahead and add brown color. Just like how I'm doing. I'm just letting that settle down and absorbed into the paper. Now I'll add brown color, which is purely brown. Try to avoid as many strokes as possible if you're doing layering on top of one other color. Because it will tend to blend the under layer and give you a mixture of it even when it is dried. Just like how we did clouds in the Ferris Wheel painting. We'll go ahead and add the clouds using a small round brush. As you can see, I'm just going in a random direction with a thick at the edges, a thin stroke. And you can see it does not like proper cloud. It has its own shape. You can see I'm just going in a round shape manner, as well as dabbing it. This was a rost pink color. Now, I'll go ahead and use purple color and then add shadows into the cloud. You can use the same roasting color with a thick consistency and add shadows as well. I'm adding the violet or purple color at a certain area. I'm not going to cover up all the surface which is covered with pink and there just that much and adding extra clouds. As you can see, it's very easy to paint clouds. It's just that you are passionate enough to scribble on the paper. It's really that much easy. Now for the cabin, I'll go with black paint and using a round tip brush here, I have a sharp tip on the round brush, so I'm using that. You could go with a fine liner brush as well or a marker and paint it as seeing a cabin. I did not have a reference image and I painted whatever was in my mind. And you can see how it has come. It has come a bit cross, but definitely it looks so lovely. You can go ahead and have a reference image and paint the cabin. I have also added black on the boardwalk. Now let's add depth into the board work here. I'm using brown and titanium white mixture. And to create this part will be lighter and the card will be darker, or you can do vice versa. Does that make sure wherever the light is there, it is light color? And wherever there is duck, that is nighttime, which is D, there'll be darker color shaped. I hope you're getting my point now. Using Lemonello will go ahead and add lights over the cabin and on the boardwalk as well here. And then I'm just adding some. For lines. And then adding some lines onto the boardwalk when it is at. Now, with titanium white, I'll highlight the lights, which is yellow color. Make it bolder and bright. Now using the same white color, I'll go ahead and add white onto the boardwalk only at one single direction using the dry brush effect. We'll go ahead and add waves just like that, with white color going left to right hand within line. Let's define the cabin and boardwalk. The mountains are made with bosa and white mixture onto which we'll add some light white. Making the light more bright can add red color as well on those lights. It's an optional color you don't have in just you can condense the light like or you can just put it far away. Yeah, let's remove the masking tape. That's it for this painting, I hope you all enjoy it. I would love to see your creation of this painting and do posted here in the project section. If there is any detail, go ahead and add them. As you can see, not every masking tape suits the paper here. Got, just be careful you find the actual color of board box brown. So you're amusing bonsino to add it in. It's an optional step. You can go ahead and add or just leave it like that. I hope you enjoyed this painting. I'll see you in the next painting. Until then, keep painting, keep creating. 12. Day 7 - Moonlight Painting : Hello and welcome to day seven of this moonlight painting. It's very simple and elegant to paint. The colors required is Persian blue, titanium, white, and black. It's very simple, just that we'll go with graded wash of Persian blue mixed with white. And then add some pine trees. And of course, at the end, moon and stars, we'll start off with a flattened brush and we'll go ahead and use some tiny bit of black if you require a darker shade at the top. And then as you come down, you can by using Persian blue, then portion blue with white and then white. I'm using Persian blue, a bit of black. And then I'll go ahead and add directly Persian blue. Then Persian blue mixed with a bit of white and make a graded wash. As you can see, I'm doing it slowly, gauche painting in a gauche consistency. Running the brush from left to right and giving it an even stroke. Every time I'm taking a new paint, I'm just dipping it in water. Dipping the brush into the water, that's because I want the color to be fresh and let it be transparent. But then the second top layer should be a thicker gah consistency. You can see how it's blending smoothly and here you can see how I'm making the graded wash. Sometimes the tube form will be very dry. It's necessary that you use water every now and then. Once I have added the colors onto the paper, I'm just blending each stroke running from left to right. And you can see I'm just going in one unit direction. One direction. If it is too transparent, then you can go ahead and add one more layer on it. Look now how it's transforming the lines in between have vanished away. Make sure that you cover up the edges. That's very important. One more thing to notice is that it has completely given a proper graded wash by running the brush from one direction. Now, once we're done with the background will move ahead and paint pine trees. One thing to remember that pine trees are in triangular shape, the apex being the tip of the tree and the down part that's broader area will be the bottom of the tree. I'm doing it in different sizes, Middle being the smallest and the corners being the longest. Now as I said, it's in triangular shape. The branches will also spread out like that, The T being having small branches, whereas while coming down it becomes B. And B. You just have to notice that first and then go ahead and pain, sometimes it's confusing. I'm just dragging and giving an uneven edge at the corners. Look at those edges. They have some thin line and thick line and also there's so much unevenness, You can notice this one as well. And then go ahead and practice and then paint. You can just draw lines as well, but I would recommend that you just press down the brush and drag it to the left or right side, and then paint it. When you drag it to the corner, just lift it up so that it has a beak like shape. For that, you have to do it multiple times. Or you can use this technique just doing the outer borders and then filling it up with black. This is pretty much easy, I believe. You can follow that one leaving a bit of follow spaces in between, have patients and paint it slowly. Here I'm using two to three techniques. I'll zoom in so that you can see these are the few techniques used to paint pine trees. If you have enrolled into my Winter Elements class, then you would know how to paint pine tree and there are so many other ways how to paint a pine trees, which is clearly explained in detail in that class. It's on Skillshare and dome. You can check it out. I was telling you about the beak shape. You can see this is what I was speaking about, drag on the brush, but as you appear to the corner, just lift it off. Also there's unevenness created. Here, I have explained three techniques. Basically, one is filling out in the center by creating unevenness at the edges. The second one is creating lines in the branches, as you can see that center pine tree. And the third one is that beak form of painting. Now let's add the moon. I'm adding white color, it's like directly from the tube. You can go ahead and do this when the background is completely dry. Here I'm using a Mob brush, this is optional. You can just take a tissue paper or even your finger and just dab it on and spread it bicircular motion around that painted area so that you get a blurred, blurred painting on top of it. You can add some more white color so that it looks like the moon is glowing. This one will be smaller than the background, one smaller circle than the background one. Once we are done with that, let's add stars Here, I'm using the tip of the brush for making the stars. You can go ahead and use a marker. Also, you can paint a shooting star. It's just that you have to drag a line. It'll be a diagonal line. Yeah, that's it. Let's remove the masking tape. Be gentle and make sure the paint has dried completely before you remove it. As you can see in all of my paintings, I'm just removing my masking tape in a slanted manner. That's because I don't want it to tear the paper. You to go ahead and do this slowly and gently. I hope you enjoyed this very simple class and I hope you had fun by painting this. I would love to see your paintings as well. Do share it in the project section. I'd love to comment on it. Thank you for joining. I'll see you in the next ing. 13. Day 8 - Hot Air Balloon Painting : Hello and welcome to our day 830 Days Painting Challenge. Today we are going to paint this hate balloon. The colors required is purple, rose, yellow, T, violet, rose, deep yellow and black. If you don't have so and so colors, then you can use the alternative colors. You can go with pastel pink or hot pink mixed with white, titanium white mixed with a tine of Flemonello purple rose. Dello. For making this beautiful aesthetic painting, all you have to do is make the background first and then we'll go on adding the clouds and then we'll just draw of the hot air balloon. And then that's it. We'll paint that off. Let's move ahead and do that here. I wasn't ready with the paper tape down. You can see I'm doing it, you can follow me along. Or if you have already taped it down, you can just skip this part. Always make sure that whenever we are putting the masking tape, it is parallel to each other. It does not cross because it look ugly at the end. So it's better always that you look for parallelism and then do it. Let's begin our painting here I'll be using a flattened brush and then I'll go ahead with the purple rose color. Purple rose is basically light pink pastel pink. You can go on by making your own by mixing the hot pink with a tiny bit of titanium white. Here I'm taking it from the jelly cup from Hemimia, then adding it onto the paper. We can just mix it on the palette and then get it onto the paper. Since the wash pants are dry in the cup, it's always better to mix it in the mixing palette and then add it onto the paper. Look how smoothly it's coming. Once we add water for this yellow teeth color, it's very light sunny shade, so you can just use the titanium white and very, very, very little bit of lemon yellow you can add, and then you can use that if you don't have that color. Once I've added both the colors, it's time to blend them. I'll be using the same color, that is yellow teeth color. And then blend those two colors by which the upper color will change its shade. But it's all right because it looks so beautiful. Both the colors are in pastel form and it's looking super awesome. As we learned in the blending technique that color to color blending is also possible. We are trying to achieve that kind of blending over here. Here for making the pastel shade of purple. I'm using for ball blue mixed with purple rose and a tench of rose color that is pink color, which is bright. And then I'll be using the shade for making cloud here. I've made my own form of purple shade. As you can see, how I mix those two colors make the third color the purple or violet color. It is pastel form. You can go ahead and mix violet or purple color with titanium white and then use it. You can see I'm just dabbing it. And then dragging the brush towards the right side, giving the bulk at the center. And then as we come to the edges is just living it off by thin line. This is how I'm making clouds. Using the smallest round brush, you can add as many clouds as you want, or you can also use a dry brush technique to paint this. I would recommend this method because it'll give you a much defined cloud. The second step is also done that is painting clouds. Now coming to the third step, that is drawing the hot air balloon and then painting it here. I'm drawing a rough shape and then I'll give the edges in some definition. You can have your own reference image or you can just see mine and paint it. Before we actually paint, I'll just tell you about it. I have made some lines in between the outline of the hot air balloon using the deep yellow and rose color. That is bright pink color, I'll go ahead and alternatively paint in a strip fashion. And then using the black color, I'll go ahead and define those indentations. Also, I'll add some hot air balloons behind having different sizes. You can skip those behind hot air balloons. But I'll go ahead and paint. You can follow along. Now that you know how I'm going to paint, you can just follow and paint. Take your time. Be patient and use a fine line up brush. I'm using liner brush for this step because I don't want things to mix that up. On the first layer, you can see how much transparent it's looking. It's okay, but when you do the second layer, it'll look more opaque in nature, so don't worry about the first layer. And add too much of paint at the starting itself. Let the first layer dry, and then you go ahead adding the second layer that will define much more. This is how it looks right now. We'll go ahead and add the second layer, the hot air balloon. And cover up those clouds which is seen from behind. Do this slowly so that the colors don't smudge and mix with each other. You can just blend at the bottom part, but not at the top. Let it be defining at the top, but at the bottom, you can just blend all the colors. Isn't it looking so gorgeous? That's it for this painting. I hope you enjoyed this painting. If you have any queries, you can just put your question in the discussion box so that I can get to know what is your problem and help you solve it. I'll be very happy to answer them. Just don't think that I'll them. I'll definitely answer your questions. Let's remove them. Masking tape. Remove it in a slant manner and let the paint dry completely and then do it. Sometimes the masking tape will rip off the paper. Sometimes the masking tape will tear just like this. It's because the paper is not ready to leave the masking tape yet and it's too sticky to do that. I'm just removing it carefully. You can do this this way, or you can use a hair dryer and then melt the glue and then remove it. Thank you for joining in. I'll see you in the next painting. 14. Day 9 - Aerial View Of Beach Painting : Hello and welcome to day nine of 30 Days Challenge. Hope you're enjoying this painting. For this painting, we are going to paint this beautiful scenery. For this, we'll be using ball blue, titanium white, burna, burnt umber. If you're looking for alternative colors, you can go with lin blue, ultramarine blue, and a ball blue is found everywhere. I just do not help to alternative color. But if you feel you want some, then you can go ahead with using that. I'm using the paint brush and painting it in a plant plano by adding the cobol blue directly onto the paper. Using flattened brush, you're using some drops of water. I'm just blending all the paint and making it in, in the paper itself. As I'm coming from top to bottom, that is from left to right, the transparency of color is fading away and it's become transparent. The opacity to transparent is forming. And you can see there are rough edges formed with the brush. We'll just even it out. Once we have covered half the page, we'll go ahead by using some white. We can mix white directly onto the paper, but I'm mixing it thoroughly in the bus and covering all the bristols of the brush. And then just layering it down from right to the top that is left. Add some more white and try to make it like, as smooth blend as possible. Now thoroughly after washing the brush, I'll go with burn sienna. Every time you're using the next color, it's better to wash on properly removing the paint from every Bristol. Then dabbing it out onto the tissue or cotton cloth to remove excess water. I'm taking the burn sienna. Since it and the paint is Dr, I'll go ahead and thin it down on the palette. If you directly apply this, it'll require a lot of water to thin down on paper. The paper will start absorbing again and again. The texture of the paper and the thickness will reduce the paper quality will go bad. It's better that you do it onto the palette. If there are types like too dry will cause such bad effect. If it is not too dry, then you can directly mix it onto the paper. It just depends. See, you can see the blue and brown mixture is giving a different shade, but that shade is also necessary. You can use white and then just mix it up. But that shade is also necessary for painting. Sometimes, especially during the waves near the edge of the beach. Let me just cover up the both Siena properly and as you can see I'm just blending it over. First layer is transparent so second layer is thick cover the edges. Now I'll be shifting my brush to a round tip liner brush, which is thin brush and it has a round Bristol. And I'll be using white color. And in between the blue and brown, there's a line form which I'll give a wavy shape. So I'll just lift some color onto the Bristol. Here I'm rotating and lifting out paint onto the brush. This is called loading of the brush, and every Bristol has been loaded with the paint fence and here and dabbing and I'm not giving a straight line, I'm just going from up and down and deep and somewhere high somewhere it is thick and somewhere it is thin. It's just random, just stop to define that edge with waves. As we learn the dry brush technique before in the technique section we'll be using that method and painting the waves. As you can see, I'm just adding some white color. And then slowly I'll start lifting my brush from bottom to top. That's giving me a dragging motion. And also, once it's getting dry, it will start showing the dry brush effect. Just keep doing The initial first step after loading the brush is to use a paper and do it. And then the dry brush effect starts appearing, then you have to paint it. I'm just using those initial steps onto painting that line, particular line. Then I'm just starting off with the dry brush method. As you can see, I'm doing waves. The blue is also blending, which is good somewhere. The blue also should be seen because after all it's water, you can add some more white if it is too much of blue. And then do the dry brush effect. You can go with any direction, but just make sure that you're following one particular direction for the waves and you can the brush and try whichever method is suitable for you from bottom to top or top to bottom or from sides, anything. If you think there is too much of blue and require white, you can go ahead and add some of white onto that particular area, but don't make it too wide. Now we'll cover up the transparent area, which is seen on the brown color part using one more layer of burn sienna. It's always good to cover that up if you want some texture then you have to add whole stuff onto the paper. Here. I'm using some white with, mixed with the burn sienna. And then adding it for depth into the painting. Adding some more white onto the burn for painting a hard shape. And you can see, firstly, I'm just painting the arrow shape, heart shape, specially with the lightest color. And then we'll add some depth into this painting shape. You could say by making it more lighter, and lighter, and lighter, I'm taking some more white. You can see the difference between the left one and right one pastel compared to the previous one. Then we'll be using the shade and we'll be painting it over it. You can create depth in this by making the background layer that is hard shape, the first layer a bit thicker and then the second layer thinner, and then the third layer even more thinner. Since the shape is achieved, I'll go with dabbing motion, covering the whole painting of heart shape with such a textured effect the painting is almost achieved. But it's time for shadows in between the blue and brown that is burnt sienna. We'll go ahead and give a shadow. You can give that shadow to the heart shape as well, but I would recommend the. Burn. I'm taking burnt umber tiny bit, and then I'll just mix it up and load it with the brush. Load it into the brush with a little bit of water. I'll add some more burnt umber because it's too thin. You can add some white color to make it even heavier, part of pain. Have you ever noticed that while thinning down the paint, the paint becomes too light and transparent? But when you mix the same paint with a white color, it makes it like heavy feeling. And the color will also be like super awesome light shade, pastel shade without transparency. Here I'm adding bone tumber using the same round tip brush under the white color. Once the shadow is done, we'll go and add some white to the highlighting part. I use white for the waves. As you can see, the waves have become lighter. We'll go ahead and use white. I'm using dabbing motion the waves, especially at the edge of blue and brown here, I'm giving it a shape as well. We are finally done with our painting after highlighting the main area of that is waves, heart shape, and everything. Just make sure that you check every corner and every side that the paint has covered. And then we'll remove the masking tape. So you can see I'm just lifting the cardboard and then removing the masking tape. This is it's easy. It's easy basically just because I'm doing in such a way because I don't want the camera to shake and ruin the whole footage. Once I have removed the masking tape, I can see there is leakage of paint into the area. White area which will cover up this white paint. White marker. Sometimes white marker will be a failure because what type of a marker is also important? Okay, here I tried this white marker, but it almost ruined it. You can see we have to just press it down so that the white thing comes out. And then I'll go ahead and paint over the brown area. This is when the paint has finally reached the tip and you can see it's spreading rather than covering. I'll just go ahead with white paint using a round tip brush. White acrylic also works fabulous. But not white watercolor paint. It's better to use Bosch or acrylics for this type of issue. This is it for this painting. I hope you all enjoyed it. Share your paintings in the project section. If you have any queries, put your questions in the description box below. I would be happy to help you out. I'll see you in the next painting. 15. Day 10 - Power line Painting : Hello and welcome to day ten of 30 Days Squash Painting. Today we'll be painting the par line painting. The colors require a elin blue, titanium, white, and black. There's no need for alternative colors. If you all cannot find in blue, then you can go with any sort of color. Let it be pink, let it be orange color, but let it be in light colors. Not that brown or maroon. That won't look good. I've taken lin blue, which was a bit chunky. I'm just making it into a gauche consistency. And then we'll be applying this onto the paper with flattened brush, upon which we'll make clouds. Then the power lines, you can go with the salute which is here. I have drawn thicker power lines. You can go with thinner power lines as well, and small houses which will give you far below. Sometimes you have to paint it in perspective paintings because that will give you more realistic and more beautiful way of looking at the painting. As you can see, flattened brush helps us so much in spreading the colors. Within seconds you can see how far the paper has been covered will spread it evenly and cover up the edges and also the places where it hasn't covered. The left to right stroke and then top to bottom stroke help a lot in spreading the evenly onto the paper. I hope you're painting along with me and let me know if you have anything to tell about this painting series, if you're liking it or not. Also, let me know any sort of questions if you have related to this painting. Also share your project in the project section, I'll be happy to help you out. I would be happy to see your paintings after running the brush from left to right, right to left, top to bottom, bottom to top. Finally, I feel the papers covered with blue. So let me just stop here and then let it dry. Now, we'll go with clouds. Once we're done with this, I'm using a round brush and we'll be using titanium white for painting cloud your I'll just then down the paint and also load the paint into the brush With every Bristol covered with white paint, we'll be making clouds when the paint is half dried. Let's just wait for a couple of minutes more. As gach dries faster, you never know when it is completely dried. So you have to check it. I'm checking it on the masking tape. Some part of clouds require blue, so I'll just go ahead when it is semi dry, you can do this step when it's completely dry. I'm going from left to right stroke with round motion, the cloud will be than broadest at the center and as we go to the edges, it will be thinner and thinner. Do this step very slowly so that you can enjoy. And simultaneously you can feel the paint running onto the paper. And the rush, putting down the white color and dragging some of the blue into it. Once we're done with the cloud, we'll move ahead with the silhouette painting, that is pole painting it, upon which we'll add one more layer of, but it has to be dried completely. For that step here I'm using black. With the same brush, I'll just load the brush with black color in such a way that it's in G consistency or in a thicker form. Because whenever you prove a silhouette or paint a silutte, you should never use thinner paint. That is in Motclor consistency, that's unevenness. And always remember whichever consistency you're using for Silhouette, that has to be maintained from the start to the end. I better recommend that you go for Pak form so that there's no transparency in the middle of the painting and there's no patches form here. I'm taking it with the knife palette and I'll be using water to thin down and then I'll be using that paint, the one which I loaded before I felt it's two or three, I will not use that. We'll be using this particular thing and we'll go ahead and making the power lines here. You can do a thinner power line or a thicker one. It depends on you I painter or thicker one because I felt that the buildings are more closer to me according to perspective. It has to be bigger and bigger. If it is far skyline type of view, then you can go ahead with the thinner one. You have to basically design your painting before you even start because at least you have to keep certain things in mind. This thing will come after this and this thing will come after this so that you can put that into the painting and look beautiful. Kain, always remember when whatever your painting have a reference image or at least see the picture, how it looks so that you know how it will come out. The outcome of it should be similar to this. That will help you out in achieving the painting which you're looking forward here. I've just tilted the paper and then applied it. This is the most helpful stuff of the cardboard. You can use masking tape. And you can put the before side and the after side of the paint. Like you see the center of the paint I'm just putting right. You can put a masking tape on the left as well as on the right. So that you can paint the it and then remove the masking tape. That will be also helpful in painting lines. But the only thing is, if the masking tape is not adhered to the paper, proper leak out and the background will be ruined, whichever is comfortable for you, you can go ahead with that. Since we are using lining brush, it is most useful thing for painting the lines, especially if you want to practice any particular thing with the brush. How to hold all, you can just go ahead with drawing or painting lines. I have actually practiced this method and almost painting hundreds of lines and then I have got hang on with this brush. You can try that if you're not used to. If you're only markers, I forgot to tell you can use markers for this particular step. You can use black color or red color or whichever color you require. Just see to it that the background and that matches. Also, sylhaettes are usually in black color. It's not necessary that it has to be in black color, but most of it is in black color. We are done with the power line and the houses and buildings. Now we'll go on with the wires. And drawing thin line. As you can see, two lines are enough. If you were looking for more, then you can go ahead and paint or draw more than that. And along with this, I'll be adding some, um, birds. Once we are done with this, we'll go ahead and add the detailing to the clouds as well. Just look ahead how I'm doing it and then you can do it. You can first do the clouds completely and then come to the step because I'm like too eager to paint it and finish it off. I'll be, I have done such a thing. You can just wait for a couple of more minutes and then let the background dry and do the clouds and then come to the step. Now I'm drawing the birds as you can see, it's just a tiny ditch at the bottom and then you're taking it away, like you're just pressing down the brush towards the bottom and then lifting it off. It's very easy to paint the birds just like how we did during our childhood time. We shape our shape such a stark. We'll be using a line up brush again for the clouds. Here I've changed the line up brush. You can use the same brush as well, but wash it thoroughly because it will give the black shade if there is any. As you can see, I'm going from left to right with dry brush strokes, you can go dry brush strokes or just like that as well. I'm adding textures cloud as well just to depict that there's some part of cloud which is remaining outside the cloud which we usually see in the normal clouds as well sometimes. Let's finish off the details before we remove the masking tape wherever the white algol and use a blacker paint and covered up and also the lines. If it is too white then you can go ahead and paint over it. Make sure that you have painted the edges and corners properly before removing the masking tape. And then mas okay, if there is any detail, let do it. Cost. As I said before, it's all about perspective paintings. If it is near, then you have to do it as if it is bulkier. The buildings, the power lines, and everything. If it is too far, then you have to do it in a thin manner. This was it. I'll see you in the next painting. 16. Day 11 - Lantern Painting : Hello and welcome to Day 11 of 30 day course challenge. Today we'll be painting this beautiful night scenery where lanterns are lit up in the sky. For this, the colors required by Persian blue, black, titanium, white, orange, and medallion. I have here drawn certain lanterns. You can just copy the same or you can just go ahead and apply anywhere in the paper and draw it. You can use any shape here I use the rectangular one. Which common lantern? You can go ahead and use the oval shape or shape. Also have done 123456 lanterns. You can do it as many as you want, but just make sure that they have tilted and some are small and some are large. Such time we'll be painting, painting by negative painting, that we'll be leaving the space for the lantern and then we'll go and cover up the background and then we'll add the mountain and then we'll go detailing part. Okay, I hope you have understood this much here. I've taken portion blue, which I'll add some black into it. If you want to make any sort of night scenery or night painting, it's better that you go with black, portion blue and then portion blue. And if it is the light area lit up area, then you can go ahead and use portion blue with white here. I've started off with portion blue and black, but at the right corner part, I'll go ahead and use the portion blue and white. It is much more lit up there using the surrounded brush. I'll go ahead and do the negative painting. You're learning so many techniques. The techniques which I guess you haven't known by now, you're learning so much. Let me know. How do you feel about this new new techniques. Also, let me know how this session is going on and are you painting along with me? Post the projects in the project section so that I can see your paintings and will be proud and motivated to create some more tutorials for you guys. Once they have outlined this using round brush, I'll go ahead and mix the portion blue with black and cover up the remaining space with the color, make sure. So as you can see, I'm using the same brush and limit that particular white space. I'm going ahead and covering it up. Do this slowly so that you don't touch the painting. Also, go ahead and paint the background completely. And then add orange and yellow for the lantern. But somewhat under layer will get activated and it will create a mess. This is the best method. If you can't do this, then you can go ahead and use that way because acrylics work really well in that method. This go, I recommend this for you. This method, negative painting. As you can see, the left one is darker, but the right one is lighter because more of light is seen over there. I have done this now when we have almost reached the bottom, as you can see there it is transparent. Go ahead and cover that up with the obesity, but then leaving that will also be seen as light being reflected in that particular area. Some white spaces is giving a glue to the lantern. You'll not get to know now, but once the painting is done, you'll get to see how it's looking. Now using a flattened brush, just going and covering it up roughly with Persian blue. Then I'll add black onto that same area for the mountains. First, let me cover up. Make sure that you're covering the edges properly. Here you can see it's thin paint in the bottom. This is because I want that to be covered with mountain. Here, I'll be loading the brush in the Bristol with the black paint. It's consistency for painting the mountain. As you can see, I have just planted the brush and then I'm just painting it. And you can see how much nice and how beautiful and easy it is to paint mountain. You can also add shapes to the mountain. You can see rough verbally shape given on the right side. You can see in curvy shape to it. Now we are done with the mountain. Let that dry completely. You can go ahead and okay, let me just add white. Now I'm just lifting some white color, loading it and then going in between the portion blue and black. This want I'm doing it when the paint is not dry completely. That's because I'm adding a glue there. Whatever white is getting added to the black and it's not merging. We'll do that later for the detailing part. It will cover up This much glue is enough over there. Yeah, using the same line of brush, I'll load the brush thoroughly and use it for mid yellow. Here, I'm loading the paint for mid yellow. See how I'm covering it up? By rolling the brush and lifting it. I'll add the paint to the bottom part of the lantern. I'll go completely and you can see the border which is coming in between the orange and yellow. It's straight, it has lines, curvy lines. It has short lines, some thick lines. It's not a straight line. So here I'm adding hello. Whether they can go with yellow and white for the depth after this, do the step slowly or you can also use a larger round brush and go ahead and paint it. You can just do it in any way, but just be careful. And don't use flattened brush for the step because the curviness won't come and it might ruin the painting. Now we'll take some orange color. Fan loading the brush with orange. You can use direct orange or you can use orange and white. Most of the paint says doesn't have orange. You can go ahead and use the red color. You can just make it red and yellow, mix it, and then you can use that particular mixture carefully. I'm just applying orange, especially at the corner. I'm bringing some of the orange to the bottom part as well. Whatever the space we left in, the yellow will cover that up with orange. Yellow and orange are not properly defined. They are mixed. As you can see, the tiny lantern has been merged with portion blue. It's all right. Once it is dry, you can go over it with one more layer of painting and you'll be fine. Or even you can use a pastel shade for it. This is the lantern down will add some Persian blue mixed with titanium white for the glue and go around it. While you're adding portion blue and white mixture, you can feel that the brush has become dry and you get that dry brush effect. That's even more good for adding such texture and blue. Whatever the pastel shade you have added, you can go ahead and add portion blue and white mixture or even portion blue in between so that it looks more natural and not everywhere the glue is. See how beautiful it's looking. Now let's jump back to the mountains. Here I've loaded my brush with the white color and using the dry brush effect, I'll be adding some depth into the mountains. I'm just running my brush how beautifully the texture is created and it's looking superb onto the mountain. Now, to define beautifully the lanterns we require ring at the bottom for which I'll be using the brown color. I am very sure that now you have some of the brown or muddy color left in your palette. I tried making it with orange, but nothing worked. Brown is always good. I'm using burnt umber tiny bit. I'll mix it along with some orange. And then go ahead and make the ring at the bottom of the lantern. You don't have to use black. Black will look more bright and it won't look that good. Use this one or yellowish orange. Extreme yellowish orange. It should be should the one which is present in the lantern has to define something should be different. I have had it almost everywhere. For that little tiny one. We'll go ahead and make some pastel form and paint it. Now we are done with the ring center part of it is still remaining. We'll paint that with white color. I've loaded the brush with white paint and then I in random motion and adding white at the center, just taking it up in a covey manner, also using the same brush and same paint. I'll go ahead and add stars. You don't have to use plating method because it will cover up the lanterns and look a gleam. Now we'll add the highlights. I'll go ahead and add Summer White into the mountain. Let's add some more details and also we'll add some more lanterns that look beautiful. And then a man in white into the lantern so that it feels like it's really flying due to the litter part Si, you can paint as many lanterns as you want. It's just that whenever you're painting after the background has dried, use the pastel form that is mixed it with some white and then upright, it'll start glowing. This is a Tegan. Let's remove the masking tape. As I said before, I'm just lifting it up and removing the masking tape. That's because I don't know the shape. Although my hands are shaking, the footage shaking, but not the camera. This is it for this painting. I hope you all enjoyed and followed me along while painting it. I hope you are enjoying the tips and tricks and new techniques. Whatever you're learning, let me know in the discussion works, also share your painting or at least the progress of the painting, so that I'll be motivated to create more paintings for you all. Thank you. I'll see you in the next painting. Do the detailing before you end up, because detailing is very essential. 17. Day 12 - Sunset In Paris Painting : Hello and welcome to day 12 of 30 Days Course Challenge. Today we are going to paint this beautiful sunset painting for which the colors is listed. You can choose the colors which you have. If you don't have that particular color, then you can go ahead and use an alternative color. Instead of Sky blue, you can go with Erlin blue instead of Organa. You can go with pastel purple color. You can just use the purple with some titanium white and then use it. And if you don't have purple rose, you can go with pink color with a little bit of purple in it and make it into a pastel shade. And then use it for deep yellow. You can go with orange and mid yellow mixture. Here I have taped down the paper and drawn a heart. You can go ahead and follow me along and hurry up because each step is very essential. I'm using a flattened brush. You can go with a round brush and just take some sky blue color and then go in a horizontal manner, just a few width of sky blue because the heart is very small. And after all, we are using a small paper. If it is a big one, you can go ahead with a broader flattened brush and use it. After sky blue painting, we'll move on with the purple color, Giana color, for which again, I'll be using a flattened brush and applying it below the sky blue color. Here, I'm painting only on the restricted heart shape area because we want only the sunset in that particular area. As you can see, I'm just restricting my paint brush up to that level itself. Once we are done with Giana, we'll move on with the next color that is purple, rose. Here it is, color which is past light. We'll be using a flattened or even a round brush is helpful when the pain is rides better that you take in the mixing palette and then mix it. And then it, if it is in a gauche consistency, you can directly take it from the tub and then it, once you apply the paint, you can just blend in along. If you don't want to blend, just apply the paints. And then finally, at the end, you can blend all the colors together. Moving on with the next color. Here I'm using a deep yellow. You can go with mid low. Also, sometimes while blending one color dominates the other one. So it's better that you apply all the colors and keep blending. Here, I'm using a round brush for the blending purpose. You just have to see a few blending step and then get a hang on. We learned this technique in the gee technique section as well. But if we apply more than one color, it's difficult. It's better that you practice with time. You'll get perfect. We'll add on some colors again and then we'll start blending here. You can see I have blended the sky blue and oga color. The pink is blended with the tello, deep low. We'll again apply some pink color and then blend it. Have some patience and do the step slowly because it might get muddy color at some time. But it's better if you're using a darker shade to use white and then blend it. Moving on to the horizon line here, I'm using a bit of black mixed with sky blue and then applying it on to the horizon level. Then I'll be using gray color, that is black and white mixture to cover up the bottom part of the heart. Once the background is completed, let's add the sun at the center of the deep yellow color. Here I'm using a liner brush to add a small, tiny circle. You can go ahead and use a marker as well for that particular step. Now using the same line of brush, I'll go ahead and add some black color onto the gray. It's not going to be an even layer, it's going to be somewhere gray and somewhere. This is for creating depth in the city. The background is completely ready to make an Eifel tar. You can have your own reference image or just type it in Google to get the easiest drawing method and you can just copy that. I'm also taking a reference from the Google and then painting it. You can use a marker or a pen, or even a paintbrush. If you're comfortable with paint brush, then you can go ahead and do that step and make sure it is very small. Eiffel Tower, like, the details are not so much clear. Okay. The Eiffel Tower is almost ready and it's time for adding more depth into the painting. I'll be adding some words around the Eiffel Tower and it's going to be very simple dot, just like keeping a dot and taking it away, like that kind of birds. So you can just do this with the finest marker here. I'm using a ball pin as you can see. And I'm just doing as many birds as possible. Sky part is done. We'll move on with the city here. I'm using a flattened and using a pane. Then just dragging the brush from top to bottom to create some buildings. It's okay. If there is unevenness, it's okay. You just have to just drag on from top to bottom. And it has to be rectangular in shape. Anywhere it's possible in between. If there is any gray, that is also okay, let the buildings get dried. Here I'm using a broader flattened brush and applying at the corners and at the bottom as you can see, this is to get the darker part of the cave and bring depth in the cave. If you don't have earth yellow, then you can definitely go ahead and use burn sienna or a mixture of burn sienna and burn umber. Here I'm loading the brush with burnt sienna or that is yellow. And then I'll be using this with black color and then blending it. This is to get the depth, blend the brown and black together nicely. And whenever you're drawing the edge that is the hard shape. Try adding some shape into that verbally shape as right side so that it looks realistic. Don't do it. Very harsh lines, just a curve that you can see. It's real but not real. Because we have to add depth into this to make it a realistic cave type for which you can use a rye brush technique or different shades of brown to add depth in that you can also use black color. I'm shifting my brush to liner brush and using the black and brown mixture for adding the line at the corner. That is at the edge. It's not going to be a straight line. I'll be adding some indentation that is depth and shape as well while adding the line at the edge of the heart shape. I have also dragged some of the paint inside the cave. And given a texture, you can give the texture like that or use dry brush technique and give your own effect. Also use different shades of browns to create depth in there. This looks so much better. You can still go ahead and add on the depth into the cave. But here I'll stop it off. I'll be shifting the paint to a white paint and create some lights in the buildings here. I'll be adding some do some rectangular shapes that is running from left to right and some rectangular shapes which is running from top to bottom. Some square shapes, it just depends on how you want to add the lights. Just make sure that every building has some or the other difference in it. It's also near the Eiffel Tower, you can use a different color of lights, such as red, yellow, white instead of white. You can use any other color because we are already putting white into the newer buildings. So you can go with yellow or red, add on all the details and finish it off before you remove the masking tape. And every time you have to check that all the sides are covered with paint before you remove the masking tape. This was it for this painting. I hope you all enjoyed and followed me along with your paintings. Also, let me know how this painting was and share your experience and also the project. You can share it in the project section. I'll see you in the next painting. 18. Day 13 - Parachute Painting : Hello and welcome to Day 13. We are going to paint this beautiful parachute painting, that is sky dining painting for which the colors required is deep yellow, the various shades of blue. It's not necessary that you have to use this particular blue color. You can go ahead and use your own blue shades, whatever you have in your palette, like different different blue shades. Also, at last, you can go ahead and use red color for the parachute. If you don't have red color, you can go with any other color of your choice. And black is important because we are painting a silver. Firstly, we'll start off by painting this background with deep yellow and then yellow white for blending it and bringing a gradient effect. From the starting of the series, I've always told you to use the dry paint onto the palette and mix it properly with water and get into bosch consistency, And then use it on the paper. It has its own side effects, which I have also explained before telling it again, whenever you use a dry, dry paint onto the paper and keep adding water onto the paper, paper will start absorbing and the thickness will reduce. The paper quality will go bad. It's always necessary that you put it on the mixing palette. And then thoroughly mixing it with water and then getting it into a gauche consistency, and then using it onto the paper. If you don't have yellow teeth color, you can go ahead and use a bit of white, a bit of yellow, and use that, or else you can go with flesh in color. If you have, it's up to you whatever background you want. I'm creating a sunset, sunrise background. Now coming to the mountain part here, I'm using the lightest color first, that is sky blue. You can go ahead and use various colors, like if you're choosing pink color, you can choose whatever shades you have of pink color and use that. If you have purple color, then you can go ahead and use all the purplish shades and painted. If you don't have any such stuff, then you can always go with watercolor techniques of applying the first lightest shade and then darkest and darkest and darkest. That is monochrome painting. You can do that. I'm using a flattened brush to paint the mountains. As you can see, it's super easy to use a flattened brush and paint the mountain. You can also give an edge to edge design to the mountain using the same brush. Moving on with the second color, here I'll be using an acid blue color, which is a bit darker than the sky blue color. You can go ahead and use lin blue, the board blue, then ultramarine blue, then Persian blue. And then this is very common palette, which is found everywhere. If you don't have that particular shades of blue, then you can go with some other color. See how easy it was to fill the mountain with the flattened brush. Next, we'll move on with the third color that is co, bald blue. I'll be only using the three blues. And then a black. We'll be painting each mountain a bit lower than the previous one. You can see blue, I'm trying it and giving a shape, a different shape compared to the previous two colors. You can give your own shape to each layer of mountain. Then finally, Black Mountain. The background is ready for a parachute painting. I'll just go ahead and check for a reference image and select one of it. And it you can have your own reference image or just copy whatever I'm painting it. You can use various different colors for the parachute and also the designs. I'll be using red color for the parachute and black color for the person and the strings attached to the parachute. Using a round tip brush, you can go ahead and use a lineup brush as well. Whatever is comfortable for you, you can go ahead and use that. I'll be adding some more silhouettes of skydiving in the background using black color. Now using a line, I'll go ahead and add the different shapes in the mountain. And also adding, using the same color. I'll be using a line of brush and just applying the color and then using water, I'll be dragging it below. You can use the dry brush effect as well for dragging it below so that there's a depth in the mountain. See how beautiful it's turning out to be. I hope you're following me along and painting every step. Check out for details and the corners. And let's remove the masking tape. Remove the masking tape slowly and gently in a slant manner so that the paper doesn't tear off. Is the stickiness of in the tape for which it'll take a lot of efforts to remove the masking tape. But be gentle and carefully removed so that the paint doesn't get ruined. As you can see how I'm removing the small piece which was stuck. This is it for this painting. I hope you enjoyed it and followed me along. Chair your projects in the project section. I'll be happy to see it and appreciate it. Thank you for joining. I'll see you in the next painting. 19. Day 14 - Citylights Painting : Hello and welcome to day 14, 30 days course challenge. Today we are going to paint this beautiful nine scenery. The colors required as Persian blue violet, peach blossom, pink, orange, black, and titanium white. You can use the alternative colors as mentioned below. We'll start off with the Persian Blue. You can go ahead and mix a bit of black and Persian blue together and start off with the initial few layers. As you go down, you can use Persian blue. Along with that, we'll be using a few other colors to make the background apply the paint thoroughly from left to right. And cover the edges initially itself so that you don't have to cover up again. I've added some black. And then I'll be merging with the Persian blue below. Since the paint is still red, this will help in blending. It's very simple. As you can see, I'm just running my brush from left to right up by applying the black color. And the down color is reactivating and it's blending. Now let's move on with the violet color. You can go ahead and use purple two, I'll be applying this purple color below the Persian blue. But just a little part of it, If the paint is too dry, you can go ahead and then it down and then use it. If you have to form, you can disperse in the mixing palette and then use it. As you can see, I have gone from bottom to top, blending it carefully. If the colors doesn't get blended, you can go ahead and white and then go ahead and blend. But I feel this is okay because I want the definition of the colors as well. I'll be using pink color. Which alternative color? You can go ahead and use crimson. As you can see, I'm just applying from the right side to the center part using the rod. You can go ahead and use a flattened brush as well. I'm using a light pink, which is a peach blossom color. I'll apply from left to the center, just that much of it so that cold colors fit in. Now blend both the colors that is light pink and dark pink, that is peach blossom and pink color together. Also, try and blend the violet color. I feel this is fine. Let's move ahead with another color that is orange. If you don't have orange, you can go ahead and use mid yellow color or just mix it by yourself using red and yellow. As you can see, the width of orange is different. This time the left side is, whereas the right side is thinner. You can just alternate with any other color as well. Now I'll go ahead and use color and apply it down. But before that let me just apply the violet color and blend it properly. I'm using the flattened brush, which is easy for blending purpose. As you can see, I'm just running from left to right. And it's blending so much using the same flattening brush. I'm going ahead and adding black color. And you can see it's only little part, it's almost the width of the brush that I'm painting, black color. And this much is fine. You can go ahead and add silts onto this. It will look beautiful. After thoroughly making sure the edges are covered properly with the paints, we'll go ahead with another step. But before that, let's wait so that it dries. Now we'll move ahead by adding clouds to the background. Once the background is dry, here I'm loading my round brush with cobalt blue and we'll be applying with this to make the cloud. I guess I forgot initially to tell you about the color, particular color. You can go ahead and use any darker form of this color, but not too darker than the portion blue or which matches the portion blue. I'm just basically lifting off the brush by applying onto the paper from bottom to top as you can see, and in a round shaped motion. This way you'll be adding clouds. You can go ahead and use colors such as pink, orange for the blue part as well. Basically, the clouds are added onto the lighter area and not to the dark part that is on top part. You can go ahead and add stars on the top of part, but not too many clouds at the top. I'm using the pink color for adding clouds at the bottom part. You can go ahead and try dry brush effect as well. I'm using the same technique in motion to run the brush. For making the clouds. I'm making it on orange as well. You can't initially see how it looks, but once the painting is dry, you'll start seeing the colors and its texture. Now using a fine liner brush. I'll go ahead and load my brush with titanium white color. Not into thick or not into, at consistency, but an ideal consistency of H. And I'll be adding the stars and also the city lights as you're painting the sunset white city. You can go ahead and add variation in the stars, like some big stars and some very tiny little stars for the city lights. You can go ahead and add tiny, tiny little dots of white not separated too far and not too near as well. You can go ahead and use lemonelloo mixed with white also for the lights. This step is completely an optional step. You can go ahead and use whatever the paint has left over. In the mixing palette, I'm using the lemon ello mixed with white and I'm using it for the lights. Let's add some one or two shooting star to make it make it look a dramatic painting. Here, I'll be using the same fine line of brush and I'm just putting across and then dragging one of the line to the top. I'll show it one more time. I'll be adding some more clouds and complete of the detaining before you finish off of the painting and remove the masking tape. I hope you followed the instructions and painted along with me. This is it for this painting. I'll be removing the masking tape. You can go ahead and remove gently and slowly. If there is any detailing left, you can go ahead and add. You can also add a wing of aeroplane to this painting which I recently painted in my previous. You can check it out on my Instagram, like how beautifully it turned out to be with this particular background. But not the stars and all it has some variation of course, but the background color is almost similar. Yeah, I hope you enjoyed this painting. Do share it in the project section and let me know how you feel about the scores in the discussion box below. And review the class so that others can join in and they'll also learn something really nice. I'll see you in the next class. Thank you for joining. 20. Day 15 - Flower Bouquet On Footpath Painting : Hello and welcome to day 15, 38 course challenge. I know this painting is really nice and I hope you also enjoy this painting with me. The colors require a gray, white, black rose, and also green for the leaves, them, et cetera. You can use an alternative color for the flowers. I'm starting to apply gray with flattened brush. As we go down, we'll add some black into it and make it as a gradient for, you can recheck the colors again in the list because I think I left few the types of green. Whichever you are looking for, you can go ahead and use a darker sheet and a lighter shade. Basically, I'm going ahead and applying the gray in a slant manner like from right top to bottom left corner here I'm using the bush directly from the tub. You can go ahead and dispense it and then use it. It's in a thick form. I'm just directly applying it. You can run over the brush and blend and cover up all the white spaces, especially the edges. Be patient and enjoy the process and paint along with me if you are doing it. So then you can just pause if you're left behind and go ahead and paint, blending each stroke properly. Coming to the next step here, I'll spend some white color onto the balette and I'll be mixing a bit of black. And as you can shifted my brush to a round one, it's not completely gray, but it is a lighter form of whatever we have painted in the background. We'll be using a dry brush technique and go ahead and just do it with the, run the brush from left to right so that we get some strokes textured strokes. When we paint those cubes, like rectangular boxes of the food part, it looks natural using the same round brush. I'll go ahead and take some black color loaded into the brush and add some outline of the rectangles. So when I'm painting rectangles, I'll go ahead with a line. It's not a straight line. It has some curves here and there. It's not even as well as you can see from top left corner to the bottom right. How the texture is looking right now, as if the bricks are arranged in a wall, such a type of scene, basically. Once we're done with this to look like a bottom floor, we are just going to add more texture into the rectangular boxes by adding some gray material into paint. You can go ahead and add the corners at the center. You can use drys technique as well. I'm making some boxes really dark and some light. And also some part of the boxes like super light here, I'm dabbing it so that the paint spreads to the other part of the block. Here you can see I'm just dragging it to make some texture as well. In such a manner you can just fill it up. But don't fill it up completely because we have given underlying texture as well. Only the darker part of the foot path is dark, Not everywhere, it is dark. Keeping the shadows and highlights in mind will go ahead and pain further. Once we're done with this step, we'll go ahead and we'll take some greens and add the stem leaves and also the flowers. You can go with any color for the flow. But here particularly, I've chosen rose and crimson and also a mixture of titanium white into it. The initial idea of me painting Rose was a single one. But later on, I realized the bouquet would look really pretty on it. As we go on, I'm just building a tap into a bouquet form. As you can see, I've just painted a darker form with a black color. And then I'll go with olive green and then green if needed, I'll make some green, white and then build in the stem. And as you can go ahead and do it, or you can just directly in a bouquet form and draw as many lines as possible, and then you can just paint the bouquet into it. I struggle this particular step because whenever the darker shape is there and on top of it, you want to add a lighter color, it won't easily adapt with experience, I would say first add white color and then go on top of it with lighter color. Because whenever you go with a lighter color on top of a darker color, the underneath layer will reactivate and it acts both like acrylic and watercolors. It's always recommended to go with white color for first step and then wait for it to completely dry and then add on the depth on if you're going from dark to light. It's not necessary like how we do the stem part, but for that particular rose on top, like I hope you're getting my point as I'm building up the boque, you can go ahead and paint along. When adding rose, it's not necessary that every petal has to face you. Some can face top, some can face sidewise. Anywhere else as well. I'll just zoom in into this part so that you can see clearly how I'm painting the bouquet and you can paint along with me. Look how pretty it's turning out to be, somewhere red, somewhere pink, somewhere green. For now, I'll just shift into a line of brush and add some white with some droplets of water. So that splattering will be easy. Well, if you don't know what splattering is, it's basically taking some paint mixed with water and the flattering onto the paint. Basically, I've taken some white gash and added few drops of water. Then I have loaded the brush with the mixture. And as you can see, the loaded brush is below. And I'm taking a normal brush and hitting over the brush, over the loaded brush so that the splatter occurs. Splattering of paint occurs. If you want a bigger round of splatters, then you can add some water droplet onto it, it forms a thick, thin, and the splatters are bigger. After this, I have added some more splatters. You can see in the picture, this looks really pretty as if the snow is falling or water is falling. This was it for this painting. I hope you all enjoyed it. Share me your progress photo or the paintings. Also let me know how are you progressing in this journey with the reviews so that others can join in by looking at the reviews. I will see you in the next painting. Until then, keep learning and keep creating. 21. Day 16 - Train Over The Ocean Painting : Oh and welcome to day 16, 30 days gauge challenge. Today we are going to paint this movie scene, the colors required as pert blue, titanium white, black, red and yellow. Firstly, we'll go ahead and draw a rough sketch. You can just avoid this, but make sure that you follow rule of third and the line is at the bottom third of the paper. You can just make a rough sketch of clouds, where the clouds will come, but you can just avoid it if you're using a Filbert brush. Firstly, we'll go off with a graded wash that is Persian blue mixed with a tinge of black. And then as we come down, it'll be portion blue with white. We'll just reflect the same thing onto the bottom part of the paper that is below the line. We'll just make some white over it and blend it thoroughly and make a graded wash. A bigger size flattened brush helps to cover up a lot of area in the paper. As you can see, it just covers up so quickly. And it blends well with the other color. And you don't have to run as many strokes as you are using a smaller one. Once we are done with this blending part, we'll shift our brush to a filtered brush for which the clouds, as you can see, whatever I had drawed, it is covered with Persian blue and white. It is okay because whenever we are adding clouds, there will be a shadow and highlighted part of it. We'll basically add the clouds with white color and then blend the underlying color for the shadow you keep seeing and learning. I hope you have followed till here. Here I've dispensed a fresh white color since the Filbard brush has its U shape at the top edge. Here I'm loading the brush with the white color. As you can see, every Bristol is covering, especially the tip. And you can see the round shape helps in the cloud shape. Bringing the cloud shape. Firstly, I'll just go ahead and make the shape outline of the clouds. As you can see, I'm giving a round motion and then just dragging around you can just do the step or you can just like with the dabbing motion, you can just put the clouds everywhere. Here. I'm activating the underlying color as well because I don't want it to have a rough edge basically doing the same. Once we're done with this step, we'll go ahead and take some white and go over it. As you can see, I'm just lifting some white color onto the brush and then going around with round motion and dragging motion. Whatever the shape of cloud you're making, that has to be reflected in water. You can just turn around the paper cardboard and do the same shape. If you don't have a fill board brush, you can go with a round tip brush as well. And go ahead with a round motion to add the darker clouds or shadow into the clouds. You can go ahead and take some portion blue, a little bit of portion blue, and then just add it over onto the paper just like that. And whatever the paint is there, you can just blend it with white color, with the same brush. You can also use a gray color as well, that is black and white mixture. I'm trying to cover up all the cloud area till the bottom. You can just avoid, if you think the train, whichever is there, if you're painting it bigger, then you can just avoid that space. But here I'm just covering it up. I know the bottom part is very little, but you have to reflect whatever you have painted above. And also you don't have to have the exact shape because after all, we have to drag a little bit left to right and make it as a wave in the water. Once we are done with this step, I'll just show you how to drag on to make it look like a reflection. Here I'm taking some more white and going ahead and adding over the painted clouds. The sky is done. The clouds are done. Now it's time to add star and moon. I'll be shifting my brush to a round tip, small brush. You can use a fine line of brush as well. And I'll go ahead and add a crescent moon shape. Now for the train track. I'm going ahead and using the same brush, you can go ahead and add a line, but black color or brown color here, I'll be using black color later on. As you can see now, it's the line has differentiated between the top and the bottom part. We'll just start off by making the train for which I'm using red color for the boxes and for the engine. I'll be going ahead and using a black color. As you can see, water we have painted at the top that we have painted below, but the bottom part is a bit thinner and you can see the edges. I'm just giving you shape. Water is there and it has waves. Water has waves. Whenever the wave comes near that shape, that particular shape, it will change its complete orientation. I hope you're getting what I'm telling. So I'm just painting some random engine to the train. You can just have your own reference image for this, or you can just go ahead and imagine the toy train and paint over it for the smoke from the engine. Here I'm using black and white together and giving it a random motion and you can see whatever the smoke is coming out going backward. And the same way we are just going to paint bottom part, but we are going to add a bit of lines here and there just so that it follows the way was using yellow color. You can go ahead and add the windows, but here I'm just adding a line and then adding windows with the titanium white color, just small squares. You can go ahead and add small dots as well because it's too far and the reflection part is not that seen. Once we're done with this, we'll go ahead and add waves here. You can see using dry brush effect, I'm going ahead and adding lines from left to right here. I'm also mixing some portion blue with white and going ahead over the clouds and making those lines. It has reflection and wave. It doesn't matter much, it'll look pretty. The dry brush effect is also looking pretty. But sometimes you have to not give too much of texture because it'll ruin the painting. This was it here. We'll add some stars with a line of brush. I'll go ahead and add stars. Whatever we have painted above that has to be reflected here. I'm adding the moon as well, but it's not in a proper shape. As you can see. You can use a marker for the step. This is a movie scene where the train is running in the middle of the ocean. I hope you all followed the instructions and painted along with me. I would love to see your paintings. Do share and tag me on Instagram. Yeah, that's it for this particular painting. Make sure you have painted the edges again and again. Tell you that to paint at the corner especially, it looks really ugly. If you don't paint at one particular corner, yeah, remove the masking tape carefully. If you have any particular question related to this painting, you can go ahead and ask in discussion box below. I would love to answer and a share your review so that others can join in. And I'll see you in the next painting. 22. Day 17 - Sunset With Yacht Painting : Hello and welcome today. 17. I hope you're enjoying the series. Today we are going to paint Sunset with yacht. You can call it as Cruise as well. We are going to paint this with various colors. You can take a note of it and also pause the video and take a screenshot and draw, because this painting is completely being filled, That is, we are adding colors into the drawing and we are going to give depth into this painting. You can just take a note on and follow me along. Firstly, I'll go with a round brush using Edlin blue. I have loaded the brush with Erlin blue and going from left to right. The reason why I'm using a round brush instead of flattened brush is because wherever you want, you can add colors. As you can see, I'm just halfway through the cell in blue from left side and I'm going with another color and blending those two. And you can see the blending is like purplish and not like pink completely or blue completely. You can see I'm good color consistency. If you use flattened brush, it's going to be from left to right a single stroke and you won't get such a drama in the clouds here. That is why I'm using it. And you can see my strokes are running from left to right and all the bristles are lying down onto the paper. First, we painted it with cell and blue, then pink. That is rose color, you can use rose color. And then we'll go with Medello. Whichever form of yellow you have, you can even, you can use orange color. You can see the blue and pink blending is giving us purple. That is a good natural shade. Since the background is looking so transparent, we'll go ahead and add moles on top of it with the same colors and blending together properly. By the time the sky is drying, we'll go ahead with the water part here. I'm using ultramarine blue. You can go ahead and use co bald blue or even portion blue since it is like dark, watery. You can go ahead and use I'm trying to get that bold, vibrant effect. I'm going with ultramarine blue. You can go with co, bald blue as well. Here I'm filling the water with the color. Later on, we'll be adding the wave with white. Be careful and gently and be patient and paint. Try to avoid painting the yard with that color because Y is completely different color. You just think this as a given an apple shape and you have to fill in that color with that, in that particular boundary itself in such a way, we are going to fill this and later on we'll add depth into this, okay? Once we are done with the sky and water, we'll go ahead and mix some burn siena with white and go ahead and paint the footpath and also the road. You can see how pastel brown it has become to differentiate between the browns. And to give a step in the painting, I'll go ahead and mix burn Siena with black and apply that dark brown in that particular area for the pole. And that light, you can see it is like having a lamp and then the bottom part of the lamp which is stuck to the foot part for that will be using black gray and also yellow pastel shade of fellow. You could say for the chain running from lamp to the pole. You can add dots or you can just make some oval round shapes leaving a bit of space in between. You can use a line up brush for this step instead of such a large round. If you don't know how to use both of it, then you can go ahead and use the marker. Pistol shade of the low four light. Using the same cell in blue will be adding the screen of the yard with it. Since most of the yards are white. For adding shadows and depth into the yard, I'll be mixing some gray, lightish gray, and adding some touch ups here and there using dry brush effect. And you can go ahead and use a small line of brush for this. Only add that color at the corners completely. At the center. It little bit at the center completely. Okay. Just go from left or side, or at the right side. Since we have filled the colors everywhere, it's time to add depth for the pole. I'll be using grey color and also for the lamb. And to define the edges as you can see, you can always alter your colors according to your choice and according to your satisfaction. But here I'm doing a sunset wide, so I'm giving a look of sunset. Can always go ahead and change for the footpath and road. I'll be using a darker shade of brown and add textures here. You can see I'm adding as if some rocks are there with a darker shade. We'll shift the brush to a line of brush and add depth in the clouds. Wherever yellow color is there, we'll be adding pink clouds. And for the pink we'll be adding yellow. And for the blue we'll be adding purple clouds. As you can see, I'm just like dabbing and dragging the brush before classes. Also, you have seen how to paint clouds, so you can follow that. I would not recommend a Filbert brush here because we don't need a fluffy cloud, we just need a far cloud. A line of it is also enough. Taking all the details starting from the water to the yard and also to the footpath road, and lamps for the water. Here I have used a dry brush effect with the same line of brush I'm just dragging from left to right and also giving some fluffy texture with the same brush, so that it has a bit of white and also blue, and they are spreaded equally for the light. You can see lamps. I have added a darker shade of orange shade at the center. I'm just adding a little bit of white for the footpath. I have added a dark brown lines. Complete the details up to your desire. We are good to go with this. Details are essential. Make sure that you have covered the edges. And also wherever you want to add highlights, you can go ahead and add highlights. And also if you want the clouds to look bright, you can always make the color pastel and use it. Remove the masking tapes carefully and gently. Take your time and use a blow dryer as well. If you would like to remove a strong glued paper, complete the detailing and check for the edges. And that's it for this painting. I hope you're enjoying the process. Do share your paintings in the project section, tag me on Instagram and also thank you for taking part. Share a review so that other people can join in. I'll see you in the next painting. 23. Day 18 - Balcony With Fairy Light Painting : Hello and welcome to the 18 of 30 day challenge. Today we are going to paint this balcony scenery further. The colors required as Persian blue, titanium white, black, ging red green, olive green, okay, and even lemon yellow. You can go with any sort of yellow and also the greens, whichever you prefer. Firstly, for the background, I'll be using black and persil sky. As we come down, I'll be using white and making a greened wash. You can just follow along and paint. I'm using a flattened brush. As you know by now, that flattened brush is very easy and fast to cover all the edges and the paper. It blends very smoothly. And also it quicks up the procedure. Blend all the rough lines and smooth in the background properly. The background is ready. I'll just take a round brush and go ahead and add more, for which I'll be using a white quash paint for the initial one. Once I add the paint, I'm just dabbing with my fingers and spreading it across. And I'll go with two to three more layers on it for getting that highlighted look. And also as if it's shining around, look how beautiful it's looking, as if it's a full moonlight. Now, with the same method, you can go ahead and add clouds or you can just do the way I'm doing. And rag here, I've used the Persian blue with white mixture. You can go ahead and use pure white as well, but too much of white will create a brighter look, which we don't want. You want subtle and beautiful one? Yeah, if you like white, you can go ahead and use white color clouds after all is meant to be, not to be judged by anyone. Whatever you feel like you can go ahead and add. Now, coming to the wall, I'm using gene color, which is actually in the hemimia palette. If you don't have this, you can go ahead and use wall color. You can see right now in front of you. And use that, just make sure it is subtle grayish or bluish color, which is matching the night sky over. Which will add dry brush strokes so that it looks like curtains are present over it. Now, using a round brush, I'll go ahead and take some black color and add the um, leafy area and also the balcony. You can see how pointed the tip of the brush. If you don't have such, it's okay. You can go ahead and still use a round for this particular step here, I'm just dabbing around, you can just go in round motion. And if you don't know how to do this and you want a quicker step, you can use fill bird brush and go ahead and use it. Once we're done with the black color, we'll go ahead and add white layer over the moon. It looks even more brighter. And we'll add the dry effect over the wall so that it looks like cotton falling. Yeah. Look how beautiful the moon is looking right now. With the same brush that is line of brush, I'm going ahead and adding the strokes. White strokes. You can go ahead and add black one as well for the shadows. Blend them properly. Once we add the black color, you can go ahead and use olive green on top of it. And then a lighter shade of that olive green and it's still more lighter, so I'm using emerald green, over which I'll be using the pastel shade of emerald green And go over it. As many leaves as posible, as many depth as posible can interchange from olive green to emerald green and then sap green and then to the green yellow color. Yeah, it creates a lot of depth and also it looks very realistic. You can try that out whenever you're doing the depth thing. Make sure that the previous layer has completely dried. I have shifted to a round tip, smaller brush. You see whenever I press down the Bristol of the brush, you can see the leafy curvature and it has a almond shape over it. It's a very satisfying step. So do it slowly and enjoy the process. Now, coming to the floral part here, I'm using art red. If you don't have red color, you can go with crimson color or even pink color. And go ahead and put a round shape over which you can put a sole off, a lighter shade of that same color. Or you can go with different colors of flowers. You can see, I'm just putting out the basic structure first and then the sales will be put in later. Wherever you want, you can go ahead and add. Red color is really bright and it looks like it's giving a glowing look for the night sky. If you think the souls are harder to put, you can see how I'm adding the divisions and making it differentiate into a floral petals Your own time and add the details as many as you want. Cover up the edges especially, and make it look like more aesthetic and glowy. Once we're done with the step, we'll move on with the next step. I'm drawing two lines with black paint. You can avoid the step or you can just put it wherever you want. I'm going in a slant manner and adding those two lines. Use a pen or a marker for this particular step. Here we'll be adding fairy lights, for which I'll be using lemon elo. For the bulk, you can use lemon ello and white mixture as well. Lemon Hello and white looks more bright. You can use that. You can wad the brush thoroughly first and then go ahead and use, Since I was using a black color and it has a pinch of black in it, you can completely avoid and use pure lemon lo, and white color. And you can see here I'm adding circles on the corner. One will be smaller as the line is growing towards the top, it's getting bigger and bigger and far as well. Inside that circle will be adding the white color for a brighter look. The corner one will be small and together clustered, but as we come to the top right corner, it will be far and also it will be bigger in size, the bulbs. As we can see, we are almost done with our painting. Just for some highlighted parts here, I'm adding some pastry green shade around the balcony grill. Whatever the details you're looking for, you can go ahead and add. If something is missing, you can add that. Or if you think it's done, then, yeah, let's remove the masking tape and let's finish off the painting. In such complicated paintings, you have to make sure that the edges are covered properly and also the detailing has to be done like super finished one. I know some part of it is not completely finished, but the unfinished one has its own look. Oh, no one can judge your painting unless you feel yourself that this is the perfect one. I would just say that don't do the painting for others. Do the painting as if it's emotionally connected to you and it makes you happy. When I said that unfinished one looks like a bit weird than the finished finished one has its own glow, that's why I said that. Yeah, keep painting and keep and practicing so that you get that idea of the finished. One will have a look unfinished, one will have its own look. Once you compare your older paintings with the newer one, you'll know practice what was the missing content in that. I hope you're getting my point. If you feel annoyed with this particular line, I'm sorry for that, but that's the truth. I've removed the masking tape and let me know if you're looking forward for such aesthetic painting, so that I can make some new painting challenges for you guys. Yeah, this isn't for this painting. If you think there's something left out, you can go ahead and obviously add. I will see you in the next painting. Make sure you share a review so that others can join in the class and also share your paintings in the project section so that I can appreciate your work. And that will motivate me for making further videos. 24. Day 19 - Fall Leaf Painting : Hello and welcome to day 19 of 30 days course Challenge. Today we are going to paint this bouquet effect with a fall leaf. As you know, autumn is here and most of you are looking for autumn vibes and painting with that. Here is one of the paintings, so you can try it out. I'm using three different colors of green. That is three different shades of green basically. A darkest green, a darker green, and a lighter green. You can go ahead and use any other color of yellow, orange, red like that as well. Here I'm using the darkest form and carefully applying around that leaf drawing, you can first go ahead and draw the leaf and then go around it with green colors. It's not necessary, particularly that part has to be light green and that particular part has to be dark green. You can go ahead and apply wherever you wish for whatever color. As you can see, I'm using a round tip brush here because the flattened brush will not get this particular effect. Also, the blending is with this particular brush itself. There's no other way of blending it in water colors. If you might have seen in the second day painting that we have just added water and then put down colors and it blended equally. Here we are doing wet on dry technique the same way, but wet on dry technique. Here we are not applying water first and then applying the colors here. Just directly applying the colors onto the paper. Here I have selected olive green, dian, green, and yellow green color. You can see here how I'm blending the two colors. Going like that. If you think it is going like transparent, it's okay. Somewhere it has to be transparent. Somewhere dark. If you think it is too transparent, then you can go ahead and add color. It's all in green. We are adding the background. You can try it out with pink, purple, or even red. Pat it peacefully. Slowly, enjoy the process and take your own time for this particular step of adding the background. Once the background is ready, it's time to see the edges if they are covered equally with the paint or not. Since we have used a round tip brush, it's obvious that the color hasn't reached out the edges properly. Check again, also for the leaf, as we can see here that I have smudged it a little bit. I have come inside the Wh part. For that, we can go ahead and add the white and make the outline. Yeah. Do the step, Once the background is completely dry, blend with the previous color. If you think it's blending, it's okay. We'll be using a fresh color that is yellow and orange color basically. It won't be having so much difference later on, but try to avoid the pastel shade of green as much as possible. That is, whenever you add white color, it has to not blend with the previous color. It has to be bold, white. Try and do that. Now it's time for our second step that is padding colors onto the leaves. Here I'm using mid yellow and orange color to add color into the leaf. Here you can try various directions. If you want to top half of the leaf with mid yellow and half with orange, you can try that or in a slant manner, or you can try any method, like it's not necessary that you have to follow a particular way of painting or adding colors into that leaf. You can add wherever you want, but make sure that you blend those two colors properly and also the edges should be sharp. Look how beautiful it has turned out to be. And now it's time to add the veins of the leaf. For that, I'll be using the burn. We have various colors in our palette leftover. You can use that as well, or you can go ahead and add a fresh paint and use it. This particular step is better that you shift to a liner brush and draw it. You can have your own reference image. Or go in the middle of each leaflet and draw a line. And various like, small lines in a slant manner. And also for the bottom part, I'm going with plain brown color. Now it's time for a third step that is adding bouquet effect. Here I'll be using a liner brush. And washing the brush thoroughly and lifting extra water. And using that same wet brush, I'm going in a round shaped manner and making the rounds in such a manner. You can just do that and lift the exist water with your hand or tissue. This is one way and second way is adding white color and blending with the previous one or wherever you have added the water and made a circle on top of it, you can go and add the white paint. And also the circles need not have to be in one particular size. It can vary from different sizes. Also, it's better that you activate the underlying color. We have added various colors. When we activate it, it don't look like it is having a particular one color. It'll have various shades of its own color. Like if you mix the white with a darker shade of green, it'll give you a pastel shade of darker green. Just like that you can do. Okay, I hope you're getting my point. Also, you can add yellow color because yellow is prominent and it'll look so good. I said the darker shade of bouquet color that as you can see, the right side one do as many circles as you want. And also it has to vary from one size to another. Adding pastel shade of bouquet, pastel yellow shade in the circle manner itself small, some big. And also activating the underneath with pastel shade of yellow. Also, if you're trying out the background with different color as light pink or purples, or red, such a way the bouquet has to be in whiter color or lighter shade of the same color, or even yellow color. But don't use any other color other than this three because it looks really ugly. So yeah, follow this when you're trying it out with a different color. Now coming to our final step, that is our last step of this painting, adding shadows. Here, I'm using a black color and going around the leaf that is like around the edge of the leaf, and making sure that I'm tracing out every edge of the leaf with the same color here. I have started with darker shade of black. As we go and come back to that particular point, it is fading away. Wherever the shadow is, like wherever the dark green is there, I'm adding the darker shade of black. As you can see, you can see the left side top part there it is, light green. So I'll try to avoid a black, as little black as possible. It shouldn't be too black. Okay. As I said before that I'll be starting with the darkest shade of black and I'll be ending with the lightest shade of black while coming back Marco. Or you can use a path that is line up and go ahead and do this particular step. You can avoid the step as well, but here I wanted that leaflet to be looking like the most prominent part of the painting. I'm following the step. This is the end result of our painting for the day. I hope you enjoyed the process and followed along with me. Let's remove the masking tape again and again. I'll tell you that make sure that you have covered the edges. And also remove the masking tape gently and in a slant manner so that the paint doesn't tear away or the masking tape doesn't tear away the paint. Make sure to share your paintings in the project section and also leave a review so others can join in. I'll see you in the next painting. 25. Day 20 - Sea Cave Painting : Hello and welcome today. 20 of 30 days course challenge. Today we are going to paint this beautiful scenery. The colors required a sky blue, acid blue, any two shades, different shades of blues as required. You can go with Erlin blue and Co Bald blue as well. And then you can use any shade of brown using the basic shape that is Siena, which is available in green brand. Also the green. For the green, you can directly go ahead and use dian green or olive green or any green which is almost similar to bluish green kind. Yeah, we'll be using black color as well as black and white. Here I'm drawing a basic sketch. You can pause the video and copy it. It's just that you have to make a cave and then a small, tiny boat. That's it. Once you're done with it, let's start off together painting this and applying to this painting. Basically what we are going to do here is we'll be painting in a part of the cave where we have a tiny bit of sky scene. And we'll go ahead with painting the boat and water with blue and green and also for the boat brown. After which, we'll go ahead and add the colors onto the mountain. For that mat is in the darker shadow area. We'll apply darker color wherever the highlights are there. We'll go with lighter shade of brown without wasting much time. Let's go ahead and start painting. For this first step, I'm using a flattened brush. I'm using the sky blue color, which is almost similar to Ellen Blue as you can see. I'm just using the tip of the brush and going from left to right, you can go ahead and apply directly the broader part and cover up a large area, but just make sure that the boat is not covered with the color. Once we apply the blue shade will go ahead and take a darker shade of green. That is, by adding a black into the mixture of green, a tiny little bit of white, you can directly go ahead and use an olive green color, which is almost like two dark color using the same flattened. I'll go ahead and add the color every here and there around the blue, but not completely mixing it up with blue. Here you can see I'm just making it on a pastel form and then using it in between the darker shades of green. I'll go ahead and add a lighter form of green as well. If you are looking for blending the blue, darker green and lighter green, it's okay. You can just leave it like that because we'll go ahead and add waves with white color so there's no need to blend them properly. Let's move ahead with the sky part. For this, I'll be switching the brush to a small round brush. You can go ahead and use a bigger one as well, but just make sure that the particular cave doesn't extend to the north. We have drawn, I'm using a sky blue, which is really past blue. You can go ahead and make yourself a pastel color and also use it, but here it has its own past uniqueness. I'm going using this particular color. After painting the inner part of the sky, you can go ahead and use a liner brush and add white clouds in it. It's an optional step though. If you like it, you can go ahead and add it. I'm just laying it like that. Let's move ahead and paint with brown here. Firstly, I'm using the burn. You can go ahead and use a pastel form or a darker form of brown as well. I'm painting the bottom part of the brown. You can go ahead and paint with brown or gray as well, any color for the board. If you're not comfortable with using a broader round brush, you can go ahead and use a liner brush for this particular step. Let's move ahead and paint the cave. In a part of the cave, I'll be using a darker form of brown, for which I'll be mixing the Bon Siena with black. A tiny little bit of black will make it like brown. So you can go ahead and edert of the cave. You don't have to have like one particular color running from left to right, from one end to another. You can go ahead and add texture. Like you can see it has rough edges as I'm doing it. It doesn't have a particular shape, it doesn't have U shape or anything. I have like rough edges as well. You can shift to a line of brush or go ahead and use a round tip brush as I'm using it. You can add that darker form or brown or even to those lines where I have marked right the dark shadow. Scalling even. You can use a dry brush technique here, but I would recommend that you add the darker form and then the light form, and then go ahead with the brush effect here and there. I have added the darker shade of brown. Now I'm using the bona with white and making it pistil. And then I'll be using that to cover up the rest of the cave painting. So we are almost at the end of the color filling part of the whole cave and water and also the boat. Now let's move ahead and use some dry brush effects and the different shades of brown and make some depth in the cave. Do the step slowly and make sure you enjoy the process. Also, don't forget to add that brown inside the boat where a particular part of the cave is seen from far. Now it's time for next step of the painting. Here I'll be using a titanium white color and a round tip brush. I will go ahead and add the waves and also Rushing water around the boat with white color. Here I have loaded the brush with loads of white color. Here you can see with that particular tip, at the end of the Bristol, I'm going ahead and adding white color in a zigzag motion, like having its own texture while running from left to right. And also it's not even line, it has some thick and some thin areas. You don't have to necessarily go ahead and fill everything with white. You can lift some space for greens and blues. Also, I would recommend you to add some green color over the cave at the right corner, bottom part. That's because as it is showing that the water is sitting on the cave and it's falling back. Yeah, if you like that particular idea, you can go ahead and use that for the cave. We can use the dry brush effect with the same white color or the pastel shade of brown and add that thing onto the cave. If you have added too much of white like me, then go ahead and add the greens in between. And also try to blend them as much as possible for the top of the boat and also the handles. You can go ahead and use a silver color or any other color. I'm using white color because it's looking beautiful. And you can add the details for the boats. Like lines on the bottom part and also some tubes which is circlo. Hello, Calo. You can add as many details as you want. This was it for this painting. You can go ahead and remove the masking tape, but make sure that the edges have covered properly. And also for the boat, you can go ahead and o it, which I'll do later. First, let's remove the masking tape and enjoy this process of removing the masking tape slowly and gently. Tap is too sticky. Sure you go through the a dry or if you're impatient like me, then give some time, take a deep breath and then remove the masking tape. See how fast I'm removing. You don't have to remove that fast as well. Just take some time and then remove it, telling it again, cover the edges. If you think you are left with some uneven edges, you can go ahead and cover that with it. Just like how I'm doing with a line of brush. If the paint has come out of the particular border, then you can go ahead and paint it with white. As here I'm outlining the board with black pen. You can use a marker for this particular step. Yeah, this is it for this particular painting. I hope you all enjoyed the process and painted along with me. Share your paintings in the project section, I would love to see it. And also a positive review so that others can join in and be a part of this art challenge. If you're not following me and you're stuck with some particular step, you can go ahead and ask your doubts in the discussion box. I'll be happy to help you out. Until next time, keep painting and keep creating. I'll see you in the next painting. 26. Day 21 - Sunshine In Forest Painting : Hello and welcome to day 21 of 30 days course. Challenge the colors required as mid, yellow, yellow, green, and various shades of greens. Here I'll be using three different shades. You can go ahead and use one particular green and go from lightest to darkest by creating its total value and using it apart from the greens. I'll be here using burn sienna and also titanium white alternative colors. You can go ahead and use lemon yellow. If you don't have yellow green, readymine mixture, you can mix yellow and green together and create one. And as I said before, you can take one particular green and then create a tonal value by adding various whites on blacks and making different shades. And using that here, I've used flattened brush, and first I have applied mid yellow and white mixture and then yellow green. Here I'll be using flattened brush for all the colors spreading. As you can see, I'm just going in a sea shaped manner. That is from top or right corner to the bottom left corner. You can first apply all the shades and then go ahead and blend it. While you are putting the next color, you can blend then itself. As you can see, the yellow green and sap green has already blended together. Now once we are done with sap green, we'll move on with dian green. The next color we'll be applying is olive green. If you don't have olive green, you can just add some black into the viridian green and use it also the width of how much paint should be there in each shade. It depends on you completely how much you want and how much you want to keep. Once we have added all the colors, you can go ahead and run the brush bottom left to top, or from top to bottom. It's better that you go from top to bottom. That is top right to bottom left, because the colors above are light and the bottom are dark. Once we are done with this, we'll move on with painting leaves. I'll be shifting my brush to a round brush, wherever the lightest area there. We'll go ahead and apply the lighter color as we come to the next I mean to say if there is mid yellow part, I'll be using yellow green and mid yellow mixture for creating leaves. For sap green, I'll be using the dian green for the leaf. It's like that one color ahead we'll be using for creating leaves. You can see the yellow and yellow green mixture, how beautiful it's looking here. I'm just going in a rotation manner and I'm just applying color and not dragging anywhere, it's giving me such a shade. Now coming to the sap green here, I'm adding some of it in a darker manner. You can see like that. We'll be adding the dian green and olive green as well. We'll be adding some bush at the bottom too. If you are not able to make some leaves, you can just a and put a dot here in there. If you're adding olive green for the leaves, try to avoid as much as possible. Just add few here and there. Not completely fill it up with olive green. For the bushes, I'll be using the sap green also to add the depth in that, I'll be using the lemon yellow and green mixture, that is yellow green paint. Here you can see I have taken sap green and median green and creating that tiny little b here. I'm going in a rotation manner and just dragging the brush now, adding the depth with yellow green, you can add the depth once the painting is dried and wherever you want. But here I'm just creating that effect. Now it's time for the sun rays. Here I'm using titanium white and mid yellow mixture, more of titanium white and less of yellow mixture. I'm dragging the brush from top to bottom. You can make it a bit wary, but not too watery. I've used bush consistency, but we blend this with water. The brush is dam, but not too watery. Running the brush over the painted area. I'm just cleaning the brush with the clot once I have the paint excess paint. So you can make this transparent and also like different green scene. Coming to the next step, we'll be adding the brown for the trunk of the tree. Here I've taken like lightest shade of burn Siena that is mixed burn sienna with titanium white. Wherever the sun rays I'm prominent, I have used the lightest shade. As we go towards the left side, it'll be the most darkest shade. I'm adding a bit of burn Siena, but not too much. And adding that second line, third line will be even a little bit of burn Sienna. And again, creating that line as you can see how I'm making it. So we'll add depth into it later on. So this was the darkest and the most prominent trunk of the tree. The background has dried completely. We'll add some more leaves here and there, making sure that we don't cover the sun rays completely. I'll be adding some green to the bushes. You can go ahead and cover the trunk of the tree as well, if you want to leave it like that, you can go ahead and leave wherever the sun raise is hitting at the bottom there. You can add the yellow green mixture or mid yellow white mixture just like that. The top. We are almost done with the painting, but let's add some highlights onto the trunk of the tree here. I'm using the lightest shade of burn mixed with titanium white and going ahead and adding here and there are a few lines, you can go ahead and add more than one line here. I'm just adding, um, in a particular line manner. It's not that I'm going and adding side to side. You can go ahead and add side to side and also make some U shaped oval shape like that. But here I feel this is much better. This is it. If you want to create more depth, you can go ahead and create it. But I feel this is it for this particular painting. It's looking good. If you want to add more of the trunks, you can go ahead and add. You can also use the various greens and add the trunk of the tree. It will be like it's looking from far. Ain't all the necessary details before you remove the masking tape. I feel this is it for this painting. And we'll add some more if there is anything here. I'm just adding the bottom part of the trunk. So if you have anything, you can go ahead and add it and make sure that you have covered the edges. This is the final painting. Look how beautiful it's looking. I would love to see your creation of this painting. So let's remove the masking tape. I hope you enjoyed painting along with me. So this was it. I'll see you in the next painting. 27. Day 22 - Aeroplane and Citylights Painting : Hello and welcome today. 22 of 30 days gas challenge. Today we are going to paint this beautiful airplane city, light scenery. For this, I'll be using rose color. More of color that is almost like a violet or purplish. And rose is pink color. Along with that, I'll be using Persian blue, black, white, and lemon yellow. Here, I've taken a flattened brush and loaded the brush with more color. As you can see, I just removed the excess water here. I'm just going from left to right and applying the first layer. And it's going to be like few part with more color. And then we'll blend that with rose color. As we go down, you can just go from left to right or right to left. It's up to you once we are done with that first particular layer, um, blending over the rough lines will go with rose color. With the same flattened brush, I have loaded the brush with rose color and applied onto the paper. Make sure you cover all the edges simultaneously. If you remember the rule of third, there are three boxes and first part, I'll keep it for the sky and the ground layer. You can do the alternative also like the first two boxes for the sky and lower part of it for the bottom of ground layer. Once we are done with the spy part, I'll be adding a layer of color. And then Persian blue. A layer of color is okay. If you want, you can add oral. Once again, I tell you first part is more color, that is purple, violet and then pink color. Then again color Persian blue and then black. This is the background sequence of the colors. And you can see the bottom part and portion blue has completely combined, but it has its own color. Okay? Keep adding the colors and blend it. Eventually, you'll get the color which you are looking for. Here. You can see I have got its own unique color. And it's combined with Persian blue move and black. Once we're done with this, we'll with painting lights here. Again, I'm just trying to blend all the colors together. Here I'm using lemon yellow, with titanium white, and using a round tip brush. You can use a line of brush. Also, I'm just applying small small dots and making some road maps. You can follow the road maps or you can just randomly paint the dots here and there. But if you draw road maps, it will look beautiful. You can add as many dots as you want and as much clothes as you are looking for. Just make sure that you're putting dots. Very tiny little dots, not like too thick or to broader ones. Look in sequence. It's looking beautiful here and there. It would cause a mess. Once we are done with this, I'll just go with titanium white and add some more lights onto it. But before that, let's paint the clouds. You can go with the darker shade of clouds as well, the violet mixture. Also, you can add, I'm using the pastel shade of rose color for the clouds. I'm just doing the round motion and rambling for making the clouds. Once you have added the darker clouds that is potion, blue and black mixture, you can go ahead and add a pistol rose color on top of it but don't cover the dark clouds completely. It has its own beauty. Yeah, do as many clouds as you want. You can also try dry brush effect, but do it in a smaller brush so that the texture is spread it completely to the whole of the sky part. Now it's time to go for the next step. I'll be drawing a silhouette of aeroplane. You can just have your own reference image and go ahead and draw, or you can just copy mine by taking a screenshot or posing a video. Yeah, I hope you are following me with this painting and enjoying the process. Do this step slowly because silhouettes are like bold and they look beautiful if the outcome is great. Here I'm using a line up brush that a small round up brush and going ahead and painting the silhouette. If you're not confident with using the brush, you can go ahead and use a marker or a gel pin, or a ball pin, but just make sure that it doesn't smug later on I'm doing it very slowly in gauche consistency. Whenever you use, it's necessary that the silhouettes are coming in opaque form. Also, if you're using watercolors, it's again necessary that it's thick form, not in transparent because every layer will have its own color and it'll look daily back. So you can use marker. If you're not confident enough in using any of the media. We'll add some lights over the aeroplane as well. I'm just adding some tiny little dots on the corners. As you can see. I'm just standing here and there, but not in between the silhouette. It's only at the border and at the tips. Now using the same titanium white color will add summer lights in the bottom part of the painting. Look how beautiful it's looking. We'll add some more lights at the horizontal level, but as if it's like converging, we'll go ahead and add it. You can use lemon yellow and white mixture or just white mixture, but make sure the dots are really tiny and it's in converging manner as you can see how I'm doing it. If you're not confident, just use white Marco. If you have yellow color Marco acrylic one, you can use that. I have smudged it a bit so you can use a tissue or a cotton cloth to remove the excess paint and you see it comes out very easily if it is at the starting point and hasn't tried. Yeah. Be careful of it and draw tiny, tiny little dots and it's in a converging manner. I hope you're following the instructions and painting along with me. Do share your progress painting in the project section and also the end painting. I would love to see it. And if you have any questions you can ask in discussion box or you can reach out to me on Instagram so that I can help you out. If you recreate this in your own version, do tag me on Instagram. So I would love to see it and get inspired and also share the reviews if you like this painting or the spot, so that others can join in by looking at this beautiful paintings. A last check to the details before removing the masking tape and also the edges. Don't be in a hurry. Just like me, let the pain dry completely. And go ahead and remove the masking tape slowly and gently. Remove it in a slant manner. Sometimes masking tape doesn't get attached to the paper or A. That's because of its g consistency. Make sure after painting it, it doesn't tear your painting look how beautiful it's looking. I hope you recreated one of yours. And I'll see you in the next painting. 28. Day 23 - Coffee Painting : Hello and welcome to day 23 of 30 Days Course Challenge. Today we are going to paint this beautiful mug. So with a coffee or tea painting, basically I've drawn round shape to round shape. Then around it I have drawn floral design plate and a handle for the mug. Here I'm using bien in the part also I'll be using tightening it mixed burn sienna in a part and for the side of the background I'll be using yellow teeth color for the right side, same burn sienna for the saucer. I'll be using some gray and white. As you can see, I'm just painting the inner part of the circle with burn sienna. Using a round brush to add some depth inside the burn sienna. Here I mixed burn sienna with titanium white and loaded the brush with, with the same brush, round brush and painting a moment. I'm not going to make it prominent, I just want to a bit lighter in chain. Also, if you want to avoid the step, you can completely avoid it. Also, if you have any shape in mind like swan or your name or anything which you can daily see in your cafeteria or customized coffee shop, then you can go ahead and try. Those have just drawn a sole and above it we'll be adding some hard shape design using the same mixture, that is Gonza Y. No matter how much white the paper is, I would like to go ahead and paint it with white color. This will ensure that the paper has absorbed the paint and whatever the porous area there is covered with the paint, water or any other particle doesn't get absorbed and create mess. Here I'm painting white color on the plate area. That is florid design we had made. It's not completely florid, it just has some curvy shape. So once we're done with that, we'll go ahead and take some gray. And I'm just going to make some shape, you could say everywhere shape. And then I'll be blending the white and the green mixture together. The gray design, which I mean, I'll just make it flag blended form, not too prominent. It'll look as if it has some design and depth in it. Okay. See I'm just making some new shapes. And also for the shadow, I'll be using the gray color here. I've just copied the little part of the shadow with gray color. Whatever is seen As you can see, I'm just making a part of cup and also the handle with the gray color. Gray colors are really good copy for the shadows. So I'm just blending the gray with the white, with the damp brush. I'm not using excessive water or neither paint. I'm just running the brush after removing the water with the cloth and the brushes dam. So you can see it's blending perfectly as I wanted. I have left a space for the handle, you can avoid that space for coloring yellow ocher. As I said before that I'll be painting a heart shape inside the coffee mug. Here I'm using the lightest shade of pastel color of burn, siena and white. And going ahead and adding those heart shape, I'll draw three heart shape and then the swirl surrounded. You can go ahead and paint whatever you like if you have something in your mind. Coming to the background here, I'll be painting a bit of burn Tiana that is shown like a woody texture. And the rest, other part is like a cloth where I'll be painting the cloth area with yellow, white and I will be adding some texture into it. Not so prominent texture but a little bit of texture here, I'm using the rounded brush and carefully outlining and going ahead and adding color. As you can notice, I have a little bit of white loaded into the brush, but that isn't affecting because it's in the belly of the brush. And at the tip here, I'm just using the tip and painting it. Be careful of it. Now I'm shifting to the yellow color. If you don't have this particular color, then you can go ahead and choose any lighter shade of your choice and go ahead and use it. Firstly, I'll be filling out the space with yellow white color carefully with the round brush blending the yellow, white, and brown together. With the mixture of yellow, white, brown, and a bit of gray. I'm going ahead and making texture, just random lines here and there. You can go ahead and do that or completely avoid this step. I just want to texture in the background. So I'm using this particular method to make the texture you can hardly see, I guess. So that is what is there. Now I have loaded the brush with the bon sana and white mixture and going ahead and making the lines onto the hoody area of the background. You can make lines or oval shape. I've drawn lines later, I'll be doing the oval shape as needed. Coming to the next step, let's shift to a line of brush and go ahead and add yellow ochre for making it more prominent and look beautiful. I'll be painting the yellow ochre, specially at the edges, as if it's like a T. Do it slowly and gently. If you are not so confident, you can go ahead and use a golden marker for this particular step. I'm just going out with the outline. You can see there's a handle which we have left space for that. I'll be using golden color and we'll be painting with that completely with yellow. White. Yellow represents golden color. It's like luxury paint. Giving a luxury, right? Y we'll be painting time to see all the details and correct the details. We are almost at the end of the painting, like you can see the left side. I have some extra white near the yellow ocher and there's like white part in the brown area as well. We'll correct all the mistakes before we finish it off. Adding some more white inside the mouth. You can say it as a poppy T or cappuccino o. Here it is a beautiful representation of the picture. The reason why I did not use golden marker is because a large tip, when you try to remove the paint from the tip to the paper, it'll smudge it out and starting. So I did not want any sort of stuff like that, so I just painted with a line of brush. Here is a completed painting of day 23. I hope you enjoyed the process and followed along with me all the instructions and painted with me. Let me know how you enjoyed this process and also share me your progress and also the end of the painting. You can tag me on Instagram as well. Let's remove the masking tape slowly and gently in a slant manner. Yeah. I've taken the board in hand so that the paper doesn't tear and I could easily turn the painting here and there and then remove it easily. Okay. This is it for this painting, I hope you enjoyed it. I'll see you in the next one. Until then, keep creating and keep learning. 29. Day 24 - Snow Painting : Hello and welcome to day 24, 30 days go challenge. Today we are going to paint this very simple snow painting. For this, the colors required is titanium, white, gray, and black. You can do it with water colors as well. So here I'm just drawing cycle, half of the cycle and also the ground level. This is the first painting, I guess, where I'm just drawing with you guys. I hope you're following me and doing it here. I've drawn semicircle and then on top of it, and then I'm going ahead and drawing one more semicircle which is half the size of the previous one. Do it slowly and gently whenever you want to use eraser, you can go ahead and use eraser for making the circles. You can just put some dots that is like half C shape and then cover it all four points. Once I'm done with both the circle semicircles here, I'm doing a small, tiny circle where I'm extending a line towards right side. It's like a part of the cycle which is like holding the other wheel of the cycle where the pedal also comes here. One more line which is going upward. Then I'll draw a slant line which is like okay. Before that we'll make the behind seat of the cycle. And also we'll put a rod that is running straight. After which I'll draw a slant line, which is like running from bottom right to top left. And make a seat over there as well. It'll take some time, gradually watch me and draw, or if you have any kind of reference image, you can use that and draw. Finally, the final drawing is here. So let's start with coloring the background. For the background, I'll be using gray color. In a way, consistency as if it is a water color. I'll be using it, it will not be like too transparent or too opaque. It'll be kind of like a mixture of both. If you have watercolor, then you can go ahead and try with that as well. I'm using a flattened brush and going ahead and applying all of the gray water tree consistency onto the background. Including on that cycle picture here, I'm using a liner brush filled with water and I'm just dabbing around so that it creates some blooms. You have to wait for a while to see complete effect of that blooms. As you can see, it's slowly spreading. I have used a tiny brush, that's because I don't want the blooms to form like a huge one. You can try it out with a bigger size brush as well, but too much blooms will look really weird, as if it has like water literally poured onto the. I'm just using a tiny little dot of water or that particular step coming to the foreground here, I'll be using the same gray color but in a thick consistency as you can see. Run the brush thoroughly from left to right or right to left, and make all the edges smooth and also the paint smooth. Now, it's time to let it dry for a few minutes. Once the background has dried, go I am using a tap. You can go ahead and use a liner brush or a marker, whichever is comfortable for you. And go ahead and paint everything in black. Whatever we have drawed, you can follow me along or you can just see me and then paint it. It is completely all right. If you have smudged a bit with black color, just like what I did on the left side of the wheel area, it's okay because snow will cover up for the snow. To bring the real vibes of snow, I'll be using a round brush in a bit watery consistency and add splatters before painting the actual snow. I have taken a bit way consistency of white Gh and loaded in the Bristol off a small brush. And then using another brush, I'll be just tapping onto the brush which is loaded with white gash. This will give splatters. It's really tiny because the water consistency is not to try. Yeah, it's giving such a splattering effect. If you add more water onto the go, it will give you more, brighter and thicker splatters for the snow. Here I'm using a round brush and going in a round motion and adding over the seat and everywhere wherever the snow could fall on the bicycle e It's time to add snow onto the ground area as well. I'm just covering up the bicycle with some snow. Using the dry brush effect, you can go ahead and cover the whole area of the ground with it. Or you can just add like that. If it has too much of white, you can go ahead and add some gray and black over the foreground so that it looks real. It's time for next step that is splattering here. I'm using the same line of brush and making the brush a bit like water consistency and loading it in the Bristol, I'll be using another brush to tap over it. So in the platters are formed, I'll be shifting the brush to a bigger one with bigger round brush using the same technique. I'll go ahead and add the splatters to ensure that I'm getting more broader and whiter snow using two different brushes. One will give you a thick splatters and one will give you a small thin splatters. And once this is dry, you can go ahead and add one more layer of splatters because that will become dry and become kind of greyish. So adding one more layer of white will ensure that it's literally looking like a snoop. Okay, it's time to fill with black. Again, you require you can go ahead and add the B also to the foreground. You can just cover up with some gray and white or even black. As for what your choice is and what it looks like in your imagination, I feel too much of white as covering up. I'll just add and also a bit of black so that it looks like a rough edge. After all the detailings are ensured, and as for your desire, everything is looking perfect. It's time to remove the masking tape. Remove it gently and slowly. I know there is a mess. Hell lot of mess due to splattering. But it is one of the favorite techniques, which I love personally because it gives you a lot of texture and beauty to the painting. So this is the final look of this painting. I hope you enjoy it with me and do share your reviews and project in the project section. I'll see you in the next class. 30. Day 25 - Candle Painting : Hello and welcome to day 25. 30 days. Goss, challenge. Congratulations, I've already finished 24 paintings. For this painting, we'll be using black color. As you all know, it's a candle painting before I apply black. I just want to tell you that. Just see for a while how I'm painting it and then go ahead and paint because here I'm just leaving some negative space. That is, I'm leaving some space for the candles and then going ahead and painting, you'll get to know why I'm just leaving that particular space only in a while. Yeah, the colors required is black, titanium white, and deep yellow. You can also use yellow teeth color, but it's an optional color. Basically, I've taken a flattened brush and gone ahead and painted everything with black except for that little space. I've chosen this particular painting because we have already painted so many paintings, and we are aware of so many techniques. It's time to relax your mind and brain cells so that you can enjoy the process literally by taking the brush and running from left to right and right to left and creating the most basic painting in a beautiful way round brush. I'm just applying some white color. As you can see, some grayish color is also appearing. It's all right. I'm just trying to make some rectangular part. It's okay if the black color appears. It has to be appearing because we'll be adding shadows later on to the candle not to apply Too much of gray. A little bit is enough if you don't want to use yellow teeth or if you don't have yellow teeth color, it's okay you don't have to use it. So I'm just using it for a little bit of yellowish tint. But it socates an optional color color and blend all those gray colors which are appearing from the top to the bottom so that it looks like there's some design in the candle. You can just run from straight bottom or you can just add some wavy structure coming to the flame smoke area. First, I'm just going in an shaped manner. You can go ahead and use as much as you want, but don't make everything grayish or just have some wide structure to present. I'm just going in shape manner. Everywhere you can see there's some design happening right whenever you see a candle and it's almost going to get off, you can see it has some shape which is running from curvy, curvy pattern. If you have messed up with that particular part, you can go ahead and apply black paint again and cover up that particular space. Or you can just redo it again. One candle is not enough. I'll be painting one more candle. Now you can see why I literally avoided painting everything in black. See, it's happening to be like grayish. It's okay. First layer will be like black because the paint underneath is getting blended with the white which we are applying. You have to keep doing that and also do it when the previous layer has dried. If you are doing it again and again, when the painting is literally not dried, it'll keep happening. Let it rest for a while. I'll just do the flame part here. I'm using deep yellow. It's like orange and yellow mixture. Once I have added that, I'll just try to blend them with the smoke. Also, I'll just make the inner part a bit past making the smoke for the little candle as well. You can see I'm just using a small round brush and running the brush in a pattern manner and in S shape. If you think there's too much of a gray and white mixture, you can go ahead and use black color in between and complete the design as per your desire. If you think the smaller candle has dried completely, you can go ahead and add one more layer of white before removing off the masking tape and also look for the details. So I have just painted the flame and not the smoke blended together. So you can go ahead and blend the smoke together with the flame carefully. Let's remove the masking tape slowly and gently. Also, if you are looking forward for more such paintings or challenges, let me know in the review so that I can make a class out of it and also do share your projects. In the project section, I'd love to see it. Here is the final output of this painting. You are left out with some detailing part. You can go ahead and do it if you think the yellow is necessary in the candle. Then you can just take some lemon, low and white mixture and make it to the lightest pastel shade. And then go ahead and use it. So this was it for today's painting. I hope you enjoyed it. Keep creating and keep learning. I'll see you in the next painting. 31. Day 26 - Northern lights Painting : Hello and welcome to day 26. 30 days. Gross challenge. Today we are going to paint northern lights. We ever wondered how the dancing lights form in the northern hemisphere? It looks so beautiful and fascinating. We are going to paint one of it. Here, I have used Persian blue and lemon Ello. We'll be mixing these two colors together on the paper to make green color. The third color by mixture of these two. Here I'm using a flattened brush and applying the Persian blue running from left to right and covering the paper as much as possible. Half of the paper with the Persian blue and rest lemon yellow, and the rest will be with black. I won't be painting much of lemon ello. But a bit of it you can go ahead and try with any of the other blues, which will give you a green color when mixed with yellow. You can try with ultra marine cobalt blue, any other color here. While using the flattened brush itself, I got this crazy little green color by the mixture you can completely avoid. And just put the lemon ello and shift to a fan brush. You can try that spikes with a flattened brush as well, with a dry brush. Here I'm using a fan brush because I'm on those spikes as you can see here. I've taken a bit of lemon yellow in the fan brush and I'm just mixing it. Fan brush is basically, it has like fan shape. The bristles are like a apart. You can try it out with a dry, flattened rush as well. If you have seen my older skillshare video, I have painted one of it like this, but not completely like this. The background is the same, you can check that out as well. It has its own beauty when painted. Once the background is ready, we'll go ahead and add the silhouette and also the way dancing shapes of the northern lights. Here I have disposed some type tanium white onto the palette. Since it is a small area, I'm just using the round brush and covering up the whole of it with black. Whatever part of the background is left that I'm covering it with black. And also I'll be painting pine trees. You can go ahead and try some cottage with other trees, but I'll just go with pine trees. You can shift to a liner brush or a small round brush and make the pine trees as I have shown in the class seven, where we have painted the moon and pine trees the same way you can go ahead and do the pine trees, it's just that make a straight line. Top part will be the smallest. As you go down, it becomes the broadest the line. Then we go from left to right in a zigzag manner by some small rotations. As you can see this step it goes Earlier explained, I'm just going ahead and telling you to you again, there are various ways to paint pine trees. Here are some of it. Draw a straight line from top to bottom and run the brush from left to right. As a second way is after drawing from top to bottom a line, you can just drag your brush from left to right with the rotation manner. Each line will be bigger than the previous line that has to be started from the tip of the top and coming down, it'll become broader like a triangle. One more way is draw a line from top to bottom and then make small small lines left and right. In that each line, you can go ahead and draw some small lines. Again, this is another way. Third way, which I had told you can just continue and practice. Or you can just go with whatever method is familiar to you and go ahead and paint it. Here. I'm drawing various pine trees of various sizes and various shades. If you want to do like from various shades, you can just mix some black with white. Or you can just make it into a transparent consistency and use it not too transparent. I would recommend. Now coming to the dancing waves of the northern lights here, I'm putting some white as you can see. Wherever I want that lines to be. Starting here, I'm just adding some waves. To the sky with white color. Here, I'm using a dry, extremely dry, flattened brush. And running the brush to the top, see how beautiful it's looking. It's giving a dry brush effect. And simultaneously, it's as if it's showing that the Northern lights are dancing. You can literally add colors into this pink or even green. But I am okay with white color. I'm just using white. When you're pushing the brush towards the top, just make sure that you're gentle enough and not putting too much of pressure onto the paper. Just put a bare minimum pressure. It'll create its own effect. Yeah, as you can see, it's like not even half of the brush is being pressurized onto the paper. One more thing I would like to say is, don't add too much of white. As you can see, top side, top right side, there's too much of white and there's no dry brush effect. Sometimes you don't have to overdo it. If you think that there's a bit of white scattered on the wrong place, you can go ahead and correct it with the same color, just like green or blue or whatever. Or sometimes you can just patch it up with white itself. You can go ahead and use splattering method to add stars, but here I'm just adding the little bit of stars to the tip of the brush. This is because I don't want to spoil that amazing dry brush effect. One last check before you remove the masking tape, whether the paint has covered all the edges or not. If not, just cover it up and also check for the details. If there is any detailing left, you can go ahead and add those. Also remove the masking tape gently since the paper, the background is dry and not the inside details. You can just remove it. Yeah. Do it in a slow manner, in a slant way. You can just remove the masking tape. Since we are almost at the end of the challenge, I would like you to review this class so that others can join in and also post your projects in the project section. I would be happy and inspired to make more classes. You can try this background with a different color as well, because nothern lights are of various shades and various colors also their amazing, fascinating dancing lights with various shades. You can try it out with different colors. And let me know which color are you going to try it out next time. Thank you for joining in. I'll see you in the next class. 32. Day 27 - Hilly Area With Car Painting : Hello and welcome to day 27 of 30 days course challenge. Today we are going to paint a scenery which I took on the vacation. So basically the colors required here are sky blue, burnt sienna, a bit of black. Also deep yellow, mid yellow. And also gray color, black color, green color, titanium white. I have told black twice, I guess, including million here. I'm using a simple drawing and using a flattened brush. I'm going ahead and adding the sky blue onto the sky. I'm just making as thick as possible in a gauche consistency. I'm painting the sky part. I'll let that dry. Later on I'll add clouds using a round brush and white color. I've just added the sky. Now we'll move on and make some mountain for which I'll be using burn siano. Using a round brush, I have loaded the brush with burn siano. You can just thin down a little bit but not too much. I just wanted to be in a thick consistency, especially at the top. As you come down, you can just thin it down as per your requirements because we'll be adding loads of depth into it by using various shades of colors and also different colors. So here I'm just painting it with burn sienna, except that car part. Be careful while painting that particular area. As you can see, there was a little bit of white. So mixing the pistol color, it has changed its total color. So yeah, a little bit of change in the color will give you a lot of deference using the same color. I'll go ahead and paint the lower part of the mountain as well. The middle part will be the road area and down part and up part of the mountain. Okay. Using the same round brush, I'm going ahead and adding colors. Since it's not in the same consistency everywhere, it's giving texture as you can see. We'll add on the different shades into this. I'll be using some yellow ochre mixed with Bon Siena and adding that onto the mountain and also on the foreground area, just like that, I'm colors and dragging it, I'm not covering it up, everything with that particular shade. And also to the mountains. You can go like in a particular fashion and make some design onto the mountain. But here I'm just randomly adding as if some rocks are accumulated onto the mountain. Next coming to the green, you can just take any sort of green. I just using the Ldian green which was left over onto my palette. And just randomly adding here and there using the same round tip brush. This is wet on wet technique because we are just adding colors when the painting is already wet. Let's move on with the next color. Here, I'm using the gray color and adding near the road area. The next step is we'll just mix some burn Siena with black color and add some more depth into the mountain as if there's multiple mountains and rocks in the area. Whatever mountain we are painting, it's not going to be very near mountain, which we'll see. It'll be as somewhere far. The mountains are wet on wet has that effect. It gives you a dull shape and also smooth edges. It looks if you want to make it like a prominent and val then you can go ahead and use on right technique for that step. Here I have just randomly added the burn sienna and mixed with black mixture paint everywhere. So I'll be adding some of it for the fue ground as well. Using a round brush, I'm adding white color clouds onto the sky blue part. Coming to the final step that is painting the car, I'm taking some black and adding the shadow first. And then I'll be covering all the tire area and then I will be painting the car with yellow color. You can just go with red color or any other color of your choice car you want to have. For the back side of the behind the seat, I'm just using the black color and side part. I'll be painting it with gray also. I'll be adding few lines of black in between so that it looks like it is a convertible car. Also for the front screen, I'll be painting it with gray for the sides seat, also the wheel area. I'll just be painting it with a pure black color for the head lights and light areas. I'll just go with Vermilion color. You can just paint it with yellow color. If the color of the car is different and for the door and all with pure black. We'll just add some more green color like near the area where the and the mountain meet. And also look for some other details for the car. I'll just go ahead and outline it with the Mac pen to get the feel of the car. I'm done with the painting, look for the details before you're done. And also check for the corners. And then remove the masking tape. This was it for today's painting. I hope you all enjoyed it. If you're looking forward for more depth in the mountain, let the painting and then go ahead and add depth inside. You can use dry brush effect also for the mountains. Since this was I did not do much technique, the original. Do share your projects in the project section. I would love to see it. I hope you all followed along with me and followed all the tips which I told you earlier. This was it. I'll see you in the next painting. 33. Day 28 - Sunset Pathway Painting : Hello and welcome to day 28 of 30 Days. Go challenge. Today we are going to paint sunset paintings. Who doesn't love sunsets? Sunsets are one of the beautiful paintings where we can find it in the vision board. In the beginner artistic levels, everyone paints sunsets. Here I'll be painting sunset scenery. The colors required is Lemonello, rose, hot, ping, bald blue, burn Siena, deep yellow, and also black, titanium white and green. You can use any green, whichever is left out on your palette. Yeah, no issues with that. I've drawn a simple pathway painting where I've drawn a line, some curved lines where it's meeting the horizon. As you can see, I'm just following the grid method where the bottom line where the horizon is living, the two boxes up. Firstly, I have painted lemon yellow left side, a bit smaller than the right side. Next color will be painting rose color. It's like color. You can just thin down the paint and make it into a pastel shade and use that. This is the second color. I'm not blending it completely. The third color is cobald blue. I'm just readily mixing the color in the palette and then going ahead and blending it. You can see the cool blue and rose color has blended together. Now it's time for lemon, ello and pink. I'll just use white tum, white. And blend it together. All the three colors are in blended form. Let's give you an even look for which I'm starting from the bottom and going ahead and mixing. And this is what the blended painting looks like. Now it's time to add clouds here. I've shifted my brush to a round brush and I'll be painting the clouds with deep yellow onto the yellow part. Here, I'm using deep yellow, you can go ahead and use orange color as well. I'm just going to make tiny, tiny little clouds. As you can see, I'm just putting some dots around one particular space and just lifting it off. Lifting the brush off, and this is giving me tiny, tiny clouds. As we go to the right side, I'll just be adding more bigger clouds. And a bit far, far from previous clouds. It's going in a slant manner, as if it's flying upwards. You can see how many clouds have done and everything is in slant manner. You can add depth into each cloud later on. Let's go ahead and make the rest of the clouds that is using hot pink. You can mix hot pink and white together and use that. I'm just blending it with the previous clouds itself to give a nice look. This is what is looking. This was for the second part of the cloud. Now it's time to make a darker cloud. Here I have mixed rose color and co, bald blue together to get that purplish shade. But this is too much of purple. So I'll mix a bit of pink together and make it a bit lighter. And it's darker compared to hot pink, but that's really fine. This is what the clouds look like. You can go ahead and add depth into it with various colors or even the pastel shades of that wound particular color. Let's move on with the silhouettes. I'll be painting the pathway, the sides with black. And also the palm trees. Center part will be with gray inside detailings. We'll do it further using the flatten brush and we'll be painting of the pre color at the center part of the parkway. Using the same brush, I'll go ahead and add paint onto the side of the pathway. As you can see be slower and gentle, especially if you're using a broader brush. You can add textures like a bit of round shapes at the horizontal level. Now using a lineup brush, I'm going ahead and adding a brown color layer at the corners of the pathway. You can go ahead and add black later on to cover up that little area. You can just leave that area as well as gray. Just define those black edges properly. And leave that gray layer, let it be seen cool for the center part of the pathway will add white color for the trees here. I'm just drawing some lines near the horizon. It'll be smallest tree, but as we come front, it'll become bigger and bigger. You have to imagine this particular painting and then do it because this is all based on perspective. I have drawn four trunk of the trees for this one. Again, I'm just drawing the smallest tree and the big, big. I'm just doing the three trees for the leaf. You can go ahead and like a normal palm tree or whichever shape of palm tree leaf you want to make, you can go ahead and make it. I'm just drawing a line and then adding multiple lines at the tip. From the center. It's just like a line is coming from the center. And at the tip, there are two mini lines. Okay? This is making the leaf denser at the tip. At the center, it looks like a bit empty. Again, following the perspective, we can go ahead and make the center lines of the pathway. The nearest one will be bigger and the far one will be thinner and smaller one also adding the white paint at the corners just like that. Once we have done with this, we'll go ahead and add some greens in the black area. I'll be using two shades, that is, one is proper green and then space two shade of that green to make it even bolder, I'll be adding green and a denser form which is at the corners as the smaller lines are there of the pantries, I'll just put very far, far dots of green. You can see how I'm doing it. And then you can go ahead and paint it. This is the outlook of today's painting. I hope you enjoyed it. The cloud seems like not so good. We can add a much fluffy cloud. We'll do it later. Let's remove the masking tape first. I hope you have replicated the same and followed the tips along with me and painted. Thanks for watching. Let me know how your painting session is going on. Also review this class so that others can join in and post your projects in the project section, complete the details and give it a finished look. And that's it for toy's painting. I hope you enjoyed it as much as I did it. So see you all in the next painting, huh? 34. Day 29 - Bonfire Painting : Hello and welcome to D 29 of 30 Days Course Challenge. Today we are going to paint a bonfire painting. This is one of the most commonly seen painting during winter. Why not you paint it yourself and feel amazing of it? The colors required here is Persian blue, black burn, siena and orange. Also a deep yellow, lemon yellow, and titanium white. Basically here I've drawn a rough sketch of bonfire. You can just make two slant lines and you can just go with random lines on top of it. Here, I'm just mixing some black with Persian blue. Whatever the darkest color is there, I'll just go around the foot area and the lightest one will be on top of. I have mixed it thoroughly and loaded the brush with the paint. I'll just go ahead and apply it onto the paper. Here I'm using a rounded brush and not a flattened brush. That's because we want more depth and texture in the background. Whatever the strokes we are painting in, it will create its own texture. So I'm just using a round brush. Look at the background. The sides are darkest and above and the top left and right corners are lightest. Now it's time to fill up the woody area. For this, I'll be using the Bonciana black mixture. We'll slowly build on layers on top of it, so don't worry, whatever the shade you're applying, you can just go ahead and apply it randomly. But follow the way I am painting it. That's the way we'll be adding woods. Also try to avoid blue but blue mixing with burn Siena. But it's all right, it has many layers. So eventually we'll cover up. Now we'll go ahead and add some more black with the brown and make it more darker. Now, I have just taken some orange color and loaded onto the brush. If you don't have orange color, you can just mix yellow with vermilion or any of the red shades and you'll get the color. If you don't have that color also, then you can go ahead and use yellow or yellow ochre or any of the yellows here. I'm just going in, Wherever the borders are, I'm just adding orange. You can go ahead and add beyond those borders as well, but let the blue settle down whenever you mix. Whenever you put the orange onto the blue, it'll start combining and create a messy color. But eventually it'll look beautiful. I've just outlined it with orange and added few of it in the center. You can go ahead and do the same also if you want to add. Beyond the borders, then you can use the pastel form of orange and add it. I'm to add the second layer where I'm using the deep yellow color. Inside the orange color, I'll be leaving some white space, but also covering the orange color with yellow as well. And mixing it up here for the white color. I had some lemon ello leftover in the palette. I've just mixed that with titanium white and I have applied it, It's obviously a pistol shade and it looks very beautiful when applied. So I just added that around this flame, you can go ahead and add some white and go over it with orange color. And also eventually build up with layers like orange, yellow, white like that, when the flame is already getting dried. Let's go ahead and build up layers for the wood area here. I'll be mixing some bona with titanium white and we'll be using that particular shade for the wood part. If you notice I have left some space in between the previous color. I'll just leave that for black color as if there's too much of food inside it. I've taken a fresh shade of the bone Siena, and I'm just applying over it. And you can just go ahead and use the lines, small lines and do it. You can again build the layers and layers and layers. That is what I'm doing it with, the pure form of burn Tiana. Then pistol shade of burn Tiana with black mixture as I'm just dabbing the brown color onto the flame area. That because it's as if like some ashes are coming out from that wooden area using the same rounded brush. I'll go ahead and build up layers with white, orange, yellow. Look how beautiful it's looking. To add more depth and more drama into this painting, we'll go ahead and use splattering technique and add some orange splatters and white splatters. If you want, you can go ahead and add the yellow splatters as well. Basically, I'm loading the brush with orange color, with a little bit of consistency. And using another brush, I'll go over the loaded brush by hitting it. As you can see, I'll just start diving over the loaded brush that's creating splatters. You can try with different brushes, like one with a bigger brush and one with a smaller brush, but I like the small splatters. I'm okay with this. That was orange. You can try with deep yellow and also white. Eventually, it creates a lot of drama as if the flame is like literally burning around. You'll see the end product is like super beautiful. This is where I'm testing it before actually painting, putting it onto the paper. If you think the splatters aren't coming properly, then you can just go ahead and add one drop of, one drop of water onto the paint and just mix it. And then go ahead and once you master the art of splattering, I swear is the most beautiful technique for every painting. It creates magic literally. And it transforms the boring art into an amazing, interesting art piece. Just look at that, how cool it's looking. Now it's time to add some white over the flame. Inside the flame, which I mean, and slowly build up, don't disturb the splatter as much. Okay. Wherever you want the white color to be, just go ahead and add it. This was the painting for the day. I hope you enjoyed it as much as I enjoyed it while creating it. You followed my instructions and painted along with me. Do share your reviews and also projects in the project. If you have any queries, you can go ahead and ask. Also, let me know if you want to see me create more such artworks and challenges. Yeah, let's remove the masking tape gently and finish off this painting. If you think there's some detailing left and I need to be added, you can go ahead and add them. Yeah, I am done for it. I'll see you in the next painting. Until then, keep learning and keep creating. 35. Day 30 - Pond Painting : Hello and welcome to day 30 of 30 Days. Goss, challenge. I'm super happy that we are at this particular painting and we have completed so many paintings. For this painting, we will be painting a pond scenery where um, we'll be using some portion blue and various shades of green and also cell in blue, black and titanium white. Before we start off with painting this particular painting, I would like to say that the lighter shades of darker and darker shades of dry lighter. Here I'm using a flattened brush and I'll be mixing black Persian blue and dian green. The three combination colors and making it blackish green. And we'll be painting the top part. As we come down, I'll be mixing a lot of Persian blue with the same mixture and apply it as we go. Eventually down, I'll be adding more of the Persian blue or even cereblin blue and make as light as possible. But since we are doing the darker color first as we come down, that will also be in darker form. Not to worry if you don't see the colors initially. Whatever you have mixed, you'll eventually say when it dries. Okay. So be confident and start painting. Can you notice the different shades of colors until the background rise here, I have taken dian green. I'll be mixing the dian green with titanium white and make a pastel form of color for drawing the outlines. If you don't have dian green, you can go ahead and emerald green or sap green also here I'm just painting some leaf, whatever is found in the pond, that kind of leaf. I'm just drawing it if you don't know how to do it and if you're not confident, you can go ahead and use white pencil and go ahead and draw it first. Then later you can just add colors with the brush. Here I'll be drawing multiple leaves, one which is stuck behind and one which is above the previous one. Like that, and some small and some big. In random shapes. It's time to fill in color here. One of the green is dian green, the other color is olive green. One more is the pastel form of median green and also yellow green color the leaf which you think is like deep inside the pond, that will be olive green, which is darkest of all greens. The leaf which is above, almost floating in the pond, that will be yellow green color. Just imagine and just go ahead and apply it. You can also mix both colors together. Such as yellow green and Ldian green together. Dan green and olive green together and do it, it's all about the imagination and painting. If you're still stuck in not knowing what to do wear, then you can just follow my painting and just copy wherever I'm putting that particular shed. You can go ahead and copy Copa the second shade as in the green color. Look how bright and beautiful it's looking. The third shade is olive green color. Since we are done with all the basic painting of the leaves, it's time to paint the wines of the leaves. You can go ahead and use the same color in the lightest form, or you can just go ahead and use a darker shade of color, which is like contrasting the previous shade and use it for painting the vines. You have to just imagine a center of the leaf and then draw many branches, just as if we are drawing lines to the outward part of the circle. And then drawing even more smaller lines like Y shape. You can see right like that. You can go ahead and paint it. You can use marker or even color pencil for this. But I would recommend to use the paint itself using the liner brush. You can go ahead and use it. Sometimes using its own pastel shade doesn't work. It's better that you use a darker color. For olive green and red and green. Look how beautiful the yellow green color is looking. Since I want to add a bit of lighter shade at the bottom part, I'll be using blue mixed with some blue and green. I'll just be applying. You can go ahead and use direct blue also. As you know the lighter shapes, you can just go ahead and I'm not going to add complete cell and blue over wherever we have painted. I'll just go randomly apply to a particular area engine and then just leave it off. Blend a bit. Little bit but not completely. Okay. Do it slowly, gently, and enjoy the process. I know it's a time taking process, but yeah, it is the most relaxing way to paint. Now, to add some twigs and part part of stuff floating on the pond, I'm using the olive green and also some portion blue mixture which was left over just in white shapes. I'm adding here and there, Everywhere in between the leaves. And also once we had done with this, we'll go ahead and add some flowers as well. On the lighter shade, we'll be adding some silhouettes of fishes as if there are some fishes in the pond which are swimming around here I'll be adding fishes in random motion. One that is rotating, one that is going straight, one that is going upward. You can do this with markers as well, using the pastel shade of olive green and selled in blue mixture. I'm just adding some white shapes here and there, and there's some green also left over, right under the brush. I'm just using the same mixture in a pastel form and using it as it's better that we add water waves which will do it in white color. First, let us add some flowers. I can go ahead and add as many flowers as you want once we are done with this five petty flowers for the center or we'll go ahead and use Lemon Local. Using the same round tip brush, I'll be adding some more lin blue around in the leaves. You can see I'm just like dabbing around and dragging it. Using a line up brush. I have gone ahead and added lemon El. Sometimes it doesn't get added, so just wait for some time until the background has dried completely and then go over it, which, uh, helps you to get the brighter look also. And also wherever you want that particular dot to be, it'll be there. Okay. Be patient. Let us add some waves around the fishes. I'm just using the curvy moment and going around the fish, around the leaves using some broken curved lines for this as the fish moment is there. I'm going with the same moment and painting the waves. This is the final look of this particular painting. We are at the end of this painting, I hope you enjoyed it. Also, let me know how it was and share your projects in the project section and also give a review. Others can join in and enjoy it as well. Remove the masking tape slowly and gently. If you have any sort of queries, you can just go ahead and drop your questions down. I would be happy to help you out. I hope you enjoyed all the 30 days. Paint 30 paintings with me and also learn so many information. As you can see, while removing the masking tape, there is some leakage of pain. You can just cover that up with a liner brush with the help of white gauche. If you use Marco, then it might spread a little bit. But using white or white acrylic, it'll help to cover up. Thank you for being a great student and learning with me. See you in the next class where I'll be sharing you how to protect the Gah paints and more information on it. Stay tuned and follow me and keep creating and keep learning until I pull the next class. 36. Congratulations : Congratulations, Finally we are at the end of this 30 days. Go challenge. Who knew at the starting that we are so much talented? So yeah, kindly appreciate yourself and tap your back. Thank you for joining in. And I hope you enjoyed every painting and enjoyed all the tips. And you'll be using all the tips which you learned in here to apply it on paintings as well. These are the final 30 paintings which we painted. If you remember that I had shared a introduction video where I had showed a couple of extra paintings that are available on my Youtube channel. You can go and check out there. Also, if you have any queries, you can go ahead and ask me. In the discussion box below, please do share a review on this painting so that I can make further painting classes for you guys. Interesting one obviously do share your projects so that I can see them. Do connect me on all other social platforms. The Instagram and Youtube handle, I'll be just putting up here so that you can tag me on Instagram. I would obviously share it on my page so others can see your great work. One more thing is I have linked one more class after this where I'll be speaking to you about varnish and how to protect them, how to seal them, and how to store them. Okay? Painting is not only about painting it and keeping it, okay. It's about storing as well and protecting from the damage as well. I hope you all enjoyed my classes and whole of this painting series. Thank you for being a great student and enjoying all my painting classes. I really appreciate your painting works. I would love to see your work in the project gallery and I'll be waiting for your reviews too. I'll be making up a class soon. Until then, keep creating and keep learning and also share your reviews with other friends so that they can also join and appreciate my class and learn something new. Okay. By take care. 37. How To Protect And Store The Paintings: Okay. So as I said before, I'll be telling you about how to varnish, gouache painting. What is varnish before that? Aren't you curious to know? What if the gache color reactivates by mistake after such a hard work, by an accidental pour of water or a coffee onto it? One more thing, what if the vibrant color starts to fade away? Now you're getting to know right, why varnish is very essential, but let us get to know what actually varnishes. It is basically a protective layer which is applied onto the painting so that it stabilizes the painting and also prevents the damage of the textures which we painted. One more thing is it has its own. When there is there, obviously there's some, right? The disadvantage or cons of using varnish is that once you apply it, you cannot reactivate it by anyhow, one more thing. You cannot add extra paint over it and add some more texture onto it. And third thing is if you want to add your signature also, you cannot do it. Okay? So you have to do it prior to applying the varnish and coming to the varnish. There are two types of varnish which is applied onto water based mediums, that is x and fixative spray wax. You can use door lance wax medium for it. You can take a cloth or tissue and take some wax in the finger like in the tissue and rub it over the painting evenly, apply it and let that dry. And once it has dried, you can go ahead with one more tissue and polish it. That's one way of sealing wax onto the gage. There's one more way that is fixative spray has its own disadvantage that you cannot use it in a closed room. You have to take a ventilated, well ventilated because it has a very bad odor, you have to do it outside The fixative sprays are easy to find and it's just available everywhere. You have to just apply it slowly in layers. Also, door land wax medium is a bit difficult to find because I just tried it, I couldn't find. Here I'm using the spray. The fixative spray is also used for paperwork like the charcoal work and all. Once you apply the varnish, you can see that glossy finish, right? And you can do this for every painting and keep it here. Just for the demonstration purpose, I have shown like how to put the fixative spray varnish onto the painting. It's not completed. One, it'll be even layer. Okay. Even layer of gloss and all. Before putting varnish, you have to ensure that the wash paint has completely dried. Okay. Not a single stuff has to be, it has to be reactivated. At least keep it for two to ten days. And then after that you can go ahead and use varnish. Applying varnish has to be done outside where there is full of air and do it slowly before applying it. Just shake the bottle a couple of times and then go from left to right and right to left. And apply it like keeping at least 20 to 25 centimeter apart and putting the varnish. Each varnish or fixative spray has its own precautionary measures. Make sure that you read it before use and also read how to use it, because every varnish has its own way to use it. One more thing is to prevent buckling of the paper. What is buckling? You can see those uneven edges, like sitting onto the desk, right? They are some shadows to make them straight. You can keep under some books, just make sure that there's no dirt or any water surface. That would be the paint storage thing. You can store it in a transparent file so that you can see the paintings and appreciate as well. This is all the information that I had to share with you guys. I hope you enjoyed it. Make sure to share a review and your project in the project section. If you still have any doubts, you can go and ask in the discussion box below. Until next time, keep creating and keep learning. Thank you.