30 Days of Dreamy Watercolor Landscapes : Embark on a Creative Journey with Me

1. Welcome to the class: [MUSIC] Every morning, I wake up and I feel inspired by color or visual, and I just want run to my studio, get my brushes and paint. But that does not always happen because I have other commitments during my day. But somehow I try to squeeze in some time to paint everyday. Hi, everyone. My name is Zaneena Nabeel. I'm a mother, an architect, an artist and a Skillshare top teacher. If you're new here, and if you don't know much about me, you can check out my Instagram account, @AURORABYZ. Over there, I share my art, my wins and fails, my daily activities and everything related to art and motherhood. I left my career as an architect to pursue art. I'm passionate about teaching art and helping beginners around the world gain confidence and capabilities. Over the past few years, more than 100,000 students from all around the world have taken my classes. Today, I would like to invite you all to a brand new 30-day watercolor challenge, where we will, together, paint 30 dreamy watercolor landscapes. The pictures I have chosen are truly beautiful, and I bet you will have an incredible time each day discovering new techniques, color combinations, tips, and tricks. These paintings are absolutely dreamy and I'm very sure you guys are going to love them. [MUSIC] I'm someone who really love daily art challenges. To me, it is more about the habits of painting every day. Sometimes it can be just trying out some color combination, sometimes it is just painting a sky. It is not always a complete painting. Not all paintings and exercises turn out cool, but I think you have nothing to lose, it's just a painting. If I'm not happy with the result, I just start over and try what I can. But this daily exercise has helped me reach my goals much faster than I expected. Also, it gives me a sense of calm from the chaos of the day. I want you guys to experience the same and make art a part of your daily life. If you're new to watercolors, don't worry, I will walk you through all the materials you will need in detail so that you won't feel like you are a beginner. I will also explain about the color palette that you will need for this entire 30-day watercolor challenge, their properties and why we're using that for a particular painting. Then we will start painting our dreamy watercolor landscapes. Every day's project starts with the technique and exercise section so that you know how to approach that painting beforehand. This will make you confident enough to handle the project. If you're still doubtful about joining, take a look at the next section where I'm going to show you the entire collection of 30 dreamy watercolor landscapes. I'm very sure you will have no doubts. Let's take a look at it. 2. 30 Dreamy Landscapes: [MUSIC] Before we start, I would like to show you the empty collection of 30 dreamy watercolor landscapes that we're going to do in the upcoming days so that you will have a better idea of what to expect in the coming days. Let's take a look at it. The first one is going to be a dreamy evening with a multicolored sky. I really love that rock texture, so that's something you will learn in this painting. The next one is a summer beach. It's an easy one and through this painting, you will learn to create that beautiful blue cloudy sky, which you can use in your future paintings as well. Also, you'll learn to create that wooden texture, which is a really exciting one. Third one is a drive through the mountains. Compared to the other two paintings, this one has a different color palette and we will learn to paint with muted colors. The next one is a gorgeous Arabian Nights. I really love the color combination, the sky, and how the sand dunes turned out. It's actually an easy one and it is so much fun to paint that sand dunes. You will have to wait till Day 4 to paint this. The next one is a lighthouse by the beach. This one is another fun and easy painting. Honestly, I was quite surprised when I painted that Mole beach. It is really glowing and it is so easy to create that. Day 5 is something I'm really looking forward to and I really want to see your class projects. Now, coming to Day 6, we're going to paint a calm and peaceful night. The best part about this painting is that it only requires two colors, Prussian blue and Payne's gray. Instead of blue maybe you could try this with white as well so that's going to be really exciting. The next one is a gorgeous evening. We will combine that with a green meadow to make it even more beautiful. Because the colors have a great contrast here and that contrast will make it even more beautiful. Now the next one is a winter night. For this one as well, we'll be using a very limited color combination, we'll only require three colors: indigo, cerulean blue, and Payne's gray. It's a really simple and an easy one. You can do this in less than 30 minutes. Now, the next one is a gorgeous purple sunset. This one is a little advanced compared to the other projects, but that doesn't mean it is difficult. The process for this painting is really exciting and I'm very sure you're going to have a wonderful time. My favorite part about this painting is the color combination and the sky. Here is the color combination that I'm really proud of. It's again, a limited color palette. For the sky I have used indigo and the second color is something that I mixed and created. It's a beautiful peach color. I don't want to reveal that right now. You'll have to wait till Day 10. That was Day 10. Now on Day 11, we will paint a beautiful tropical beach. I think this painting is going to be a good break from the bold and loud colors that we have been using. The next one is a gorgeous northern light. It's a color combination that I'm really obsessed with. Also I love the mountains. For this painting, we'll be using some cool techniques. I'm really excited for Day 12. On Day 13, we will try a traumatic sunset. It's another easy one, and I think the color combination is just spectacular. The next painting is a beautiful blue lake. There are only few paintings that I'm using green, and this is one of them. Through this painting, we will try an easy technique to create reflection, which you can incorporate in your future paintings as well. Now, the next one is a symbol gradient mountains. We'll be just using Payne's gray for this entire painting. We will talk about tonal values and how you can use them in your paintings. On Day 16, we will try a snowy mountain. I know many people won't try snowy mountains thinking they are really difficult, but they are not, they are really easy. It is just a matter of using the right colors and right tonal values. They succeed is exactly about that. Now on Day 17, we will paint a glowing sunset. It's a beautiful color combination and I don't think I have used it much and I'm very sure you guys will love it too. Now on the next day, we're going to paint the green meadows and a small lighthouse. The major highlight of this painting is that little stream. I love the mood and feel up this painting and also that lighthouse it really looked like it is far from us. This is another one that I really enjoyed. The next one is my most favorite from this entire collection, I allowed the color combination and the mood and feel of this painting. I think it is looking really magical. The best part about this painting is that it is really easy to paint. No, I'm not joking. You will have to wait till the Day 19 to find out how easy and beautiful the process is. Now, coming to Day 20, we are going to paint a beautiful crashing waves. To paint the bottom layers for this painting is quite easy. The painting is all about splattering white to create that crashing waves. This one is going to be another fun and exciting project. The next one is a beautiful waterfall. Is a simple, calm and beautiful project. We're not going to add a lot of details and that's the beauty of this painting. The next one is an aurora borealis. This painting is all about that Collier's plant for that we'll be pouring the wet paint onto a wet paper and it will tilt and turn it around to create that gorgeous blend. The next one is a dreamy beach. What I love about this painting is the sand. I think that texture is really nice and also the colors I have used for the sea, especially towards the bottom. Next one is another gradient mountains. But for this one we'll be using multiple colors. This one was actually an experimental painting. I wasn't really sure how the colors are going to turn out, but to my surprise, I really loved it. The sky is my favorite, and I think the purple mountains are looking so good with the color of the sky. Next one is a super dreamy operandi sky. I cannot tell you how much I love this painting. I actually wanted to add some other elements onto this, but I was really happy with the sky and the lake and I didn't want to kill that magical vibe of this painting by adding another element. I thought of keeping it simple and beautiful. The next one is a gorgeous green lake. I absolutely loved working on this project, especially for the colors I have used here. Also, it is giving me a holiday vibe. The next two paintings are northern lights. The first one is a winter cabin. For this one, I have used more of peaceful colors. The next one is really dramatic. I really loved the sky and those birch trees and even the snowy ground. I think I tried this painting at least five times. Every time I was happy with this sky, but I wasn't really happy with the foreground element. I think for one of the painting I tried some pine trees and for another one I tried a lake, but I was not happy with any of them and finally I tried some birch trees and I loved it. That's what you see here. The last two paintings are my absolute favorites. This is the painting for Day 29. It's a really beautiful sunset and I love the colors I have used for this painting. Honestly, this painting was an experimental one. I wasn't really sure how the sky is going to turn out. I just wanted to give it a try. Here is the warm orange sunset that we're going to paint on day 30. This is another favorite. There is something about this painting that I just want to stare at it. I think it's the color and the warmth of this painting. Every time I look at this painting, I feel so blessed and peaceful. The process is as beautiful as painting so I cannot really wait for Day 30 for you guys to experience this magic. Okay, so that's the entire collection of 30 dreamy watercolor landscapes. I'm very sure you guys have already picked your favorites. I have taken a lot of effort to finalize the projects. So each and every project is unique from one another. Which means you'll be introduced to a wide variety of watercolor techniques throughout this entire 30-day watercolor challenge. You already saw the entire collection and you know how different and beautiful they are. I'm very sure each and every painting is going to be a different experience for you and you will learn a lot along this process. There are few paintings in this collection which are a little advanced. I think it's going to be a great learning experience because if you try the same things which you already know, you aren't going to learn. You have to push your limits and you have to go beyond your comfort zone to learn and explore new things. Otherwise, you'll be stuck at the same place. So I think this 30-day watercolor journey is going to be challenging as well as exciting. I'm very sure you're going to have a whole new experience working with watercolor and you're going to love this medium like never before. 3. Class Overview: [MUSIC] Now that you have seen the entire collection, let me explain how the class is structured so that you know how to approach each and every class project. As you all already know, this class is designed as a daily challenge, meaning you will paint a project with me every day, actually every alternate day. The main reason why I have kept it like that is because each painting will take you somewhere between 30-45 minutes or maybe a bit more, so I want to give you enough time to finish it without rushing. If you rush it, obviously you won't enjoy the process and you will miss out a lot. I want you to be completely here and completely enjoy the process and have a better learning experience. If we cannot make it every alternate day, that's perfectly fine, you can paint them on the weekend or whenever you can find some time. For me, you enjoying the process and creating a painting that you love is more important than you showing up here everyday. So please don't stress out yourself, if you miss a day or two, that's completely fine. Now let me come to the class. First and foremost, I will take you through all the materials you will need in detail and from there we will go to a color palette exercise, there I will talk about all the colors we will need for this entire 30-Day watercolor challenge. I really love this color palette exercise because it will give you an idea about the kind of color that we're going to use, and also, it will give you a better idea about the colors you want to include in your palette. Before we begin with our class projects, we will start with the color study. While I'm explaining the color palette, I will also be showing you the paintings where we're going to use those colors, so you very well know how we're going to incorporate those colors in our paintings. We'll also try creating the colors which are not too common, like cobalt green. By the end of this section, you will have a lot more idea about the watercolor pigments, their properties, and how we can mix and create your own colors. Once we get thorough with the color palette, we're going to start with the first project. Everyday's painting starts with an individual color palette and techniques section. This will help you understand how we are going to approach the painting. In this section, I will explain about every little detail you need to know before you start with that particular project, right from the color to the techniques. I'm very sure this exercise will make you really confident before you start with the painting and obviously you will be well aware of where you're going to make any mistake. I would really recommend not to skip this section. You can take a quick look, but don't skip it. You don't need to keep a sketchbook like this, you can just do that on a scrap piece of paper. We'll be doing similar exercise for all the projects that we're going to do on this 30-day watercolor challenge. This is our second day's project. We'll take a look at the sky. When you are playing with watercolor, it is not like acrylic or gouache or oil paints, we are playing with water content and you have to lay your paint before the background dries. If you know how to approach your painting beforehand, it is going to be really helpful. I know many students watch the entire video first and while they are painting, they'll watch the video again. I totally understand the struggle, especially with watercolor, because if you don't know what you're going to do next, your background will dry up and there is no way you can fix it, unlike gouache or acrylic or oil. That's the reason why I have included this section so that you can save up some time. Before we start with the painting, I will make sure you guys are thorough with the color palette, the techniques, and the steps. I'll also be providing you all you need colors and mixing options if you don't have a particular color that I'm using. That's something we will do for every painting. With every painting, you will learn a new element. This one is that rocks and this one you will learn to paint that beautiful sky which you can obviously include in your future paintings and you will also learn to create that wooden texture and also those tiny sailboats. Everyday's painting is going to be a different experience altogether, and that's something I was really focusing on when I was designing this class because I have done quite a lot of 30-Day watercolor challenges and I wanted this one to be one of a kind. This entire class is filmed in real time, giving a lot of importance to every minute detail. Just in case if you want some additional detail or if you want some help, you can start a conversation in the discussion section, and I'll be happy to help. Now, it's time to dive deeper into the class. I hope you will have a wonderful time being with me on the 30 Day watercolor journey. 4. Materials you'll need: [MUSIC] I'll quickly take you through all the materials you'll need for this entire watercolor challenge. I will start with the paper. I will be using an artist grade watercolor paper from the brand Arches. This one is cold pressed watercolor paper which is our 140 lb. I always prefer using cold pressed watercolor paper. If you prefer a more textured paper, you can go with rough paper. The next thing I recommend when you're choosing your watercolor paper is the thickness of the paper. If you go with the paper which is less than 140 lb thick, it might not be able to handle multiple layers of water and paint, and the paper will start buckling. In order to enter the process as well as to get a good result, it is better to go with the artist grade watercolor paper which is 1,200 percent cotton, and that can be cold pressed or rough according to your choice. Also, be sure about the thickness of the paper. Go with the paper which is off minimum 140 lb thick. When you're trying to buy a watercolor paper, you will find hundreds of options. The major thing to consider is this part, the paper has to be 100 percent cotton. This way the paper will stay wet for a longer time, and you will be able to handle the wet-on-wet technique in a much more beautiful way. Keep these points in mind when you are choosing your watercolor paper so that you have a better experience exploring this medium. That's all about the watercolor paper. Now, let me explain about the size of the paper that I'm going to use for this Aquarelle watercolor challenge. This paper pad is an A4 size, you can see the size here, it is 21 centimeter by 29.7 centimeter. I'll be cutting one sheet into half and that will be the size I'm using which means it is A5. This is the texture of the paper. It doesn't have a lot of texture. But if you prefer more texture, you can go with rough paper. Here's two of the paintings that we're going to do in the coming days. You can see the size is exactly the half of my paper pad. You can go to similar size or any other size that you prefer, it doesn't need to be the same. You can go for a much more bigger one or a smaller one. In case if you don't want to use loose sheets, you can also use a sketchbook. You can create a collection of cards as landscape in any of your favorite sketchbook. I have compost all the 30 paintings in a portrait manner. That would be the only thing I would recommend. You can go with either a sketchbook or loose sheets of any size, but go with the sketchbook or loose sheets in a portrait orientation so as to get a similar result. That's all about the paper. Along with the paper, I'll also be using a sketchbook. Every day, I will start by explaining the color palette and the techniques that we're going to use for that particular days painting. To explain all those things, I will be using the sketchbook. This one is made of handmade paper. It is more textured than my Arches watercolor pad. This is optional. You can use loose sheets or some scrap piece of paper to try out the colors as well as the techniques. I just wanted to put them in an order, that's the only reason why I'm using a sketchbook. Choose your watercolor paper. Don't forget to go for 100 percent cotton watercolor paper which is a minimum 140 lb. You can go with cold pressed or rough according to your choice. The next thing I want to explain is the watercolors that we're going to use. For this entire challenge, I will be using watercolor tubes. You can either go with watercolor tubes, watercolor pans. I'm not sticking to any particular brand, I love to use from different brands. Normally, I don't buy watercolor as a set, I always pick my favorite colors from different brands and create my own collection. Throughout this challenge, you will find me using watercolors from Daniel Smith's, Rembrandt, Shin Han, and many other brands. I have included a separate section where I'm explaining all the colors you will need for this challenge. Don't forget to check out the next section to get a detailed idea about the colors, the pigment number, and their properties. I will also be giving you alternate color choices if you don't have the exact same color that I'm using. You will get all the necessary information about the colors, like their brand, their pigment number, their properties, everything in the next section. The next thing you will need is a mixing palette. I will be using the ceramic mixing palette. You can either use a ceramic palette or a plastic palette, or any other palette that you normally use. Personally, I prefer using ceramic mixing palette, because it doesn't stain and it is easy to clean as well. If you're using a plastic palette, you might have seen over the years or over the months, or even with one or two uses, the plastic pallets gets stained quickly and you will never get that original color back. But, that staining thing won't happen with ceramic palettes. You can easily wipe it off with a wet cloth or a wet wipe, and it stays as good as a new one. I think this one is more than two years old and it is still in good condition. That's all about the color and the palette. Now, let me introduce you to the brushes that I'm going to use. You can see seven brushes here. I'm going to explain about each and every brush I have here. First, I will start with a bigger one. This one is a one-inch wash brush, which I'll be using to apply a coat of water onto the entire background. I always prefer keeping a brush separate for making the background wet. This one is one inch. You can also use any of your hake brushes which is more wider. That's our first brush. If you don't have an additional brush you can use your bigger size round brush or flat brush to apply a coat of water onto the background. But before you apply water onto the background, make sure your brush is clean. I normally use this hake brush when I'm painting an A4 size or an A3 size painting. If the painting is an A5 or a smaller one, I just use this one inch wash brush. Watercolor is all about making your background wet and letting the colors float into each other. This brush is really important. If you can't get a bigger size flat brush, add that into your collection. Coming to the second brush, this one is another flat brush. This one is from Silver Black Velvet Series, it's a half inch flat brush. I'll be using this brush mainly to apply color in the background, like painting the sky, painting the lake, and all things. That's my second brush. The third brush is a round brush, again from silver black velvet series. This one is size number 12. This is to apply paint onto the sky and larger areas. The next one is size number 8, then I have size number 6. Basically, you will need a bigger-sized round brush, a medium-sized brush, as well as a smaller-sized round brush. I have a size number 6 and a size number 4 brush here. Size number 6 is quite new. I'll just dip this in water and show you the pointed tip. The size number 4 brush, I've been using that for maybe more than four years. With the heavy use, I lost that pointed tip, but then my new brush has a really nice pointed tip. Just get any of your medium-size brush. It can be size number 5, or 4, or 6. If it has a pointed tip, well and good, because you can use the same brush for multiple techniques. Just don't worry about the brand, go with any of your medium-sized round brush. The last brush I have here is size number 2. Even this one has a really nice pointed tip. I'll be using this one for delicate details like adding some thin branches and some small art to my new details. That is the last part. We spoke about the watercolor paper, the colors, as well as the mixing palette and brushes. The next major thing you will need is two jars of water. One has to stay clean. In between our painting, we might need some clean water like making the background wet or making the color lighter. For that purpose, it is good to have a clean water always next to you. Other one is to rinse up the paint from your brush. Otherwise, you might have to get up from your seat multiple times in between your painting to grab clean water. If you can, try to make it a habit to always work with two jars of water. The next thing you will need is a pencil and an eraser. For some of the painting, we will need to add a pencil sketch and you will need an eraser in case if you make any mistakes. Then you will need a masking tape to fix your paper onto a table or onto a board. I'll be using this half inch masking tape. For most of the paintings, I'll be fixing my paper onto the table. For example, these paintings, they can stay flat on the table. We really don't need to work with gravity. Whereas for paintings like this, we are going to let go of the control we have over the medium and we are allowing the color to float and blend into each other. In that case, we are going to fix the paper onto a board. That means you will also need a fixing board or a trying board or any hard surface to fix your paper. This one is actually the backing board of one of my paper pad. My toddler have already turned this into an art work so I just applied a coat of wallpaper on top of it, the same one I'm using on my table. It has a plasticky surfaces and masking tables to contour it properly. You can use any of your drawing board, or a piece of glass, or anything that can fix your people onto. We'll be only doing three or four paintings using this technique. Otherwise, all the paintings we will be fixing onto the table directly. Because to get this beautiful blend, you will have to turn down the paper so that the color will float into each other naturally. That's the next thing you will need. Last but not the least, you will need a paper towel or a cotton cloth. Basically, we will use a paper towel to dab off the excess amount of water or paint from our brush. A paper towel is also important when you're trying a dry brush technique. For example, when we are doing this painting, you can see those snowy mountain. To create those triberish patterns, you will need a paper towel. We'll be picking the paint on our brush, and we will dapple brush on a paper towel multiple times to remove the excess amount of water and to get those beautiful dry brush patterns. Don't forget to keep a paper towel next to you when you're doing your watercolor paintings. That summarize all the materials you will need for this entire Aquarelle watercolor challenge. In the next section, I'm going to take you through the color palette. Let's see you there. 5. Color Palette: We had a look at the materials you will need for this emptier 30-day watercolor challenge. But we're here to look at the color palette, so that's what I'm going to do it in this section. My intention is to give you a rough idea about the colors that we're going to use in the upcoming days. If you don't have the exact same color, that doesn't really matter. Instead of cerulean blue, you can go with Prussian blue or cobalt blue or any other blue. Just try to go with something that's similar to the colors that I'm using here. Let's begin. I'm starting with the blue so I already have taken them on my palette. The first blue I have here is cerulean blue. I absolutely love this color. I use it, especially for cloudy day skies. It's a gorgeous blue, but it doesn't come in the normal watercolor sets. If you don't have this color, it is absolutely okay to go with Prussian blue or bright blue or cobalt blue or any other blue. That's our first color. The one I'm using here is from the brand Shinhan. You can see the condition of my tube. It is nearly done. I use it quite a lot in my paintings. That's my first color. Now the next one I have here is Prussian blue. This one is quite common. It comes in all the basic watercolor sets so I'm guessing you all have it. When I started my watercolor journey, I only use Prussian blue on my paintings. I never knew cerulean blue or any other blues existed. This was my favorite color back then and even now. That is our second blue. The one I'm going to use is from Art Philosophy. As I mentioned earlier, you can go with any brand. Now, let's check out the next blue. Next one is indigo. I'll be using this color mainly to add details and also when I'm painting night skies to make the sky darker, I will be using indigo. This indigo is from Sennelier. You can see it has a bluish tone. This one is called as bleu indigo. You see that? The name is bleu indigo. Now, I have another indigo from Shinhan. I will just patch up the color for you. This is more of a grayish indigo. It's not a bluish indigo like the one from Sennelier. You can already see the color. The one above and the one below are as much different. The second one I used here is from Shinhan. This means even if the name is same on different watercolor brands, the color can be slightly different. It is more according to the pigment they use in their watercolor paints. This can happen with other shades as well. I just wanted to alert you in advance. The next color I have here is cobalt green. This one is, again, from Shinhan. It's called basal green. You will find many other colors with a similar character. You will find cobalt teal blue, cobalt turquoise, cobalt blue, and many other similar colors. The color might be slightly different according to the brand, but just don't worry about it. Go with any color that has a similar character. Now, the next color I have here is turquoise blue. It's again a gorgeous blue. I love to use this color in my seascapes as well as my night skies. That summarize all the blues I'll be using in this 30-day watercolor challenge. The next set I have here is all the yellows and oranges. Before I patch them out, I will show you some of the paintings where we will be using these blues. Here is one. For the sky, I will be using a medium to a cerulean blue. For the sea, I will be using cerulean blue plus a little of cobalt green. For this one, I'll be using indigo and cerulean blue. Here's another one where I will be using cerulean blue along with rose and orange. Here's another one where we'll be painting a very basic sky. Here's another painting where I will use cobalt green for the lake. Here's another one where I will be using turquoise blue along with orange. So these are few of the paintings where I will be using blue. Now, we can try out the oranges and yellows. The first yellow I'm going with Naples yellow. This one is not a common color. It is more like a pasty yellow. You can see the color that is quite dull. It is not as bright as [inaudible] yellow or Indian yellow or primary yellow. This is the color. This one is from the branch in Shinhan and you can see the pigment number here. It says PY35 and PW6. PW6 is titanium white, so that clearly means this color has some white in it and that's how it has got that basal tone. Now, the next I have here is cadmium yellow. If you don't have cadmium yellow, you can use [inaudible] yellow or Indian yellow or primary yellow or any other yellow. You can clearly see the difference. The second one I have added here is looking more bright than the first one. This also means if you want to create a Naples yellow, you will just need to add some white into any of the yellow that you're using. Now the next color I'm going to swatch out is perm yellow-orange. Which isn't a common color but can be created quite easily. You will just need to add some yellow into vermilion or any other orange and you can create a similar color. That's our third color. The next one I have here is brilliant orange, which is, again, not a common color. But there is nothing to worry if you don't have brilliant orange, you can use vermilion instead, or any other brighter orange. This one's a little more brighter than vermilion, that's the only difference. Other than that, it looks quite similar to vermilion. We'll be painting some really gorgeous sunset using this color. This one is perm yellow-orange. Just like the name says, it's a yellowish orange. This one is brilliant orange. Just like the name says, it's a very bold and brilliant orange. Now, coming to the next one. This one is the yellow ocher. It's more like autumn yellow, which you can clearly see from the color itself. We will be using this color mostly for the sandy beaches and also to create some wooden texture. The next color you will need is brown or burnt sienna. We'll be using brown quite a lot. We'll be painting some wooden texture, some rocks and some trees, and some mountains. For all of them, you will need either brown or burnt sienna. I prefer using brown over burnt sienna, because this one is more of a reddish brown and burnt sienna is more like a yellowish brown. That's the only difference. Depending on the brown you have got with you, you can use one of them. It can be the brown or burnt sienna. Those were the yellows and oranges. Next, I'm going to show you some red and pinks. I'm starting with pyrrole red. This one as a really bright and brilliant red. Most of the artists use this color to sign the artworks because it's a very striking red. See that? We won't be using this color a lot. I think we'll be painting a lighthouse and a small boat. Other than that, we're not going to use this color. If you don't have this color, you can either use vermilion or scarlet or go with any other kind of red. The next color I have here is permanent rose. If you don't have any kind of rose, you can go with crimson or carmine. They will work perfectly. It's just that this color is slightly brighter than crimson. Other than that, there's nothing to worry, you can use crimson. Now the next color I have is opera. This one is from Sennelier. I have another opera from Art Philosophy and also from Shinhan. Those two colors are much more brighter than the opera from Sennelier. This one is slightly lighter compared to the other two. This clearly explains all these brands are using different pigments for their paints. That is how they're different from each other. You can go with any of the opera pink you have got. The next color I have here is violet. This one is permanent violet from Shinhan. You can use any violet you have got. If you don't have a violet, you can mix and create your own violet by adding some crimson into Prussian blue or any other blue. We'll be using violet to paint some gorgeous skies. I really love this color. You can see how beautiful it is looking against the rose. That's violet. Now I will show you some of the paintings where we will be using these colors. Here is one of my most favorite painting from the [inaudible] collection. I just love the sky and the water. Here's another one that I'm going to use a similar color combination. Here is one more where I'll be applying white watercolor onto the background to add a basal tone to the colors. Here's another one where I'll be using Naples yellow for the sky and also some orange and some red. Now for this painting, I'll be using yellow ocher and brown to create that wooden texture. Also for these sand dunes, I'll be using a similar color combination. Here's another one where I'll be using a darker tone of brown. Here's another one where I will use yellow ocher and brown to create that rock texture. This one is another favorite, I'll be using more of earthen colors for this painting. For the sky, I'll be using Naples yellow then the road is gonna be some brown and Payne's gray. Now, we have to look at the last set of colors, which are the greens. I have taken three greens here. The first one is leaf green, which is a light green. It's more like that fresh and tender green. You can use any similar green, we just need a light green. I can mix a little of sap green with lemon yellow to create a similar color. That's all for the first green. We don't have a lot of green landscapes. I think we only have three or four of them. Here is one of the painting where I'll be using leaf green for the landscape as well as for the reflection, I'll be using leaf green. Just like I said earlier if you don't have leaf green or any other lighter green, just mix a little of lemon yellow with sap green and you can create a similar color. Now the next color is phthalo green light. It's an absolutely beautiful green. This one is from Sennelier. Here is the color. This green is not for the greener landscape. I'll be using this one to paint the Northern Lights. We'll be trying two Northern Lights using the same color combination. Here's the first one and this is the second one. It's a gorgeous color to use in Northern Lights. It's more like a neon green, that's the reason why I'm using it for Northern Lights. The color will be really bright and prominent. Now, just in case, you don't have this color, you can mix a little lemon yellow with sap green to create a slightly similar color. The next color I have here is obviously sap green. We'll be using sap green to paint greenery. Finally, I have Payne's gray. We'll be painting a monochrome painting. For that, I'll be using Payne's gray. Also wherever I need to add the darker tones, I'll be using Payne's gray. That's the last color from the collection. Now I will show you some more paintings where I'll be using green. These are two green landscapes from the collection. I'll be using sap green for these. To add the deeper tones, I'll be using some Payne's gray as well as indigo. Along with all these colors, you will also need some white watercolor. For some other paintings, we'll be applying hood or white watercolor onto the anterior background to turn the colors into a basal tone. You will also need some white watercolor. Finally, to add some opaque details, you will need some white gouache. If you don't have white gouache, you can just use your white watercolor. For this painting, you can see that waves for that, we can use either white gouache or white watercolor. White gouache is more opaque, so the details you are adding will stay prominent. But if you don't have gouache, that's absolutely okay, you can just use your white watercolor. That's summarized all the colors you will need for this entire 30-day particular challenge. As I mentioned earlier, it is not at all necessary to have the exact same brand. Just go with any color that you've got that is nearly similar. Just don't worry about the brand and the color. I will also be explaining about the color palette at the beginning of every painting, where I will provide you more mixing options. That's a color palette for this entire 30-day water color challenge. I hope I didn't miss out any color. I have added a color chart in the projection and resources section, where you can find the combined list with the brand name and the pigment number. Just in case if you want to buy any of these colors, that will be helpful. We discussed about the entire colors that I'm going to use for this 30-day watercolor challenge. But there are certain colors that you might not have. Especially if you're a beginner or an intermediate artist, it is not necessary that you have all of these colors. I didn't have all of these when I started. I had a very basic particular set. I never had Payne's gray or Naples yellow or leaf cream. I think the first traditional color that I bought was turquoise blue because I love that color. That happened when I was getting obsessed with painting night sky so I had to get a turquoise blue watercolor. Now I'm going to show you how we can create Naples yellow, cobalt green, leaf green, and similar colors, which are not too common. This exercise will make you understand that you don't need to buy all the colors, you can easily create them. I have a tube of Naples yellow here. This one is from the brand Shinhan. Now we're going to analyze the pigment number of this color, and from there you will get the trick on how to create this color. Pigment number is really important information that you can find on almost all watercolor tubes. Mostly it is found on the rare side of the tube. If you just turn it around, you can see the pigment number here. Here you can see PY35 and PW6, which means there are two pigments used to create Naples yellow. This information can be found on any watercolor tube from any brand. This one is from Rembrandt, this one is Payne's gray. Now let's take a look at this one. If I flip it around, you can see the pigments here. This one says PBk6 and PB15. Again, there are two pigments in this one as well. Now let's take another one. This one is opera rose from Sennelier. If I check the other side, you can see PV19, that's a pigment number. That means this one has got only one pigment as a single pigment color. In a similar way, this information can be found on every watercolor tube. It is this information that gives you the hint on how to create this color if you don't have it. For example, if you take a look at Naples yellow, you can see the pigments here. It says PY35 and PW6. PY is pigment yellow and the pigment number is 35. That's some kind of yellow. PW means it is pigment white. From this itself, it is quite obvious this Naples yellow is a combination of a yellow pigment and white. I have my cadmium yellow here, again from Shinhan. It's the same brand. If you take a look at the pigment number, you can understand that Naples yellow is a combination of cadmium yellow and some white. That means there is no need to buy maples yellow. If you have cadmium yellow and violet, you can just mix these two colors together to create a similar yellow. To make it a little more clear, I will show you white. This one is titanium white. You can see the pigment number, it says PW6. I'll just keep these two together. Now, take a look. Naples yellow is PY35 and PW6. If you look at cadmium yellow, that is PY35, and white as PW6. I hope you were able to see the numbers clearly. Now, I'm going to squeeze out some yellow and white onto my palette, and I'm going to try to create Naples yellow by mixing these two colors. We'll be using Naples yellow for one or two paintings, not more than that. For those paintings as well, you can use any of your normally yellow. It doesn't need to be Naples yellow. But my intention is to show you that you can create the colors which you don't have with you. It is not really necessary to buy each and every color that's available in the market. I have taken both the colors here. That's cadmium yellow. First, I will add a swatch of cadmium yellow. Now to this, I will add some titanium white and I'm mixing that well. You can see the difference. This one is more of a pastel yellow. That's how you create Naples yellow if you don't have it. It doesn't need to be cadmium yellow. You can use gamboge yellow, Indian yellow, primary yellow, or any other yellow. Just add a little white into it and create a pastel yellow. Depending on how much yellow and white you're adding to the color, it might look slightly different, but that's the basic idea on how you can create Naples yellow. Similarly, on every watercolor tube, you will find similar information. You can mix and create your own permanent yellow, orange, or any other color. Obviously, according to the proportion and according to the pigment you're using, the color will be slightly different. This one is a combination of yellow pigment and an orange pigment. We might not have the exact same pigment with us, but that's absolutely okay. Just mix any kind of orange and yellow to create a similar color. There wouldn't be a lot of difference and it is not going to hurt your painting. Now some colors are made from a single pigment, for example, this brilliant orange. It is made from a pigment called PO16. It's an orange pigment. Many brands use the same pigment grade vermilion, which means these colors are nearly similar. It is just that different brands uses different names for their colors so the only reliable information you have is pigment number, not the name of the color. Now the next color that you might not have from this collection might be cobalt green. That's what I'm going to try next. I have cobalt green from three different brands and they all look different, and this is the one I love. These are the pigments used in this cobalt green PY53 and PG7, which means it's a combination of a green pigment and a yellow pigment. The only yellow I have here is cadmium yellow. The yellow pigment used in both these colors are not the same. I'm going to try creating a cobalt green from the yellow and green that I have with me. Let's see how closer we can get. If we look at the pigment number of PG7, I don't have that color with me, it is [inaudible] green, but I have got turquoise blue where [inaudible] green has been used. You can see the pigment number here. This turquoise blue is from Shinhan, and it's a combination of three pigments: PG7, PB28, and PW6. I'm going to try creating cobalt green from this turquoise blue. First, I will add a swatch of this color. This turquoise blue has some white in it. I'm not really sure why they have this white pigment in turquoise blue. If you look at the other turquoise blues from different brands, you might not see white in it. I have another one from white times, I would also add a swatch of that so that you can really understand the difference. This is the color, it has a basal tone, obviously, because they have added white. Now I have another turquoise blue from White Nights. I'm going to add a swatch of that as well. We can compare both the soonest, nearly over, and not really sure if you can see the pigment. We're taking a combination of a green pigment and blue pigment. You can clearly see PG7. The other one is Pb 15 is to one. Anyway, I'm going to add a swatch of this color. Depending on the brand of the color they're using, and according to the pigment they're using it, the colors might look slightly different. You can clearly see the difference here. The first one which I used, Shinhan. It is completely different from the one I'm using right now. This one is from the brand White Nights. Now, let's come back to cobalt green and try making it. As cobalt green is a pixel color, I'm choosing to go with the turquoise blue which has white in it. I'm picking this lighter turquoise blue from Shinhan and I'm adding some cadmium yellow with it. That's the color I have got. I think I have used more yellow in it. I will need to add some more turquoise blue. Anyway, let's factor this out the color looks gorgeous. Look at that. Such a pretty color. Let's add more yellow in it to make it look more like a cobalt green. I think we need to add some more turquoise blue. I'm squeezing out turquoise blue into the same section. I'm going to add that with this color I have created right now. Now let's see how that color is. Now it is starting to look more like cobalt green. The earlier one was looking more like a yellowish color. This one is more of a bluish color. Let's add some more turquoise blue and see what's the difference. I have created the color. Oh, my God, look at that. Yet another pretty cobalt green. You can clearly see the difference here. The first one is looking more like a yellowish cobalt green. Now it is starting to look more bluish because we have added more turquoise blue into it. Now we can see the last one here. I think it is very much similar to the cobalt green from Shinhan. I'm thinking to add some more turquoise blue just to see the difference. Let's take out a little more turquoise blue. I'm going to add that with the same color. Let's mix that and try out the color. Here is the color. I think this one is very much similar to the cobalt green maybe yellowish more than the previous one. This is the actual color and this is the one we created. I'm just adding some water and I'm making it lighter. Just to make you understand how pretty that color is, see that. I think we did a great job. It looks so beautiful. This way you can try to play with different proportions and you can create your own collection of cobalt green and cobalt blues. If you want a greenish color, you can add more yellow into the mix and if you want more of a bluish color, add more turquoise blue. Now I have another cobalt green here from the brand Sennelier. Now I will add a swatch so that you can see the difference between the cobalt green from Shinhan and Sennelier. These two colors are completely different. If you look at the pigment number, even that is different, this one has a blue pigment, PB36. Anyway, let me add a swatch of this color so that I can see the difference. I have taken some paint. That's the color. See that. It's a very different color. I haven't used this color much ever since I bought the cobalt green from Shinhan. I stick to that one. Cobalt green from Mijello Mission is also a very pretty color. It is very much similar to the one from Shinhan. I'm just adding some white with this cobalt green just to see the difference. I think this looks pretty. You just need to add some white to turn that into pixel color. If you have one from Sennelier, you don't need to buy another one. Just add some white in to it, to turn that into a pixel color. If you want more of a greenish color, maybe you can add a little of yellow also. That's the color. I hope you guys have the other colors with you. If you don't have permanent red, you can use wobbling instead. If you don't have permanent rose, just use crimson or carmine. Opera pink is another color, which is again from a single pigment so it's not really easy to create that one. Then violet, you can easily mix and create your own violet. Then the next color here is leaf green, which is not a common color but can be created very easily. If you look at the pigment number of leaf green, you can see it is a combination of a green pigment and a yellow pigment, and also some white. The green pigment I have here is sap green, which is PG8, the one used for leaf green is PG7. That's very much close. I don't have PG7, so I'm going to use PG8, but it's sap green. I'm guessing you all have sap green. Now the next one is a yellow pigment. The one I have here is cadmium yellow, which is again not similar to the one that is used in leaf green but I'm just going with this. Let's make some sap green with yellow and see what color that we're getting. Then to make that more like a leaf green, I might also add some white. Let's try this. I'm picking a little off sap green, and I'm mixing that with cadmium yellow. We can already see a beautiful light green. Let me take that leaf green again to show the pigment number. This one has some white in it. That's what I'm going to do next. I'm squeezing out a bit of white watercolor. I'm mixing that with the green, I have created. Adding a little of water. Oh, my God, that's a pretty green. Let me add a scratch of this color and see how is it looking. Look at that. Such a pretty color. I think I love this one more than the leaf green. This is the one and it's very much similar. I'll add on this patch here so that I can compare it. These ones are close to each other, so it's quite easy to compare. See that. So pretty. I think the one I made is more pretty than the actual leaf green. Anyway, that's how you can create this color. I hope you guys got an idea about how you can mix and create your own color palette. If you don't have a specific color, there is no need to panic and there is no need to spend some extra money to get that color. You can easily mix and create your own colors. It might look slightly different. As I said, according to the brand and the pigment they are using. It might be slightly different, but that's not going to affect your painting. Just take a look at the pigment number. You can find the information about the pigments used in that color on all watercolor tubes. Just compare that with the colors you have with you. Even if you don't have the exact same pigment number, you can just try that with any yellow pigment or green pigment, or blue pigment. Don't worry if you don't have the exact same number, That's not going to affect your color. I think that was a fun and exciting exercise to understand about the color and their pigment and their properties. Just give it a try. If you don't have cobalt green, just try creating that. Even if you have it as well if you haven't explored the pigment side of the colors, just give it a try. It's a really fun and exciting process. You are going to get hooked onto this. Sometimes I enjoy color mixing more than painting with them. It's an amazing exercise to understand the colors you have with you and there are endless possibilities. Now it's time to officially start our 30-day watercolor challenge. Join me in the next section and let's start with Wolf face painting. 6. DAY 1 - Dreamy Evening: [MUSIC] Hello, welcome to Day 1, and here's the dreamy evening that we're painting today. It's an easy one. I will take you through all the stuff that is needed, and you will have a wonderful experience painting this dreamy evening. This one is one of my favorite from the collection, and I really love how these rocks turned out. You can see that gorgeous texture. That's something you will learn from this painting. I think the sea and the sky is pretty simple. The only thing which might be a bit challenging as well as exciting will be the rocks. Let's start by taking a look at the color palette, as well as the techniques. I have my sketchbook ready here. The first color, I'm going to swatch out is cerulean blue, which is the color I'll be using for the sky. You can see the color I have used on the top. I had used a medium tone for the sky, then I'll be using the same color for the sea as well. If you don't have cerulean blue, you can use Prussian blue or any other blue you have got. That's all for this color. Now the next color we have here is permanent rose. Again, if you don't have this rose, you can use crimson or carmine. That's the second color we'll be using for the sky. It's a gorgeous color. You will see me using this color quite a lot, and the study won't declare a challenge. That's very similar to crimson or carmine, but in this a little bit more brighter. The third color is permanent yellow, orange. If you don't have permanent, yellow orange, you can just use yellow acetates. Or you can mix a little [inaudible] into yellow and create a similar color. We'll be using these three colors for this sky. It's a pretty simple sky, we will be just randomly applying some blue on the top then some rose, and some yellowish orange towards the bottom. That's all about the colors you will need for the sky. Now to paint the sea along with cerulean blue, I'll also be using some cobalt green. On the top you can see that bright blue, that's cerulean blue, and towards the bottom, to make it really interesting, I'll be using some cobalt green. That's our next color. If you don't have cobalt green, you can use turquoise blue, or you can mix and create your own cobalt green. We try this in the color palette section. If you want to create your own cobalt green and if you don't have one, you can take a look at that section. Cobalt green is a really beautiful color. I use it quite a lot for my night skies, as well as for seascape, especially to paint tropical somehow beaches. That's the color. You can see how pretty it is. For the sea we will be using a combination of cerulean blue and cobalt green, and towards the bottom you can see that sandy color here. For that we'll be using a lighter tone of brown. You can see the color here. It's a light tone of brown. We'll be using brown for the rocks as well. But along with that, we'll also need some yellow ocher, and some Payne's gray to add the deeper tones. Those are the next colors you will need. For the rocks we'll be using yellow ocher as the base color. Then onto that, we'll be adding some brown and some Payne's gray to bring in some texture. If you don't have brown, we can go with burnt sienna that will work perfectly fine. Finally, to add the deeper tones, you will need either Payne's gray or neutral accent. If you don't have any of those two colors, you can go with black. That's our final color. Now let me quickly add the swatches that we can try out some techniques. Now just in case if you want to try out a different color companies for your sky, you could do that. Maybe you can skip yellow and just go with cerulean blue and rose. Or if you want to introduce one more color in between, maybe like a violet, you could do that too. Feel free to do any modifications to the painting so that it has a personal touch to it. Anyway, that's the last color, Payne's gray. The one I'm using here is from the brand Rembrandt. You can use any Payne's gray you've got. We're just going to mix this with some brown to create a dark tone. Now, let's quickly try out the sky, and maybe we can try out the rocks as well so that you very well know how to approach the painting and there are less room for mistake. Let's give it a try. First, I will change the water, so I have a clean jar of water. Now the first step is to apply a coat of water onto the paper. I'm picking my one-inch wash brush, and I'm just going to create a small section here. You can simply watch this exercise, only if you want to try it you could do that. Otherwise, just give it a watch. I just want you guys to know how to approach it before we start with the project. I have applied a clean coat of water. Now, I'm picking my size number eight drawing brush. This is the brush I'm going to use to apply the paint. The first color I'm picking is blue. It's a medium tone of cerulean blue. I'm just going to randomly apply that onto the background. I've started off with a bigger band, then I left some gap in between, I added another line. Now I'm picking my second color which is Permanent rose. Again, I'm picking a medium tone, and I'm adding that into this gap we have here and just blend it, so you have some pink and blue in-between. Maybe we can add some more. We can make the color more brighter. Now towards the bottom, I'm going to repeat the same thing. The same way I did earlier. I have left some gap, onto that gaps, I'm going to introduce some permanent yellow, orange. Now you can just blend it. This is the way how we will be painting our sky. Our painting is going to be much more bigger, so you have more space to play around. This one is a small section, so I just want you guys to know how to approach it. That's how we're going to paint the sky. This has dried completely, and you can see those gorgeous colors. If you leave more gap in-between you may apply new colors, you can make it more dramatic. We'll try the same thing in a bigger and better way in our class project. Now, I'll quickly show you how we can paint the sea. Then we can try out the rocks. I'll just add that onto the same sky. First, I'm picking some cerulean blue, a medium tone. Now I'm using the same brush. Just like I said earlier, if you don't have cerulean blue, you can use bright blue or Prussian blue or any other blue. First add your cerulean blue. Now I'm picking some cobalt green, I'm adding that right next to cerulean blue and blending them. We can add a little more. I'm not washing my brush, I'm just picking the color directly after I used cerulean blue. Just apply that. Maybe we can drop in some more cerulean blue to introduce some texture. Right now it looks quite flat, so I'm going to pick a little more cerulean blue, and I will just add some lines. I'm picking a little more brighter tone of cerulean blue, and I'm just adding some random lines. Now I'm dabbing my brush on a paper towel, and I'm blending that into the background, so that's a sea. You can see how gorgeous those colors are looking together. We'll be using the same method to paint the sea from main painting as well, but towards the bottom, we'll be adding a lighter tone of brown. That's the only difference. [NOISE] That's the sea and the sky. Now, we can try out the rocks as well. When you look at the painting, it might seem a bit difficult, but it is really easy. I'm very sure you're going to get surprised by this. I'm going to add a quick sketch. Simply add three or four random shapes of a rock. We can modify this later, so don't worry if they're not looking that great. You can see I have added 1, 2, 3, 4, 5 of them. That was a cluster. Now I'm going to add one or two individual rocks as well. We have added the sketch. Now, let's try painting them. First, I will paint those individual rocks, then we can paint the other set. I'm using my size number eight drawing brush. First, I'm going to pick some brown, a medium tone. You can use burnt sienna or brown, and apply that onto those individual rocks. Maybe you can introduce a little rough yellow ocher as well. This is not really necessary, just in case you want to bring in a different shade, you can add a little rough yellow ocher. Otherwise, you can just use a medium tone of brown. Simply feel that up, that's our base layer. Now onto this, to bring in some texture, we're going to drop in some Payne's gray. See that is a simple solid wash. Now let's add some deeper tones onto this while it is still wet, for that I'm picking some Payne's gray and I'm mixing that with brown to create a darker tone. I'm just going to simply drop that onto this wet background. I'm adding them onto these corners. There is no particular order or rule that I'm following here, I just want some darker tones here and there. I'm simply dropping in that darker tone. Our intention is to add some texture. Try not to add a lot. We want to see that the background color as well, so go for a darker tone and just add that onto the corners and some in-between places. Now, let that dry. Meanwhile, we can start with other cluster, [NOISE] so I'm washing off the paint from my brush, and I'm switching to yellow ocher. Now I'm randomly adding yellow ocher onto the rock. You can see I'm adding that in a messy way, I'm not really following the shape of the rock. Now, I'm picking some brown and I'm adding that as well. See that? At some places, we have some yellow ocher and at some places we have some brown. At this point of time, you don't need to really follow the shape of the rocks, you can add them how you want to. We will define the shape later, once we have added all the colors. Just drop in some yellow ocher and some brown. Once we have added this, we need to drop in some of Payne's gray as well. I mean a darker tone of brown as well. This is the base layer. You can see the shape of the rocks are not really visible. That's why I I earlier, you don't need to really worry about the shape; we can fix them later. Now, towards this corner, I'm going to introduce some darker tone of brown. I have just mixed some Payne's gray with brown to create a darker tone. That's a base layer. It just looks like a mess. Now we need to start defining the shape. I think maybe I will add one more rock here using a darker tone. That looks fine for the time being. Now let's start adding more texture and deeper values, and let's start defining the shape. Right now it all looks like a lump, it doesn't look like rocks at all. To make them look better, we need to add some texture. For that, I'm using a darker tone. You can use a medium-size brush or a smaller size brush, it doesn't really matter. Pick some darker tone, and just randomly start adding some darker tones like we did earlier for those individual rocks. While we're adding the darker tones along with that we are also defining the shape. You can see that. Now that's the second rock and that's the third one. When you're adding the deeper tones, try to go in a pattern where you can see those shapes. It doesn't need to be perfectly shaped because the background is still slightly wet. Just have a rough idea in your mind how you want the rocks to be. Whether you want smaller ones or bigger ones. Just add a rough shape and then start adding your darker tones according to that. You can already see how I have defined it. I have just added some deeper tones, but I think we can already see the shapes. So in a similar way, try to define the shapes in a very rough way using the deeper tones. We can make it more defined when it dries completely. Right now, just play with different tonal values. Don't cover up the anterior background colors. We need to see that brown and yellow ocher in-between. That's the first round of details. Now, to make it look more defined, we need to come back with a darker tone and do the same. I'm mixing more Payne's gray brown to make it even more darker. I'm not adding a lot of water. It is really dark. Now let's repeat the same step, and make it more defined. See that? I'm using a much more darker tone and I'm adding the deeper tones in a similar way I did earlier. Now they look more defined. You can go with any shape that you prefer. If you wanted more longer shapes or rounder shapes, you can modify the rocks right now using your darker tones. Next, I want to add some more texture onto this, so I'm dabbing my brush on a paper towel and I'm just scrubbing that brush on these rocks to bring in some texture. You can use a darker tone or a medium tone according to the color you have in the background, so just scratch and scrub that dry brush on the rocks to add some texture. You can play with different tonal values to make it look more interesting. For our main painting, we will be playing with different tonal values. We'll use a medium tone and darker tone, and we'll use some Payne's gray acetones. We can see all those deeper values we have there. This way your rocks will be really interesting so try to play with different tonal values. I will just show you the difference deeper tones can make, picking some Payne's gray. I'm going to add some deeper tone to add some more texture. It's a really dark color compared to what I used to earlier, and the background has dried completely. It's going to be a combination of some solid lines and some trend lines. I'm following the same lines I added earlier. This time, the background has dried and the color I'm using is much more darker, so it will be more defined. See that? Onto those in-between spaces, you can add some deeper tones to define the shape. You can dab your a brush on a paper towel and add some dry brush patterns as well to bring in more texture. We can already see the difference. You can see those beautiful rocky texture. I think it was easy. Give it a try if you've to try it. Maybe you can just try one or two rocks just to get an idea. When you're adding these deeper tones and texture, try to give a beautiful shape to the rocks. Don't make all of them look the same. Some of them can be more longer and bigger, and some of them can be a little irregular shape. Try to go at different shapes to make it look more interesting. I will add some more deeper tones, and I think we can call it done. Now I'm just adding some texture. This is exactly the same way how we will be painting the rocks in our main painting as well. If we can give it a try, it will be really helpful for you when you do the main painting. You can just take some scrap piece of paper and give it a try. You don't need to keep a sketchbook like this. So we're nearly done. I'm really loving those texture. In a similar way, I will add some texture onto those individual rocks as well. I'm using the same brush, I'm using the same color, and I'm dropping in some dry brush patterns to add some texture and make it look complete. That's a technique, at any point when you feel like you have got those textures right you can stop it, or you can keep adding more if you want to add in more texture. That's all about the techniques and the colors you will need for our first painting. I really hope you you got a rough idea about how to approach this painting. The sky and the sea is going to be a simple better on wet wash. The major element here is obviously the rocks. That is what brings that texture and the character to this painting. Now it was time to give it a try, so grab your paper and keep the colors ready, and turning the next section. [MUSIC] 7. Dreamy Evening - PART 1: I have everything ready here, I have two jars of water, my colors, my paper, my brushes. Now, it's time to try the painting for day one. We already spoke about the colors, aspect asset techniques, so I'm hoping you guys are confident to try this. First step is to apply a piece of masking tape, you can apply that a little below the center of the paper, so the top portion is obviously going to be the sky and the bottom is going to be the sea. So that's a proportion I'm going with, now it's time to paint the sky. I already have the colors on my palette, we are going to go with the wet on wet sky. So we'll make the background wet, then we will be applying some cerulean blue, some permanent rose, and a bit of permanent yellow-orange towards the horizon line. So I'm starting by applying a coat of water onto the entire sky, you can either go with wet on wet sky or wet on dry sky. The brush I'm using here is one-inch wash brush. You can use any of your medium to bigger size, flat brush or round brush. Now, apply a clean, even coat of water onto the entire sky, you can run your brush multiple times just to be sure the water has reached everywhere. So my background is evenly wet, now, I'm going to drop in the colors onto this wet background. We already had a look at the colors, so I'm starting off with cerulean blue, and the brush I'm using here is size number eight round brush, I'm just washing it just to be sure it is clean. Now, let's pick a medium tone of cerulean blue, if you don't have cerulean blue, you can use Prussian blue or any other blue, we just need some bright blue. So start out with a medium tone, don't make it too light or too dark, go with a medium tone. If you make it too light, the colors will look really dull when the background dries, so that's the color I'm going with. You can see it is pretty bright. Now, I'm just randomly dropping that color onto the top of my sky. Now, what I'm going to do next is I'm just going to add some lines using the same color, leaving some gap in between. See that? I'm just randomly leaving some white gap, over there, I will be introducing permanent rose, so simply leave some gap and add some lines. Now, let's wash all the paint from our brush, clean it properly. Let's go to the second color, again, I'm using a medium tone and I'm dropping that onto these in-between spaces. Obviously, when you're mixing these two colors, you will start to get a violet in-between, that's absolutely okay. So I'm again running my brush back and forth in a very random way. So that's the top part of the sky. Now, I'm going to wash my brush and I'm going to go back with some clean permanent rows, right now, there are some blue and some violet on my brush. So I want to apply some clean rows, so let's clean our brush and pick some more rows and add that towards the bottom. Again, you can see I'm leaving some gap in between, just the same way how I applied blue. Now, onto the leftover area, I'm going to introduce some permanent yellow-orange. Let's pick a medium tone of yellowish orange and add that to the horizon line and just blend that with the rose, if you don't have rose you can use carmine or crimson. I'm adding a little more yellowish orange over here just to make that horizon line a little more brighter. So that's the sky, I'm really happy with the blend, it looks very natural, I allowed that transition. Technically, it's a variegated wash. A veto with variegated wash, we have used three colors, but the only difference is we didn't go for a clean blend, we randomly apply the colors onto the background to make it an interesting transition. So that's the sky. Now, we'll have to wait for this to dry. If you want to speed up the process, you can use a blow dryer or heat tool. I'm someone who love to take breaks in between, so I'm just going to leave this for drying and let it dry on its own. The sky has dried completely, I'm pretty happy with the blend. The colors have faded a little, but we cannot help that, that's something which happens with watercolor. That's the reason why you should be using brighter colors when you're painting the background, in case you are looking forward for a brighter end result. Anyway, let's go with the next step, which is adding a pencil sketch, we will need to add some rocks and some small mountains along the horizon line. I'm starting off with the horizon line. I'm attaching an image here, so you can follow this and add in your sketch. It doesn't need to be exactly the same, you can add them however you want to. You just need to get that rough idea, we need some small mountains along the horizon line and some big rocks towards the bottom. You can add them towards the left side or the right side, that's totally up to you. Also keep in mind, we can modify the shape of the rocks when we are painting, so it doesn't need to be a perfect sketch and you don't need to put a lot of effort. The only thing I would recommend is to play with different kind of sizes and shapes and also to get that proportion right, you should be using smaller size in the background along the horizon line, especially those mountains. As you're coming towards the bottom masking tape, you can make them all bigger. So you will get that sense of distance in your painting. I'm simply adding some random shapes, I'm trying my best to cover different kind of shapes and sizes. There is one more thing you need to keep in mind when you're adding these rocks. Don't bring them a lot towards the left side, if you do that, you will have to reduce the amount of sea. I think those colors we are going to use for the sea makes a lot of difference in this painting, so try to with the similar size and shape that I'm using here. I have added the sketch, you can see it's a very messy sketch. When we are painting, we can add the darker tones and we can fix the shape, right now, we just need to get that outline and we just need to get a rough idea about how we're going to add them. When we add the background color and when we add the texture. The shape might not be really visible, so there is no point in putting a lot of effort right now. Next, I'm going to add one or two individual rocks, especially towards the bottom where we have the sand, so that's the first one. I think the next one I will make a lot more bigger. Maybe I will add that over here, so that's slightly bigger than the first one. Right next to this one, I'm adding another smaller rock. Now we can add one or two smaller rocks in the background. I don't want to add any more bigger rocks, we might end up filling the sea, which I don't want to. So I will just add some smaller ones over here. Reducing the size of these rocks, but also bring a sense of distance to our painting. So you can add some more smaller rocks or you can add them and when painting. I'm thinking to erase the small one here. So that's our pencil sketch. Now we can start painting the sea. Painting the sea is also quite easy, we already tried that in the technique section. We'll be using three colors for the sea, we'll start out with cerulean blue, a medium tone, then we will switch to cobalt green and towards the bottom along the shore, we will be adding a medium tone of brown. I won't be using a lot of cerulean blue, I will just add a little along the horizon line, then from here, I'll be adding brown, so the bottom area where we have the rocks is going to be brown. Now, let's give it a try. Cobalt green is going to be the major color that we're going to use. If you don't have cobalt green, you can take a look at the color palette section. But I'm teaching how you can create this color using the colors that you might have with you. I already have cerulean blue, I have taken out some cobalt green. The next color I will need is brown. You can either use brown or brown sienna. So the colors are ready. Now we can start applying the paint onto the seam. I'm going with that on dry technique, which means I'm not applying a coat of water onto the background. I'm right away picking cerulean blue. I will use a medium to brighter tone. If you're using Prussian blue for the sky, you can use the same blue for the CS4. Don't stress out if you don't have cerulean blue, you can use any blue you have got. I'm using my size number 8 round brush. I'm going with a brighter tone of blue. I'm applying that along the horizon line. You can see the way I'm applying the paint. I'm concentrating on the left side. I'm not adding a lot towards the right and I'm leaving some gap in between. I'm just randomly adding the color onto that dry background. Now, I'm washing up the paint from my brush and I'm picking a good amount of cobalt green. Now, apply that color and blend the blue. You just need to keep pushing and pulling the color into each other. Don't worry how they're going to look like. It will turn out great. Just trust me and trust the process. In between, you will get these beautiful blends. At some places, you will have that cerulean blue, and at some places, you will have a medium tone. Then, at some places, you have that clean cobalt green. So all of these are going to bring in some texture to the sea and it will make it look more beautiful. The only thing is not to add a lot of deeper values towards the right side. Over there try to use cobalt green [inaudible] and towards the left you can use cerulean blue or any other blue that you're using. I'm already loving those colors. They are looking so pretty. Now, let's bring them a little towards the bottom. Until there, those small rocks are starting. So I'm just pushing and pulling the color into each other to create some texture. So these small rocks are my limit, until there, I will be adding cobalt green. So we have some more space left. I'm picking a little more cobalt green and I'm adding that until I reach that small rocks. I'm using a really bright color. I haven't added a lot of water. That's the reason why the colors are looking quite bright and opaque. You can go in a similar way. I'm reaching that rocks, so I'm just following the outline and I'm adding that beautiful cobalt green. So this is my limit. Now, what I'm going to do is I'm going to wash all the paint from my brush and I'm going with clean water. I'm making the color lighter. So it's a clean brush. I'm making the color lighter from here. Just on that clean brush, that wet brush, and make it lighter starting from this point. Now for the remaining area, we need to introduce brown. It doesn't need to be perfect. We'll be adding some waves and some texture using white onto the background. Even if you don't have a clean blend, that is absolutely fine, you can just leave it as it is. Now, I'm cleaning my brush again. I'll just make it lighter one more time. There is a strong patch here. So I'm just trying to blend that into the background. Now, we can pick some brown, wash your brush thoroughly and make sure it is clean. Now go with a medium tone of brown or brown sienna and apply that at the bottom. That looks a bit darker. I'm adding some water and I'm making it lighter. That looks nice so that's the color I'm using. When it dries out completely, it will look much more lighter. That's the reason why I'm using a brighter tone right now. Otherwise, when I add that waves and white texture, it won't be visible. Now, I'm picking a lighter tone and I'm just making this area a bit better. Right now, that transition doesn't look that great, so I'm just trying to blend that with cobalt green. It doesn't need to be perfect blend, just make that transition look a little smoother. So all you need to do is use a damp brush and just match the color into each other. So that's a background. I think we'll need to add some more darker tones using cerulean blue. Right now, the background looks quite flat, so I'm picking a little more cerulean blue and I'm adding a little towards this corner and also underneath these mountains. It's just a medium tone. I just want to bring in some texture and some deeper tones underneath these mountains. Maybe we can add a little over here as well. We have added a small mountain over here. Don't make it too dark, go with a medium tone. I'm still not a 100 percent happy with the background. I want to introduce some more deeper blue. If you're already happy with it, you can just leave it as it is. I'm planning to add some more deeper blue towards the left side, especially over here. Cerulean blue and cobalt green are very easy to blend and we're not looking for a clean blend. So I think this works. I'm starting by adding a little of blue onto this corner as a little more deeper blue than I used earlier. I'm adding some lines as well underneath the mountain and also some random lines. Now, I'm just going to spread that. I think the color I used right now looks really nice. Earlier it was really light. So I have introduced enough of darker tones. Now, I'm picking some cobalt green. Just exactly the same way I did earlier, I'm just spreading the color. I'm just pushing and pulling the color into each other and I'm trying to blend them. Again, you cannot looking for a clean blend. You can have some darker values in between and some lighter and medium values. It doesn't need to be a perfect blend. So my idea is to add more deeper values towards the left side and more lighter values towards the right, and also to add some shadows underneath the mountains. So that's what you see onto the right side. Other than that, it's all cobalt green. Now as I'm reaching that small rocks, I'm just going to leave the paint there. I'm not going to add more brown or I'm not going to blend that. Because anyway, we're going to add some waves and some texture there. It's not going to be that visible. My intention was to add some deeper values over here underneath the mountain and also towards the left corner. This was an extra task because I wasn't happy with the background. Anyways, now I'm happy with it. Before I leave this for drying, I need to make this area lighter. Light blue is transitioning into brown. Let's wash all the paint and pick some clean water and make it lighter. I'm not going to add any more brown. I think the color looks fine. So that's the background. I think it looks much better now, earlier it was quite flat. We didn't have enough off darker values. You can see the color of the sand even that looks pretty nice. This was what I added right now, over here and underneath the mountain as well. I just added some darker tones because I wasn't really happy with the color that I had earlier. Anyways, that's a background. Now we can leave this for drying. 8. Dreamy Evening - PART 2: We painted the sky and the sea. Now it's time to paint the rocks. For that, the major color, I'm going to use this yellow ocher for the background. Then obviously to add the deeper tones, I'll be using brown, and also some Payne's gray to add the final details. Let's begin with the yellow ocher. Now just in case if you don't have yellow ocher, don't worry. Just take out any yellow you have got and add a little of brown or brown sienna into that and you will get a similar color. So don't worry if you don't have yellow ocher. I have all the colors ready on my palette. I have taken yellow ocher, brown, and Payne's gray. Now to apply the paint, I'm using my medium-sized brush. Using size number 8 round brush, you can go with a medium-sized or a bigger size brush. I'm starting off with the yellow ocher. I will paint the mountain later. I'm starting with these rocks at the bottom. I'm randomly applying some yellow ocher onto the shape I have added here. If you have tried the techniques section, I'm very sure this is going to be really easy for you. Just randomly apply yellow ocher. You can leave some gap in-between. You can make it as messy as possible. Randomly leave some gap and add some yellow ocher onto that entire shape. Right now, if you take a look at those rocks, you can't see the paints lines we have added earlier. It's not really visible. That's the reason why I told you not to put a lot of effort. Now I'm going to pick some brown and I'm going to randomly add that onto these rocks. At some places, I'm going to leave that yellow ocher as it is, and at some places I'm dropping in brown. There is no particular rule or any particular order here. You can just randomly drop your color. I'm just following the shape and I'm adding some brown. You can see there's a clip portion on the top. I'm leaving pattern yellow ocher. I'm not going to add a lot pf darker tones over there. Now I'm adding some deeper tones at the bottom. My idea is to bring in different tonal values of brown and yellow ocher onto these rocks. They don't need to look perfect. It can be messy, it can be rough. Just drop in your colors onto the background. We'll be adding more textures using a darker value. That's the base layer. Now we can start dropping in multiple values. Now I'm going with large more deeper value of brown. Again, I'm adding some deeper value in a very random way. Now using those deeper value, I'm going to define the shape of the rocks. It doesn't need to be perfectly shaped. Just add a rough outline. The pencil sketch is not visible. You can add them how will you want to. Just try to go a different kind of shapes and sizes. You can see the way I'm adding them. It's a very random messy shape. That's one there. I have another one here. Now to make it more defined, we need to go with a much more darker value. I'm mixing a little of Payne's gray with brown. Now this time we're not adding the deeper values in a random way. We're using them to define the shape of the rocks. Just go to those in-between spaces. You can go to these kind of pockets and add these deeper values. That way we are adding deeper values and also get defining the shape of the rock. Now we can see those rocks. In a similar way we're going to add more deeper values, we are going to retain those shapes. Onto these in-between spaces, we will add more deeper values. Let's pick some more paint and keep adding more deeper values until you feel like you have got enough texture and you have defined those shapes. I'm rating that cliff part and I'm adding some deeper tones at the bottom. Some over here as well around the rocks. Honestly, you can add your deeper values however you want to. Start with the base layer, where we have used yellow ocher and we used brown to add some deeper tones. Then we start defining the shape of the rocks using a darker value. Once you have defined the shape, you can add your deeper values onto those in-between spaces. To make it look like there are some deeper values and shadows over there, I'm adding more deeper value. This way it will be more defined. Right now you can see those individual rocks starting to look more natural. Earlier without any deeper values and any texture, it was looking quite flat. I'm quite happy with it already. Now just go around and see whether you want to add more deeper values or you're happy with the result. Simply by using different tonal values of brown, I created a cluster of rocks. You can see 1, 2, 3, 4, 5, 6 individual rocks here. There is some deeper values in the background, which adds a lot of beauty to this. [NOISE] We will need to add more texture onto these rocks. They look nice as a whole. But if you give a closer look, they lack texture. That's what I'm going to do next. For that I'm picking some more brown. It's not too watery. Now using that color, I'm just randomly adding some deeper value onto the rocks as well as onto those in-between spaces. If there is any mistake, my major focus is the rocks because I think there's a lot of yellow. We're missing some brown. I'm just randomly adding in some dry brush patterns and some texture onto these rocks. This is that cliff, what I was talking about earlier. You can call it cliff, or platform, or anything. On the top, I'm trying to retain more of the yellow and brown. I'm not going to add a lot of deeper value over here. If I add a lot of deeper value, it won't look like a platform. You can add few patterns using brown and maybe a darker value as well. But don't add a lot. We are trying to retain that yellow ocher color. Onto the right side, maybe you can add some more deeper value. Let's retain that yellow ocher onto the tip. I'll quickly add some more deeper value onto the rocks. I have some deeper value left on my brush. I'm randomly adding them. I'm quite happy with the way it is looking right now. We have got enough of textures. We will need to come back and add the final details using Payne's gray. That's the only thing missing. I think first we can paint these mountains in the background, and also these rocks on the beach, [NOISE] and then we can add the final details. To paint these mountains, I'm using brown as it is. It's a medium value of brown. I'm following the outline of the mountain, and I'm simply filling that up. If you don't have brown, feel free to use poinciana. You can see the color here. It's not too light. It's a medium tone. I have another mountain in the foreground. I'm filling that as well. Try to go with the similar size for your mountain. Don't make it too huge. If you make it too huge, your painting will go out of proportion. So carefully fill these rocky mountains in brown. You can use a smaller size brush so that it is easier to fill. You can see how pretty it is looking when we added those mountain, especially along the horizon line. Right now, I have added brown. Now onto this, we need to add some deeper values as well. For that I'm picking some Payne's gray, and I'm going to randomly add some deeper value. The background is wet. So you just need to drop in some little shapes and some tarts onto that. You don't need to add any on the one on the background, that is too far. Just leave it as it is. Only for those, you can add some deeper value. That's done. Now let's bring the small drops on the beach. For that I'm going to use brown, and to add the deeper tones, I will be using Payne's gray. We don't need to use yellow ocher for this. We can start with a medium tone of brown. First, I'm going to paint these smaller ones. For this one I'm not going to add any deeper value because it is too tiny. Let's just use a medium to darker value of brown and fill that out. Simply follow the outline and fill that with a medium to darker tone of brown. Same for this one. We don't need to add any deeper value. For the other three, these bigger ones at the bottom. I'm using brown as the base color. Then I will be adding some deeper value onto the side closer to that bigger rock. Over here, I'm adding a darker tone of brown. I have just mix some Payne's gray with brown to create a darker value. [NOISE] Now for the remaining area, I'm using brown. I will be painting the other two also in a similar way. Let's bring this one here. I'm starting with a darker tone. I'm just adding that at the bottom, and also I'll let it towards the top. For the rest I'm just using brown, and I'm filling that up. Same goes for this one as well, I'm starting with brown. Now towards the other end, I'm using a darker value. We have painted the rocks, now let that dry. Meanwhile, we can add the final details onto these bigger rocks in the foreground. For this I'm using a really dark tone of brown. First I'm adding that darker value into this in-between spaces to define the shape. You can clearly see the difference that darker value made them pop out. In a similar way. I'll be adding more deeper value using a darker tone, which is more or less close to Payne's gray. I will randomly add those deeper value. Along with that, I will also be adding some dry brush pattern using that darker value to add some more texture. That's my next task. This can be really random. It doesn't need to look perfect. We're just trying to add some deeper value and some texture in a very random way. They don't need to have any particular shape or size. At some places, you can add some dry brush patterns using the same color, and at some places you can add a solid pattern. Right now I'm adding some dry brush patterns. I have kept one brush for dry brush patterns and other brush for adding those solid patterns. If you look at your painting, we have already defined the shape of the rocks. Right now we're simply introducing some darker value in-between. We don't need to add a lot. Just onto some places, add in some deeper value using Payne's gray or a darker tone of brown, and also some dry brush patterns to add some more texture. First take a look at your painting. Sometimes you might be already happy with the patterns and the texture you have got. In that case, you don't need to add more. You can just leave it as it is. Just take a look at your painting and decide on whether you need to add more texture and patterns. Otherwise, just wait for me to finish. [MUSIC] This is how it has turned out. Now, I'm going to add some texture onto this cliff as well as onto the mountains in the background. I don't have any water content on my brush. It's a dry brush and I'm using Payne's gray here and I'm just cramping and ramping my brush on the paper to create some texture. I think that looks fine. Now in a similar way, I'm going to add few patterns for the mountains as well. Yeah, Assuming this one to be really far. Let's not add lots of details. We just need to fill patterns on the top and at the bottom. I'm really loving how the spinning shaping up. We have a really pretty sky and a sea. Then we have a very well texture and detail tracks. That's main main feature of this painting. Anyway, we are done adding the details for these mountains in the background, as well as the rocks in the foreground. Now, we have some on the beach, for these ones as well, we need to add some deeper value. I already have some Payne's gray on my brush. Using that paint, I'm just adding some random driver's patterns. These ones are really small, so you don't need to put a lot of effort. Simply add some dry brush patterns using a darker tone onto the surface of the rock. See that, we already have the shape of the rocks. So there is nothing to define here. You can simply add some deeper value a little towards the left, and a little towards the right, and maybe some on the top. We have few more rocks. There is one on the top and two at the bottom. I'm simply adding some dry brush patterns onto the surface of these rocks. This one is also a turn. Now I have one smaller one on the top, so that's done and that's how our painting is looking right now. You can see it is already looking complete. But there is one last thing we need to do, which is adding the waves. For that, I'm going to squeeze out a bit of white watercolor. You can either use white gouache or white watercolor. I'm choosing to use white watercolor, but if you prefer, gouache, you could use that. For this painting, I'm not planning to make the waves a lot prominent. So it is better to go with the smallest size brush or a brush with a pointed tip. This one is a size two round brush and this is what I'm going to use to add waves. So first let's pick some white watercolor or white gouache, which will be the one you're using. I'm starting off with a mountain. Right underneath the mountain, I'm going to add some white lines. I'm just following that shape and I'm adding a line. It's a really thin, delicate line. It's not too opaque and it's not too thick. That is how I'm adding these waves because these ones are really far from us. As we're coming towards the bottom, we can make them more thicker and bolder. For the ones in the background go with a similar thickness. First, we can add some white lines underneath the shape of the mountain. Just to make it look like there are some waves crashing onto these mountains. Don't use a paint which is too watery. If you feel like your paint is too watery, dab it on a paper towel, and then add the lines, and also try to go with the smallest size brush or a brush with a pointed tip. I'm going to add some white patterns onto this corner. It's a very thin and delicate line and so accompany now we try paint and that pain, see that? It's not too prominent. That's how you should be adding them. You can keep adding these five drivers patterns and then if you'd like you have gotten texture along with this. But the similar thickness and similar opacity, you can add one or two waves as well. We're here. I'm adding one wave and maybe a little below this one, I will add another one. You can clearly see the color and thickness I'm using. It is not too opaque and they're not too prominent. [MUSIC] That looks fine for now. Next, I'm going to add some white line to the bottom, especially where we have those small rocks. Over here, you can go with a much more opaque paint and you can make lines more thicker. Simply add some random lines underneath a rock. Over here we have two colors in the background. We have some brown as well as some cobalt green and then you add the waves over here at this junction. Your painting will look really beautiful, so go with an opaque paint and add some random thick lines. It can be a combination of some wavy lines and some zigzag lines. It doesn't need to have any particular shape. Just keep adding some random lines over here using white watercolor or white gouache. When you start adding them, you will automatically understand how you should be hiding them. You will see the whole difference in your painting, so it's just a wavy curvy line using white watercolor or white gouache. Now I'm going to add some linear lines underneath this rock, See that? It's a very simple line. It doesn't have any particular shape. You can just add them underneath the rocks you have added there, so we're trying to make it look like there's some water underneath the rock, some forming water. Start by adding a line underneath the rock, following the shape. Then you can add some random lines right next to that. You can see the paint I'm using. It's not a dry paint, It's a watery paint and I'm simply adding some lines. The only thing you need to keep in mind is not to cover up the entire background. We have to see that brown color in the background. That is what makes your painting look more beautiful. When you're adding these white lines, try not to cover up the entire background, and also try to leave some gap in between so that it makes it look like we can see the sand in between. Now in a similar way, I'm going to add some more lines. [MUSIC] That's how our painting is looking right now. I'm quite happy with the background, it looks really beautiful. Now, we need to add one way over here, right where the cobalt green is transitioning into brown, so go with an opaque paint, it can be a dry paint and add a wave over here, it's just some dry patterns using white. It doesn't need to be a properly shaped wave. You can use white paint and just add some texture here. That's done too, so the immediate thing I focused was the rocks on the beach. I wanted that waves to be really prominent over there, especially at the bottom. The rest wasn't really important to me. I didn't want them to be too prominent, but just in case if they are not at all visible, you can make it slightly prominent, I like the way I'm doing right now. Especially over here, and that crashing waves are not visible. I'm just adding that one more time to make it visible. Maybe it is just because I'm using watercolor. Honestly, I couldn't find my white gouache. I think I misplaced it, so I just had to use white watercolor. Anyway, that's done. Now, I have some white paint left on my brush. I haven't washed it yet. Now using this dry white paint, I'm going to add some highlights onto these rocks. This is not necessary, just take a look at the end result, and just in case if you feel like adding it, you could do that. Otherwise, you can just leave those rocks as it is. Be 100 percent sure to use dry paint, it shouldn't be too opaque and prominent. That's the only thing you need to keep in mind and just randomly add some highlights onto the rocks. They are barely visible, but it still has some beauty to it. I don't know, maybe you might not find it pretty in that case keep it. I'm not adding a lot, I'm just adding few here and there. Just to give it some more interesting feature. [MUSIC] That's it. With that, we're done with our painting for the day. I cannot tell you how much I love this painting. Just in case you want to make it a little more interesting, we can add some birds onto the sky. I'm thinking to keep it simple. I'm not going to add any bullets, but it's totally your choice. If you want to add them, you could do that. Now, I'm going to slowly remove the masking tape. I hope I have got a clean border. Yes. That's a clean border. That's a dreamy evening for the day. I cannot tell you how much I love this painting, especially the colors of the sky and the sea, and most importantly the rocks from the texture, I think they look great. Take a look at this. See that texture? Incredible, right? So there are only some paintings that I do make me go, wow, and this is one of them. I hope you guys enjoyed it too. Thanks a lot for joining this watercolor tonight and thank you all for watching this perspective. I will be back as soon with our next drawing in landscape. 9. DAY 2 - Summer Beach: Hello, my dear friends. Welcome to day two of our 30 day watercolor challenge. Today we are going to paint a beautiful summer beach. To me, the most important part about this painting is these tiny sailboats. I love the way how they define the horizon line, and also the wooden texture of the deck. I guess you all are going to have an exciting time painting this gorgeous summer beach. Let's begin. First, I will take you through the color palette, as well as some techniques. I think you can already guess the colors. For the sky, I will be using cerulean blue, and to add the shadow of the clouds, I'll be using a really light tone of Payne's gray. For the sea, I will be using the same colors that I use for previous painting, which is cerulean blue and cobalt green. These are the two colors I'll be using for the sea. Today we're painting a beautiful cloudy sky. Over here, the clouds you see, that's actually the paper white. We'll be leaving some gap in-between when you're adding the paint onto the sky, and that's how we're going to create the cloudy sky. We can try that in some time. The first color you will need for this painting is cerulean blue. I'll be using that color for the sky as well as for the sea. If you don't have cerulean blue, you can use Prussian blue, or ultramarine blue, or any other blue that you've got. That's all for this color. This color is one of my favorites. I love to use that for the skies, especially that cloudy, bright blue sky. Now the next color you will need is Payne's gray or neutral tint. You can see the shadow of the clouds. It's a really light tone. First, I will spats out a lighter value of Payne's gray. We'll be using the same color to add a deeper tones for that wooden texture, so that's lighter value of Payne's gray. To add the clouds, we'll be using a much more lighter value. Now I will turn this into a darker tone, because we'll be using a darker value mostly. We'll be using Payne's gray to add the details on the wooden deck. I'll quickly turn this into a darker value. That's our second color. These are the two colors we'll be using for the sky. Now the third color is cobalt green, which is the color I'll be using for the sea along with cerulean blue. It's a gorgeous color. We have used that in the previous painting as well. I think it is this color which is the main attraction of this painting. If you have used any other color, you won't get that summer beach kind of a wipe. This is a major color. If you don't have it, you can check out the color palette section, and you can learn how you can create your own cobalt green. That's our third color. The next colors are the ones we'll need for the wooden deck. The base color is going to be yellow ocher. Then we will add the medium tones using brown and the final details using Payne's gray. You can see that color the texture. It is really easy to create this texture. You will see that in some time. Anyway, let me quickly swatch out the next three colors. We need a yellow ocher, then we need brown, and also Payne's gray. This one is yellow ocher. Next, you will need brown or burnt sienna. Through this painting, you're going to learn two major things. The first one is to paint that blue cloudy sky, which you can use in your other paintings as well, and the second one is that wooden deck. This painting is going to be really helpful. You can learn a lot today. That was brown. The next color you will need is red. This one pyrrole red. If you don't have pyrrole red you can use any other red you have got, or you can use scarlet or vermilion. We'll be using red for these sailboats in the background, so we just need very little. We'll also need some white gouache or white watercolor. That's our next color. It's a very bright and bold red. You can also use carmine or crimson. That summarized the color palette for today's painting. Now, let's try out some techniques. We can start with the sky. To paint the sky, we're going to use wet on wet technique, which means you have to apply coat of water. I'm just going to replace the water. There I have clean water. Now using my one-inch wash brush, I'm going to apply some water onto a small section. Make sure your brush is clean, and gently apply an even coat of water. Now to apply the paint, I'm using my medium sized Ron brush. Normally, I prefer using a medium size brush compared to a bigger size brush, especially when I'm painting the sky, because I will have better control over the paint and the rate of spreading. The color I'm using here is cerulean blue. I'm going with a medium tone. Now using this brush, I'm going to apply the paint onto this wet background, leaving some gap in between, and that is what going to turn into clouds. You can see the color at a medium tone. As I'm applying the paint, I'm leaving some gap in between. If your paint is too watery, that will brush on a paper towel and keep adding the paint. You can see the way the paint is spreading. Now at the bottom, I'm going to add a long cluster of clouds, just the way you see here. I'm not going to add any blue paint. I'm just going to leave that random shape at the bottom. Now, I'm going to wash off the paint from my brush and I'm dabbing that on a paper towel. I'm just adding some lighter value at the bottom, and I'm just making this smooth. I think the paint I used was really watery and I don't have any clouds left here, so I'm going with a clean brush and I'm just lifting off the paint from here so that I can retain the shape. This is something that you need to keep in mind. Don't go with the watery paint. If the paint is really watery, they will spread into the background and you will end up having no clouds. Now it's time to add the shadow. For that. I'm using a really light tone of Payne's gray, and I'm just adding that following the outer shape of the clouds, only at the bottom. I'm not adding that on the top. Just over here, add a really light value of Payne's gray on your tilt end. Now we can add some random patterns at the bottom as well where you have this huge cloud. It's a really light tone, that's something you need to keep in mind. Don't make it darker. The paper that I'm going to use for our main project is not too textured, but this one is really textured, and that's a difference you can see here. On the main project, the clouds are looking really soft. But over here, because of the texture of the paper, it is looking a little grainy. Anyway, let's leave this for drying and let's try out the wooden texture. Just like the previous painting, we'll be starting off with yellow ocher. Then onto that we'll add some medium values using brown. Then we will introduce some deeper values using a darker tone by adding some Payne's gray to brown. First I'm going to add a sketch. These lines are really important. This is what brings that perspective into your painting. At the center you can add a straight line or a nearly straight line, then onto either side you can start adding inclined line onto opposite direction. That's a sketch. Now, we can start adding the paint. First time starting off with yellow ocher. I'm going to add that onto this entire shape. I'm using a medium size brush. Now, simply fill that up in yellow ocher. I'm not adding a lot of water. I'm going with a medium tone. It's a beautiful color to use for wooden texture. Now, onto this before it dries, I'm going to add some deeper values using brown. Pick some brown, and just randomly start adding some lines, and some dots, and some random shapes. This needs to be done when the background is wet. Lines we added earlier are not visible. Maybe we can add some lines in a similar way using a medium value of brown. They may not be perfect because the background is wet, but that's okay. Just keep adding some random lines and some random shapes. Once we are done adding the patterns, we can add those lines when the background dries. For now, you can simply keep on adding some texture and some random pattern. Now, I'm going to go with a much more darker value of brown. I'm adding a little of Payne's gray with brown to create a darker tone. Now using that color as well, I'm just going to add some random shapes and patterns. My background is still wet, and you can see the way I'm adding those patterns. Along with those patterns, I'm also adding some lines in a similar way how we added earlier, but they're not perfect. For now, this is all we need. We can fix them later. Also try not to make it too busy. We have to see that background color in-between. Right now I'm adding those lines using a medium tone of brown. I think it looks good for the time being. Now we can leave this for drying. If you look at that wooden deck right now, it looks really messy. But that's okay, it is part of the process. You have to trust the process. Our intention was to add some deeper values and also some texture, we have done that. Now, with the next step when we add the final details, it will start to look better. Let's give it a try. To add the details, I'm going to use a smaller size brush, the small size number 2 round brush. Now the next step is going to be a game changer, you have to see this. I'm picking a bit of darker value of brown, I'm adding a little brown with Payne's gray to make it a little darker. Now using this color, I'm going to simply add some lines, the same lines we added earlier using our pencil. These lines are going to make a huge difference in that wooden deck. Right now it looks a little messy and weird. You got to see this. I think we can add the lines using a pencil first and then come back and just follow the lines using our brush. I'm switching to a pencil and I'm going to add those lines. This way it is much easier. You won't make any mistake. Otherwise, there are chances the lines may go in a different direction. Add those reference lines and switch back to your brush. I would recommend to go to with the brush that has a pointed tip, or any of your smaller size brush. Now I'm going to add them in. It's a darker value of brown that I'm using here, and I'm simply adding some lines. On either side, I will be adding inclined line towards the opposite direction, and at the center, I'll be adding a line which is nearly straight. I have added three lines here. Now, I'm going to add the one at the center. Maybe you can make it a bit thicker. It doesn't need to be a straight line, it can be slightly irregular. Now let's add a line at the center. This one has to be a straight line. It doesn't need to be completely straight. You can see the line I have added here compared to the other one this can be called as a straight line. Now onto the other side, we're going to add incline line but towards opposite direction. See that? That's how you should be adding your lines towards the side. There are some more space left on the right side so I think I can add one more line. I have added all the lines and you can clearly see the difference. Maybe you can make some of them more thicker just so that they have a lot more prominence. That's the first step. Now we're going to add some more texture onto this. Actually the texture that we added earlier when the background was wet has a lot of importance. Even though that was looking messy at that point you can see the difference now. When those patterns dried and when we added these lines, it really feels like wood. Now I'm adding a few drops of water into the same color. I want a medium tone of that brown I used earlier. Now using this color, I'm going to add some random lines onto this background. Make sure the color is not too dark. It can be a combination of straight inclined to way we curvy any lines. It doesn't need to have any particular shape or thickness. The only thing to keep in mind is the tonal value of the color. It shouldn't be too dark. Go to medium tone of brown. Now just add some random lines until you feel you have got some texture. You might have seen this texture on wood so that's what we're trying to create here. Make them thin. Don't go for bolder lines. It is better to use a brush that is pointed tip and simply add some lines like this. At some places you can add some circular shapes and some oval shapes. You can see these patterns on board. Slowly it is starting to look more like wood and I'm loving it. Right now I'm using a little more darker value and I'm again adding some more lines to add some more texture. Now using a darker value, I'm just adding some dots and some tiny lines. See that? We're trying to create that decay and some natural patterns on the wood. On the image here, you can see those tiny patterns. That's what I'm trying to create right now. You don't need to add a lot of them, and it doesn't need to have any particular size or shape. We can randomly add few dots and some lines wherever you feel like. We'll be doing the same thing for our painting as well. You can see those random patterns using a darker value. Those things will add a lot of beauty to a wooden texture. It will start to make it look more realistic. So that's done. Right now we've painted a very small section. For our painting, it is going to be a little more bigger so we'll have more room to add those texture and those patterns and it will automatically enjoy it more. See that? I really love this texture. They look so gorgeous and realistic. The sky and the wooden texture is two major elements in our painting. Now there's one more thing that I want you guys to try before we move to our main project. It is those tiny sailboats. Honestly, when I did this painting, I was not planning to add those sail boats, but the horizon line was looking quite empty. Then I thought of adding some elements there and I tried this and I loved it. This is something that you can add in your other paintings as well whenever you're painting a seascape, it is too tiny and you don't need to put a lot of effort and it doesn't need to be perfect because it is too far from you. It is just a matter of adding that shape and it will automatically define your horizon line. It will bring in that sense of distance. Let's give it a try. Right now as we don't have any color in the background, I'm going to use Payne's gray, but for our painting we'll be using red and white. You can also use orange or yellow or any other brighter color. I'm starting by adding a triangular shape along point of triangle and I'm using the same brush the same as the size of the two round brush. The boat that we're going to add an old painting won't be this huge. Right now I just want you guys to understand the shape that's why I'm going with the bigger shape. We can make it a little more pointy. That's the base shape. Now at the bottom, I'm going to add a line. Just a line it doesn't need to be a shape of a boat or anything because it is too far. See that? So it's just a thick line. Now let's try another shape. This time I'm using red. I'm using pyrrole red. As I mentioned earlier, you could use vermilion or scarlet or crimson. See that? This one is slightly different from the first one. It's not a triangular shape. So first I added an inclined line, then onto the right side I'm adding curvy line and I'm simply filling that in red. Now, just in case if you're not getting that shape right, that's absolutely okay. It just has to be a long point achieved because this one is really far from us and it doesn't need to be perfect. You don't need to worry at all if you're not getting it right. That's my second boat. Now, I'm going to add the base for that I'm picking a darker tone. I think it's Payne's gray. Right now it is visible because it is quite big. But on our painting, if you take a look, they are barely visible. That's the reason why I told you it can be just a simple thick line. We tried two. It's a really simple one you can decide to give it a try. For the painting, as I mentioned earlier, we're going to use very small shapes. Even if you don't get it right, it is absolutely okay. You can see the size, it's just a triangular shape. I have this white and red. Maybe we can try one more. This time I will make it a little different from the first two shapes. First I'm starting by an inclined line. Then at the bottom, I'm adding a small straight line then connecting those two end points, I'm adding a curvy line and filling that up in red. All of these shapes are a long pointed triangular shape. You can add them in any color, but the size is really important. Make them as small as possible so this way you don't need to put a lot of effort in detailing if you are planning to make them bigger, obviously you will have to put more detail otherwise it will look weird and also, if you go for a bigger size, your painting will lose that sense of distance. Anyway, I have added three boats here. Now I'm going to switch to white, and I'm going to add some highlights onto this. Maybe for this one, I can use Payne's gray and for the other one I will use white. That's white gouache and I'm just adding a line right at the center. I'm just trying to give some highlights. Maybe for this one as well, we can add an inclined line at the center. For our main project, I'll be using mostly white to add the seal ports, then onto that to add some highlights, I'll be using some red and some Payne's gray. But I think it will be nice if you can use some yellow or orange or even a neon green, it will really add a color pop into your painting. Just give it a try. It's not really necessarily, you can either use white or red like the one I have added here. That's all about the color palettes and the techniques for day two. Now it's time to give it a try. 10. Summer Beach - PART 1: Now, it's time to paint this gorgeous summer beach. I already have the colors here. For the sky, you will need cerulean blue and a bit of Payne's gray, as I mentioned earlier. Keep the colors ready on your palette, as we're going to try a wet-on-wet sky. We need the colors ready on our palette so we don't lose any time. We can lead the colors for the background and the silhouette, and we can paint the gorgeous sky. I have taken the colors. Now, the first step is to apply a piece of masking tape to divide your sky and the sea. I'm adding that a little bit on the center or maybe at the center. The top is going to be the sky obviously. Then at the bottom, we will have the sea, as well as the deck. To paint the sky, I will be using a medium-sized round brush. This one is size number eight. With the medium brush, I always feel I have a better control. Let's begin by applying a coat of water onto the entire sky. Then we can start adding the paint, leaving some gap in between. Keep in mind, the way you're applying the paint onto the paper will define the shape of the clouds. If you want bigger clouds, try to leave a bigger gap. I'm starting by applying a coat of water onto the entire sky. Run you brush multiple times so that the coat of water's even. We just need a shiny coat. Don't add a lot of water. Also, before you do this step, make sure your brush is clean. Don't coat the brush. There are some paint stains. I have applied an even coat of water. Now, I'm taking a medium tone of cerulean blue. You can use any of the blue you have got, if you don't have cerulean blue. That's the color I'm using. It is not too light. It's a medium tone. Now, I'm going to apply the paint onto the sky. We are using wet-on-wet technique here, which means you're background is wet and the paint you're using is also watery. This also means the paint will spread than float in the background. It won't stay exactly where you have laid them. Which also means, if you go for smaller clouds, the paint will spread into each other, and you will end up having no clouds. In the beginning itself, you have to go for a bigger size. I think this area has dried, so I'm just making it wet. Now, let me switch back to my round brush and add the clouds. Keep a paper towel next to you so that whenever you feel like your paint is too watery, you can dab your brush. Now, let me go back with the clouds. Make the first one here, you can see the shape. Now, I'm going to add another one on the right side, a smaller one. Now, as I'm coming towards the bottom, I'm going to add another one. It is actually a group of clouds. Just add a random shape over here, and leave the paper white at the bottom. You can modify the shape a little. I will just add some more paint over here. That looks fine. Now, I'm going to wash the paint from my brush. I was actually planning to take some blue, but then this one has some paint on it. Using that brush, I'm adding a lighter value of blue at the bottom, just about that masking tape. Looks like I'm losing all the clouds. Using a clean brush, I'm just trying to limit that spread so they have a nice shape over here. Even this one, it has almost spread into the background. So I'm just trying to lift off some paint. This is the main reason why I told you leave some extra gap earlier because you can see now the clouds have become much more smaller. That happens. Keep that in mind. Next time, whenever you're painting a white cloud, which is your paper white, remember to leave a bigger shape than what you need. By the end, you will have that shape that you require. Anyway, before the background dries, let's add the shadow of the clouds. For that, I'm going to use a really light tone of Payne's gray. I'm adding some water, and I'm turning that into a really light tone. See that. That's color I'm going to use. Now, I'm dabbing my brush on a paper towel because I don't want the color to be too watery. See that color. They're really light. Now, along that bottom shape of the cloud, let's add some Payne's gray. That's the first one. I'm adding for the second one. Finally, for this bigger cloud. You don't need to take a lot of paint. You can clearly see the way I'm adding it. I barely have some paint on my brush. Don't make it too dark. If you have tried the technique section, I'm very sure you have a better idea how to handle this. Honestly, painting a cloudy sky is quite easy, but sometimes it can be a bit tricky, especially when the background is really watery. On top of that, you're using a really watery paint. Obviously, the paint will start spreading, and you will end up having no clouds. That's something you need to keep in mind. Just ignore what I'm doing right now. There is some paint missing on this corner. I'm just trying to fix it. Anyway, what I was saying was when you do multiple paintings with a cloudy sky, you will automatically get an idea of how watery your background should be and how watery your paint should be. Also, when to apply the paint. Those things will be really clear when you try it out. It is something that you will learn with time and practice, so don't worry, if you don't get it right in the first try. Now, before I leave this for drying, there's one particular tip that I want to talk about. This might look very slip, but it is going to have a huge impact on your painting. You can see what I'm doing here. I'm just wiping off this watery paint from the masking tape. What happens is when you leave your painting for drying, there's watery paint or water from the masking tape that will slowly start spreading back into your painting, and it will create a dirty bleed along the border. We are doing this to avoid that. Every time you do a wet-on-wet painting, if you feel like there is some excess amount of water or paint on the border, just wipe it off before you leave it for drying. Anyway, this is how this guy has turned out. You can see the cloud. They're looking much more smaller right now. I wanted a bit more bigger clouds, but I think I didn't leave enough of space and the background was watery too, and I ended up getting this. Anyway, I'm still happy with the result, so no complaints. Now, I'm going to leave this for drying. This guy has dried completely, and I'm pretty happy with it. Now, let's peel off the masking tape. You can see the colors are looking a lot softer right now, compared to what when it was wet. Our next task is to paint the sea, but before that, I'm going to add a line just to divide the deck and the sea. It is not at the center. I'm using a bit more bigger area for the deck than the sea. Now, we'll need to add those inclined line. Like we tried in the technique section, at the center, the line has to be somewhat straight. Then onto either side, you can add an inclined line onto either direction. But honestly, you don't need to add these lines right now because anyway when we paint the background, it won't be visible. Anyway, I just added them, so let it be. Let's get this on. Now, what I'm going to do is I'm going to apply another piece of masking tape over here. Let me take out a piece of masking tape. I'm going to add that right over here to divide the deck and the sea. That's ready. Now, we can start painting. For the sea, I will be using two colors, which is cerulean blue and cobalt green. We tried the same thing for the previous painting. I'm going to use the same colors. I'm going to paint that in the same way. Maybe to add a varying shade in between, you can introduce some turquoise blue as well, but it is not necessary. You can just go with cobalt green and cerulean blue, or cobalt green or any other blue that you're using. I'm starting off with cerulean blue, and I'm using my size number 8 round brush. I'm picking a medium to darker tone. I already have all the colors here. First, let's begin with cerulean blue. For this painting, we're not going to add any details along the horizon line. We're not going to add any mountain or anything. We're going to leave that as a clean straight line. That's something you need to be careful about. First, I'm applying cerulean blue onto the right side. You can see the color I'm using, and I'm carefully adding that along the horizon line. Now, I'm just going to randomly add some more paint onto the background. See that. It can be super strange and super messy, just add them in. Now, I'm just washing out the paint from my brush. I'm picking a little of turquoise blue, and I'm adding that in the same way. Initially, I was planning to only use cerulean blue and cobalt green. Then I thought it would be nice to add some more color variations onto the sea. That's the reason why I thought of using a bit of turquoise blue. Just the same way how I added cerulean blue, I added some turquoise blue as well. Now, let's wash out the paint from our brush, and pick some cobalt green. This time, you need to use a good amount of paint. Take enough of paint on your brush. This is the color I'm using. It is cobalt green from ShinHan. If you don't have similar color, you can just use turquoise blue, or you can mix and create your own cobalt green. Now, onto the remaining area, I'm going to add cobalt green. Just simply apply that paint onto that background, and fill up the remaining area. Also, be sure to go with the a clean horizon line. Over here you have to be a little careful. You can see how beautiful the sky is looking right now when we define that horizon line. Now using the same color, I'm going to fill up the remaining area. I'm just running my brush back and forth. This way we are just pushing and pulling that other pigments we have in the background, which is turquoise blue and cerulean blue. Automatically we're creating a good texture in the background and some color variations, which is very much needed for a sea. That's the background. Just in case if you want to add some more taco values, you could do that right now. The background is still wet so make use of the time. If you want to add some deeper values, you could do that. I'm quite happy with it, but I'm thinking it would be nice to add some more blue texture, so I'm taking some cerulean blue and I'm adding that into the sea. Not a lot, just a little here and there, to bring in some more texture. The major color has to be cobalt green, but in-between you can introduce some deeper value like this. With that set, we are done with the sea. I think it is already looking super terrific, that I want to go for a summer vacation. Anyway, let's leave this for drying. That has dried. I'm pretty happy with the colors. They are looking really vibrant. Now, our next task is to paint the deck. We'll have to start painting the base layer. First, let's peel off the masking tape. Let's go with the yellow ocher, which is the base color, and onto that, we'll be adding some texture and some patterns using brown and Payne's gray. The very first step is to paint the base layer. For that, I'm going to use some yellow ocher. If you don't have a yellow ocher, you can just mix a little of brown, but any of that do have got. If you don't have brown, you can use brown sienna. I guess I hope that is sorted. Now we can paint the base layer. I already have some yellow ocher on my palette, but I think I will need some more brown. Let's take that out. The color is ready. Now, let's try to paint. To paint the background, I'm using my bigger-sized round brush. This one my size number 12. We're going to start with a solid wash of yellow ocher, so the bigger the brush, the better. You can apply paint onto a larger area quite quickly. I'm going to fill up this entire area. You can use any brush. All you need is this yellow ocher in the background. When you're adding paint along this line, be a little careful. Just like how we did for the horizon line. It has to be straight. Don't add any paint into the sea. Other than that, it's a very simple task. Even you can go blindfolded and do this. I'm just kidding. Don't do that. Anyway, the base layer is ready. I have applied yellow ocher onto the entire area. Those reference lines are still visible, so that's good. Now I'm going to keep this brush aside and I'm switching to a medium-sized brush. This one is my size number eight brush, and I'm starting off with some brown. Now, I'm going to randomly add this onto this wet background, just the same way how we tried in the technique section. It can be some random lines and some random shapes. As we can see those lines, I'm going to add them along the lines as well. It can be accomplished in different shapes and lines. You can start with a medium tone of brown and then we can truly make it darker. Right now, I'm using brown acetic. It's a medium tone, and I'm adding some shapes and some random lines. Basically, I'm following that entire line, and along that line I'm adding some random shapes. It can be absolutely messy. It doesn't need to be perfect. I hope you have tried the technique section. If you have tried that, you know what I mean when I say it can be messy. Let's add some more patterns over here and then we can add some darker values as well. In this painting, this deck is really important. Other than the deck, there is no much details in this painting. You can see we have our simple sky and a simple sea. The major focus is going to be on the deck, so the more the patterns and the more texture you can bring in, it will have a huge impact on your painting. Right now, I'm using a little more darker value of brown. I have added a teeny bit of Payne's gray into brown. Using that color, I'm adding some more deeper value, especially at the bottom. You can clearly see how messy it is. You don't need to worry about how it is looking right now. It is going to look okay when we add the final details so just bear with me and trust the process. I'm going to add some more lines using this tone value of brown. Then I'm thinking to go with a much more deeper tone. I'm just adding some simple lines. I do already have had enough of patterns. That's done. Now, let me switch to a darker tone. I'm picking some Payne's gray and adding that brown to make a darker. Now using that darker value, I'm going to add some random lines and some random patterns onto the background. See that? You might have seen these patterns on the wood. Make it super random. You can add some dots and some scribbles as well. I'm adding them along the inclined line and some in-between as well. If you take a look at this image here, you can see that natural lines on the wood. That's what we're trying to create here. You can add them however you want to. It doesn't need to be the same way how I'm adding here. It can be more natural and can be more beautiful. Go ahead and add some lines, some curly shapes, some wavy lines, some dots, some scribbles. Anything that you want to. But be sure not to fill up the entire background. We need to say that background colors and tonal values as well. That's our background. We have painted the sky, the sea and the deck. Now we'll have to wait for this to try to add the remaining details. 11. Summer Beach - PART 2: The background has dried out perfectly, now we need to add the final details. First, I'm going to add those lines on the deck. It's not completely visible, so I thought I will add them using a pencil first, then we can follow those lines using our brush. As I said earlier, the line at the center has to be somewhat straight, then on either side, you can add some inclined line. I don't think you can see them on the screen, but I can see them here. These are just some reference line. We know we can start adding those lines using our brush. The brush I'm using here is a pointed brush, this one aside from the two round brush. You have to go with any of your smaller size brush, or a brush with a pointed tip. I'm mixing some brown with Payne's gray to create a darker tone. If you have burnt umber, you can use that as it is, or we can just mix and create your own darker value of brown. You can see that pointed tip, it's a wonderful brush. Now using this brush, I'm going to add those lines. Before you add them, just make sure the background has dried out completely. Otherwise, they may spread into the background. We want these lines to be really crisp and sharp, so just make sure your background has tried out completely. Otherwise, just wait for a few more minutes. I'm starting to add those lines. That's the first one. I'm simply following that pencil line. It can be slightly thicker. Now, I'm adding my second line. It's a simple step, but by the time you're finished with this step, you will see a huge difference in your painting. Let's go ahead and add in all these lines. [MUSIC] I have added three lines, and I think you can already see the difference. Now in a similar way, we need to add the remaining lines as well. See that? This one can be slightly thicker, especially the ones at the center. It doesn't need to be a perfect line, it can be a slightly irregular line. Those things are absolutely okay. Now, I'm adding the one at the center. The lines that we're going to add after this has to be onto the other direction, so let's do this quickly. [MUSIC] That's done. Now just in case if you want to make any of the lines more thicker, you could do that right now. But I think you can already feel the difference here, it is starting to look like wood and that texture is really beautiful. This is the reason why I told you earlier these lines are going to make a huge difference in your painting, and you can see that already. The lines are in. Now, we need to add some more texture onto this. For that, I'm going with the watery paint. I don't want a darker value for that, so I'm just adding few drops of water into the same color. Using that color, I'm going to add some random lines onto the same background. It can be just like you're scribbling, but make sure to go with the smaller size brush. We don't want thick lines. Go with the medium to lighter tone of that darker brown you created earlier, or you can just use burnt umber as it is, add two drops of water and turn that into a loose consistency. Using that color, simply add some random lines. It can be some curvy lines, some wavy lines, maybe some straight lines. You can add all lines. They can be of different length. At some places, you can break it, and at some places, you can add a long line. Go with all sort of combination to make it look really natural. See that? At some places, you can add these spiral shapes as well. The only thing you need to keep in mind is the thickness of the line and the color that you're using. Go with a medium to lighter tone and use a smaller size brush, go with thin lines. You can add in as many lines as you want, there is no limit. Until you feel you have got some texture, you can keep adding them. [MUSIC] I'm really loving the way this painting is progressing. That wooden texture is really beautiful, I hope you guys are enjoying it too. Right now, I used a medium value of brown to add those lines. Next, I'm going to do the same thing using a darker tone. This is how it has turned out. Now finally, I'm going to add some more teeny-tiny details onto this. All these while we were adding lines. Next, I'm going to add some small shapes like an oval shape, or a dot, or a small line. Not big ones, just small ones like this. You can add them very randomly, and you can follow any shape that you want to. But don't make it too big, go with the similar size. For this one, I'm using a darker value, which you can clearly see here, and I'm using my smaller size brush. Let's add some over here, maybe we can make it a bit longer. I think we can add some more patterns very randomly, maybe some dots. Painting this wooden texture is not like how we painted the sky or the sea. You can add as many patterns as you want and you can add them however you want to, there is no particular rule or method that you need to follow. Wherever you want to add some deeper value or wherever you want to add some shape and patterns like this, you could do that. You don't need to follow the same way I'm doing it here. I'm just adding them however it is coming to my mind. I'm not looking at any image or anything. I'm just simply adding them. You could also do the same way. In-between your painting process, get up from your seat and take a look at your painting. If you feel like you have got enough of texture and pattern there and if you're happy with the result, you can call it time, otherwise, you can go ahead and add some more lines or texture or pattern. Now, the last step is to add the sailboat. For that, I'm using my smallest size brush, then the color I'm going to use is white. I have some white watercolor here, so I'm just going to use that. Then I will also be using some red and some Payne's gray. If you want to go with a different color, you could do that, that's absolutely okay. Use white for one or two, then for the rest, you can use red or orange or green or yellow. It will look really nice if it's a bright and a prominent color. I'm starting off with the first one. I have taken some white watercolor on my brush. I haven't added a lot of water, it's opaque. We have already tried these in the Technique section. It's a very simple and easy shape actually, but then the size is what matters. It is just a long pointed triangle. Concentrate on the size. You can see the way I'm adding teal. Half of the sailboat is above the horizontal line and the rest is below the horizontal line. Add them in a similar way. As we have clouds in the background, that top portion is not really visible, but that's okay. We'll be adding some highlight using red and Payne's gray. It will be a little more visible by then. That's the first one. I'll just show you how that highlight will look like. Right now, I'm just going to add a line, leaving a tiny gap. Onto the right side, I'm just adding a teeny-tiny line using the same paint, leaving some gap. Now, we can clearly see the difference. This is one way of doing it. The same thing can be done using a different color when everything has dried out completely. That's what we're going to do a red and Payne's gray. That's our first boat. Now, I'm going to do the second one, for which I'm planning to use red. For this one, I used white for the base. I was actually planning to use Payne's gray for the base, but I wanted to see how white is going to look like, and it's not too bad. Maybe for some of them, we can use white and maybe for the rest, we can use Payne's gray. Anyway, so now I'm going to add the second one, for which I'm going to use red. If you don't have red, you can use orange or you can use vermilion or crimson. Don't add a lot of water, we want the color to be really opaque. Also we don't need a lot of paint, we just need a tiny bit. We can add as many boats as you want, the only thing to keep in mind is the size of it. Even if you're not getting the shape perfect, that's absolutely fine, but watch out the size. If you make them big, you won't get that sense of distance in your painting. The size is really important. You can see the deck here, that is very well-detailed, whereas the sailboats are not too detailed. By that, we're trying to imply we're standing or sitting on the deck and we're watching the sea and we have some sailboats far away. Anyway, now, I'm going to grab some Payne's gray and I'm going to add a line for the sailboat here. I'm just retaining that white. For this one, I'm using Payne's gray as it is. This is why I said earlier, for some of them, you can use white for the base and some of them, you can use Payne's gray for the base. We can make this line a little more prominent, same for the red one as well. It has to be a very thin line. Don't cover up that entire shape, it's already really small. Now, using the same color, I'm adding some dry lines right underneath the base just to give some reflection or some shadow there. I have added two boats, now I'm going to go with the third one. I already have some Payne's gray on my brush, so I'm planning to start this off with Payne's gray. This portion is going to be in Payne's gray, then for the rest, I will pick some white. The base is also going to be in Payne's gray. [MUSIC] That's the third boat. Now, I'm going to add another one, for which I'm using white as it is. I'm planning to make this one a little more smaller. Let's give it a try. I'm just wondering where should I add it? Maybe we can add that over here or let it be here. First, let's add that triangular shape. You can see it is much more smaller. I have added the white shape, now for the rest, I can cover a little some Payne's gray, but before that, maybe using the same color. Before I wash all the paint from my brush, I think I can add a line for this red sailboat here. It is just a white highlight. Maybe you can use a white gel pen as well. Now, I'm washing out the paint from my brush and I'm picking some Payne's gray. I'm going to add the base for this one here, the smaller one. At the same brush, I'm adding a highlight as well. We have added four boats. I think I can add one more. I'm wondering why I added them all on the right side. Maybe I can add one towards the center. You can just ignore the way how I have added the sailboats and you can add them however you want to. If you want to add just one, that's also okay, or if you want to add two at the center, even that is perfect. Just add them however you want to, you don't need to replicate the same way how I have added that here. This one is the last one. I'm starting off with white. Now, I need to add the base and the highlight, for which I'm switching to Payne's gray. I'm planning to wrap up the painting once I'm done with this boat, but if you want to add more boats, like how we have on the right side, you could do that. Maybe you can add one or two more on the left side as well. I have added that line, now I'm adding some shadows. That's it. We're done with our painting for the day. Now, let's peel off the masking tape and take a closer look at the painting. I really love how the painting has turned out. It is a very simple painting, but it's a beauty, especially that wooden texture and those small sailboats. When I started this painting, I was not planning to add those sailboats, then I felt like the horizontal line is looking quite plain and blank. It felt like there was something missing, so I tried adding some boats and I loved it. It's a really small and simple element, but I think it made a huge difference in our painting. Anyway, that's our painting for the day, Here is those tiny sailboats and that wooden texture. I hope you guys loved it. I feel like adding some red color onto the last boat we added. I think there's some red missing. We only have one red boat. Let's do this. I'm picking some red and I'm adding that onto the top of the boat where we have the sky. This will make it really prominent. This is optional. If you don't want to add it, that's absolutely fine, just leave your painting as it is. Anyway, here it is. Does it look like a lipstick? No. right, that's our painting for today. Maybe I will add some more red so that it doesn't look like a lipstick. Anyway, that's a painting for the day. I hope you all loved it. I loved it. I love the colors and the vibe of this painting, even this texture. That's it for the day. Thanks a lot for joining me here. I'll be back as well with our next dreamy landscape. [MUSIC] 12. DAY 3 - Into the Mountains: We're done with Day 1 and Day 2, and we painted two gorgeous beach landscapes. I absolutely love how these two turned out, especially the color palette and the techniques we used. I love this wooden texture as well as those stones. Now the painting that we're going to do today is completely different from these two. Whether it comes to the color palette and techniques, it looks totally different. This is the one that we are painting today. We are going to use more of earthy colors for this, so the sky is all yellow and we have some orange and brown clouds. Then we have two set of mountains. Then we have some landscape and a beautiful road. Compared to the other two, this one's really simple. There is no much-complicated techniques or we don't need to add a lot of details. First, let's start by looking at the color palette, and let's quickly look at the techniques. I'll be showing you how you can add these teeny-tiny birds. It is a small element, but you can add them in your future paintings as well, so that's going to be really helpful. We'll start looking at the color palette. For the sky, I'll be using Naples yellow. This is the color. We already tried this in the color palette section. It's a pastel yellow. This color is made from a yellow pigment and a white pigment, and this is the color. It's an opaque color and for the same reason, I can add that on top of values, and that's what you see here. I'm using the same color for the road markings as well. If you don't have Naples yellow, you can just mix some white into any of the yellow you have got. For example, I have cadmium yellow here and I have white here. You can just mix these two colors and create a similar color. For the sky, it is not really necessary. If you want to use any of your yellow, you can go for a lighter value and add that. But for the road marking, it is really important that you need an opaque yellow. In that case, you can just add some white and doing with the yellow. I hope that's clear. That's our first color. We'll be applying this color onto the entire sky. Then onto that, we'll be adding some clouds using orange as well as burnt umber. The orange I'm going to use is brilliant orange. You can use vermilion or any other orange you have got. We will be using this color only for the clouds, so we'll just need a little bit. That's our second color. Then the third color is burnt umber, but I wouldn't be using burnt umber as it is. I'll be mixing and creating burnt umber by adding a little of Payne's gray into brown. I have brown and Payne's gray here. If you don't have brown you can also use burnt sienna. You can see that clouds. I've been mixing these two colors to create that color. I'll be using a similar color for the mountain as well. I'll swatch out these two colors, then we can try creating burnt umber as well. I'm someone who loves brown over burnt sienna. This one is more of a reddish color and burnt sienna is more of a yellowish color, but both of the color will work. That's our third color and the fourth color as Payne's gray. For this mountain here, the one in the background, I'll be using burnt umber, a medium tone. If you have burnt umber, you can use that directly. You don't need to mix and create your own color. Now for this mountain here, I'll be adding a little of sap green into burnt umber. For the road as well, I'll be using brown and Payne's gray. It's a combination of both the colors. I'll be just dropping that color onto a wet background. Then for the landscape here, you will be using some indigo and sap green. Sap green and indigo is an extra colors we will need. Let me take out some sap green and indigo onto my palette. Indigo from different brands look slightly different, but that doesn't really matter for this painting here. We're not using that as it is, we'll be mixing that with green to create a darker value. You can use indigo from any brand. This one I'm using cure as some scenario. I have taken out all the colors onto my palette. Now, I'm going to add a swatch of all these colors onto my sketchbook. The first color is Naples yellow. I had no idea such a color when I started my watercolor journey. It is only in the recent years I came to know about this color as a gorgeous color to use in the sky. If you don't have this color, it is absolutely okay, you can just mix a little of white with yellow. Now the second color I have here is orange. This color is called brilliant orange. It's not a common color. Just like the name says, it's a very bright and brilliant orange. If you don't have this color, you can just use crimson or scarlet. You can see how bright and pretty that color is. That is my second color. Don't take out a lot of paint, we just need a little. You can see these clouds here. For that, we'll be using orange. Now, the next color you will need is brown and Payne's gray. As I mentioned earlier, if you don't have brown just go with burnt sienna, that would work perfectly. That's brown. Next is Payne's gray. Payne's gray is a beautiful color. Even this color I never knew when I started my watercolor journey. But then I think I came across some artist who does monochrome watercolor paintings, and that's how I came across this color. It's a gorgeous color to paint monochrome and even for adding the details. As it is not a common color, I'm not really sure how many of you have it. In case you don't have it, just go with black. The next color we have here is sap green. That's a common color, so I'm guessing you all have it. Finally, we have indigo. The color palette for today's painting is more earthy and neutral. It is not really bright as the previous two paintings. Honestly, this is not my kind of colors, but I really love working on it. I think sometimes it is good to try a different color palette as well. Those are the colors you will need for today's painting. Now, let's try some quick exercises. We'll try out the sky, then we will try mixing the color for the mountains. We can also try out some birds. The first step is to apply some Naples yellow onto the entire sky. I'm picking some Naples yellow and I'm applying that onto a small section here. We're not going to apply any water onto the backdrop, we are directly applying yellow. You can either mix and create your yellow or you can just use any of the yellow you have got. You can see the basal yellow here. It's not too bright, it's a dull color. That's the background. Now, onto that background, I'm going to add some clouds using orange and burnt umber. I'm not going to wash out the paint from my brush. I'm just dabbing that on a paper towel and I'm picking some orange. Now, the orange that you're going to apply onto the sky, will turn into a basal tone because we have some basal color in the background. See that? It is not too bright. Now you can add in your clouds however you want to. I'm using a medium tone, it's not too bright. I want a very subtle sky and that's the reason why I'm using medium tones. Now you can simply drop in your clouds however you want to. There is one thing that I have realized when I'm using pastel colors for the background. Instead of water, it is much more easier to add the cloud and blend them into the background. It won't spread a lot like when you have water in the background. You have to give it a try to understand how this technique works. You can use some basal color for the sky and then dropping some clouds onto that, and you will see the difference. It is not at all like you have water in the background. I'm done adding the orange clouds. You can see how pretty it is looking. Now we can add the brown clouds. For that, I'm picking a bit of Payne's gray and brown and mixing them together. That's brown. Now let's take a little of Payne's gray and mix it. See that? That's the color I'm going to use. Go with a medium value, don't make it too dark. Now I'm dabbing my brush on a paper towel. Looks like the paint is too watery. Now using that color, let's add in some clouds. I'm adding these clouds right next to orange so we have three different colors here. Now let's add some more. This Naples yellow, brown, and orange is a wonderful color combination. You can create gorgeous evenings using these colors. If you want to make the sky more dramatic, you can use a much more darker tone. Otherwise, just use medium tones. You can add your clouds however you want to. I have added the colors onto the background. I had added some orange clouds and some brown clouds. Now to make it a little softer, I'm dabbing my brush on a paper towel, and with that damp brush, I'm gently just smudging the color. We weren't using any brighter values, so it is not really necessary to wash all the paint. You can simply dab it on a paper towel and smudge those colors in the background using that damp brush. See that? The clouds are looking a lot softer now. Earlier they were quite prominent. That's the sky. I'm quite happy with the way it has turned out. Give it a try and see if you like it. If you only want to add the orange clouds and skip the brown ones, you can do that. Just give it a try either with a normal yellow or with a pastel yellow. Now let's try creating this color, which I'm going to use for the mountain, which is a mix of Payne's gray and brown. I'm picking a little brown and adding a little of Payne's gray into the same color. The color will be slightly different according to how much brown or Payne's gray you're adding to it, but that doesn't really matter. It can be slightly grayish or brownish. Don't worry if you're not getting the exact same color that I'm using here, it can slightly vary, which is not going to affect your painting. This looks a little brownish, so I'm adding a little more Payne's gray to it. Let's see how that color is. This one is more grayish now. Now I'm just washing with the paint and making it lighter. See that? That's the color I'll be using for the mountain. Now, I'm going to add a little more Payne's gray into the same color. I just want to show you a different kind of color mixes you can use for the mountain. Right now I'm adding some more Payne's gray and the color is not really brownish right now. See that? You can use any kind of variation of this color for the mountain. It can be more brownish or more grayish. That's the color we'll be using for the mountain. Now for the second mountain, we have in the foreground, I'm going to add a little of sap green into the same color. Even this one can be slightly different according to the amount of color you're using in your mix, so I'm just adding a little of Payne's gray as well. Now, let's try out this color. See that? That's a color I'll be using for the second mountain. We just want to use some earthy, muted colors for the mountains. It can be slightly different from this. That is totally okay. I hope that is clear. Now let's try creating an olive green. We'll be using that olive green for the landscape. Over here you can see that color, especially at the bottom, which is closer to the ground, so I'll be mixing some brown and sap green to create an earthy green. This is actually optional, you can use green acetyl. It is not really necessary to add brown in it. I thought it would be nice to add some brown into green, especially when we're rating the ground, to add more earthy feeling to it. We will be starting with integral, and we will add this line to the top, and just over the bottom, we will be using this olive green. That's our next color. I think with that, we try all the colors and the color mixes. For the ground, I'm just going to drop in some Payne's gray and brown onto wet background. It's not a special color, you will see that when we're painting the main project. Over this narrow end, we will make it lighter, as we're coming towards the bottom, we will make it darker. The next thing is these trees, you can see those trees on the top. It's a very simple technique which I use in my landscape paintings quite a lot, especially when I'm adding trees which are far away. It is just some lines which I have added close to each other. Let's quickly give it a try. I'm using my smallest brush here. This one has a much more pointed tip. It is ideal to go with a brush that has a pointed tip so that you will get nice, crisp penton lines. You can see the lines I'm adding here. I'm simply adding them close to each other, and when we add a lot of them, it will look like trees. See that, there shouldn't be any gap. On the top, you can see that long and short lines and at the bottom, it's just a solid color. It's a very easy method to add trees in the background, which are really far from us. Remember to make some of them shorter and some of them longer, to make it look more realistic. Now I'm just filling up the bottom, and that's a group of trees. On the top of the landscape, we'll be using similar lines and towards the bottom, we'll be adding more of sap green and some olive green. That's exactly what you see here. See that? It's a very simple step, and with this, you can instantly add some trees onto your painting. Let, lesser up here, which are good-looking as well. Now, before we start the painting, I think we can try out the bird as well. It's a really small element, but we can add them on to any of your landscape painting. I'm picking some Payne's gray, and I'm using my smallest size brush here. You have to use any of your smallest brush or a brush with a pointed tip because the size we're going with is too tiny, and to get the size right, it is quite important to go with the right size of brush. I will just show you the size of these birds. That's the size they are going with, they're super tiny. I'll show them in a little more bigger size so that you can clearly see the details and how I'm adding them. The brush I'm using here, is size number 6. This one has a really nice pointed tip as it's a new brush. I'm starting out with an inclined line. You can see it's a very simple line, it can be slightly thicker towards the bottom and can be slightly pointed towards the top. Now, leaving a little gap at the bottom, I'm going to add another inclined line towards the opposite direction, so I have left a gap at the bottom, and from there I'm adding another inclined line. It's a very simple V-shape, but that gap is what make all the difference, that tiny gap here. Concentrate on that. Now, let's try a few more birds. I'm using the same color, Payne's gray, and I'm using the same brush, this is now size number 6. First, I'm starting by adding an inclined line, then from here, I'm adding another line towards the right, so you can clearly see the difference here. This one is more thicker, and then I have left a little more gap at the bottom. Here, the first-line I added was thin, and the second one I added is slightly thicker, especially at the bottom. Just because of that thickness, it is looking like a wing. That's our second bird, now let's try another one. This one is again a V-shape, but I'm going with a slightly wider angle. See that? The wings are not that close. Now we can make it slightly thicker at the center and leave a tiny tip on either end. That's our third bird. Now, just by modifying the thickness of the wings and changing the angle and changing the shape, you can create plenty of birds. Well here I'm trying, another one. I made the wing a bit more thicker, and see, that's another bird. It's a slightly modified version of the one on the top. I will quickly add a few more. Maybe we can go the smaller size. It's a wider wing, but the size is smaller. We'll be using a similar size for our painting. Whenever you are adding birds onto your painting, let it be any painting, try to play with different sizes and different angles for the wings. This will make your painting look more realistic. Now, I'm going to try another one. That's the first line, now I'm adding other line. It's again a V. Maybe we can make this a little longer. That's another bird. The basic shape is a V, we are modifying the angle. For some of them, we are making them wider, which mean the wings are wider. For some of them, like the one I added right now, we can make them closer. You may not get it right if you're trying it for the first time, but keep trying. Once you get the hang of it, you'll be able to add them quite quickly. Whenever you find some time, keep adding similar shapes on a scrap piece of paper, and keep improving your bird. This could be a small, but a great element in your paintings. For our painting, I think I'll be adding five or six of them, which are going to be really small. It's going to be something similar to this size I'm adding right now. You can add them as a cluster, or you can add the masses scattered way. I have just added few on the sky and few over here closer to the mountain. Give it a try and pick one or two birds, which you're more comfortable with. Maybe you might feel comfortable adding the bird which has wider wings, or maybe the one has closer wings. Just give it a try and understand which one you're more comfortable with, and you can add them on our painting. That's all about the color palette and the techniques, I hope I covered everything. The rest we can try out via painting. Okay so let's give it a try. 13. Into the Mountains - PART 1: We had a quick look at the color palette and the techniques. Now, it's time to give it a try. From the previous video itself, you might have understood how easy this one is going to be. The first step is to add a pencil sketch. We need to add a nice curvy road at the middle. Then we need to add the mountains as well. I'm starting with the road. Towards the bottom, you can make it more wider. But at the flatter end, you have to make it really narrow. That's the left side. Now, in a similar way, I'm going to add another line on the right side as well. Over here, I'm just adding a line like this. You don't need to bring it to the bottom. That's our road. You can make it really curvy. That looks nice. Now, we can start adding the mountains. I think we can start with the trees, so I'm extending this line. That's the trees in the foreground. For now we just need to add a rough shape. We can make it better when we're painting. Now, in a similar way, I'm adding some trees on the left side as well. Towards that narrow end of the road, I'm making it shorter, and I'm making it taller approaching towards the left side. This can be a really rough shape. Don't put a lot of effort right now. We can make it look like a tree when we are painting. But the shape of the road is really important. Give it a beautiful curvy shape because it is going to be the main feature of our painting. That's the road and the landscape. Now, we can add the mountains in the background. We're going to have two sets of mountain. Let's have the first one in the background. Depending on how much sky you want in your painting, you can bring down mountains. That's my first mountain. Now, I'm adding another one over here. That is our pencil sketch. We have two mountains in the background, then we have some landscape in the foreground, and we have a beautiful road. We already discussed about the colors and the techniques. Now, we can start painting the sky. As I mentioned earlier, I'm going to use Naples yellow for the sky. That will be the base color. Then I will be adding some clouds using brilliant orange and bone tamper. That's how the sky is going to be. If you want to change the color to a different color palette, you could do that. Maybe you can just use yellow and orange or maybe you can use orange and brown. Those things have to play a choice. We have already tried the sky, so exploring new color combination, if you want to try that. My palette is really dirty. I think it's high time I need to clean that. But there's a lot of pain left over there, so I don't really feel like wasting them as well. Anyway, I'll see what are the colors I'm going to use for the next painting and depending on that, I will decide whether I should clean it or not. Anyways, I have the colors ready here. Let's start by applying a cut of Naples yellow onto the entire sky. I'm using my bigger size time brush. You can use a medium-size or bigger-size brush and just apply a clean cut of Naples yellow. If you don't have Naples yellow, you all know what to do. You can just add some white into any of the little half cut and make the color into a pastel tone or we can just use any of the yellow you have got, no pressure. It doesn't need to be Naples yellow, it's just that your sky will be a bit more brighter than this. Because the color I'm using here is a pastel tone, it isn't that bright, it's a dull color. That's the only difference. If you prefer a more brighter sky, you can use Indian yellow or gamboge yellow or any of the other yellow you have got. Anyway, I have applied a coat of Naples yellow on to the entire sky. Now, we need to add some clouds onto this. For that, I'm going to use my medium-size brush. I always prefer using a medium-size brush to add the cloud because I have a better control over the paint. This is my size number 8 round brush, and I'm painting up the tough orange. I'm randomly adding some clouds onto this yellow sky. You see that. We didn't apply color water. We directly apply yellow onto the sky. Then onto that, I'm randomly adding some clouds using orange. Next, we can add some brown clouds as well. I'm going to use a color which is similar to bone tamper. So I'm picking a bit of Payne's gray, and I'm adding that with brown. Now, using that color, I'm going to add some more clouds. You see that, that's the color I'm using. I hope you guys have tried the sky in the technique section. If you don't want to add brown cloud, if you only want to add orange clouds, you could do that; you can skip adding the brown clouds. I have randomly added some brown clouds. I want to make them a bit more softer. I'm dabbing my brush on a paper towel and with that brush, I'm just pushing and pulling the color to make these clouds a bit softer. Right now, they're looking quite rough and they're really prominent. I want them to be a little more softer. I'm just pushing and pulling that into the background to give it a more softer look. That's the sky. You can choose to add more cloud, whether it is orange or brown, it doesn't really matter. These brown clouds will make the sky a bit more dramatic. So only if you want a dramatic sky, you can choose to add brown clouds, otherwise, just yellow and orange is fine. I think the clouds are looking softer, and I think the sky is looking pretty nice. Now, we can leave this for drying. That has dried, now, let's paint the mountains. Before you paint the mountain, just make sure your sky has dried completely, otherwise, just wait for a few more minutes. Now, for the mountains, I'm going to use a color which is similar to bone tamper. I'm just going to make some Payne's gray with brown for the first mountain. For the second one, I'll be adding a little of sap green into the same color. First, let's begin by adding a little of Payne's gray into brown to create a color which is similar to burnt umber. If you have bone tamper, you can use that directly. It's just a mix of Payne's gray and brown, more brown and less Payne's gray. We have to add some water as well. We're going with a medium tone. Don't make it too dark. I'll dispatch all the color that I made right now. Here is the color. I think that is looking quite dark. Let me add some more water. That looks fine. Go for a similar tonal value. Don't make it too light or too dark. The color is ready. Now, following the outline of the mountain, I'm going to add this color onto the top. You see that color. On the top of the mountain, we're going to use this color. Carefully add that along the outline of the mountain. Once you have added your paint, almost like this, you can wash all the paint from your brush and then go with clean water and make the rest of the mountain lighter. Now, there are chances your color might be slightly different. It will totally depend on how much brown or Payne's gray you're adding into the mix, but that's totally okay. Don't worry about the difference in the color. That is not going to affect your painting. Maybe it might turn out to be a better color than mine. Anyway, now using a slightly darker tone, I'm just dropping in some darker value on the top. Just randomly onto that wet background. Then I'm just matching that. I just want to create some texture here. Just make sure to add those darker value only on the top. Don't add them too at the bottom. The background is still wet, so I'm just pushing and pulling that paint to each other. You can see the way how I have retained that lighter value over the bottom. I have some medium values and darker values on the top. That's our mountain. Now, we have to wait for this to dry before we paint the next mountain. I'm planning to use my blow dryer to speed up the process. I only use blow dryer for certain paintings. I don't use it much. I think for this one, it makes sense because we can paint the next mountain right away. I'm just using a blow dryer. You can either choose to wait or you can also use a blow dryer to speed up the process. It seems like it has dried completely. I'm quite happy with the texture I have got here. Even though I just randomly dropped in that darker value, I still managed to get some texture here on the top of the mountain. It is now looking that plane. Anyway, now it's time to paint the second mountain, for which I'm going to add a little of sap green into the same color that I created earlier. Into that burnt umber color that I created earlier, I'm going to add some sap green. It is not too greenish. It is just slightly greenish, so don't add a lot of paint. A tiny bit of brown. Then a bit of Payne's gray, plus a little of sap green. Let's paint the next mountain. Now, as I said earlier, even if the color is slightly different, there is nothing to worry. You can go with any of the color that you have created. It doesn't need to be exactly the same as this one. Like I did earlier. I'm going to apply that color on the top of the mountain. Now, I'm picking some water. I'm making it lighter towards the bottom. See that? It's the same way how we painted the other mountain. First, you need to follow the outline of the mountain and add that medium tone on the top. Then pick some clean water, and make it lighter towards the bottom. Maybe you can drop in some darker value of like how we did earlier to add some texture on the top. For this mountain, I use a slightly darker value than the brown one because this one is much more closer to us compared to the one in the background. You can use a slightly medium tone to darker value for this mountain. Now, I'm washing off the paint from my brush. I'm making it lighter towards the bottom. I'm just putting that towards the bottom. That's our second mountain. Now, we can wait for this to dry. Again, I'm going to use my blow dryer. Honestly, I'm not a huge fan of using blow dryer. I always leave my painting to dry on its own because I always feel it is good to take a break from what you're doing rather than rushing to finish it. Sometimes I simply stare at my painting and wait for that to dry. Sometimes I try some color mixing options from the paint that I have on my palette. I really enjoy that little break. This is a time when I explore new color combination and maybe some technique, so try to take some break in-between. There is no rush. You always don't need to finish your painting in one go. You can always take breaks. Maybe you can paint the half today and the rest tomorrow. Anyway, the sky and the mountains are ready. Now, we can start painting the road. For that, I'm applying clean cold water onto the road using my size number 12 round brush. Just follow that outline, and add clean cold water. The background is wet. Now, onto this, I'm going to add in some Payne's gray and some brown. I'm starting out with Payne's gray. I'm using the same brush. I'm using a medium tone, and I'm dropping that at the bottom. The background is wet. You simply need to add your paint. Now, I'm picking some brown, mixing that with Payne's gray, and adding that as well. I started with Payne's gray. Towards the top, I'm making the color more brownish. It's more like a burnt umber color. I'm using a medium tone. Now, for the remaining of the road, I'm using this color. See that? Right now, I'm using a medium tone. Now, only towards the bottom, I'm planning to make the color more darker. I want a medium to lighter tone towards the farther end, towards the bottom. As it is much more closer to us, I want more darker values. For now, let's fill up that shape. You can see the color. It's a grayish brown or burnt umber. I simply added a little of Payne's gray with brown. Now, towards the bottom, I'm adding more deeper value. See that? Over there, we have a lighter value. Then towards the bottom, we have a darker value. I'm using Payne's gray as it is, and I'm just adding that towards these corners. Just push and pull that paint and adding deeper value. Our background is wet. The colors will nicely spread into the background. You can keep dropping in some brown and some Payne's gray. Basically, I don't want to use a single color throughout the road, like a gray or brown. I want some varying colors on the road. If you use a single color like gray, there won't be any texture on it. It will look quite flat. That's the reason why I'm adding some brown and Payne's gray. Right now, I'm using a darker tone of brown. It's a mix of Payne's gray and brown. I'm simply pushing and pulling the paint into each other. The brush I'm using here is size number 12. It's a big brush. That's the main reason why I'm able to push and pull the color quite easily. If you're using a smaller brush, it might not be that easy. There are chances the brush marks will be visible, so it is better to go with a bigger brush like size number 10 or 12. I'm quite happy with the colors, but I feel like I can add some more darker value before the background dries, especially onto these bottom. Also, onto these corners. I'm adding some more Payne's gray. Now, I will add some over here onto this right side. I think I have added enough. Now, I'm washing off the paint from my brush. I'm dabbing that on a paper towel. This is a damp brush. It doesn't have any paint on it, and it is not too watery. Now, using that brush, I'm just pushing and pulling the color. I'm making it softer. You can see that bleeding colors here. Over here, onto this curvy side, we have a medium tone. Towards the bottom, we have introduced some brown and some Payne's gray, which is mostly darker values compared to the top. I'm really happy with the colors, but every time I look at it, I feel like adding some more darker value. Because it is still wet, I will quickly add a little more. I promise, I will call it done. There you go. I really love the colors and the texture. It is looking so beautiful and earthy. I think the antique color palette is looking so beautiful, and it is so different from the previous paintings. Now, let's leave this for drying. 14. Into the Mountains - PART 2: The background has dried out completely. You can see the colors here and the beautiful texture. Our next step is to paint that trees and landscaping the foreground, and for that, I'm going to use indigo and sap green. I'm starting off with indigo. I will be using a medium-sized brush. This one is size number eight. We have similar landscape on either side. For both of them, I'll be using the same colors. First, I'm picking some indigo. I'm going with the really darker value. I'm using the darker value, I'm simply adding some lines over here. It can be a combination of short and long lines. See that? By the end, it will look like there are some trees. You simply need to add some lines close to each other. You can use a smaller sized brush if you prefer that. Then to fill up the rest, you can use a medium-sized brush. Along the outer border, you have to add some lines. Then towards the bottom, we're going to introduce some sap green. Towards the right side over here, you can make them a bit taller, and as you're approaching the road towards the ground, you can make them shorter. On the top, I have added indigo. Now towards the bottom, I'm going to add sap green. I'm picking a medium tone. I'm adding that right next to indigo and I'm blending them. Now, I'm going to pick some brown and I'm going to mix up the sap green to create an olive green color. For the leftover area, I'm going to use that color. Because towards the bottom, as we are approaching the ground, I want to introduce some muddy and earthy color. This is the color I'm using. It is just a mixture of little brown and sap green. To finish off the remaining, I'm using this color, and applying that along the outline we have here. I have filled up this area. Now we have a smaller portion left on the other side. Over there, we need to add those lines. First, I will add some green over here. Then I will switch back to indigo and I will finish this area by adding some lines. Now, just in case if you want to make any of the lines more taller, you could do that right now. Also you can add in that deeper value a little towards the bottom as well. Just simply drop in some darker value onto that wet background. Maybe have applied sap green. It is nothing much. I'm just pushing and pulling that color into each other. Our intention is to add varying tonal values of green here. I think it looks good for the time being. I will just fix the shape at the bottom. Right over here there are some paint missing so I'm just fixing those then I will paint the left side. Over there we have a lot more area compared to the right side, so you have to be a bit careful. Let's begin. I'm starting with indigo, and I'm going to add those lines onto this further end. Over here I'm adding shorter lines just to make it look like this area is really far. As I'm approaching towards the left side, towards that masking tape, I will make them more taller. Over here, I'm not planning to use any sap green. I will just use indigo, but towards the left as we are making the trees more taller, we'll have to play with different tonal values of green. At that time, I'll be adding some brown and some sap green. You can see the size I'm going with, go with the similar size so you can bring that perspective in your painting. It's a very simple step, I'm simply adding some lines close to each other. As I mentioned earlier, some of them can be taller and some of them can be shorter. This way it will look more natural. The brush I'm using right now is size number 8, I think it is better to use a smaller sized brush so that you can add very thin and crisp lines. I'm going to get my smaller sized brush. The other brush doesn't have a pointed tip, so this one is size number six. I'm going back with indigo, and I'm going to add some teeny-tiny lines over here. To add the lines, I'm going to use this brush and to add the paint I will use my other brush, my medium-sized brush. I think I can just leave it here for now and add the paint at the bottom. Then I can come back and add the remaining lines. I'm mixing a bit of brown with sap green to create that olive green color. I'm using that color, I'm just filling up this area, add it carefully along the outline of your road. We need a nice curvy road here. That shape is really important. Fill up the bottom and some green and some olive green. I'm simply adding a little of brown to sap green. If you already have olive green color with you, you can use that directly. This color will also look slightly different according to the amount of green and brown you're using in your mix. But again, that is also okay. The color doesn't need to look like this one here. It can be more brownish or more greenish. Just don't worry about those things. You can just make some brown with sap green. It can be brown or burnt sienna, and add that along the bottom part. I have applied the paint at the bottom. Now, let's add the remaining details. For that, I'm picking some indigo and I'm simply adding some shapes over here first. We are trying to create that texture and gradually we can add those lines on the top. Onto this wet background, just keep adding some darker value in a very random way. Once we are done with that, we need to add those lines over here to make it look like there are some trees. It looks like I don't have any indigo left on my palette so I'm picking some cerulean blue and I'm mixing that with green to create a darker value. Using that color, I'm adding some lines over here. Right now, I'll switch to my smaller sized brush. This will make the lines really crisp and thin. Now, I will need to add the lines until I made the other end. I use this technique quite a lot. It's the easiest way to create a group of trees, especially if it is far away and you don't need to put a lot of effort. It is a very simple trick. You simply need to add some lines close to each other. It can be using a darker tone of green or indigo or even Payne's gray. We'll be using the same technique in few of our other paintings as well so you will know how we can use the same technique in a slightly different way. Anyway, that's nearly done. Now using the same color, I'm going to drop in some more darker value at the bottom. Maybe we can pick some green and just match that color. Maybe a little more broad as well. The idea is pretty simple. On the top, we need to add those teeny-tiny lines using a darker tone of green or indigo. Towards the bottom we want more of earthy green. That's the reason why I'm mixing a little of brown with green. Then onto that, to bring in some texture, you can drop in some darker value, either using Payne's gray or indigo. Now along this curvy line as well, I'm going to add some teeny-tiny lines. They are super tiny, not like the one above, over here we made them a little more taller. But along this curvy line, we have to make them really short. We are trying to make it look like there are some plants over here, maybe using the same color you can drop in some darker value. If you are already happy with the result, you can just leave it as it is and simply add these tiny lines. Use a smaller size brush and keep adding some smaller lines along this curvy part. With this step, we will be done with the landscape. Then we have one task left, which is adding the road marking. I think those lines made a lot of difference it is looking more realistic right now. Earlier it was missing some life. Now I think we added that life into it. It was a very simple step but made a lot of difference. That's the landscape. We have painted, the sky, the mountains and the landscape. Now before you proceed with the next details, if you want to add some more lines over here, if you want to add some darker value, you could do that right now. Maybe you can add some more trees in the background as well. Or if you want to make some of them more taller, even that can be done. If you want to modify anything in your painting, you can use this tiny. I'm planning to modify the shape a little over here. I'm just extending that into the road, and I'm turning that back into the line. That is set, I'm done with the landscape. Now the next task is to add the road markings. To add the road markings, you will need a smaller size brush, this one is my size number two round brush. It's a new brush and for the same reason, it has a really nice pointed tip. The color I'm using here is Naples yellow. As you all know, Naples yellow is a paisley yellow, which means it has some white in it. For the same reason, the color is opaque, it's not a normal yellow. If you don't have Naples yellow, you can use any yellow and add some white gouache or white watercolor into it and turn your color into a opaque color. Now using this color, I'm going to add the road marking. First, I will add the lines at the center. This one is going to be a continuous line. Over here, I'm making it thin, as I'm coming towards the bottom, I'm going to make it more thicker. Please be sure to coat the detailing brush or any brush with a pointed tip. Over here, the line has to be really thin and delicate because it is quite far from us. Now from this turning point, I'm going to make it more thicker. Follow the same curve of the road, and turn your curve. Cool. That came up perfect. I think it's going to be a great day. Now over the bottom, I'm going to make it slightly thicker. You can see that curve just basically low here, it is really opaque. The brush is also really helping. This brush is my new favorite, I think I will have to use it really carefully so that I can retain that pointed tip. Over time and over frequent usage, obviously, you will lose that pointed tip. But with proper care, you can extend that timeline. I'm someone who is very bad in taking care of my brushes. Sometimes I just leave that in the water, and sometimes I might not have washed it properly and there might be some paints tints on it. I need to work on that. That's something I would really want to improve to take care of my brushes. Anyway, that's the first line. You can see how beautiful and how prominent that line is. Just like I mentioned earlier, the color I'm using curious Naples yellow, the same color I used for the sky is an opaque color. If you don't have Naples yellow, you can just mix a little of white watercolor or white gouache into any of the yellow. I hope that is clear. That's our first line. Now, I need to add another line which is parallel to this one. That's my next task. I'm planning to add that second line, the parallel line, I mean, only until I erase that curvy area. Because for the rest of the road, we have used a really light and medium tone and value, and the color may not be really visible. So I'm just starting from here along that curve. Then I'm continuing that to the bottom. For the rest, you will really don't need to add it because the color is really light and it is quite far from us. Just concentrate on this part and make it thicker towards the bottom. That's done. I think those lines added a lot of difference. Our painting is looking complete right now. Earlier it was looking quite behind. Right now we added that line at the center using yellow. Now we need to add a line on either side as well, for which I will be using white. For this as well you should be using a smaller size brush or a brush with a pointed tip. The idea is the same. Over here, you have to use a very thin and delicate line. As it coming towards the bottom, you can make it more thicker. Be really careful when you're adding your line over here. As you're approaching the far thick in, we can make it more thicker. Same goes on this side as well. I think I will start from this side because its easier obviously. First I'm adding the thicker part and I'm making it thinner. As I'm approaching that curve. Where you have the plants, you don't need to add this lines because it will be hidden behind. Add a line over here and also on the further end, I cannot tell you how much I love this brash earlier when I try this, it never used to come this crisp and clean. This brush is just wonderful, and I think the whole credit goes to it. The left side looks nice. Similarly, I'm making it thicker towards the right end on this side as well. That's done. Now the last step is to add some birds. This one is optional only if you feel like adding some birds, you could do that, otherwise, you can call it done. To add the birds, I'm going to use Payne's gray, a really darker value of Payne's gray. I'm going to add some teeny tiny birds. We already tried some of them in the technique section. Depending on how many birds you want in your painting, you can add them accordingly. If you want to add two or three, that's okay. Or if you want to add five or six of them even that is also okay. You can add them as a small group or you can add them in a scattered way. Adding birds is really easy if you get the hang of it. If you missed it, you can check back the technique section, but I'm showing you the same in a larger scale. These birds might look like a really small element, but it has a lot of impact on the painting. It will instantly give a life to a painting. These birds are something you can use in almost all the landscape paintings you're doing. Just try that out. I have added six tiny birds. With that we are done with our painting for day three. Here's the finished painting. I hope you all liked it. Now it's time to peel off the masking tape. For this painting compared to the other two we did earlier. The color palette is really different. This one is more off thin and muted colors. We didn't use any bright colors for this painting, but it has a different feel to it. I really love how the mountains and the sky turned out and also the road. I think the color palette is different, but really beautiful. I hope you all loved it as well. Thanks a lot for joining me today. I will be back here soon with our next drawing landscape. 15. DAY 4 - Arabian Nights: [MUSIC] Hello dear friends. Welcome to Day 4. Today's painting is an absolutely stunning deserts cube. It's an easy one as well. This painting is all about playing with the right tonal values and you will see how easy it is to create a desert cube. Now, let's go to the color palette and the techniques so that we can try out this painting right away. We will be using four colors for the sky. You can see here on the top I have a beautiful blue. Then I have some violet and some rose and some orange. It's going to be a very good wash. I'll be just applying the water onto the sky. Then I'll be applying these four colors. The majority of the sky is going to be blue, which is on the top, and some orange base at the bottom. First I will start by spatching out these colors. Then we can see how to paint these sand dunes, which is a very interesting part because it is really easy to do. The major thing is the sketch. Once you get the sketch right, then the rest is quite easy. It's just a matter of playing with the right tonal values. You can see on one side, I have used lighter value, and on the other side I have darker value. That's only thing you need to keep in mind when you get a sketch right, that is easy to decide as well. We will see that in some time, which is going to be the major factor for this painting. First, I'm going to swatch out the colors for the sky then we can come to that. I already had the colors here. First I'm picking crashing, blue. The one I'm going to use here is from the brand art philosophy. You can use any blue you have got. It can be from any brand. That's our first color, which is the one I'm going to use for the top of my sky. Now, the second one is violet. If you have violet you can use that as it is or you can mix and create your own violet if you don't have one. That is my second color. The next one is permanent rose. If you don't have permanent rose, you can use crimson or carmine. Now we have one more color, which is orange. This one is brilliant orange, the same color I used yesterday, this one. If you don't have any orange, you can use vermilion or a little bit of scarlet. If you want to turn the color into something similar to this, you can just add some yellow into vermilion or scarlet, so you will get an orange color. Otherwise, you can just use that as it is. Those are the colors we'll be using for the sky. Now I will show you a quick blend of these colors, just to show you how beautiful this color combination works. I'm not adding any water, I'm just picking some blue first and adding that. Maybe we can make it a little darker on the top. Now, just in case if you want to blue, you could do that. Again start with violet right away. You can then go with pink and then orange. Now I'm washing off the paint, and picking off a little of violet. Now, in case you want to try a different color combination altogether, maybe you want to go for indigo and turquoise blue, you could do that, or maybe something more dramatic, you could do that as well. The major element here is the sand dunes, not the sky. You can just go with any color that you prefer for the sky. I started with brushing blue, now I'm using violet. That's our second color. Now I'm picking some rose. If you don't have rose, go with crimson or carmine. Let's add that over here. I think I used much more darker values here. Picking some more rose. Let's apply that onto the sky. Now a little bit of orange. Now using some water, I'm making it lighter. We'll be painting our sky in exact some new way. If you'd like to, you can skip one color or maybe you can add one color as well. Depending on how much pink or how much violet you want in your sky, you can alter the proportion. Over here I have used a lot of blue on the top, then a little violet then some pink and some orange. If you want more pink in your sky and less blue, you could do it that way. If you want to reduce the amount of orange, even that could also be done. When you're painting the sky, it doesn't need to be a clean, smooth paint. It can have some darker values and some lighter values in between, which will make the sky look more dramatic and expressive. But we just need an organic blend of these colors, it doesn't need to be perfect and even. That's the colors I'll be using for the sky. We have blue, then we have violet, then we have some rose and some orange. Now let's take a look at the next set of colors you will need, which is the one you will need for the sand dunes. You can see a lighter value here and some darker value here. For the lighter value, I'll be using yellow ocher and a medium tone of brown, and for the darker values, I'll be using brown and Payne's gray. It's a mix of those two colors, yellow ocher, brown and Payne's gray are the next three colors you will need. The yellow ocher, I'm using [inaudible] You can use any yellow ocher you have got. I already have some Payne's gray there. I will need some brown as well. I have taken out the colors. Now, I'll quickly swatch out these colors. Then we can try painting a sand dune so that you will have a better idea on how to approach this class project. That's yellow ocher. If you don't have yellow ocher, you can just mix a little of brown or burnt sienna into any of the yellow you have got and can create similar color. The next color you will need is brown. I'll be using the one from Shinzen. With this the color we'll be using for the median value as well as for the darker value. If you don't have brown, you can use burnt sienna as well. Both brown and burnt sienna will work perfect for this painting, so don't worry, if you don't have brown, just use burnt sienna. That's the second color you will need for the sand dunes. The next color we will need is Payne's gray. We won't be using Payne's Gray as it is, we'll be mixing that with brown to create a darker value. Even if you don't have Payne's gray, that is absolutely okay. You can use indigo or any of the darker blue, mix that with brown and create a darker value. We'll be using that color to add all the shadows and deeper tones. Those are the colors you will need for today's painting. Now let's try out the sand dune to understand how we're going to add the sketch, how we're going to add a tonal values and how you're going to make that sloping effect. I'm just replacing the water. I have taken clean water here. I will start by adding a sketch. As I mentioned at the beginning, sketch has a lot of importance in this painting, the sketch acts as a reference line and it will tell you where we should be adding our darker value and our lighter values. I will start with the very basic mountain. I'm adding a simple shape. That's our mountain. Now from the tip, I'm adding a line. Now in a similar way, I'm adding another mountain, but this time I'm making the line a little more curvy, and a little more expressive. You can clearly see the difference here. The second one is looking a lot more realistic than the first one, just because of the way we added that line. The line that you're adding in the center has to be a really nice curvy line, and it should start from the tip of the mountain. That is one thing that you need to keep in mind when you're drawing your sketch. Now the second thing is the tonal value and how you're applying the paint onto the mountain. That is what we're going to try next. For this one, I'm just going to use yellow ocher as it is. This is the side that I'm considering the lighter values to be. Over here I'm applying yellow ocher for both the mountains I have added. Now on the next side, we'll have to apply our darker values for that, this have to dry first. In the meantime, I will show you another sand dune, where I'm going to go for a much more expressive and dramatic shape. You will see the difference instantly. For this one, I will go with a much more bigger shape. From the center, I'm going to add that line. It has to be a nice curvy flowy line. That's the shape I'm going with. Just like the other two mountains, that line divided up our mountain into two sections. One is for the lighter value and the other one is for the darker value. We're going to paint this but also in a similar way. But for this one, I will use more texture and more tonal values. This is going to make a lot of difference in your mountain. We'll be adding them in a sloping way. You see that. We'll be adding our lighter values as well as darker values in a similar way.. We'll be simply adding some lines in an inclined direction to make it look like the sloping town. We'll be doing the same for the lighter part and the darker part. Now let's try painting this so you will have a better idea. For the lighter side, I'll be using yellow ocher and some brown and for the darker side, I'll be using brown and Payne's gray. Let's give it a try. To paint the sand dunes, you can use any of your medium-sized brush. I'm using my size number 8 round ratio, and I'm starting off with the yellow ocher. Now I'm carefully applying that along the line. I'm considering the site to be the lighter value. When you're applying a lighter value, even if you make any mistake, that's okay. Because when you apply the darker value, we can fix it. When you're adding a darker value, we'll have to be really careful. There's no way you can fix it. That was a lighter tone of yellow ocher. Now I'm picking a medium value of brown. I'm adding that on the top and I'm blending these colors. That's the base layer. Now we need to add more texture and more tonal values onto this to make it look more realistic. For that, I'm picking a medium tone of brown. I also have a paper towel on my hand and I'm dabbing my brush. We don't want to walk through paint, so dab your brush on a paper towel or a cotton cloth, and then with a slightly dry paint, add some lines. These are inclined line. You can add them from the bottom towards the top and also from the top towards the bottom. Go with the median value, don't make it too dark. That's the first step. It's really easy. You just need to watch all the tonal values that you're using and apply that and inclined manner. That's all for this section. If you look at the other two here, you can see we have added a lighter value. But for this one, we introduced more texture and more patterns and that made a lot of difference. Now we will have to wait for this to dry before we paint the other side. I'm going to use a blow dryer to speed up the process. Once this dries, we have to paint the other side and that will make a huge difference. That is dried completely. To add the deeper value, I'm mixing some Payne's gray with brown. If you have burnt amber, you can use that directly or you can mix and create your own darker value of brown. It doesn't need to be Payne's gray. You can use a little off indigo or any other blue. Just create a darker value of brown and add that along the line we have added at the center. That's the color I'm going to use. It is just a mix of Payne's gray and brown. Now, I'm going to apply that color along this curvy line we have added at the center. You can use the smallest size brush if needed. This line has to be really crisp and sharp. Just use any brush that has a pointed tip to apply the paint. Maybe you can switch to your medium-size brush. You can see the color I'm using. It is quite dark. Now, apply that on the top. I need to fix that. That's why I said earlier, you will have to be really careful when you're applying a darker value. If you drop any paint onto the lighter side, there would be no way to fix it. Be a little careful when you're doing this. I have added the darker value. Now I'm going to wash out the paint from my brush and I'm going to pick some brown. It can be brown. Now, let's add that color and just blend it. We're going to add the remaining darker values later. First let's apply the base layer. Again, you have to be really careful when applying paint along this line. Try to get a clean, flowy line. This line has a lot of importance in your painting. It is what brings out that character of a sand dune, so try and be a bit careful. Also you have to make sure the lighter value has dried up completely before you add the darker value. Now we can really see that difference. We have a lighter part and we have a darker part. It is just a matter of playing with that light and shadow. Otherwise, it is quite easy. Now we can pick a little more darker value, which is not too watery. Now, tap your brush on a paper towel and you You simply add some lines on to that background. Don't use a watery paint. If you feel like your paint is too watery, dab it on a paper towel and then add your lines. No matter whether you're adding short lines or long lines, they all have to be in an inclined direction. Otherwise you won't be able to get that sloping field for your son dune. Be really careful when you're adding these lines. Don't mix up different direction. Also don't add too many lines, don't make it too busy. Whenever you feel like you have caught that sloping field, just call it time. It doesn't matter whether I add more lines are not. If you're happy with your painting, that's it. I'm trying to add some more lines. I'm mixing a little of Payne's gray with brown again and I'm adding few more lines over here. I think the colors have turned out really well. Over here it is looking like the sloping town and on the other side it is looking to other direction. Now if you want to add more, you could do that. Only if you're back on that and it's still wet, otherwise just leave it for drying. I'm adding few more lines over here. I think it is looking quite nice. I don't want to add more. I'm just going to call it down. You can see that beautiful line at the center it has a lot of importance in this painting. Now I will just fill up these areas for the other two mountains we have on the top. For this one, we went in with a very random line. For the second one, we used a little more expressive line. I'm adding brown along that curvy line we have here. Adding from this small exercise itself, you would have got an idea how important the shape of the line is, See seen that? From this exercise, you can clearly see a beautiful sand dune is a combination of beautiful sketch and playing with the right tonal values. First, we need a good sketch. Then the second thing is we need to understand where we should be adding of a lighter values and the darker value. Along with that, you should be adding some lines to make it look like the sloping. That's all about the color palette and the techniques needed for today's painting. Here here, it was only one sand dune but for our main painting we have multiple sand dunes. You have to consider, each of these has one section and we have to wait for each one of them to dry, otherwise you won't be able to get a clean line. It's going to be the exact same way. First we will paint the lighter sections and then that dries we can do the darker sections. If you have a blow dryer, I would recommend using that. Otherwise, you would have to put a lot of waiting time in between because we have to consider all the mass, six different sections. I think we discussed about everything. It is mostly about the tone and value, the sketch and this inclined line. You have to go in an order. You can start with your lighter value then when each of them dries, you can go with your darker value. That's it for the day. It's a simple one. I'm really excited to paint along with you. If you're excited and if you're ready to give it a try, join me in the next section [MUSIC] 16. Arabian Nights - PART 1: [MUSIC] We had a look at the color palette in the exercises. Now, I'm going to start by adding a pencil sketch. The sketch is really important for this painting because it is, according to the sketch we're going to add in the deeper values and the lighter values and it's only if you get that shadows and deeper values right you will get that filler for sand dune. The most important part of this painting is this line that I'm adding right now which divides your sand dune into two sections, which is your right side and the left side. We will be taking this line as a reference and we'll be adding our lighter values and darker values according to this line. This line plays the most vital role in your painting. Starting from the tip of the mountain, I have added a beautiful curvy line. Now I'm adding another line at the bottom. The next one is going to be from here. I'm taking that down. Here we will have some darker value which we'll be adding in an inclined direction. Those inclined lines will make it an impression that this is sloping down. While we're painting as well we'll be adding them in a similar direction. That's the first section. Now I'm adding another line over here. On the right I will have deeper values and on the left I have lighter values. Now I'm adding another the sand dune on the top. Now, just in case you're thinking I'm getting it right in the first try, no, that's not true. There are some portions in between which I have cut from the video. I have tried it one or two times in between and I had erased off the line. Then finally I decided to go this shape. It's pretty normal to erase your entire sketch and start over again. Don't worry about those things, that is not going to make you any less of an artist. I didn't want to confuse you guys with too many lines so that's the reason why I decided to cut those areas off from the video. For you it is better to look at the image I have here which shows the clear lines. Also you won't have a lot of confusion. That's our sketch. You can modify the shape of your sand dunes if you want to. But at the center try to go with the flow equally shape which has a lot of importance in this painting. Now, I'm going to take out the colors onto my palette. For the sky you will need brushing blue, then you will need some violet. The violet I'm using here is from the branch in hand. I love violet color. I use it quite a lot and I guess you can see that from the condition of the tube itself. I have another one from the brand White nights which is equally good, even that is really vibrant. Now, the next color you will use permanent rose. If you don't have rose you can either use crimson or carmine or any similar color. Finally you will need one more color for the sky which is orange. This one is brilliant orange. This one is not a common color so instead you can use vermilion or any orange color. I have the colors ready for the sky. Now, I'm going to start by applying a coat of water onto the entire sky. For that I'm using my one-inch wash brush and I'm picking some clean water and I'm applying that onto the entire sky. As I'm approaching the sand dune I'm a bit careful. I'm leaving a little gap around the sand dune so that I won't actually add any paint onto it. Now, to paint the sky I'm using my size number A trunk rash. I'm starting off with Prussian blue. I'm picking a really poor tone of Prussian blue and I'm applying that on the top of my sky. I'm not looking forward to a clean plant. You can simply apply your colors onto the sky. I want a smooth transition obviously but I don't want a clean blend. You can simply apply your color onto that background. It doesn't need to end like a clean line. I think I will need some more paint. Now I'm going to drop in that paint again onto the sky. You can see the color I'm using. It is quite dark. Now, apply this on the top. You can clearly see the way I'm applying the paint. I'm not really worried about getting a clean blend here. I'm just dropping in that wet paint onto the wet background. That's the first color. Now I'm going to wash the paint from my brush and I'm going to switch to my second color which is violet. Again, I'm using a brighter color and I'm applying that right next to the blue. See that? It doesn't need to be a clean blend. You can simply push and pull the paint into each other to make it a smooth transition. I think I will stop adding violet, otherwise I won't have any space for the next two colors. I'm going to stop adding violet too and I'm washing off the paint from my brush and I'm going with my third color which is permanent rose. Let's pick some rose and add that right next to violet. Now let's blend that with the violet. Just keep pushing and pulling the paint into each other. Now let's go with our last color which is orange. Add a little brighter tone, then quickly wash off the paint from your brush. For the rest, make the color lighter using some clean water. Now you can carefully run your brush along the outline of the sand dunes and fill up the remaining area. We have applied all the colors into the sky. Now, just in case if you feel like you need to make any color brighter or if you need to put any extra effort in blending the color you could do that right now. The background is still wet so you can make use of the time and do any modifications if necessary. To me I feel like the pink and the violet hasn't blended into each other. I'm just picking some violet and I'm adding that over here. I think it looks better now. I don't want to bring that toward the bottom. I'm just trying to blend that pink with violet. Now I'm picking a little of pain and again, doing the same thing only at the junction where these two colors are meeting. I think it looks better now. That is the sky, I'm pretty happy with the colors. Now, let's leave this for drying. [MUSIC] The sky has dried completely. I cannot tell you how much I love those colors. They're looking very pretty, especially the top. We have really brighter values over there and we have some lighter values at the bottom. I think it's a wonderful color combination. I hope you all like it too. Now it's time to paint the sand dunes. Before you do that, make sure your sky has dried completely. We want clean and crisp lines. If the sky is still wet wait for some more time and then paint your sand dunes. We don't want the colors to spread into each other. We already had a look at the color palette and the techniques. I hope you guys have tried it. The colors that I'm going to use are yellow ocher, brown, and Payne's gray. Yellow ocher for the lighter values, brown for the medium values, and Payne's gray for the darker values. Now let me take out the colors. If you don't have yellow ocher, you can just mix a little of burnt sienna into gamboge yellow or any other yellow, and can create a similar color and if you don't have brown, you can just use burnt sienna. They both work and finally, you will need some Payne's gray. We won't be using it as it is. We will be adding that with a little brown to create a darker value. So in case if you have burnt umber, you can use that. Just like how we discussed in the technique section, we had to bring the sand dunes as different sections, and each one of them has to dry before you go to the next one. Let's begin. The brush I'm using here is size number 8, and I'm starting now with the yellow ocher, add some water and turn that into a medium tone. The first one I'm going to paint is this section at the bottom. Along that outline, I'm adding a medium tone of yellow ocher. So that's yellow ocher. Now, I'm going to wash the paint from my brush [NOISE] and start picking some brown. Again, a medium tone. Now I'm adding that onto the remaining area and I'm trying to make it a clean blend. So the colors has to be really soft and smooth so as to make it look like a sand dune. Then you can add some deeper values to add some texture and highlights. So right now I'm going with a little more darker value of brown, and I'm adding that at the bottom. I'm leaving the top as it is, I won't be adding any deeper value over there. I'm adding that only at the bottom. Now I'm picking a teeny bit of Payne's gray and I'm mixing that with brown and adding that color at the bottom. See that? I haven't touched the yellow ocher. I'm retaining that as it is. I'm adding this only at the bottom, especially along the masking tape. [NOISE] I'm happy with the colors, but it is not clean blend. I want the colors to be really smooth and soft so I'm picking a medium tone of brown, and I'm trying to blend the colors. But again I'm not touching the yellow ocher. I want that lighter value from the top. I'm blending these colors only towards the bottom. So that's all for this section. Now we have to wait for this to dry. You can either use a blow dryer or you can wait for your painting to dry on its own. I'm using my blow dryer because we'll have to wait for quite a lot of time as we have to paint different sections. I think we have to paint four or five different sections. So waiting for each one of them to dry will take a lot of time. So to speed up the process, I'm using a blow dryer. I'm someone who don't use blow dryer a lot. I feel like it makes the colors quieter. But for the paintings like this, it is quite needed to use a blow dryer. Otherwise, between every layer, you will have to put some 10 minutes extra for drying. So I don't have that luxury of time. That is dried completely. Now, let's paint our second section. I'm going to use the same brush, this one is my size number 8 round brush. Next, I'm going to paint this section here. For this side, we'll be using lighter values, so I'm starting now with yellow ocher. Over here, I'm applying some yellow ocher along the outline of the sand dune. Now I'm going to wash the paint from my brush, and then picking a medium tone of brown. It's not a darker value, it's a medium tone. That's something you need to keep in mind. Now, apply that onto the remaining area. The color will be slightly dull when it dries. So you can use a slightly brighter tone, but be sure it's not a darker value. Now, carefully apply that along the outline. These lines are really important don't miss them. Apply that along the lines. See that? So it's medium to lighter value. It is not too dark. On the other side we'll be using darker value. So we need to get that contrast right. So be careful to use medium to lighter values over here. Now using a clean damp brush and smudging the color to make it look softer. So that's a base layer. Try to make it a smooth and soft blend to get a natural feel of sand dunes. Now onto this, I'm going to drop in some medium value of brown along this line here. It's not a darker value, it's a medium tone and I'm adding that in an inclined way. Just a little. Only on the top. I'm not adding that at the bottom. I just want to bring in some darker values here to make it look like there are some shadow. So that's the next section. Now I'm again using a blow dryer, and I'm going to make it dry quickly. So you can either wait or use a blow dryer, as I mentioned earlier. Once we're done with this, we need to be in the third section. So that astride. Now let's paint the next section. I think next I will paint the one on the top, that topmost section on the left side. So it's again going to be in lighter and medium values. So I'm going back with the yellow ocher and a medium tone of brown. This is the one I'm going to paint next, and we're going to use the same colors that we used earlier. First I will add the paint on the lower line. Then we can gradually start adding the paint towards the top. So first I'm picking a medium tone of yellow ocher, and I'm adding that along the bottom line and also along this curvy line. Towards the top, I think I will be using a lot of brown. That's a medium tone of brown. On the top I'm going to use that. Carefully add that along the outline. You can use a smaller size brush if needed. Towards the bottom most area, I'm going to add some lighter value right over here. So I'm picking a little rough yellow ocher, and I'm adding that over here and towards the top, I'm going to pick a medium tone of brown, I'm adding that along the outline. It's not a darker value, it's a medium tone. Keep that in mind. Don't use darker values, go with lighter to medium tones. Now simply keeps matching the color to each other to make it soft and smooth. Do it quickly before the background dries. I think we have enough time because we're painting the mass small sections. We are not painting them entirely together. I think we have enough of time. Now the very next step is to add some inclined line. For that I'm picking a slightly brighter value of brown. Along this curvy line we have at the center, I'm adding some inclined line towards the left side. See that. I haven't used any Payne's gray. I'm just using brown. You can see we have lighter values towards the bottom, and very little amount of medium tones on the top. With that, we're done adding the lighter and medium values. Now the next step is to introduce a darker value, and this step is going to be the real game changer. Right now because we don't have any shadows and deeper tones, our sand dunes look quite tall and flat. It doesn't have any life. With the next step, everything is going to change and it will be stand with the way your sand dunes are looking. Let's start adding the deeper values. But before that, you will have to make sure the background has dried up completely. Otherwise, there are chances the colors may spread into each other. We want clean and sharp lines. Just double-check if the background has completely dried out. 17. Arabian Nights - PART 2: Mine has dried. I'm going to start applying the darker values. I'm starting with this section here; the one at the bottom, so along this line will be adding over deep value. I will be adding the paint towards the right to make it look like the sloping tone, so I'm starting off with brown. First I'm picking up brighter value of brown and I'm going to add that along this line. Over here I'm slightly modifying the shape and I'm carefully adding that along the line we have at the center. I'm randomly adding a few lines, some inclined line using the same color. The background isn't wet, I'm applying that paint on a dry background. Just to add few lines like this, we're just trying to create some texture here, it doesn't need to be any proper line. Just go the medium to darker value of brown and add some lines and some paint along this line. We can switch to yellow ocher. You can see the way how I'm adding the paint, I'm adding the mass-inclined line. I'm adding the paint this way because I want to make it look like they're sloping towards the right. Towards the bottom, I'm adding some deeper value right along this line. Go with a clean line. You can smudge that into the background. The lines are really important for this painting. It shouldn't be a broken line, so how will you add them in that line at that in one color. Let's quickly fill up the remaining area. I'm just making this area wet and then I'm picking some brown and I'm blending that into the background. I started with a medium value of brown, then I switched to yellow ocher, now I'm going back with a medium tone of brown and I'm filling up this line. Carefully add your paint along the line you have added here and match the color. Towards the bottom that bottom-most corner, we need to introduce more deeper value, so I'm mixing a little of Payne's gray with brown and I'm adding that over here onto this extreme corner. We can make it slightly darker and add that only onto this corner. Don't add any deeper value at the center, concentrate on this corner. I think we can make this area a little more darker, so I'm picking some more Payne's gray and I'm adding that along this line. Only at the bottom just be sure not to add a default value anywhere else. Over here we'll have lots of shadows, so that's what I'm trying to add. I'm switching back to brown and I'm just matching the color. Again, you can see the way I'm adding it. I'm adding the mass-inclined lines. Along this line you can simply drag your brush towards the bottom, see that? Add some lines like this, our background is still wet, so make use of the time and simply drag your brush towards the bottom. You see that? You can add some teeny-tiny patterns as well, they're like little dots and lines. I'm trying to make it look like there are some footsteps over here. Don't make the color too dark, you can see the color I'm using here. I'm adding some more lines, I think that looks fine, I don't want to add a lot. I'm going to add few more patterns at the bottom. I'm not going to add any more lines, so we'll just add few patterns to show that footsteps. There are two things to consider when you're painting your sand dunes. one is the tonal value, don't make it too dark and then the second thing is the amount of details, don't add a lot. Go with the bare minimum details. So that's a base layer. I'm brushing off the paint from my brush and I'm picking a little brown; a medium value, and I'm just matching the color here. I feel like these lines are really prominent, it doesn't have that soft feel. So I'm generally just matching the color. My background has nearly dried, so I have to be really careful not to disturb the base layer. I'm gently pushing and pulling the color to make those lines softer, I think it looks better now. Earlier those lines were really prominent, right now they look so much soft and so much better. We will have to wait for this to dry. We have two more sections here; one on the top and one on the left. For those two as well we'll using darker value and we'll be painting them in a similar way, so I'm losing my blow dryer to speed up the process. You can either wait, or you can use a blow dryer, or a heat too. It looks like that has dried, now we can paint the next section. I will start with the one on the top. As I mentioned earlier, make sure the background has dried out completely before you go with the next step. We have two sections left here, both of them are different. Over here we have a curvy shape, and this one is more like a triangular shape. Let's start with the one on the top. For this one I'm planning to use a little more darker value, so I'm mixing a little brown with Payne's gray and I'm creating a darker value. You can either mix these two colors or you can take [inaudible]. I'm adding that along the line I have here. Be really careful, we have to get that nice flowy lines. The brush I'm using here is size number 8. You can either use a medium-size brush or the smaller-size brush according to one you're more comfortable with. These lines are really important, so any brush with a nice [inaudible]. You can see the color I have applied, it's a darker value, and I have added the darker value only on the top. I will need a medium tone of brown and washing up the paint from my brush and I'm picking a medium tone of brown. Add two drops of water and make it a medium value and apply that right next to brown and blend it. Over here as well, you can drag your brush towards the bottom to give it a sloping feel. First I do a deeper value along the line we have at the center, and from there drag your brush towards the bottom to give it a slopy feel. We just need some soft and softer lines. They don't need to be really prominent, so you can add them while the background is wet. I think for the rest, I will use a medium tone of brown, maybe it can be colored of yellow ocher as well. Let's carefully fill up the rest, so this one has a mix of yellow ocher and brown. Be really careful to get a clean line, don't break it in between, make it a smooth, curvy line. I'm picking some brown and I'm finishing off the rest. When you're adding your deeper value and medium tones, you can drag your brush and add some lines like this. The direction of these lines are really important, so add them in a similar way. If you're happy with the top, you can fill up the rest, you don't need to add in any more darker value. I'm picking some brown, a medium tone, and I'm filling up the rest. This is a slightly darker value, we're making it look like this area is deep, so we'll call it a similar darker value. This color is not as dark as the color we used on the top. The color we used earlier had more Payne's gray and less brown, but right now it is the opposite. They're using more brown and less Payne's gray. Using that color, I'm simply filling up the rest. I think that is looking really beautiful and it made a lot of difference to our painting. We have one more section left. For that as well I'll be using mostly darker values, but the shape is different. We don't have any line or any other division here, it is just a one single piece. For this one, I'm planning to make the top more darker and the bottom more lighter. I'm starting off with a slightly darker value of brown, but it is a watered-down version, it is not really opaque. I'm just picking the color I have here and I'm adding a little of Payne's gray to make it slightly darker. Along this line, I'm adding that color,. By now you might have realized painting the sand dunes are really easy. It is just the playoff different tonal values of yellow ocher and brown and also you need to look at the light and shadow. It is the light and shadow which gives it a more three-dimensional feel, otherwise, it may look quite flat. That's something you need to consider. The best thing is to look at photographs so that you won't get it wrong. Anyway, now I'm picking a medium tone of brown and I'm adding that right next to the darker value and finally I'm picking some yellow ocher and I'm filling the rest. Over here I'm making the color lighter, I want the top to be slightly darker and the bottom to be lighter. What I'm going to do next is I'm going to drag my brush towards the bottom to add some inclined line just the same way how we did for the other sand dunes. I'm picking that color I created earlier. I'm dragging my brush from the top towards the bottom. You see that? The direction of the line is really important, otherwise, you won't get that sloping feel. No matter what will be the tonal value of the drawing that you're using, add the lines in an inclined manner. I think we can make it slightly darker on the top, so I'm picking a little of Payne's gray, I'm mixing that with brown and I'm adding some more lines on the top. You will have to add these lines while the background is wet, so being a real quick and quickly add them before the background dries out. The color I used to value was invisible, this one looks nice. The lines are spreading into the background as it is wet and that is exactly what we need. We don't want them to be really prominent. I'm adding some deeper value onto this color as well. I think that made the shape really prominent. That was the final step. With that, we are done with our painting for day 3. I really love how the sand dunes turned out, especially the one on the top you can clearly see that lighter values and darker value. I'm happy with the sky as well, the colors are looking really nice so now it's time to peel off the masking tape. Maybe you can add some stars or a teeny-tiny moon; a crescent moon and that will make your painting look even more beautiful. If you want to add it just go ahead and add a small moon. I love it when I get clean border, so this one looks like it's a clean border, yes. That's a clean border and that's our painting for today, I hope you all liked it. It was an easy one, I think the major part here is the pencil sketch. Once you get that right, then it is easy to paint. You will just have to be a little careful when you're adding your deeper value and lighter value to get that light and shadow right. That's a painting for the day. If you haven't tried it yet, do give it a try. Thanks a lot for joining me today, I'll be back here soon with our next [inaudible]. 18. DAY 5 - Lighthouse by the Beach: Hello, welcome to Day 5. Today's meeting is one of my favorite from the Antique Collection. We're going to paint a glowing beads, and acute lead lighthouse. We're going to explore some interesting techniques today, and I'm quite sure you guys are going to love it. Without wasting any more time, let's take a look at the color palette as Alaska techniques so that we can start with opening right away. I will start with the sky. I'll be using two colors for the sky, which is cerulean blue, and turquoise blue. The color you see on the top is cerulean blue, and towards the bottom, I'll be using turquoise blue. These are the two colors I'll be using. Instead of using cerulean blue, we can use any other blue that you have got, it can be Prussian blue, ultramarine blue, or any other blue. The second color, I'm using this turquoise blue. Again, if you want to go for cobalt blue, or maybe some other blue, you could do that. Or if you want to change the color for the sky entirely, you could do that as well, so those are the first two colors you will need for this painting. The cerulean blue I'm using here is from the branch shin hand, so that's the first color. Now the second one is turquoise blue, this one is from white nights. Now for the beads, I will be using indigo, the color you see here is indigo. The one I'm going to use a is from brown Sennelier. You can use any indigo you have got, so that is our third color. If you don't have indigo, just add a teeny bit of Payne's gray into any of the blue you've got maybe Prussian blue, or saline blue, just add a little bit, and you can create a similar color. Now the next colors you will need are brown, Payne's gray, and yellow ocher. The Bucephalus love yellow ocher for the lighthouse, and then we'll need some brown, and Payne's gray for the rock. Those are the next three colors you will need. I already had the colors on my palette. First I will spot out some yellow ocher. We don't need a lot of yellow ocher, we'll just need a teeny bit for the lighthouse. You can see they're super tiny, so don't squeeze out a lot of paint. The next color is brown, if you don't have brown can use brown Sennelier. Finally, to add the deeper value, we'll be using Payne's gray, so those are the colors you will need for today's painting. Now we can quickly try out some techniques before we start with our painting. I will quickly show you how you can do the sky. You can see the moon here, so this is actually paper white, so I'll be leaving some gap here, then I will fill up the remaining area, and turquoise blue, and cerulean blue. We can try that out, and also we can try the beach. We can see how we can create that glowing field for the beach, it is really easy. Over here, the white clay you see, it is actually the paper white. We are going to add any extra color to create that white color here. We will be leaving some gap, so we'll be making the background wet, and we'll be adding paint from either side, and over here, we'll be leaving some gap, so that's the color you see here. It's not an additional color, is the color of your paper. Let's try that out. I will just change the water. Now I'm starting by adding a coat of water onto a small section here. First, I will show you how you can paint the sky. Now when you're doing your sky, it is better to keep a piece of paper towel next to you so that whenever you feel like your paint is too watery, you can tap the brush on a paper towel, and make it less watery. We already spoke about the colors, I'm starting with a little of turquoise blue, and dabbing my brush on a paper towel just to be sure the paint is not too watery. Look likes the paint is too watery, sometime when you turn a paper towel. The first step is to add a circle using that paint. Right now, I'm using a lighter value of turquoise blue, and I'm leaving some gap at the center. Just to add a so-called. What we added right now is the moon. Over here we need to use more of a lighter values. Now slowly we can start making the color more brighter. I'm picking applied to value of turquoise, blue, and I'm adding that right next to this moon. We shall not to add any paint at the center, we have the moon, which is your paper white, so that turquoise blue. Now we can make the color more darker, so that's a much more darker value of turquoise blue. Just around the moon, try to read in some lighter value, and then two at the top, you can use more of a brighter value. Now, I'm going to pick some cerulean blue, I'm going to add that on the top. We're going to paint the night sky so you can make it as dark as you want. We only want some lighter value around the moon, the rest can be really dark. If you want to introduce some darker tone at the top, maybe you can add some indigo, so I have added the colors. I'm using a clean damp brush, I'm simply smashing the coloring to each other to make it look more smooth. Now onto those, if you want to add, you can add some clouds as well, this will make you're sky more interesting. The major thing is leaving that white space, they have them all, the rest you can make it more brighter, and bolder. But around the moon try to read in some lighter value to make it look like it's glowing. Maybe you can meet the top portion a bit more darker. You can add some clouds to make it more dramatic. Depending on how dramatic you want your sky to be, you can keep adding more clouds, and more darker value, so that's how we are going to be in the sky. It is quite simple, you have to start by adding a white circle at the center, which is your moon then around that you need to add some lighter value, than as you're going away from the moon, you can make the color more darker. If you want to make it more dramatic, you can add some clouds onto the sky. That's all about the sky. Next, we're going to try painting the beach. As I said earlier, we're going to use indigo to paint the beach. It's again a combination of paper white at medium and darker values. First, I'm going to start by applying a coat of water onto a small section. For this as well, we're going to use wet on wet technique, so I'm picking some water, and I'm adding that over here. I just made a small section. It's again a simple one. Once you know how to approach it, it is going to be really easy to start by applying a coat of water. Make sure your background is not too watery. If you feel like it is too watery, wait for few minutes, then start laying the paint. We just need to shine equal to water, so that's something you need to keep in mind. Now, I'm picking some indigo and I'm going to start adding this from either side. This is where we have the moon. Right below the moon, I'm going to leave some white gap and I'm going to start adding the paint from either side. Let's give it a try. You can start with a medium tone of indigo, and it can start adding some lines from either side towards the center. These lines you are adding here can be of different lines. Simply keep adding them from either side towards the center. Some of them can be wider and some of them can be shorter. Just keep adding them in a random way, but be sure the background is not too watery and also the pain that you're using. They both shouldn't be too watery. If you paint in background is really watery, they will spread into the background and it won't be easy to read in the whitespace. See that? I'm just applying the paint on either side, and I'm adding some simple lines. Right now. It is looking quite messy, but don't worry about that. We can fix that as we progress. But the only thing to keep in mind is to leave that gap the center, which is falling right underneath the moon, so we can simply keep on adding back pain from either side, leaving some gap at the center with a medium tone and can slowly keep making the color more darker on either end. That's how it has turned out. Now, I'm going to wash the paint from my brush and I'm dabbing it on a paper towel. Now using this clean brush, we're going to make the background most motor. What I'm going to do is I'm just going to run my brush back and forth. My brush doesn't have any paint, does just Tam I'm just pushing and pulling that paint, and I'm extending those lines. I think we can add some more darker value on either side and we can repeat the same step. I'm picking some more indigo, and I'm adding that on either side, and once we are done adding the paint, we can again repeat the same add the paint. I'm extending that a little more into the center. This time I'm using a little more darker value. You can see the reflection is looking more prominent than we made the color more darker, so start with a medium tool. Then you can slowly keep making the color more darker on either side. I have cleaned my brush. Now I'm tapping that on a paper towel. Now using this clean damp brush, let's make the colors more smoother. It's the same way how we did earlier. Just keep pushing and pulling that paint into each other. Be sure your brush is not at all watery. We are trying to make use of the water we have in the background. Don't introduce any more extra water. The sea is looking much more smoother right now and you can clearly see that glowing area at the center, which is falling right underneath the moon. Now to paint the rocks, it's quite easy. We'll be just starting off with brown and then onto that, we'll be adding some deeper values and Payne's gray. That's not something that is complicated. You can go with any shape that you want. Here, I'm going with a flat sheet. That's where we have the lighthouse so over there you can make it a flat surface. Then you can make it an irregular shape. So fill that in brown. Now, to introduce some deeper value, you can add some Payne's gray. From the bottom, just add some deeper value towards the top. Our idea is to introduce some texture for the rocks. You can keep adding them without worrying about how they can look like. From the bottom, you can simply keep adding some darker value. You can just drag your brush towards the top. That's the first section. Now, using the same color, you can add in some teeny tiny rocks as well. You can see on the painting queue. In a similar way on the beach, you can add some teeny tiny rocks using Payne's gray. At the bottom, go with an irregular organic shape to make it look more natural. To create those textures, you can simply play with different tone and values of crown. Now, if you take a look at the painting, you can see these two different sections here. Over here, I have made it look like this one is in the background and this one is the foreground. To make it look like this one is in the background, I have just added some deeper value over here. That really made a difference. This one is looking like this in the foreground and just because I have added some shadow and some deeper value here, this one is looking like it is in the background. That's something you can quickly do in your painting by using some deeper value and that will instantly add a difference to your painting as well. Let me pick some Payne's gray and let me add that over here. I just want to show you the different that deeper values can make. Once I've added a deeper value, you can tap your brush on a paper towel and make your paint a little dry. Then you can push and pull that paint into the brown background to add some texture there. That's a section in the background. Now, we have to paint the other one in the foreground. For that, I'm switching back to brown. The background hasn't dried completely, but I will quickly show you how you can do that. Using a medium tone of brown, I'm adding another section over here. When you're adding these rocks, try to go to the very organic and natural shapes that you're painting will have a more natural feel to it. Try to go with a very irregular and organic shape. Those little details make a lot of difference even though they are very small and simple details. Over here, I don't have a lot of space so I'm just leaving it as it is. I'm not making it more interesting. That's a section in the foreground. Now onto this, I'm going to drop in some deeper value. Right now it is looking quite flat. We have only used brown. We haven't added any deeper value or any texture. That's our next task. Right now, I haven't really waited for the background to dry. You can see the colors are spreading into each other. These two has to be two different sections, otherwise you won't get that feel of foreground and background. When you're doing the painting, we'll have to wait for one of these to dry before you proceed with the next. I'm just going to add some more deeper value over here to make that separation more prominent. See that? So it's a much more deeper value. I have divided that into two sections. Now we can wash all the paint from your brush and you can pick some brown. You can smudge the color into the background. This will leave some more texture on your background. Now using the same deeper value of brown, let's drop in some texture over here as well. You just need to add them onto that wet background. As I said earlier, they don't need to be perfect. They don't need to have any particular shape for anything. You can simply add that deeper value onto the wet background. We are trying to create some texture here. They can be really rough and messy. That's the rock. Now onto this, we'll be adding a lighthouse. I'm going to go with a very simple lighthouse. You can see that on the painting here. This is where we'll be adding the lighthouse. You can make it super tiny, or we can go the similar size that I used for the painting. If you make it really small, it will bring a little more depth in your painting. It will bring out a feel that the lighthouse is really far from you. We can either go to the smallest size like this, or we can make it slightly bigger, like the painting I have done here. I think even the smaller one looks really nice so we can just decide on the size that we want to go with. I won't be adding a lot of details for the lighthouse. Maybe I can quickly do a pencil sketch. I don't think it is necessary to paint it right now. I can simply show you a pencil sketch. It's a really simple one. If you want to add more details, we can look at some images of lighthouse and you can add some more details onto this. This one is really simple. You can start by adding two inclined line. That's the first step. On the left, I'll be using lighter value of yellow ocher and towards right, I'll be using more of brown and Payne's gray. That's the base sheet. It has to be wider at the bottom and it has to be slightly thinner on the top. Now over here, I'm adding another section. That's where we have the roof. The roof is just a small triangular shape. As I said, this one is really small, so I'm not going to add a lot of details. Now over here, you will have some hand reel. It's just some vertical lines. Now we have another section over here. We have to extend this line a little towards outside on either end to make it look like it is enveloping the lighthouse. Now, again, you have to add some more vertical line over here. That is another set of hand reels. Now finally, we need to add the opening. I'm going to add too long opening. That's the base shape of the lighthouse. If you want to go for a different color combination, or if you want to add some more details, feel free to do that. This one is really simple. I thought of keeping it simple because we have a lot of other details on the painting. See that? Also we'll be adding some white highlights. There will be more light hitting on the left side, so we'll be adding some white highlights over there and also a little around the windows. That's all about the lighthouse. Is a simple one, maybe we can try sketching that on a scrap piece of paper just to get that proportion and the sketch right. Then you can add that on your main painting. That's all about the techniques and the color palette for today's painting. Now before I wrap this up, there's one last thing I want to see. Now, just in case if you couldn't get that moon right, that's absolutely okay. You can pick some white watercolor and add a moon at the center. When you're painting a sky, even if you couldn't really get the moon, you might have got some lighter value over there, so that's all what we need. We just pick that area where we have that lighter value and then add a tiny moon using white watercolor or white gouache. Just don't worry, if you couldn't really retain that white moon, you can fix that with white watercolor. I'm picking a little white watercolor and I'm adding a moon right at the center. For my main painting, I got it right. But for the exercise, you can see here, I couldn't really real that clear white. That is why I'm using a little white watercolor here and I also want to tell you it is okay not to get it right. As long as we have white watercolor and white gouache, we can fix it. The same goes with reflection as well. If you couldn't really get that flexion right, you still can't fix that with white watercolor. That's all for the day. We have discussed about the color palette and the techniques you need to know for today's painting. Now, I think it's time to give it a try. If you're excited and ready, join me in the next section. Let's give it a try. 19. Lighthouse by the Beach - PART 1: We had a look at the color palette and the techniques. Now it's time to try gorgeous painting. I hope you guys have tried the techniques so that way it is going to be really easy. We have a cute, little lighthouse. Then we have these gorgeous textures and that glowing beach. I'm very sure you guys are going to love this painting. Let's give it a try. I have my paper ready here. The first thing we need to do is to add a pencil sketch. That's what I'm going to do right now. I will start by adding the horizon line, which I'm planning to add a little below the center of the paper. Now over here we will have a lighthouse and then we will have some rocks. I'm adding a rock over here, a huge one where the lighthouse is resting. Towards the right, you can make it flat and as you're approaching down, you can go with some irregular shapes like this, and also you can add some teeny tiny rocks on the water. You don't need to put a lot of effort right now. We can fix that when we are painting. It is not the first painting we did. We're not going to show different rocks. It is going to be one whole piece. Just add a rough shape like this. Then you can add some small rocks on the water in a very random way. You can add them in different size and shape. I'm adding them closer to this big rock. I won't be adding a lot. I think that looks nice. Maybe we can add some super tiny rocks as well. Add them in a very scattered random way. Now the next thing we need to add is the lighthouse. I'm going to add that over here and that's the size I'm going with. Start by adding that inclined line on either side. Then over here, add a straight line. Then add a small triangular piece on the top. This one is a very simple, basic lighthouse. If you want to add more details, you could do that. Now over here, I'm adding that roof, which is a triangular piece. You can see it's a very basic lighthouse. In the coming days, we'll be doing another painting. We're going to try a lot more detailed lighthouse, where we're going to use red and white. That's our sketch. Now there is one thing we need to do before we start painting. We need to mask out the lighthouse. For that, you can either use masking fluid or you can use a piece of masking tape. I'm going to use a piece of masking tape. I'm going to tear off a small piece of masking tape, and I'm going to stick that onto the lighthouse. Now I'll trace that shape and then I will cut it and I will stick it back. I'm using a pencil and I'm tracing that shape. You can skip the top. You don't need to include that in the sketch. We just need that line on either side. Now, take out a scissor and cut that shape. If you have masking fluid, you could use that. For me, if the shapes are really easy to trace on a masking tape, I go with masking tape. If the shapes are very random and irregular, which is not really easy to trace on a masking tape and cut, in those cases, I go with masking fluid. This case you can either use masking tape or masking fluid. It's a very straight and regular shape. That's a piece. Now, I'm going to stick that back. Just put it back on the same shape and on your fingers multiple times just to be sure it has got stuck onto the paper. That's ready. Now I'm going to add another piece of masking tape on the horizon line. You can add that right along the horizon line. Then we need to take another small piece just to cover up this area we have here. This is not really necessary because we'll be using darker values here. Only in case you want to do it, you could just mask it out. Otherwise, you can just leave it as it is. I have traced out the shape. Now, I'm going to cut it. Even if the shape is different from your sketch or even if it's not perfect, that's absolutely fine. Just cut that out and stick it back. I have bought masking tape of different sizes. I have two inch, one inch, then I think I have a half-inch as well. All these masking tapes are used for different techniques like this. If it's a bigger shape, I can use two-inch masking tape, and for smaller one, I can use a half-inch or a one-by-four-inch. Smaller-size masking tapes are really helpful when you want to hide a fence or a tree here or something similar to that. In that cases, I use a smaller masking tape. Anyway, we have secured the lighthouse. Now we can start painting. I hope you guys have the colors ready. We're going to try a wet-on-wet sky. The first step is to apply a clean coat of water onto the entire sky. I have my one-inch brush right here. I'm picking some clean water and I'm applying that onto the sky. We can apply that on top of the lighthouse. Nothing is going to happen. We have secured it properly. Run your brush multiple times just to be sure the water has reached everywhere. Now to apply the paint, you can go with any of your medium-sized brush. I'm using a size number 8 round brush. The first color I'm going to go with this turquoise blue. Keep a paper towel next to you and start with the paint, which is not too watery. Pick the paint. Dab it on a paper towel. First, we need to add a circle, which is going to be our moon. We need to leave the paper white. Be really careful when you're doing this. Start with a bigger circle because when the paint starts spreading into the background, you might not get the same size. It will be slightly smaller. Start with a slightly bigger size. By the time the paint spread, you will still have a moon there. Otherwise, it will be taken over by the blue. Now, we can make the color more brighter. I'm just pushing and pulling the paint into the background. I'm not really looking for a clean blend here. I want a dramatic and expressive sky. You can simply add in your paint. The only thing is to leave that white gap at the center, which is our moon. Around that, you can use lighter value. Then you can slowly start building the color. You can make it more bolder and brighter. I think we can make the color a little more bolder. I'm picking some more turquoise blue, a much more darker shade. Over here, I'm reaching that lighter values and I'm making the color more darker around it. Just keep pushing and pulling the paint and make it a better transition. Try to retain that lighter value around the moon. Don't add any darker value over there. Whenever you're approaching this area, you have to be a little careful. The key here is having the right amount of water on your background. It shouldn't be too watery. It has to be just wet or damp. The paint should only be spreading. It shouldn't be floating on your background. Just be sure about that. If you feel like you're back on this too watery, wait for few minutes for the water to settle and let it be absorbed by the paper. Don't add the paint if you feel like your background is too watery. Now using a brighter value of turquoise blue, I'm just adding some strokes at the bottom to make our sky a little more interesting. I think the sky is looking pretty cool. I'm quite happy with it. I have managed to retain that lighter value around the moon, and I have added some darker values as well. Now, on the top, I'm going to add some cerulean blue. Again, a brighter tone. You can either use Prussian blue or ultramarine blue or any other blue. Go with the darker value and fill up the top. You can make it as dark as possible so your night sky will be really beautiful. You can keep building the colors and you can make it more darker if you want, and also you can add some lines in between to make your sky a lot more expressive and dramatic. I think I'm going to make this area a bit more darker. Otherwise, it won't look like a night sky. I'm picking a little more turquoise blue as well, and I'm adding that over here. If you're already happy with your sky, you could just leave it as it is, and if your background is still wet and if you want to make any of the colors more darker, you could do that but try to read that lighter value around the moon. That is something we need to keep in mind whether you're adding darker values or not. That cannot be missed out. If you don't retain that lighter value around the moon, you won't get that glowing night theme. That's something you need to be careful about because that's a major identity of this painting. Now I'm picking some more cerulean blue and I'm randomly adding some strokes on the sky. It is still wet so I thought of making it a bit more expressive. Again, this is also optional only if you want it and only if your background is wet. You could add some more lines or some more clouds or something that you feel like. Now, I will add a few next to the lighthouse as well. It will look like there are some clouds in the background. Where we have the lighthouse, it is secured by the masking tape. We won't have any paint over there. I think that looks perfect. My pattern has started to dry so I'm not going to add any other clouds or darker value or anything. I think it's good to stop it. Otherwise, I might end up ruining that beautiful sky so I'm not going to touch it. But there is one thing that I want to do before I leave this for drying. I have cleaned my brush properly. It is clean. There is no pain stains on it. It is a slightly damp brush. It is not too watery. Now using that brush, I'm going to fix the shape of the moon. Just be careful to check your brush before you do this. It should be properly cleaned. There shouldn't be any paint stains on it. With that slightly damp brush, fix the shape of your moon. That is it. That's our sky. Now we can leave this for drying. The sky has dried completely. The colors are looking slightly dull than earlier. Now, I feel I should have used a much more darker value over here. The colors were really beautiful when it was wet, but when it dried the colors are looking quite dull, which is something that happens with watercolor, we can't do anything, and that's one thing that I hate about watercolor. You have to be really thoughtful when you're applying your paint, otherwise you won't get a brighter output. Anyway, now we can start painting the sea. I'm going to peel off the masking tape, be really careful, don't peel off the paper. Gently peel it an angle. We have one more piece on the top, remove that as well. Now we have the lighthouse, I hope the paint hasn't seeped in. The lighthouse is safe, now we can start painting the sea. There is a little of pain at the bottom which is not a problem, we'll be adding darker values over there. We got the top part clean, that is what matters. To paint the sea, I'm going to use indigo. If you don't have indigo, you can use Prussian blue, or you can mix a little of Payne's gray to Prussian blue to create a color that is similar to indigo. I want a darker blue, so I'm going to squeeze out a bit of indigo onto my palette. The one I'm going to use is from the brand Sennelier, you can use from any brand. But as we discussed in the color palette section, the color will slightly differ according to the pigment every brand is using. You can use any of the indigo that you have got. I have taken out the paint, now we're going to apply a clean coat of water onto the sea. You don't need to leave these rocks we have here, you can apply your water on top of it. We're using darker values for these so even if there is some paint on it, it wouldn't be visible. You don't need to put a lot of effort in skipping them and applying the water onto the background. Now, I'm switching back to my one-inch brush, and I'm applying some water here. The only area you need to be careful is at the top, they have a horizon line. Maybe you can leave a tiny gap on the top, and don't add any water onto the sky. Now, to paint, I'm switching back to my medium-sized brush. We are going to apply darker value on either side, and right underneath the moon, we're going to leave some paper white. It's good to try. It's the same way how we tried in the technique section, I hope you guys have tried it. That way, this is going to be really easy for you, and I'm very sure you're going to get it right in the first try. I'm picking a darker value of indigo, and I'm going to apply this onto either side of the sea. At the center, I'm trying to read in some whitespace, which means I'm not going to add any paint over there. I have taken some paint on my brush, now I'm adding that over here. Looks like the paint is too watery, so I'm dabbing my brush on a paper towel. And from the side, I'm dragging my brush towards the center. And over here, I'm trying to read in some whitespace which is falling right underneath the moon. Similarly, I'm adding paint from the other side as well. It can go slightly into the rock which is not a problem, so don't worry if that happens. At this point when you're applying the paint, it might not look that great, but that's okay. This is part of the process. You can simply keep on adding new paint from either side, leaving some white gap at the center, and also you can keep making it more darker towards the corners. Only at the center, we need that lighter value. On either side, it can be really dark. This way you can really feel that glowing effect. If everything is light, you won't get that feel of glowing water. The center has to be light, and on either side we should have darker value. I've cleaned my brush, and I'm dabbing it on a paper towel to make sure that there's no excess amount of water on it. I'm just running my damp, clean brush back and forth to make the colors look more smoother. Just keep pushing and pulling the paint into each other, this way you will get a natural transition at the center. See that? It was looking really messy earlier, now it is starting to look better. The step needs to be done before the background dries. If it dries, you wouldn't be able to blend the colors. Be a little quick, and keep pushing and pulling the color into each other to make that transition look smoother. When you're doing this to step as well, you can add some paint onto the rock, it doesn't really matter. As I mentioned earlier, we'll be using really dark color for the rock, maybe a dark value of Payne's gray or something similar to black. Just ignore if there are some paint on the rock. I'm happy with the colors, but I feel it can be a little more smoother, so I'm making my brush damp. It will be too watery, and dump it on a paper towel if you feel it is really watery. We need a damp brush, not a watery brush. We can again push and pull the paint into each other to make it a little more smoother. Maybe we can add some more paint onto these corners. The darker values will make it even more interesting. In case if your background is still wet and if you want to add in some more darker value, you can make use of the time and add a darker value onto either side. Be sure not to add any darker value at the center which is falling right underneath the moon, we need lighter values over there. Onto these corners, you can make the color more darker. I think that glowing effect is already visible. When we start painting the rock and then we add that contrast, it will be even more beautiful. Next, we're going to paint the lighthouse. We're going to apply the base colors. It doesn't really matter whether the sea has dried or not, it is not touching the lighthouse, so we can start right away. To paint the lighthouse, it is better to use the smallest-sized brush as it has a small structure, so you won't accidentally add anything into the sky, you can clearly be in the boundary. The color I'm going to use this yellow ocher. I'll be starting out with yellow ocher, then using brown, I'll be adding some medium value. Brush I'm using here is size number 6. I'm adding yellow ocher onto the right side, and onto the left, I will add a medium tone of brown. Actually, I just realized it should be the opposite way. On the left side, you should be having lighter value, and on the right, you should be having darker value as the left is more closer to the moon. On this side, we'll have the reflection. I'm just lifting off the paint. It didn't make much damage. Now, I'm picking some brown, and I'm going to add that onto the right side. On this side, you will have that reflection of moonlight so it has to be lighter compared to the other side. On the right, you can add more deeper values. I'm starting off with some brown, then I might add some darker values as well. For that, I'm using some Payne's gray, adding the brown, and I'm adding that onto the side. You can clearly see the difference now. On the left, it is lighter, and towards the right, it is more darker hence we have more shadows on the side. Now, you can just match it, and make it more soft. Use a clean brush to smudge the color. As it is a small structure, it will be easy to smudge the color. That's a lighthouse. This is only the base layer, we have more details to add. We need to add the roof and the windows, and we need to paint the rocks as well. We'll be adding blocks all over here. That's our the next step. But before that, we need to wait for this to dry completely. 20. Lighthouse by the Beach - PART 2: The background has started completely. Now we can start painting the rocks. For that, I'll be using two colors, which is brown and Payne's gray. If you don't have brown, you can use burnt sienna. In case if you don't have Payne's gray, you can use black or neutral tint. I'm going to squeeze all these colors onto my palette. I already have some Payne's gray over there. I will need some more brown. Maybe I can squeeze out some Payne's gray over here. So that it's easier for me to mix brown and Payne's gray, to create a darker value. I have taken out the colors. Now I'm going to start painting the rocks. For that, I'm using my medium-size brush. This one is my size number 8 round brush. First I'm going to pick some brown, a medium value. I'm going to apply that onto the rock in a very random way. We are not looking for a clean blend. You can apply your color however you want to. They can be rough and messy. They don't need to blend into each other. 21. DAY 6 - Calm Night: [MUSIC] Hello dear friends. Welcome to Day 6. Today we are painting a calm, and peaceful night. The best part is you will only need three colors for today's painting or maybe be four including white watercolor. That's the painting that we are doing today. First, I will take you through the color palette as well as the techniques. As you could see here, the major color I'm going to use this blue. I'll be using Prussian blue for the sky as well as for the lake. Along with Prussian blue for the background, I'll also be using white watercolor. I'll be applying white onto the anterior background. This is to make the colors look more creamy and opaque. I'll come to that. First I'll patch out the colors then we can try painting the background. The first color you will need is Prussian blue. This one is a common color, so I'm guessing you all may have it. The one I'm going to use here is from the brand Art Philosophy. If you want to use a different blue, that's absolutely okay. You can use Phthalo blue or bright blue or any other blue. That's our first color. The second color you will need is indigo, I'll be using that to apply the deeper tones. That's our second color. That's Prussian blue and indigo. Now the third color you will need is Payne's gray. We'll be using this color for the deck here. We'll be using a lighter value for the background, and using a darker value we'll be adding the details. Those are the three colors you would need for today's painting. As I said earlier, along with these three, you'll also need some white watercolor. But using white watercolor is optional. If you don't want to use white, you can apply water onto the background. You can just apply water onto the background like the normal way you do, and then apply your paint. We can try both the techniques here. If we look at the painting, you can see the colors are looking so much creamy and opaque. That's the reason why I'm using white. If you want a more transparent feel to your painting, you can just use water. Anyway before we start, we can try painting the background using just water and also with white watercolor, and see what's the difference. Then by looking at that, you can decide on which one you want to go with. First I'm going to change the water. I have taken clean water. Now just in case if you want to use a different color for your painting, like purple or violet or brown, you can use that color for your sky as well as for the lake, and also for the mountains. You can just follow the steps and go with any color that you prefer. Now, I'm going to start by applying a coat of water onto a small section. First I will go with the normal wet-on-wet technique. I'll apply a coat of water. Then onto that I will apply Prussian blue. Now let me quickly apply coat water onto the first section. This one is my one-inch wash brush. I'm picking some clean water. Once we try both the techniques, you can pick the one that you want to coat. I'm applying a clean coat of water onto a small section. Now I'm switching to my round brush. This one is a medium-size round brush, and I'm picking some Prussian blue. I'm starting out with a darker value, applying that on the top. Now as I approach the center, I'm going to make the color lighter. Then from there, I will make the color darker again. I think I will start from the bottom. Now I'll go towards the top. I have applied a darker value of Prussian blue on the top and the bottom. Now I'm dabbing my brush on a paper towel. I'm not picking any more pain. There is quite a lot of water in the background so I'm just trying to make this area more lighter. [NOISE] The center, we have a lighter value and towards the top and the bottom, we have made the color darker. You need to start out with a darker value then make it lighter. Then again, you need to make it darker as you're going towards the bottom. I think I can make it a little more darker on the top and the bottom. I'm picking some more paint and I'm adding that over here. Also on the top. That's our first approach. It's a normal way how you do it. You apply a coat of water, then add your paint onto that. Right now you can see the colors are quite transparent. Now we're going to try our second approach, and you will clearly see the difference between these two. It is exactly the same way. The only difference is instead of water, we're going to use white watercolor and we're going to apply that onto the background before we start adding the paint. Let's give it a try. I have taken some white paint already. It doesn't need to be gouache. You can just use white watercolor. Now pick any of your bigger size brush. It can be a round brush or a flat brush. This one is a size Number 2 round brush. [NOISE] Now I'm picking some white watercolor, adding some water and turning that into watery consistency. Now I'm applying that onto the background. I will go to similar size, just like how we painted earlier. Instead of water, I'm using white watercolor here, and I'm adding that onto the background. When you're doing your main project, just be sure to paint has reached everywhere. It is better to use a bigger size brush. The background is ready. Now let's start adding the paint. I have my medium-size brush here, and I'm picking a darker value of Prussian blue and I'm adding that onto the top. I think you can already see the difference here. This one is looking a lot creamy, and this one is more transparent. Now I'm going to quickly finish this off so that we can compare both of it. In a similar way how we did earlier, we need to make the color lighter at the center and it has to be darker on the top and the bottom. The color is looking quite similar throughout so I need to pick some more darker value. I'm applying that on the top as well as at the bottom. As we have white in the background, the color that you're applying will be more creamy and opaque. It will also have a basal tone to it. My background is starting to dry. I need to be really quick. I will wash out the paint and with a slightly wet brush, I will quickly make it a clean blend. See that? The color is looking really soft and creamy. Right here I'm only using one color. I'm only using Prussian blue for the background. In case if you want to add more colors in your background, you could do that. Maybe you can go with blue and purple, or maybe blue and crimson. You can just follow the same method and include one or two colors. We tried both the techniques. For the first one we use water, and that's looking more transparent. For the second one, we used white watercolor for the background and it is looking quite creamy and opaque compared to the first one. If you're someone who loves the transparent feel of watercolor you can go with the first one, and if you're someone who prefer that opaque and creamy consistency, you can go with the second one. Both the techniques has its own beauty and its own uniqueness. You can go with the one that you prefer. It is not at all necessary to apply white watercolor onto the background. Right in front of you, you have both the result. You can choose the one that you want to go with. Now painting the deck is really easy. It is something similar to the one we tried on Day 2. We won't be adding a lot of details. We'll be starting now with a lighter value of paint screen. Then onto the red background, we'll be adding some medium tones to add some texture. Finally, we will be adding some horizontal lines using a darker value of Payne's gray. That's going to be really easy as we already tried painting a deck which is much more detailed than this one. That summarized the color palette, and the techniques you need to know for today's painting. Now it's time to give it a try. [MUSIC] 22. Calm Night - PART 1: [MUSIC] It's a very simple painting. We already had a look at the color palette and the techniques. Now I'm starting by adding a sketch. The sketch is again simple. First, you need to add the horizon line, which I'm adding a little below the center of the paper. That is our horizon line, which will divide our sky and the lake. Now underneath that, I'm adding another line, a small line. Now from here, I'm adding an incline line on either side towards opposite direction. That's going to be our deck. Try to go with a similar angle on either side. Don't make it a lot different. Now over here, I'm adding two lines. That's our sketch. We are painting, we'll be adding some horizontal line. For now, you don't need to add them. We can do that when we are painting. That's our sketch. Now before I start, I'm going to apply a piece of masking tape along the horizon line so that we can have a clean horizon line. Also, we don't need to worry about the paint getting into the lake. Over here, apply piece of masking tape. Now we can start painting the sky. Just like we discussed, you can either start by applying a coat of white watercolor, or we can just start by applying water. The color I'm going to use is Prussian blue. You can use any other color that you prefer. It doesn't need to be Prussian blue. You can use [inaudible] blue or ultramarine blue or any other blue of your choice. Along with that, you'll also need some white watercolor if you're following the same method that I'm using. What I made, I called the colors onto my palette. We will need some blue and some white. If you don't want to use blue, you can use violet or purple or any of the color of your choice. I have taken out the colors onto my palette. Now to apply the paint onto your sky, you can either use a flat brush, or a round brush. I would prefer to go with a bigger sized brush so that you can apply the paint quite easily. You can fill up a larger area in less time. Also, there won't be any brush mark because sometimes when you use a smaller brush to apply paint onto a larger area, you'd have to run your brush multiple times and this will leave some blush marks so it is better to use a bigger brush. Now we can start painting. I'm going to use my half-inch flat brush. You can either start by applying coat of water onto the background. I'm going to start with paint on the dry paper. As I come down, I will pick some white watercolor, I'll make the color lighter. I don't want to compromise on the intensity of the color. That's why I'm applying the paint on the dry paper. You can either start by applying coat of or white watercolor just like we tried in the technique section. I'm using a darker value of Prussian blue. I will apply that almost half of my sky. From there, I will pick some white watercolor and I will make the color lighter. You can see the color, it is quite dark. Go with the similar color because by the time when you add white or when you apply water, the color will tend to be a little lighter so it is better to go with a darker value in the first layer itself. I think I should have gone with a bigger brush. You can see those brush mark. That's why I said earlier, it is better to go with a bigger brush. You can apply paint onto a larger area quite easily. This was the wrong choice. I should have gone with a bigger flat brush. Anyway, that's blue. Now to apply white, I'm going to use a bigger brush. This is size number 12. I'm picking a generous amount of white, add two drops of water, and turn your white into a watery consistency and apply that right next to the blue and make it lighter. This might seem something similar to gouache. I'm using white to make the color lighter, which is not the traditional watercolor method. Most artists I know use white watercolor as a color to add the highlights, but not as a colorful paint in the background, but I feel there is nothing wrong in using it. Even the paisley colors has some white in it. Honestly, we're using the same method here. We are just adding that along with the color to make it lighter. We have a darker value of Prussian blue on the top. I have used white watercolor to make it lighter. The blend isn't that great? That's my next task. I'm running my bigger brush on top the color I applied earlier. I'm trying to make it a smooth blend. First step is to apply a gradient wash of blue onto the sky. If you're using water to make the color lighter, you will have a transparent background. If you're using white watercolor, you will have opaque Russell, something similar to mine. Now I'm picking some more blue and applying that on the top. I want this area to be really dark compared to the bottom. Now I'm trying to make it a clean blend. It is actually a very simple painting for the sky as well as for the lake. We're going to use the same method. Then we'll be adding some gradient mountains as well. Technically, we are going to use the same method throughout this painting. Only for the deck, we are going to try something different. That's my sky. Now, I'm going to wait for this to dry. [MUSIC] The sky has dried completely. You can see the color. The colors are looking really vibrant. It hasn't faded much. If you're using water, the colors might be slightly dull, but that's okay. That's something that happens with watercolor. We can control it. Anyway, now let's start painting the mountains. It is good if you can keep a paper towel or a cotton cloth next to you. We might need this in-between to dab off the excess amount of water or paint. Now, let's start. For the mountains as well, I'm using blue and to paint them, I'm using a medium sized round brush. This one is my size number 8 round brush. Just be sure the background has dried out completely before you start painting your mountain. Now go with the medium value. It shouldn't be too dark and it shouldn't be too light as well. Add a few drops of water and create a medium value of Prussian blue. Using that color, you can start adding your mountain onto the right and making it higher. As I'm approaching the center, I'm making it lower. Now I'm going to wash all the paint from my brush. I'm dabbing off the excess amount of water and using a slightly damp brush. I'm making this area lighter. We can see the way how I have left the mountain. I want to create a fog effect here. Now in a similar way, I'm going to add another mountain from the other side as well. I will start with a medium value, then as I'm reaching the center, I will make it lighter. That's the same color. I'm applying that on the left side. On the left, it is higher. Towards the center, I have made it lower. Now using a damp brush, I'm making this area lighter. That's all for this mountain. Now, we'll have to wait for this to dry. You can see how pretty it is looking already at the center just because we made the color lighter. It has a foggy, misty feel and it is making it more beautiful. Now we can leave this for drying. If you want to speed up the process, you can use a blow dryer or you can just take a break and come back when you're painting has dried. [MUSIC] Also that's dried, now it's time to paint the second set of mountain. For that, again, I'm using Prussian blue, but this time I'm making the color a little more darker. The mountain is going to be much more shorter than the first one. First, I'm going to add the outline, then we can fill that up. That's the color I'm using. At the center, I'm leaving some gap and I'm adding the other one towards the left side. You can see the height. Go the similar height, don't make it too huge. The one in the background has to be visible. At the center make it really short. Now for this one, I'm going to make the either end foggy toward the center so I'm dabbing my brush on a paper towel and using a slightly wet brush, I'm making either end lighter. At the center we have a brighter value of blue and I'm making the ether end lighter using a damp brush That's the right side. Now, I'm doing the same on the left side as well. On either end, we have a foggy feel. I think I will disconnect the center and get rid of that small cap. I'm just adding a small shape here and I'm connecting to the mountains. Also, I want to add some more paint towards the right side. Over here, I feel the color is really light so I'm going to pick the same color and I'm making this area a little more brighter. I think it looks better now. Earlier it wasn't really prominent. Now the shape is really visible. Now, I'm going to wash the paint from my brush, dabbing it on a paper towel. Using that damp brush, I'm making this area lighter. It's the same way how we did earlier. Now for the next set, I'll be using a much more darker value and that's going to be in the full ground. We started out with the medium value and for the second set of mountain, we made the color a little more darker. Now for the next one, we're going to use indigo. These tonal values has a lot of importance in this painting. It is just by using these tonal values, we're going to bring in that depth in our painting, otherwise, our painting is quite flat. We don't have much details. Now we have to wait for this to dry. You can either wait or you can use a blow dryer. This time, I'm going to use a blow dryer to speed up the process, otherwise, I may have to wait for quite a lot of time. We need to do another set of mountain so I thought I could use a blow to the have this time and save some time. Now to add the next detail, I'm going to use the smaller size brush. This one is my size Number 6 round brush. The color I'm going to use is indigo. The detail that we're going to add right now, it is in the full ground so we have to use a darker value and also we need to make it a bit more detailed. I'm using some indigo, a really darker value of indigo. On the right and the left, I'm going to add some random pattern. I'm just trying to show there is a bunch of trees and plants over here. You can just add a random shape. I'm leaving some gap at the center. From here, I'm starting to add them. Over here, I'm making it shorter and as I'm going towards the right side, I'm making it more taller. Just add a very random shape and then fill that in indigo. Now in a similar way, we need to add some random shapes on the left side as well. If you want, you can make it a bit more taller towards the right end, but at the center, make it shorter. That one is done. Now in a similar manner, let's add some trees on the left side as well. On the left hand, you can make them taller and as you're approaching the center, you can make them shorter. I think we can make it a bit more taller on the right side. Using the tip of my brush, I'm adding some more lines over here. Just some taller lines to make it look like some trees are really tall. This brush has a really nice pointer tip. It's a new brush, actually, I haven't used it much so the pointed tip is really intact. You can use any of your medium-size brush. First start by adding a random shape. It has to be taller towards either end and towards the center you can make them shorter. Then in-between you can add some lines, as well, some taller lines, just to give some more interest to your painting. Now when you're adding your trees, try not to cover the background layers. Here my mountain is really short. I'm making these trees also shorter so that the mountain will be visible. If I go for a taller shape, I will cover up the mountain so I don't want that. Here I'm making it really short. That's our third layer. Now, we'll have to wait for this to dry. While we wait for this to dry, we can actually start masking the deck. For that as well I'll be using a masking tape. We'll be just applying masking tape along the outer border so that we can apply paint onto the lake quite easily. This way you don't need to really worry about saving the shape of the deck. That is our next task. I will just remove this first. Be very gentle. Now let's take off the masking tape and apply that along the shape of the deck. This one is a straight and simple shape, so masking tape rarely works. But if you prefer using masking fluid, you could do that. That's our first side. Now in a similar way, we need to mask the other side as well. Whenever I need to mark something, if it's a very regular, simple shape, I've always go with masking tape. This is a very easy and convenient method. If it's a complicated shape or if it's not that easy to cut, I just use masking fluid. Otherwise, masking tape is quite easy, especially for these shapes. Now, I need another piece to apply on the top. For that, I'm cutting a straight piece. This was a half-inch masking tape. Now just in case if your masking tape is one inch or two inch, you can just cut that in half and use it for masking. Don't waste it. I have taken out a small piece and I'm applying that over here. I have applied masking tape along the shape of this deck. That's ready. Now we can start painting the lake. For that as well, I'll be using Prussian blue and white. To paint I'm going to use my bigger size round brush. This is size Number 12 round brush. First I'm picking some white and I will just apply that onto this entire section. Be really careful when you're closer to your horizon line. Don't add any paint onto those trees. Well there be a little careful. Otherwise, you can just simply fill up that remaining area at the bottom. We have already covered the deck so there's no worry about that. Now, I'm going to pick some Prussian blue and I'm adding that at the bottom. I want a lighter tone closer to the horizon line and towards the bottom. I want the color to be darker. Over here, you can go the a lighter value and as you're coming towards the bottom, make it more darker. This is same way how we painted the sky, but this one has to be in the opposite direction. Start with the lighter tone and make it darker towards the bottom, or start with a darker tone and make it lighter as you go towards the top. I'm picking some more Prussian blue and I'm adding that over here. I want the bottom to be really dark and the top to be really light. Keep adding more darker values until you're happy with the result. Looks like I would need some more paint. I'm not really happy with the color as is still light. Let me take out some more paint onto my palette. I'm going to make the bottom-most area a bit more darker, especially the area closer to the masking tape. I'm picking some more Prussian blue and I'm adding that on either side. That's the left side. Similarly, I'm adding more darker value on the right side as well. Now I'm going to make the color lighter as I go towards the top. I want to make that a clean blend so I'm not picking any more paint. I'm just using the paint that I have on my brush. I'm trying to make that blend a little more smooth and clean. You can see how pretty the color is looking. That is just because we have used white watercolor. If you're using water your color will be more transparent, it wouldn't have this opaque feature to it. Now I'm just running my brush back and forth and I'm trying to make it a clean blend. I think the color is really light along the horizon line. I want that to be a bit more brighter. I'm picking a little more paint, a lighter value of Prussian blue and I'm adding that over here. The right side looks fine. Now our left as well, I'm making the color a little more darker. The color was very much close to white. This one is looking far better. That's our lake. Now we can leave this for drying. [MUSIC] 23. Calm Night - PART 2: That has dried completely. The next task is adding the reflections. For that, I'm using my medium-sized round brush. This one is actually a repetition of the same things we did earlier which means we have to add the mountains as well as the landscape one more time. We have to go with the similar tone and value that we used for the mountains. But this time, we're going to add them in the opposite direction. First, let's start with a medium value of Prussian blue, and let's add the first mountain that we added earlier. Before you start, just be sure that the background has started completely. Once I've made sure that we can start adding the first mountain. When you add in the reflection try to go with a similar shape that you have added earlier, it doesn't need to be exactly the same. Try to go with a similar proportion. Which means that if you have made your mountain taller, you have to make your reflection more deeper. On the right and the left, the mountain is taller, that means that applicant has to be a little more deeper. Here, I'm trying to replicate a similar shape that I added earlier. You can see the color I'm using here it is something similar to that color we used earlier. Now, I need to add the shape of the mountain. Over here, I'm making it deeper. Now, I'm going to fill that up in blue. Now, let's bring that towards the center. Here, we have made the color lighter. For the reflection as well we can follow a similar method. For sand reflection, that shape on the left side and the right side. Then towards the center, you can make it lighter. You just have to go the clean damp brush and make it lighter at the center. Now, I'm going to continue that with other side. I'm picking a medium value of Prussian blue and I'm finishing up that shape. That looks a bit darker. That looks fine, earlier I used a darker value. You can see the way I'm adding the sheep. I'm trying to make it similar to the mountain. That's the first mountain. Now we have two more sets to add. To speed up the process, I'm going to use a blow dryer. Now, let's add a second mountain. For this one, we're using a little more darker value of Prussian blue. I'm using the same brush, but I'm making the color slightly darker than earlier. Now for this one as well, we have to go for a similar shape. When you're adding a reflection, try to leave a tiny gap in between. You can see that tiny curve, so your similar curve when you're adding your reflection. At the center, it is shorter and towards either side, it's a bit more taller. Go for a similar shape. Also, be careful about the color that you're using. Don't make it too dark. First, try to replicate a similar shape. After we are done adding the basic shape, we can make either any lighter by going with a clean damp brush. Just a similar way how we painted the mountain. First, concentrate on the basic shape of your mountain, especially at the center. Try to get a similar shape at the center. On either end, it doesn't really matter because we will be adding some landscape over there. It won't be really visible. But at the center, it will be completely visible. Try to be a little careful when you're adding your reflection at the center. I have added the shape. Now I'm washing off the paint. I'm using a clean damp brush. I'm making this area lighter. That's the right side. Similarly, I'm making this area lighter as well. Don't use a watery brush. Your brush has to be just tamped. Now smash that color into the background and make it lighter on either side. That's our second layer. Now I'm again using a blow dryer to make it a try. You can either leave it for trying or you can use a blow dryer to speed up the process. After we're done with those, we have one more layer to add. With that, we'll be done with the reflection. Then the next and the final task will be to paint the tech. That has dried. Now for the last one, I'm going to use the smallest size brush, and I'm going to use indigo. I have some leftover paint over here. It's a much more darker value compared to the other two. Before you add the reflection, make sure it has dried completely. Now on either end, you can make it more deeper. First, add a random shape. Again, this also doesn't need to be exactly the same shape. You can just add a random shape and then fill that in indigo. The color I'm using right now it is not as deep as the color I used earlier. It is a little lighter. Also, remember to leave that tiny gap in-between when you're adding the reflection. On either side, the trees are taller and towards the center, we have made them charter. That reflection also has to be in a similar way. Let's quickly add them in. That's the left side. Now in a similar way, we need to add reflection on the right side as well. We don't have any trace at the center, so leave that gap. Now starting from here, you can add your reflection. Over here they are super small. Now as you're going towards the right side, you can make them taller. That's done. Now the last task is to paint a deck. For that, we'll have to remove the masking tape, remove that at an ankle. Carefully remove it. Don't rush in to pop your paper. I have one more piece left on the top. That's our deck, we managed to preserve that deck. Now we can start painting. First, I'm starting off with a lighter value of Payne's gray. I'm starting from the bottom. Over here the color can be slightly darker and as you go towards the top, you can make it lighter. You can see the color I'm using. It is quite dark. Now, I'm going to make it lighter as I go towards the top. Be really careful when you're applying your paint, try to follow that outline. Maybe you can use the smallest ex-brush or a brush with a pointed tip, especially when you're applying paint along this outline. That's a medium value. Now, I'm going to pick some clean water to making it lighter towards the top. Again, be really careful. Don't add any painting to the lake. We want a clean sheet for the deck. Now finish that off using a lighter value. The background doesn't need to be a clean and a smooth plant, it can have some darker value in-between. Now onto those to add some texture, I'm going to drop in some darker value in a very random way. I'm adding them mostly on to the outer corner. At the center, I'm trying to leave that lighter value, especially on the top. Over here, try to retain that lighter value. Now on either side, you can just add some lines or some patches using that darker value. Again, be careful to follow that outline. Don't add any paint into the lake. Our intention is to add some texture here. It doesn't need to be clean and perfect, you can add new deeper value however you want to. When it dries, and then we add the final touches, it is going to look okay. Right now, it can be a bit messy, but please trust the process, don't worry about how it is looking right now. Now I'm just matching the color using a clean damp brush. Maybe you can drop in some more darker value before the background dries, especially at the bottom. It doesn't need to have any particular shape or size, you can just drop in your darker value. This has to be done before the background dries, so make use of the time and drop in more darker value. They can be really dark at some places. You can see the way I'm adding it right now, that is really dark. They have different tonal values of Payne's gray in the background. These varying tonal values will make the wooden deck really beautiful. You don't need to add a lot on the top, add them at the bottom. You can see over here at the bottom, I added quite lot of darker value, and on the top, I tried to retain that lighter value. I think we can add some more darker value before this dries. I'm going with a really dark tone of Payne's gray, and I'm adding some random lines and some random shapes. This time the color is really dark. Again, try to read in that lighter value on the top. Over there, you don't need to add a lot. Other than that, you can just add some lines and some shapes in between. So we're trying to create that natural texture on the wood so we can add some small dots and some lines. See that? Just add them randomly. There is no particular rule of order, you can add them however you want to and wherever you want to. If we take a closer look, you can see some shapes are quite big, some of them are just dots, then I have some shorter lines and some longer lines. It's a combination of different shapes and lines. Now we can wait for this to dry, and after that, we can add the final details. Now it's time to add our final details onto the deck. The brush I'm going to use is size number 2 Ron brush. This has a really nice pointed tip. We'll need to add some thin and delicate lines, so it is good to go with the smaller size brush or a brush with the pointed tip. Now, all we have to do is just add some horizontal lines onto the deck, which has to be really thin and delicate. Following that outline, we just add some horizontal lines, good equally spaced lines. They don't need to be continuous line. If you want to break it in between, you could do that. That's not a problem. Now fill up that entire area in horizontal lines. They have to be really thin and delicate. That's only thing you need to be careful about, otherwise, you won't get that proportion right. Add similar lines. You can use a detailing brush or a brush with a pointed tip. Don't use a bigger brush. Don't make them bolder, make them really thin. Now keep adding them until you reach the bottom. I have added all the lines. Now I'm making some of the lines a little thicker, especially the ones at the bottom. Randomly pick few lines and make them a little thicker. That's done. Now the final step is to add a vertical line. It's just a simple vertical line, you can add them on either side. That's the size I'm going with. Now I'm adding that over here. That's done. Now, I'm going to wash all the paint from my brush and I'm switching to white watercolor. Using white watercolor, I'm going to add a teeny tiny crescent moon. You can either use white watercolor or white gouache. I have some white watercolor here, so I'm just going to use that. Make it super tiny, so it is better to go with a smaller size brush. I'm adding that over here. That's the size I'm going with, it is really small. If you want to, you can splatter some stars as well. I'm not going to add any stars, I just want a small crescent moon. If you're adding stars, don't forget to cover up the mountains as well as the deck, then splatter your stars. Okay. So with that, we're done with the painting for the day. Here is our calm and beautiful night. Now it's time to pill off the masking tape. I really love the color combination, especially the way the deck has turned out. It's a pretty simple one. We have used the gradient technique. If you haven't tried it yet, do give it a try and I'm very sure you guys are going to love it. Here is a closer look. You can see those gorgeous textures and the mountains and that teeny tiny moon. That's it for the day. Thanks a lot for joining me. I will be back here soon with our next dreamy landscape. 24. DAY 7 - Green Meadows : Hello, dear friends. Welcome to Day 7. Today we are painting an easy busy sunset meadow. I really love the sky. We'll be using three colors for the sky. It's going to be a really traumatic cloudy sky. On the top, you can see it's a blue, then I have some pink color over here, and towards the bottom, it's an orange. For the base layer, we'll be going for a simple variegated wash of three colors: blue, pink, and orange. Then onto that, we'll be adding some cloud using purple. First, I'll swatch all the colors, then we can quickly try painting a sky, so that you have a better idea on how to handle the colors, especially if you're a beginner. The blue I'm going to use is cerulean blue. If you don't have cerulean blue, you can use Prussian blue, or Taco blue. That's major color I'll be using for the sky. Along with that, I'll also be using permanent rose and brilliant orange. If you don't have permanent rose, you can use crimson or carmine, and instead of brilliant orange, you can use vermilion or any other orange color you have caught. Those are the colors you will need for the sky. Now, I will quickly swatch all these colors. I'm starting with blue. By now, you might have understood how much I love cerulean blue. It is one of my favorite blue. I love using this color for day sky as well as night sky. It's a gorgeous blue. It's a beautiful color to add a new collection, especially if you're someone who love painting landscapes. That's all for this color. The next one is permanent rose. As I said earlier, you can use crimson, or carmine, or any other rose you have caught. If you want the sky to be a bit more bright and prominent, maybe you can use Opera Pink Gasper That's our second color. Finally, I have brilliant orange. This is one of my another favorite. I really love this color. It is really bright and prominent. I love to use this for sunsets, that fiery orange sunsets. This is not a common color, so I'm not really sure how many of you have it. You can use any other orange instead. Cadmium orange is a lot similar to this color. That's our third color. We just need some orange color. It doesn't need to be the same, you can also use vermilion instead. Those are the three colors you will need for the sky. For the river as well, we'll be using the same colors. We won't be using blue, but we'll be using orange and rose. Now, the last two colors you will need are sap green and indigo. For the middle it is mostly sap green and over here, you can see these small bunch of greens. For that, I'll be using indigo. Those are the next two colors you will need. I'm assuming you all have sap green, it's a common color. It comes in almost all the watercolor sets. But indigo, I'm not really sure how many of you have it. It's not a common color that comes in all the watercolor sets. If you don't have it, you can just mix a little of Prussian blue or any other Taco blue with green to make it a darker shade. Now, I will quickly add the swatches of these two colors. You can see how gorgeous that green is, it is going very well with the color of the sky. This is actually an experimental painting. I tried something similar in gouache, and I wasn't really sure how that is going to look like in watercolor. But when I tried it, I really loved it. Now, just in case if you want to use viridian green instead of sap green, that will also work. Just go with any green that you prefer. We need a medium tone as well as a darker tone. That's our next color. Now, the final color you will need is indigo. I have two indigos in my watercolor collection. I have one from ShinHan, and I have another one from Sennelier. Both of them are quite different from each other. The one I have from Sennelier is more bluish, and the other one from ShinHan is more grayish. The one I'm going to use here is from ShinHan. You can see this darker value, it is very much similar to paints gray. It doesn't really matter which indigo you're using and from which brand, we're just using that as a color to add the darker value, so any brand will work. This is the one from Sennelier, it is a blue indigo. I will first swatch out the one from ShinHan, so that you can see the difference. I just want to alert you the color from different brand can look to; which means even though we are using the same color, your painting and my painting can look slightly different. This indigo is from ShinHan, now let's try the one from Sennelier. This one is a lot bluish. Sometimes I prefer using this one, especially if I am painting a snowy mountain or a deep blue sea, even for night skies, but the other one is more grayish, I think you can clearly see a difference here. Those are the two color swatches. I just want to show you the difference between these two colors. I want alert you that the colors from different brand can look different, even though the name is the same. You can use any indigo that you have got. If you don't have indigo, just use Prussian blue or any other Taco blue, and mix that with your green to create a darker value. Those are the colors you will need for today's painting. Now, let's try painting the sky. It's going to be a wet in wet sky. First, we'll be applying coat of water. Then onto that, we'll be applying three colors, which is blue, pink, and orange. It doesn't need to be a perfect variegated wash. As we're adding the clouds, it doesn't really matter whether you have a perfect background or not. First, let's start by applying coat of water then we can lay the colors. Using my one-inch wash brush, I'm going to apply a clean coat of water onto a small section. This one is 100 percent cotton watercolor paper, which is handmade. I'm not really a fan of handmade watercolor paper, I like the machine-made watercolor paper. The main reason being we can't really predict how the paper behaves. It really depends on patch to patch, it is not at all predictable. Some of them usually turn out really well, but some of them have some errors. I always go for Arches, or Canson, or some other artist-grade watercolor paper, which is 100 percent cotton. I have applied a coat of water. You can see I have quite a lot of water here, it is floating on the paper. We don't want this much of water on the paper, we just want a shiny coat. In case if you have a similar condition on your paper, leave it for some time, let it settle. If you have quite a lot of water floating on your paper, the paint will also start floating in a similar way and it will be very difficult to control the way it is spreading and floating. Now, let's start applying the paint. For that I'm using a medium-sized drum brush, this one is size number 8. I'm picking a really vibrant and intense tone of cerulean blue and applying that on the top. You can see the way the paint is laying there I have applied it, it is not spreading a lot. That is because I have the right amount of water on my paper. If there is a lot of water, your paint will start floating, not spreading. That's something you need to keep in mind. Whenever you feel like there's a lot of water on your paper, you can leave that for a few minutes and let that water settle. After that, you can start applying your paint. So, that's blue color. I think I can apply a little more. It's a gorgeous blue. You can see how beautiful that color is. Now, I'm going to marshal the themes from my brush and I'm making it slightly lighter. I'm using a clean brush and I'm making a light over here. Now we can go to our second color, which is rose. As I said earlier, if you don't have rose, go with crimson or carmine or any other similar color. Again, go to medium to try to value, if you're looking for a brighter result, because watercolor tends to dry when it dries, so it's better to go to a brighter color in the first layer itself if you're looking forward for a better result. Now, let's blend this. It doesn't need to be a clean blend, just don't worry about that. You can just leave your paint as it is. Now let's go to the third color, which is orange. I'm applying that at the bottom. Our work here, I feel like there's quite a lot of water there. You can see how it is floating down. That's something you should watch out. On the top I have the right amount of water, but at the bottom I had quite a lot of water, which means the background layer wasn't even. When you're applying water onto your background, keep running your brush multiple times just to be sure coat a water is even. Now I'm making it lighter. I'm blending that with the rose. It doesn't need to be a perfect blend. It can be slightly rough and messy. That's absolutely okay because we'll be adding some clouds onto this and that will cover a part of those mess. I have added cerulean blue on the top. Then I have added some rose, and towards the bottom I have used some orange. Now onto this before it dries, we need to add in the clouds. You need to be really quick and you need to add the clouds before the background dries. Otherwise, they won't spread into the background. Let's quickly make some purple, which is the color I'll be using to add the clouds. I'm picking a little of permanent rose and I'm mixing that with cerulean blue. In this mix, I'm using more rose and less blue. It's not violet, it is more like a purple. If you have a similar color in your collection, you can use that directly. I'll dispatch out the color so that it will be more clear for you. That's the color I'll be using. We can see permanent Rose is the dominant color. Now using this color, we can start adding the clouds onto the background. Just like how we spoke about the amount of water you have in the background, the consistency of the paint that you're going to use for the clouds also matters. It shouldn't be too watery. I have some paint on my brush. You can see the way it is spreading into the background, which clearly means my paint is really watery. I need to reduce the amount of water. I'm picking a paper towel and I'm going to dab my brush on it. The paper towel will absorb the excess amount of water and leave your paint in the right consistency. I think it is still watery, but it is not spreading like before. Let's use a paper towel again and we can try adding the clouds. I think it is much better. It is now spreading like earlier. It is staying where we have applied the paint. This means our paint is in the right consistency. Now we can keep adding more clouds. You can add some on the blue area, then few on the orange and also on the pink. You can make it more dramatic if you want to. We want to get that little idea about the water control and also the consistency of the paint. It is an easy task. With regular practice, you'll be able to handle multiple colors and you can paint complex guys. Now using a much more darker value, I'm adding some more clouds where I have blue. Towards the bottom, I'll be using much lighter colors. I don't want the bottom to be much dramatic and busy. Only where I have blue, I'm adding more clouds. Now for the pink and orange area, I want the color to be really published. I don't want any blue color in that. I'm making the color more published by adding more permanent rose. Now using that color, I'm going to add some more clouds at the bottom, especially where I have rose as well as orange. Over here, I don't want the clouds to be too big. I'm dabbing my brush on a paper towel multiple times just to be sure there is no much water on my brush. My paper definitely is really messy, I think I will grab a new piece. Just in case if the pain that you're using is really watery, the colors that you're adding will start spreading into the background and it will get bigger and bigger. If you want small clouds like this, you have to be really careful about the consistency of your paint. You can easily control that by dabbing your brush on a paper towel. That's the easiest method. Whenever you feel like your paint is watery, just dab it on a paper towel and then add new clouds and see the magic. You can see over here on the top where I have blue, I have used more darker color for the clouds and towards the bottom, I have used medium tones. You can add your clouds too in a similar way. If you want to make it more dramatic, you can add more clouds. I'm quite happy with the sky. Maybe I will add some more clouds at the bottom using a medium tone of purple. Then I think we can color them. I don't want to make it too busy and spoil it. Right now it is looking quite nice. There is one more thing that I want to mention before we start with our project. Whenever you're going to do a wet on wet sky, whether it is for this painting or for some other painting that you're going to do in your future, the moment you feel like the background is starting to dry, that's your sign, stop it there. Don't add more clouds. I have spoiled many of my paintings just by going for that one last cloud. Whenever you feel like your background is starting to dry, just leave it there. Going for that one last cloud might end up ruining your decent looking sky. Be really careful about that. That's the sky. I'm pretty happy with the way it has turned out. The colors are looking really pretty. I would suggest you to give it a try, especially if you're new to watercolor, just to understand the water control and the consistency of the paint. Try adding the colors onto a background and try adding the clouds. Now, I will just add some green at the bottom to give it a more finished look. It's a gorgeous color combination and I'm really sure you guys are going to love it. Unlike the other paintings we have done so far, this one don't have a lot of details, but I think it is still looking quite pretty. I think I can make the green a bit more brighter. I'm picking a little more sap green and I'm making the green area more brighter. Then maybe we can add some indigo as well, just to add some darker tones. This area hasn't dried completely. Never mind. I just want to show you how this color combination works. You can see the difference. When we added the green, the sky is looking really pretty. Now I'm picking a bit of indigo and I'm just adding some random lines to add some texture and some deeper tones. That said, we had a quick look at the color palette as the last technique. Now it's time to give it a try. It's an easy-peasy painting which would take you less than 30 minutes. I'm very sure this one will be one of your favorites from the collection. If you're excited to give it a try, join me in the next section. 25. Green Meadows - PART 1: Today's painting is actually a very quick and easy one. We don't have a lot of details today. The major part is painting the sky. The sky takes up more than half of our paper. Once we're done with the sky, we're more than halfway through. Even though there isn't a lot of details, I absolutely love this painting. I think it's that colors and the green meadow. I really liked the color over here. It's a lighter orange. It is making the sky really pretty. I'm hoping you guys have tried the technique section that I have explained, the color palette as well as the techniques. If you're an absolute beginner with watercolor, don't skip the technique section. Just quickly try of the sky on a scrap piece of paper to understand the color combination, how to blend them, and how to add the clouds, so that you will have a lot more confidence to approach the project. Now, let's give it a try. The first step is to paint the sky. First I'm going to apply a piece of masking tape a little bit on center of the paper. Three-fourth of painting is going to be the sky, and just one-fourth is going to be the landscape. Here, I'm applying a piece of masking tape. Now for the sky, I'm going to use wet on wet technique. We already tried the same in the technique section. I'll be using three colors for the sky which is cerulean blue, permanent rose and brilliant orange. I already have some blue on my palette. I will squeeze out some clean permanent rose. The other one has some violet in it. Let that stay there. Now, let me take some orange as well. If you don't have permanent rose, you can use crimson or carmine or any other rose color. Then instead of brilliant orange., you can use vermilion or any other orange color you have got. I have the colors ready. Now the first step is to apply a clean cold water onto the entire sky. For that, I'm using my one-inch wash brush. It is best to use a bigger size flat brush. If you don't have a flat brush, you can use a round brush, but just run your brush multiple times to be sure that there is no pools of water in-between, meaning an even coat of water. Also don't put a lot of water. We just need a shiny coat. In case if you feel like there's a lot of water on your paper, you can wait for a few minutes for the water to settle. We don't want the paint to float around. All we need is a shiny coat of water. Don't add a lot of water onto your background. My background is evenly wet, now we can start adding the paint. For that I'm using a flat brush. You can either use a flat brush or a round brush. Both of them will work. I'm going to use a half-inch flat brush. I'm just washing it thoroughly just to be sure it is clean. Now I'm starting off with a really intense and vibrant tone of cerulean blue. As I said earlier, if you want to use a different blue, you could use that. It can be Prussian blue or ultramarine blue or any other blue. Go with an intense color, and apply that on the top of the sky. That's the color I'm going with. You can see this pretty bright. Now let's start adding the color almost to half of the sky. You can see the color is not really floating. It is staying where I have applied it. That is just because I have the right amount of water on my paper. It's just evenly wet. It doesn't have a lot of water on the background. If there is a lot of water, the paint will start flowing and floating on the background and it wouldn't stay where you've applied it. Water control is something that you learn as you progress. If you are using watercolor for the first time, you might not get it right, but that's okay. You will slowly get it right. But don't stop practicing just because you're frustrated with your painting. That is blue. Now, I'm going to wash all the paint from my brush and I'm making it slightly lighter. My brush is just damp. Now I'm running that over here to make it lighter. That is blue. Now we can introduce our second color by just permanent rose. I'm washing my brush again. Now I'm dabbing that on a paper towel and I'm picking my second color. For this one as well got a brighter value and apply that right next to the blue and make it a clean blend. Where these two colors are meeting, you might end up creating a violet, which is absolutely okay. Now I'm making it a better blend. Let's leave that for now. Now we can apply the rest of the colors. My brush add some violet on it, so I'm picking some more clean rose and I'm applying that over here. The last color we have to apply is orange. I will be applying that at the bottom, and I will go towards the top. I'll be using a little brighter value at the bottom. Then I will make it lighter as I blend that with rose. Start off with a medium tone and apply that along the horizon line. Then slowly blend that with the rose. Over here we have lighter values, and towards the bottom, we have slightly brighter tone. Pick some more brighter value of orange and apply that at the bottom. That's our base layer. Now onto this, we need to add in our clouds. For that, I'm using a round brush. I'm keeping my flat brush aside and I'm switching to a round brush. I'm going to use some medium-size brush, the smaller size, number eight round brush. I always prefer using a medium-size brush, because I feel this way I have a better control. Whenever I tried creating clouds with a bigger size brush, it never came out right. It used to turn out really big, much bigger than what I wanted it to be. I feel like if I'm using a medium-size brush, I have a better control on the size of the clouds. Now, I'm creating a violet, just as the same way how we tried in the technique section. I'm picking some cerulean blue and I'm adding that with permanent rose to create a wild color. As one like a purple color. I have more rose color. Now I'm tapping that on a paper towel just to be sure the paint is not too watery. Now using that color and randomly add in some clouds onto the sky. You can decide on how much clouds you want, in your sky. If you want to make it really traumatic, you can add more clouds. Also it can play with different tonal value. Right now, I'm using a darker shade. You can see the color here. It is pretty dark. Towards the bottom, I'll be using a medium value. I don't want the clouds to be really dark over the bottom. There I have rose and orange. Only the top, I'll be using a darker value. For the rest, I'll be using medium values. Now I'm adding some clouds where I have rose color in the background. Looks like my paint is really watery. I'm dabbing my brush on a paper towel and I'm adding more clouds. What happens is if your paint is really watery, the clouds that you're applying will start spreading into the background in a very rigorous way. You won't end up getting these small shapes. Also, it will be very difficult to control the way to spread here. There will be clouds everywhere. Just be sure to dab your brush on a paper towel the moment you feel like your paint is watery. Over here you can see the color I'm using, it's a lighter value. I will add some more at the bottom, but that seems a bit darker. I don't want the color to be that dark. That looks fine. I don't want to add a lot of clouds where I have orange. I want to retain that orange color at the bottom. Maybe I can add some more clouds on the top, especially when I have the blue. Go to brighter value of violet or purple and keep adding your clouds on the top. You can add them how you want to, but just be sure the background is still wet. In case if it's starting to dry, I would suggest to stop it there. Don't add in more clouds, that might ruin your sky. In case if you're new to watercolor and if you're not really sure about the water control and how to add clouds, the easiest way is to do practice. Take out a big piece of paper, divide that into four or six sections. The first one, apply a coat of water and add your paint right away. The second one, apply coat of water and wait for few minutes, then apply your paint. On each and every section, apply your paint at different times and understand what works best on your paper. Because some papers stays wet for a longer time, especially it is 100 percent cotton watercolor paper. Whereas some other paper, even if it is 100 percent cotton watercolor paper, it might not stay wet for a longer time. It is mostly depending on the paper and also you micro-climate. Well to do through practice to understand your paper, you will have a little more idea about water control and when to add the paint and how to add the clouds. That's how the sky has turned out. We have used three colors for the sky. We started off with cerulean blue, then we use some pink and some orange. Then onto that, we added some clouds using violet. I'm quite happy with the blend and the clouds. As I said earlier, if you're really serious about your watercolor hobby, if you want to take it to the next level. There's no other way than putting a lot more time into practice. You can just keep half an hour everyday for practice. Maybe you can buy a small sketchbook and every day you can explore a different sky. I'm pretty sure by the end, you will have explored millions of color combination. Also you will have a better idea about water control and how to create beautiful skies. You can call it a watercolor's sky tanner. Good idea. Anyway, now we'll have to leave this for drying. That has dried. Now I'm going to peel off the masking tape. The next step is to add an arrow river at the center. We are trying to make it look like it's really far. You can go with a small shape or just narrow. To make it easier, I'm attaching an image here. You can just follow that shape or a similar shape. It just has to be a small, irregular shape. Let me take out my pencil and adding the sketch. Go with some natural curves and make it really interesting. For the lake, I won't be using blue, I'll be just using a lighter value of orange and also some pink. Then I'll be adding few clouds onto it to show the reflection. That's our next step. First, we can add in the sketch. I've added the top part. You can add the shape however you want to. It doesn't need to be exactly the same. We just want a small narrow river over here. It can be either towards the left or towards the right. Right now, if you look at the painting, I have on the left side, it doesn't look like a river. It is quite flat and plane. But the moment when we paint the middle, when we introduced the green color onto the background, you're painting is going to look really great. That moment you will feel like your painting is coming into life. I have added the sketch. Now we can start painting the river. To paint the river, I'm going to use my size number eight round brush. You can use any of your medium-size round brush. I'm washing thoroughly just to be sure there is no other paints inside it. First I'm starting out with a lighter value of orange, and I'm going to apply that onto the left side of the lake. You can see the color that I'm using here it's quite light, it's something similar to the color I used for the sky. Now simply follow the outline you have added there and add in a lighter value of orange. Towards the right side, I'm introducing a lighter value of pink. I'm blending that. I've used a lighter value of orange and rose to paint the lake. I have just follow the outline I have added earlier. Onto the right, I have added some rose. Towards the left I have added some orange. Maybe we can just extend this part just a little. Now after this, I'm going to add some clouds. I just want to show the reflection, so I'm picking the same color, the purple we created earlier. Towards the right side, I'm adding some clouds. It's again a medium tone. I'm not making it too dark. I don't take a lot of paint and go to the paint which is not at all watery and add few clouds like this. The river is already really narrow, so don't add a lot of clouds and fill up the background color. We want to see that orange and rose in-between. Just add two or three set of clouds. Not more than that. That's a river. I want to add a lot of details as it is quite far and also it is really narrow. It's better not to make it really busy. Let's keep it minimal and simple. That's the sky and the river. Now we'll have to wait for this to dry before we go the next step. 26. Green Meadows - PART 2: This is where we have reached. Now it's time to paint the meadows. For that, I'm using my medium-size brush and the color I'm going to use is sap green and some indigo. Sap green is a major color. We'll be using indigo to add some deeper value. If you don't have indigo, feel free to go with Prussian blue or any other darker blue. I'm going to squeeze out some sap green onto my palette. Sap green is a beautiful green and is a very common color as well, so I'm guessing you all may have it. The next color we will need is indigo. We'll be using that color to add the deeper tones as well as some details along the horizon line. I have the colors ready. Painting the meadows is a really simple process. First, we're going to apply medium sap green onto the entire area and then towards the bottom, we'll be introducing a darker value. We want the green to be really bright and prominent, so don't add a lot of water. Go with an intense color and apply that onto this entire area. Carefully follow the outline you have added there. Also, be careful when applying paint along the horizon line. It would be great if you can get a clean straight line over here. In case if you feel like you should be using a smaller size brush or a brush with a pointed tip in order to get these lines correct, you could do that. Then you can switch back to your medium-size brush and fill up the remaining area. Carefully, fill up that outline. In-between, you can add some smaller shapes like this to make it look more realistic. Now, let's fill up the rest. You can see the color I'm using, it is quite dark, it is not light. When the background dries, the color will be a little dull. It is better to go with a darker color in the first layer itself, especially because it's an evening scene, we don't want the color to be too light. Go with the similar tonal value of green. Now I'm adding paint over here. I need to pick some more paint. Now you can use a medium-size brush and simply fill that entire area. Once you have gotten that outline dry, then it is quite simple. You can just fill up that entire area in green. Initially, I had planned for a different color combination for the sky, but then it turned out to be really dull. That's when I tried this color combination and I really loved it, especially when I added the green. By the time when we finish adding the green, you will see that magic happening. Now I'm picking some indigo and I'm adding that at the bottom. Once you have added your deeper value, you can pick some more green and blend them well. We want this darker value only at the bottom, the rest has to be green. Using my medium-size brush, I'm just blending the colors. We have applied color onto the background, we have used sap green and indigo. Now we need to add shadows over here to make it look complete. That's our next step. But before that, I think I will quickly add some more green at the bottom. I'm not really happy with the blend. I'm just adding some more green and I'm making it a smoother blend. As we're not planning to add any extra details onto this, it is better if we can get a clean blend. Now I'm keeping this brush aside and I'm picking a smaller size brush. I'm creating a darker value of green by mixing a little of indigo with sap green. Now using that clue, along these lines, I'm adding some deeper value. You just need to add a line using that darker green. Don't add a lot, do that for all this area. Just follow the shape of your meadow and add some deeper value along that outer line. You can already see the difference here between the left and the right side. The right side looks more complete compared to the left. When you're adding a deeper value, just be sure to use the smaller size brush, don't use a bigger brush. Use a smaller size brush and go with a darker value of green. Add a line following the outline of the meadow to show the depth and the shadows. The step needs to be done while the background is still wet. If you feel like your background is starting to dry, be really quick and add these lines before the background dries. It's a very simple line along the outer shape, but be sure not to use a watery paint. If it's too watery, it will spread into the background. We don't want that to spread a lot. Now, along with that, you can also add some teeny tiny shapes like this to make it look more realistic. Just add two or three small shapes like this as an extension of that land, so that's done. Maybe I can add one more over here, a small one. That's the meadow. Now just in case if you want to add some more deeper value, you could do that only if your background is still wet. Otherwise, leave that for drying. This is how it has turned out. I really love this lighter value we have got over here. That is looking really pretty. We have a really darker tone at the bottom as well as on the right top corner. The small area is really glowing. Anyway, now I'm going to leave this for drying. That's dried completely. I'm pretty happy with the sky, but it doesn't really feel defined. To define it in a better way, we're going to add some details along the horizon line. We're going to add some small bunch of trees along the horizon line. Although this is not a detailed one, we're going to add some basic shapes. I will just randomly add that along the horizon line. For that, I'm going to use a really dark tone of indigo. You can either use indigo as it is, or you can just add a little of green into indigo, or any other darker blue and go with a darker value of green. We just need some darker value over there, it can be any color. Now to add the details, I'm going to use a smaller size brush. This one is size number six brush, it is really nice pointed. It is easier for me to add those shapes. I have taken paint on my brush. Now, let's add those bunch of trees. When I say a bunch of trees, don't be scared, it's going to be very random, simple shapes. This one is really far from us, so we don't need to put a lot of effort in detailing them. I'm going to add the first one on the left side. I'm adding that onto this extreme corner. First I'm adding a random shape, then I'm going to fill that in indigo. I'm not going to add that continuously, I'm planning to break that in-between, so that's the first bunch. Now I'm filling that in indigo. This is the size I'm going with, it's not too huge. If you make it too huge, your painting will go out of proportion. In order to make it look like it's really far, go with a smaller size. If you want to make it even more smaller, that's great. That's the first bunch. Now I'm going to leave some gap and I'm going to add the second bunch. The first one we added was a longer bunch. Now for the second one, I'm making it shorter, so I'm leaving a gap. Then I'm adding a smaller bunch of trees. You can see the size, it is really small. The first one was longer. When you add in your group of trees, go in a similar manner, don't make all of them look the same. Some of them can be longer and some of them can be shorter. This will make your painting look even more beautiful. Now, leaving a little more gap, I'm going to add another bunch of trees. You can see how beautiful our painting's starting to look when we are adding these details. It's a very simple and it's a very small detail, but it has a lot of importance in defining the horizon line. Earlier, it was looking quite flat and empty. I feel like it was a bit lifeless earlier, but now it is looking really gorgeous. That's the third one. Now in a similar way, I'm going to add another one over here. Again, I'm leaving a gap. Don't forget to leave this gap in between. Don't fill up the entire horizon line. Now, once I'm done with this, I'm planning to add one more towards the right most corner, and with that, we'll be done with our painting. That's done. I cannot tell you how much I love this painting, especially the sky and those details along the horizon line. I have some paint left on my brush, so I'm just adding some deeper tone along this line. It's a very thin line. I'm not adding a lot of deeper value. See that, so don't make it a bold line. We have already added some deeper value there, so just a thin line is all we need. This is just to define the shape of the meadow clearly. Now, maybe, just maybe, you can add some more teeny tiny rocks as well. They have to be super tiny. We have already added few, only in case if you want to add some white, you could do that. Otherwise, just ignore the step. With that, we're done with our painting for the day. This is how it has turned out. I'm quite happy with the color combination and entire feel of this painting. Now we can peel off the masking tape and admire our gorgeous painting. Here is it. I really love how this has turned out. It's a gorgeous color combination. I can agree the meadows are going so well with the color of the sky. I really enjoyed it, I hope you guys loved it too. The green is looking so good. Compared to the other paintings we have done so far, this one is pretty easier and quicker. This part is my favorite, I really love this color and the details against that lighter background. I'm really loving this color combination. I'm planning to try the same sky again, maybe on a bigger scale. I want to try a little more dramatic sky with the same color combination. Anyway, that's it for today. I hope you all had a great time painting this gorgeous green meadows and sunset sky. Thanks a lot for joining. I will back here soon with our next dreamy landscape. 27. DAY 8 - Winter Night: [MUSIC] Hello my dear friends. Welcome to day 8. Today we are painting a simple and easy winter night. We don't need a lot of colors today. As you can see from the painting itself, the major color we're going to use is blue. For the sky I will be using indigo. What you see on the top is indigo and towards the bottom I will be using some cerulean blue and over here you can see these trees in the background. For that, I'll be using some Payne's gray. We will be adding them on a white background to create a blurry effect. For the tree as well; this major tree you see here with this aweful full-grown element, for that as well I will be using Payne's gray. Then for the snowy ground, it's a combination of Payne's gray and indigo. Those are the colors you will need for today's painting. I will switch up the colors and we can try out the sky. It is a winter night sky so the colors that you're going to use has to be really dark and intense. The first color I have here is indigo, the one I'm going to use is from Sennelier. You can use any Indigo that you have got. This is the one I'll be using. It's a bluish indigo. You can use any indigo that you've got, whether it is a grayish or bluish it doesn't really matter. We just want a darker value for the top. In case if you're using Prussian blue or any other darker blue, you can just use a darker value of the same color on the top and make it lighter as you come down. As you're trying to paint a night sky, we want really dark and intense colors on the top and some medium tones at the bottom. That is all what we need, so just don't worry if you don't have the exact same colors that I'm using here. That is our first color. The next one is cerulean blue. Instead of this color you can use Prussian blue, or ultramarine blue, or any other blue you have got. It doesn't need to be cerulean blue. You-all know my love for this color. I absolutely love this color and I use it quite a lot in my paintings. I use it for night skies and day skies, so that is our second color. For the sky we'll be using wet-on-wet technique, we'll be applying a wet coat of water onto the background then we'll be applying indigo and cerulean blue onto the sky. It doesn't need to be a clean and perfect blend. You can use these two colors however you want to. We just want some darker value on the top and some medium tones at the bottom. The next color you will use Payne's gray which is the color we'll be using for these background trees as well as the main tree we have in the foreground. If you don't have Payne's gray, don't worry. You can use black, or neutral tint, or any similar color. That is Payne's gray. You can see the tree here. I'm using a really darker value of Payne's gray for this. The last color you will need is white. We'll be using white to add some highlights onto the tree. You can see this thin, delicate lines, so that is white watercolor. You can either use white watercolor or white gouache. Those are the colors you will need for today's painting. We can quickly try the sky. At the simple better wet sky where we'll be using two colors; indigo and cerulean blue, you can make the colors more dark and intense and make it more traumatic or if you want to go with a different color combination you could do that as well. The only tricky part might be the moon, but we have tried this earlier for the lighthouse painting. We'll be leaving some gap at the center and it's so clashy. Around that we'll be adding the colors, so we'll be leaving some space at the center to create a moon. Sometimes it's similar to the one we tried earlier. If you remember this painting, it's going to be next [inaudible] in the way. First we will be adding a circular shape onto the wet background. We will try to retain the color of the paper and then around that we will start to add our colors. Anyway, let's quickly give it a try so that you have a better idea. The first step is to make your background wet. I'm using my one-inch wash brush and I'm applying an even coat of water onto my paper. Be sure the coat of water is even, we don't need a lot of water in the background. We just need a shiny coat. Just run your brush multiple times to be sure there is no pots of water in-between. The water shouldn't be floating on your paper. I have made my background wet. To apply the paint, you can either use a flat brush or a round brush. I'm going to use a round brush. This one is my size number 8 round brush. First I'm starting off with cerulean blue. I'm using a medium value of cerulean blue and first I'm going to add a circle. Be sure your paint is not too watery. You can dab it on a paper towel to remove the excess amount of water. If your paint is too watery when you add in the circle the paint will start spreading into the background and it might get really difficult to retain the shape, so start with the paint which is not too watery and add the circle. The circle can be slightly bigger when you're starting out because by the time you finish painting your sky the paint will start spreading and you might end up having a small moon. It is better to start with the bigger circle so that by the time you finished your sky, you will still have your own. I'm going to apply more darker value around this. For that I'm picking more cerulean and I'm making it more darker. We can use any other blue. It can be Prussian blue, ultramarine blue, or Phthalo blue, or any other blue. That's a moon and the color around it. We can make it more darker especially on the top. You could actually try the same sky with indigo and violet, that's a wonderful color combination. It looks really nice for the night sky. That's another combination that you can try. You can see how the moon is reducing it's size. Right now it is much more smaller than how we had it earlier. This is what I said earlier. By the time you complete your sky the paint will start spreading, and in that time span the size of the moon will also get reduced. Start with the bigger shape and also be sure the paint is not too watery. Don't worry if this happens, there are a few ways on how we can fix this. We can either lift off some paint using a clean brush or we can add a white circle using whitewater color of white gouache. We can see that later. Before the background dries, let me apply some darker value at the top. I'm picking some indigo and I'm going to apply that on the top of my sky. The indigo I'm using here it's from Sennelier. It's a bluish indigo. I think I have discussed about this earlier. According to the brand and the pigment they are using, the color might be slightly different but that's okay. They're just trying to make the sky a bit darker on the top, it can be any indigo. I'm dabbing my brush on a paper towel and I'm just making it smoother. Along with that I'm also adding some lines at the bottom to make my sky a bit more dramatic. Go with medium to darker values, don't use lighter value. It is only when you add darker value you will get that illuminating feel. Right now you can see how beautiful the moon is glowing. Around the moon you can read in some lighter value then the rest can be a bit darker. I'm quite happy with the way it has turned out, I think I liked it more than my main painting. The moon is really glowing because of how I used much more darker values here. In case if you couldn't really retain the moon, what you can do is wash all the paint from your brush. Clean thoroughly and make sure there's no paint stains on it. You can dab it on a paper towel just to confirm there's no other paint stains. Using a slightly damp brush we can lift off some paint from the center, so my brush is clean. It was going to sit on brush. You can use any often medium to smaller-sized brush. Using that clean damp brush I'm trying to lift off some paint from the center, so I'm running my brush in a circular way and I'm trying to take off the paint. Be very gentle when you're doing this and be sure to run your brush in a circular way and also make sure your brush is clean. You see that? I got a nice moon over there. This can be another option. If you couldn't retain the moon, you can just lift off some paint using a clean brush or you can use some white paint and introduce a small moon using white water glow or white gouache. Before the background dries, I will quickly add the trees at the bottom. For that, I'm picking some Payne's gray and I'm just adding that paint onto the wet background. While here I'm trying to create some blurry trees I want to make it look like they are in the background and also I want to create a misty foggy field. Just drop in your paint onto the wet background, don't wait for a lot of time. If the background is not wet we won't get that blurry feel, so they have to spread into the background in order to get that blurry look. We can already see that effect here. It looks really foggy and misty. It is simple and easy technique which can create a beautiful impact in your painting. You can use this technique in any of your other paintings as well, so whenever you want to add some trees in the background you can use this technique. Go with a really natural shape. At some places you can make it higher and at some places make it lower. Onto this I'm going to add some lines using a darker value, so I'm picking some more Payne's gray; a much more deeper value and I will simply add some lines on to this while it is still wet. See that? It's just some simple lines. This is to create a feel that there are some trees over there, so you can either add them as a rough shape or you can just add some lines like this. I'm really loving this color combination. I think it is looking really magical. Maybe we can add some more lines and with that we'll be done with our technique section. You can see here my moon is almost gone, I couldn't really save it. The anterior area is filled in blue, the white is not really visible. There is one thing that you can do to save your moon. Obviously, the easiest option is adding a moon using white gouache or white watercolor, but there is one more thing we can do. You have to use a clean brush, brush it thoroughly. It has to be slightly wet. This one is a size number 8 brush. It doesn't have any paint on it, it is just wet. I'm just making it wet again. It just slightly wet. Using this wet brush, I'm going to gently touch right where I have the moon. See that? When I'm touching that wet brush over here, the paint is just moving away and I'm trying to get that paper white. This is another trick, but it can be very tricky. Just try it on a scrap piece of paper, just apply some paint onto the background and try it out. If it's getting dried you can use this technique in your future paintings, otherwise the easiest option is just adding a white circle with either gouache or white watercolor. Just go with the option that you prefer. Obviously you can go the easiest way. I'm just picking some white watercolor and I'm adding a small white circle here. That's [inaudible] the color palette and the techniques you need to know for today's painting. If you're absolutely new to watercolor just start with sky and understand how the colors work and how it can retain the moon. This week you know what to expect and you will have a better confidence when you're attempting the painting. It is not that difficult. When you try multiple times, you will get the hang of it. It's going to be a wonderful technique especially if you are someone who love painting nights skies. Get your colors ready and time in the next section. Let's give it a try. [MUSIC] 28. Winter Night - Part 1: [MUSIC] I hope you guys had a look at the color palette and the techniques. As we discussed already, I'll be using indigo and sadolin blue for the sky. But if you want to use a different color combination for your sky, that's totally okay. Now let's give it a try. I have my paper and colors ready here. First I'm going to add a line which will divide the sky and the ground. I'm going to add that a little bit of the center of the paper. It's going to be somewhere over here. The top portion is going to be the sky and the bottom is going to be the ground. Over here we'll be adding some trees, which you can do when we're painting. You don't need to add that sketch right now. All you need to do is just add a line to separate the sky and the ground. For this painting I'm going to paint the ground first. For that I'm picking [NOISE] my one-inch wash brush and I'm applying [NOISE] coat of water onto the ground. It is okay if you accidentally add some water or paint into the sky, it is not going to affect your painting. [NOISE] Now we can start painting the ground. To paint the snowy ground, I'm using a medium tone of indigo, and I'm using a medium-sized round brush. As you can see here, I'm using a medium tone of indigo. It's not too dark and it's not [NOISE] too light as well. Now I'm washing all the paint from my brush and I'm making it lighter as I go towards the top. We need a medium to darker value of indigo at the bottom, and it has to be lighter as we are approaching the sky. It's a simple gradient wash of indigo. There is nothing much complicated here. You can simply make your color lighter as you go up, and it doesn't need to be a perfect and clean blend. It can have some lines and some pauses in between those things are absolutely fine. You can simply run your brush back and forth until you feel like you have got a beautiful background. That's a base layer. Now before this dries, we need to add some more details onto this. As we discussed in the technique section, the main element of our painting is a tree, which we are going to add at the center. Right where the tree is starting we need to add in some deeper value and shadows. That's what we're going to do next. To add the deeper value and shadows I'm using Payne's gray. We need a medium tone of Payne's gray. This is where I'm going to add a tree. Using a medium value of Payne's gray, I'm just adding few lines onto the wet background. Just some random lines. You can see the color, it's not too dark. Go with a similar color. We can add some texture using a darker value at the end when the background dries. For now, we just need a medium tone. This is something like how you add clouds onto your sky. You don't want them to spread into the background a lot. If you feel like your paint is too watery, dab it on a paper towel, and then add the lines. We want them to stay where we have applied them. Be sure to use the paint that is not too watery. I have added some lines. It's just some random lines using a medium value. You can see the way I'm adding them. I have mainly added them at the center where I'm going to have the tree. It doesn't have any particular shape or any particular order. That's all the snowy ground. Now we can leave this for drying. [MUSIC] That has dried. You can see the color is quiet dull than earlier. Never mind. Now we can start painting the sky. [NOISE] Again, I'm using a wet on wet technique. First you can apply a coat of water onto the entire sky. I'm missing a one-inch wash brush, and I'm running my brush multiple times just to be sure water has reached everywhere. You don't want a lot of water. We want the coat of water to be even. All we need is just a shiny coat of water. If you feel like there is a lot of water on your paper, if there is water floating around, just wait for a couple of minutes for that to settle and then start painting. We already spoke about the [NOISE] colors that I'm going to use for the sky. This is indigo and sadolin blue. I'm starting off with a flat brush. First, I'm picking a darker value of indigo. You're going to paint a night sky, so the color can be as intense and darker as possible. The indigo that I'm using today is from Sennelier. It's a bluish indigo. If you're using indigo from any other brand, it might look slightly different, but that's okay. Now I'm switching to a round brush. I'm picking a medium tone of sadolin blue. Over here we need to add in a moon, that's our first task, so pick a medium tone of sadolin blue or any other blue that you're using. Looks like there is a lot of water here. I'm just dabbing that off with a paper towel. Now I'm adding the moon. Add a circle. That white space is our moon. Now we can start adding the paint. I'm running my brush and I circle away, and I'm adding paint around the moon and I'm gradually making the color of more darker. Now I'm blending that with indigo. Now we can start filling up the bottom. [NOISE] I'm just washing up the paint. I'm picking some more sadolin blue, and I'm adding that around the moon. On the top I'm using indigo, and towards the bottom, I'm using sadolin blue. We can make the color more darker as you go away from the moon. I'm using a much more darker value of sadolin blue here. Only around the moon I want to retain some lighter value, but this can be darker. See that? This is how you can create that glowing moon effect. You have to use lighter value around the moon. Then you can gradually make the other areas more darker. I'm picking some more sadolin blue, adding that at the bottom. See that? I think that moon is already glowing. I am really loving the colors. You can see here the colors around the moon is really surely spreading, and I'm [NOISE] almost losing my moon. What I'm going to do is I'm just washing up the paint from my brush and I'm dabbing that on a paper towel and I'm trying to lift off some paint. My brush is just damp. It is not too wet and it's not too watery. If you feel like your brush is too watery, dab it on a paper towel and then lift all the paint. I'm not really sure whether that will stay. Anyway before the background dries, I'm going to add some more indigo to the top. If the moon didn't work at all, I will add some white watercolor or white gouache. I'm just going to leave that as it is, and I'm picking more indigo and I'm adding that at the top. I feel the colors are not too dark for a night sky. Let's add some more indigo on the top before the background dries. I'm not looking for a clean blend I'm just adding that indigo in a very random way. Just to make the sky a bit dramatic. See that? I'm just dropping that into the wet background. I'm not really blending that with sadolin blue. That looks fine, but the moon has completely gone. [NOISE] I'm going to quickly see if I can fix it. I have cleaned my brush properly. By using a clean wet brush, I'm trying to lift off some paint from the center. It is not really working. I'm going to try the technique that we tried in the technique section. I'm adding a drop of water there. See that? We can see how the water is pulling the paint away. You have to gently touch your wet brush on that wet sky and that water will move away the paint and will create a white circle there. I somehow managed to retain the moon. Now before the background dries, we need to add some trees over here. [NOISE] For that time picking some Payne's gray, it has to be a little darker value. Our background is still wet. Before that dries, just keep adding some thick lines here. At some places it can be taller and at some places it can be shorter. You can add them however you want to, it can be too huge or to short. Those things are totally up to you. The only thing is you need to add them before the background dries, otherwise you won't get that blurry feel. You can see the way I'm adding them towards the center, I'm making it shorter. I'm just randomly adding some shapes. We are trying to make it look like they're in the background. We want to create a blurry effect for them. By adding these trees on a wet background, there are two things that we are achieving. First thing is with that blurry feel we can make them look like they're in the background, they are quite far away. Secondly, it can create a foggy and misty field for our painting. Now in-between you can drop in some darker value as well before the background dries. This can be in a very random way. We don't need that darker value everywhere. Just add few lines in-between. [NOISE] That's done. I think my moon is still going away. I will try to save it one last time. [NOISE] I'm cleaning my brush, I'm dabbing it on a paper towel. I'm making sure it is clean. Now we can gently touch on the paper using a wet brush. I don't have a lot of water, it is a very gentle touch. See that? I got a teeny tiny moon over there. I wanted a little more bigger moon, but something is better than nothing. I'm just trying to be happy with this one. Anyway the end is not that bad. It is tiny, but I think it is looking nice. Anyway now we can leave the sky for drying. [MUSIC] 29. Winter Night - Part 2: The sky has dried completely, and I somehow managed to retain a small moon. As I said earlier I wanted that to be a little more bigger size, but I'm quite happy with the way it has turned out. Anyway now we can add our tree. I'm going to add the tree towards the left side of the moon. You can add that to the right side or maybe to the extreme left, that's totally your choice. To add the tree I'm going to use the smallest size brush. It can be any roundish, but go with one that's got a pointed tip because we'll need to add something, and the little branches. If you're using a brush that has caught a pointed tip it will be really helpful. To add the tree I'll be using Payne's Gray, and this is the brush I'm using, it is Size number 6. Before I start painting I think I will quickly add a line using a pencil. I just want to show you what I'm going to add the tree. You can either follow the same location or you can add that wherever you want to. I'm planning to add my tree somewhere over here and we'll have our shadow towards the side. Now let's start painting. I already have some paint on my brush. I'm using Payne's Gray, a really darker tone of Payne's Gray. First I'm going to add the main tree trunk then onto that, I'll be adding some branches. This brush has a really nice pointed tip and I can add those delicate branches quite easily. Go with an interesting shape for your tree, and the main tree trunk can be a bit thicker. You can see the color I'm using it is very much similar to black at such an intense and darker tone of Payne's Gray. That's a tree trunk, I'm making it a bit thicker. [MUSIC] Now onto this I'm going to add some thin branches. You can add them however you want to. I'm not planning to add a lot of branches. I don't want to make it too busy, but it is totally your choice. If you want to make your tree really tense and thick you can add lots and lots of branches. I'm going to randomly add some interesting branches. You can add them however you want to and wherever you want to. Try to make them really thin and delicate, this way your tree will look really interesting. It is better to go with the smallest size brush, or a detailing brush when you're adding those delicate branches.[MUSIC] This is how my painting is looking right now. You can see those branches I have added. I would suggest not to rush, and add all the branches. Take a break and take a look at your painting and then decide on where you want to add them. If needed you can add them using a pencil first and then you can follow those lines using your brush. Now I'm going to add more branches. [MUSIC] This one is actually a very simple painting we're not adding a lot of details. The major part is the sky, and then we need to add those trees on the wet background to create a foggy and misty field for painting. Then we need to add the tree in the foreground which is the one I'm adding right now. As you can see it's a very simple tree, it's not a complicated one. The only thing you might need to be a bit careful about is this delicate branches, don't make them too thick and bold. Our next step is to introduce some texture on the ground. For that we need a dry paint. I'll be using Payne's Gray, and I'm going to dab my brush on a paper towel to remove the excess amount of water and using a dry paint I'm going to add some random texture on the ground. Pick some Payne's Gray or neutral tint or pluck on your brush then dab your brush on a paper towel to remove the excess amount of water. Now just add some dry patterns on the ground especially closer to the tree. First I'm adding those patterns right where we have the tree. You can see they are not too prominent. I'm just scrubbing and scratching some patterns on the ground using a dry brush and then slowly maybe you can try adding these patterns on a scrap piece of paper and only if you feel like you're getting it right, you can add them on your main painting because we don't want them to be too bold. We want them to be very subtle. If you feel like your paint is still watery and opaque you can dab your version of paper towel a couple more times and then try again. Majorly, you want these patterns closer to the tree and then you can add few in the background and also in the foreground. Whenever your paintings snow you have to go with minimum detailing. The major portion of your background has to be that lighter values so always focus on retaining your paper white and just add details like this to bring in more texture and realistic character to it. We can see here only at the bottom I have used a medium value of indigo and towards the top it is just the paper white, I haven't used any color over there. You can use the same technique to paint the snowy ground for any of the other paintings that you're doing. If it's a night scene you can add some more texture and some more deeper value. If it's a daytime go with minimum detailing. Now I'm just adding the final touches. I'm using a darker value and I'm adding some small patterns in a very random way. I think I've got enough of texture I don't want to make it too busy. Our next task is to add the shadow of the tree, for that I'm using a medium tone of indigo. I'm picking some water and I'm making indigo into a medium tone. The shadow is going to bring a huge difference in your painting, it is going to instantly turn that into a realistic scene so let's do it. You have to be really careful about the color that you're using. It shouldn't be a darker value, it has to be something between a medium tone and a lighter tone. Maybe you can try spattering that on a scrap piece of paper and just make sure the color that you're going to use is perfect. Now I'm going to start adding the shadow. Right to the bottom of the tree I'm going to add an irregular line something similar to the shape of the tree. Maybe we can use a pencil and just add a reference line so that it is easier. It has to be in the opposite direction, so add a line which is a mirror image of the tree. As I said earlier, it doesn't need to be the perfect shape and the perfect size. Just try a rough shape like this. Now I'm switching back to my brush and I'm going to add the shadow, so add an irregular line starting from the bottom of your tree in a similar thickness. You can see the color I'm using it is not too dark and it is not too light as well, got the similar tone and value. That's only thing you need to be careful about adding the shadow is quite easy. That's the main tree trunk. Now after this I'm going to add one or two branches. I'm not really looking at whether I'm adding them at the right position. I'm just adding one basic branch over here and that's it, I'm not planning to add more. Depending on the way you have added your tree if you want to add more branches on the shadow you could do that. For me if I'm planning to add the shadow of the other branches it will be beyond the masking tape so there's no point in adding them. I'm just going to leave this here and I'm going to go with the last step which is adding the highlights. For that we can pick a bit of white watercolor, choose any of your smallest size brush and pick a little of white watercolor or white gouache. We don't need a lot of paint we are just going to add some delicate and thin highlights, so dab your brush on a paper towel once you have taken the paint. You can see my brush is really thin and it's really pointy. We don't need a lot of paint just a tiny bit is all we need. Don't take out a lot of paint. Now I'm going to add the highlights. You can see the way I'm adding it, I'm adding them onto the right side of my tree. Go with the dry paint. If your paint is watery you can dab it on a paper towel and then repeat the same step. I'm just adding some dry patterns onto the tree. You can see the way how I'm adding them they're not too visible, they're very subtle. Go in a similar way. Don't use a lot of paint, if you feel like your paint is watery, dab the brush on a paper towel before you add these patterns. I have added them onto the tree trunk. Now I'm adding some patterns onto these branches as well. Make it as thin as possible especially when you're adding them onto the branches. If you're not able to get to dry it maybe you can just skip it, you can just add them onto the tree trunk and you don't need to add any highlights onto the branches. You can also use a white gel pen if you feel like that would be more helpful. [MUSIC] I have added highlights. Now using white paint, I'm extending these branches. You can see how thin and delicate they are. Going into snowy so use a detailing brush or any other brush that has a pointed tip. You're learning to do this for all the branches just add few in-between. This is just a way to feel that these branches are covered in snow. Towards the tip of these branches maybe you can add some thin and delicate white lines. [MUSIC] You can see the difference now. I think earlier the tree was looking lifeless. Now the white highlights made it really lively and also I feel the painting is starting to look more chilly right now when we add those white highlights. Anyway that was the last step we are done with our painting for the day. If you want to add a moon using white paint you can do that right now. I think mine is looking quite okay I don't need to add any extra moon. It's time to peel off the masking tape. Gently remove it at an angle so that you want to pop your paper. I have got a clean product for two sides now let's see the other ones, that's also a clean product. We have one more left. That's a clean border again. Here's the painting for the day. It's a very simple and easy winter night. I hope you'll liked it thanks a lot for joining me. I'll be back here soon with our next dreamier landscape. [MUSIC] 30. DAY 9 - Purple Sunset: [MUSIC] Hello, my dear friends. Welcome to DNI. Today, we're building something different from the ones we have done so far. This is the painting that we're doing today. It's a gorgeous evening sky with a lovely boat. It is not that complicated. Maybe when you look at the painting, it might seem a bit difficult, but it isn't. The only thing which might be a bit tricky would be to add the sketch of the board. Once you get that proportion, and the shape right, then the rest is quite easy. Now, I'm going to take you through the colors you will need. As you can see from here, the major color we're going to use this violet. For the sky as well as for the lake we'll be using violet. Then you can see some yellowish orange as well as some brighter orange here. The violet I'm going to use is violet from White Nights, you can use any other violet you have got it can be from any brand. If you don't have a violet watercolor, you can mix, and create your own violet. Now the second color you will need is permanent yellow-orange. For the sky as well as for the lake, first, we'll be applying a background layer using violet, and this yellowish orange. If you don't have permanent yellow-orange, you can use yellow. Or you can just make cellular vermilion or any other orange, and your yellow to create a yellowish orange. Then onto that, we'll be adding some clouds using vermilion. You can see some darker color here, that is vermilion. We'll also be adding some clouds using violet as well. We'll be painting the lake also in a similar way. These are the three major colors you will need, violet, permanent yellow-orange, and vermilion. Then along with that, to add the deeper values, you will also need some neutral tint or Payne's gray. If you don't have any of these colors, you can use black. Now for today's painting you will also need some white watercolor. We'll be applying this onto the anterior background to turn the colors into an opaque, and partially shade. You can see the colors here. They are looking quite opaque and creamy. It is not that transparent. It is for the same reason I'm using white for the background. I'll be applying color white watercolor on to the anterior background. On top of that, I'll be applying violet, and permanent yellow-orange. But using white watercolor for the background is completely optional. If you prefer more of a transplant field for your painting, you can just use water like the normal way you do. Then onto that bed background you can apply violet, and permanent yellow-orange. Just being the sky, and the lake, and the normal wet-on-wet technique. We tried a similar technique for this painting. That's exact same technique that I'm going to use for today's sky as well as for the lake. You guys are already aware of the technique, and you know how it looks. Choose your favorite technique, and you can use that for your painting. You don't need to worry about the technique that I'm going to use here. Now, I'm going to swatch out the colors, I'm starting with violet. The one that I'm using here is from the brand White Nights. I love this color a lot. It is very intense, and vibrant, and it is highly pigmented. I allow the one from [inaudible]. You can see that intense violet. That's our first color. [NOISE] Now the next color you will need is permanent yellow-orange, which is nothing but a yellowish orange. As I said earlier, if you don't have a similar color, you can just add a little orange into any of your yellow, and it can easily create a similar color. That's our second color. Now the next one is vermilion, which is the color I'll be using to add the clouds. Those are the three major colors you will need for today's painting. Along with that, to add the deeper value, you will need some Payne's gray or neutral tint. It can be any of those two colors. If you don't have those two colors, you can just use some black. We'll be using Payne's Gray to majorly add details of the boat. It can be any darker shade. It doesn't need to be Payne's gray. You can also use some black, or you can just mix, and create a darker value similar to black, with a leftover paint you have on your palette. That summarize the colors you will need for today's painting. Now I'll quickly show you how you can paint the sky. We'll be using a similar technique for the sky as well as for the lake. Again, just paint the sky now, and we can try a similar technique for the lake as well when we are painting. For the sky we'll be adding some clouds, but for the lake, we'll be adding some ripples that's the only difference. Let's give it a try. First, I will need to squeeze out some white watercolor. It's high time, I need to wash my palette. I have taken out some white. Now I will apply a coat of water onto my sky. I will just paint a small section. I'm applying an even coat of water onto a small section on my paper. My paper is evenly wet. Now using a bigger size brush, I'm going to apply some white watercolor. It doesn't need to be white gouache, we just need whitewater color. I'm very sure you might have kept one or two tubes of white watercolor away because you never use them. It's time to take them out. This one is a really interesting technique, and the result is just turning so I'm very sure by the end of this painting, you will use this technique quite a lot. The white watercolor that you're applying onto the background will act as a base, and it will make our color look more creamy and opaque. The colors will also have a beautiful peaceful tone. I have applied some white watercolor onto the background. Now first, I'm going to pick some violet. We can use a really intense, and vibrant tone at the top, and as you're coming down, you can make it lighter. I'm picking some violet, and I'm applying that onto the top of my sky. I haven't washed off the paint from my brush. It still have some white in it that's absolutely okay. You can use the same brush, and you can apply your paint onto the background. I'm starting with an intense tone. You can already see those beautiful, peaceful colors there. The color is not that transparent. It is looking very creamy and opaque. The only reason for this is because we have used white watercolor for the background. If you're using just water, the color might look entirely different. So start with the brighter value, and make it lighter as you come down. Now, I'm going to wash all the paint from my brush. [NOISE] The next color, I'm going to use is permanent yellow-orange. Again, I'm going with a brighter color. I'm starting to apply this from the bottom, and I will go towards the top. You can see that beautiful, peaceful, yellowish orange. You don't need to blend these colors. You can just leave that violet on the top, and that yellowish orange at the bottom. These two colors are opposite on the color wheel. If you mix them together, you will end up creating a muddy cream in-between. Don't mix these two colors directly where the colors are meeting, you can leave a lighter value. The same thing goes for the lake as well. If you mix violet, and orange together, you will end up creating a muddy mix which is not really good for our sky. Where these two colors are meeting you have to be a bit careful not to mix them together. Here you can see, I haven't mixed these two colors together. I have some gap in between. Now I'm washing off the paint from my brush, and I'm dabbing it on a paper towel. Using a tan brush I'm making this area's motto. Gently run your wet brush along this area where these two colors are meeting. If the colors are lighter that muddy color won't be that prominent. That's our background. Now we can start adding the clouds. Maybe we can make this top area a bit more brighter. I'm adding some more violet over here. That looks fine for now. Now, I'm going to switch to a medium-sized brush. This one is the size Number 8 tram brush. Now I'm going to add the clouds. First I'm picking a bit of darker value violet. I don't want the paint to be too watery so I'm dabbing it on a paper towel before I start adding the clouds. Now onto that wet background, I'm going to randomly add in some clouds. When you have white watercolor in the background, the colors won't spread like when you have just water. It will stay better when you have applied them. I think when you use this technique, it is much more easier to control the way the paint is spreading. On the top, I added some clouds using a darker value. Now to add the clouds at the center, I'm using a lighter value. I'm quite happy with the colors, and the way it is turning out. I'm really loving this area where we have lighter violet. It is not a complicated technique. I really want you guys to try this out. Anyway now, I'm going to wash the paint from my brush, and I'm going to switch to vermilion. Just make sure your paint is not too watery. Now using that paint, we can keep adding some clouds. On the yellowish area I'm using vermilion, and on the top where we have violet, I'm using a darker-value violet. I'm not really allowing these two colors to touch each other because they may create a muddy color. That's something you need to be really careful about. Violet and orange are complimentary colors on the color wheel. It's a same case with all other complimentary colors, if you use them together, you will end up creating a muddy brown or a muddy cream. Whenever using complementary colors in your sky, this might happen. You have to be really careful not to mix them together. Now, I will add some more clouds using orange. It is already looking quite pretty. I will add some more clouds here. Right here for the exercise, I used permanent yellow-orange, and violet in the same proportion. It is almost half and half. But for our main painting, I'll be using mostly violet, and I will only be using a little of permanent yellow-orange towards the bottom. You can go with any proportion that you like for your main painting. It can be either half and half or it can either go with a similar proportion that I have used. Or if you want to use more of yellowish-orange and less of violet, you could do that as well. That's how we're going to paint the sky, we'll be using a similar technique for the lake as well. It is just that additional to the clouds we'll be adding some ripples as well. That summarizes the color palette, and the techniques you need to know for today's painting. It's a really simple technique. I want you guys to try it out before you go with your main painting so that you'll be really confident when you're attempting your painting. Also you'll make less mistakes, and you will enjoy the process more. Just take out a small scrap piece of paper, and give it a try, and understand the technique before you go with your main project. Once you try it out, you will understand how much water you need to add, how much white watercolor you should be using, and when to add your clouds. If you try it out, you can have a better understanding about all those things before you start with your project. Give it a try, and join me in the next section, let's paint this together. [MUSIC] 31. Purple Sunset - PART 1: [MUSIC] We had a look at the color palette and the techniques. The first step is to add the pencil sketch, which could be the major theme for this painting. I will add the horizon line first. Then I'm going to add a board. I'm adding the horizon line a little about the center of the paper. That meant is going to be the sky and the rest is going to be the league. We're going to add a border wall here. I'm going to attach an image of the finished painting here so that it can take a look and added the sketch accordingly. That's a size I'm going with. It's a bit big. If you want to make it a bit smaller, you could do that. Don't drive, take it slow and carefully add your sketch. [MUSIC] That's the sketch. Now when we are painting, we'll be adding the refraction of the board, so that will take up some space. We'll be using a darker value of violet and we will be adding the reflection over here. I hope you all manage to add the sketch, now we can start painting. We already spoke about the colors, so vermilion violet, permanent yellow-orange, and vermilion. For the first step, you will alternate white watercolor along with this. We'll be applying white onto the entire sky. Then we'll be applying violet and permanent yellow-orange. Then after that we'll be adding some clouds using vermilion. Have taken out violet. I already have some permanent yellow-orange there. Now, I need some vermilion asphalt. We have the colors ready. First, I'm going to apply piece of masking tape along the horizon line to divide the sky and the lake. We can start with the sky and then that dries we can paint the lake. That's ready. Now the first step is to apply a coat white watercolor onto the anterior sky. Then we'll be applying other colors on top of it to make them look more opaque and creamy. That's an optional step, as we discussed earlier. If you want more of a transparent field for your painting, you can skip using white watercolor. I already have some light, maybe I might need some more. The colors are ready. Now I'm going to pick my size Number 12 round brush. I'm just washing it thoroughly just to be sure there's no other paintings on it. This is the brush I'm using. Now, I'm adding a few drops of water into white watercolor and turning that into a slightly watery consistency. I'm applying that onto the anterior sky. We can either start by applying coat of water or you can directly coat the white watercolor. You can make it a bit watery, so it's the same thing. We can skip adding water and go the watery white watercolor. I have applied white watercolor onto the entire sky. Now we can start adding violet. I'm going to keep this pressure side and I'm going to take my medium-sized brush to paint the sky. I'm using my size Number 8 round brush. I'm someone who always prefer using a medium size brush to paint the sky. This way I feel I have a better control on the way the paint is spreading. I'm starting off the brighter tone of violet. The violet I'm using here is from the brand white nights. See that color. It is looking so creamy and opaque. Now I'm going to add some more violet. As I'm coming down, I'm going to make the color lighter. Start with really intense and vibrant violet, and as you're coming down, make the color lighter as you have a whitewater color in the background it might be quite easy. It doesn't need to be a smooth, even perfect blend. We just need a darker value on the top, and as we're coming down, we have to make it lighter. Because the next color we're going to use this yellowish orange, violet, and oranges opposite on the color wheel. If you mix them together, you will end up creating a muddy cream. We don't need a muddy color in the sky. That's the reason why I'm making the color lighter over here. Now I'm cleaning my brush and I'm picking my second color, which is permanent yellow-orange. Now I'm applying those from the bottom and I will go towards the top and it will make the color lighter where these two colors are meeting, so that I won't end up creating a muddy color in the sky. As I said earlier, it doesn't need to be perfectly in blend. You can have some patches and some lines in between. This will make your sky look more traumatic. I'm picking some more yellowish orange, a brighter tone, and I'm applying that towards the bottom. Now, let's clean the brush again. I'm picking some vermilion, dabbing my brush on a paper towel because I don't want the paint to be really watery. If it's really watery, the clouds I'm applying won't stay at one place, it will start spreading. I don't want the clouds to spread a lot. I want them to stay where I have applied. That's the reason why I'm picking up paint which is not too watery. Where I have yellowish orange, I'm adding some clouds using vermilion. Where I have violet I'm not adding a lot. I will just add one or two lines and that's it. Now I'm washing my brush. Now using the damp brush, I'm just pushing and pulling the color just to give it a smoother look as how white vertical in the background, it will be really easy to smoothen the colors, unlike when you have only water. All you need to do, we'll just use a damp brush and push and pull the color and smudge them to get a better look. Now, we can start adding the violet clouds. I'm picking a little more darker value of violet than the color we used in the background. Now I'm gently adding some clouds. You can go with any shape and size that's totally up to you. But don't add a lot where you have your orange. We can see I got a muddy color here. That's the reason why I told you, don't mix up your yellowish orange and violet, you will end up getting a muddy color. It is better not to add much clouds where you have orange and yellow. I will just quickly here on my brush and spread the colors. It is still watery and it is spreading. That looks better. Now we can start adding the clouds. Let's pick some more paint. You can add on how will you want to. The only thing you have to be careful about is not to add any clouds onto the yellow and orange part. Other than that, it can be however you want to. Over here, it is better to use a lighter value. Otherwise, you will end up getting that muddy line your sky. On the top we can use so much more darker value and make your sky look more dramatic. But towards the bottom, be really careful, especially over this area. In case if you want to add some clouds onto the yellow and orange part, go with a lighter value so that the muddy color won't be so prominent. I have just added two lines here. I won't be adding much. You can see the color, it is really light. Now, I'm going to add some more clouds on the top using a darker value of violet. I think this sky is already looking quite pretty. Only if you want to make your sky look more dramatic, you can add more clouds. Or if you want a more simple and minimal look for your sky, can just add one or two lines and you can just leave it as it is. You don't need to add more clouds just because I'm adding it. When you're starting out add lots and lots of white watercolor onto your background so that it will stay wet for a longer time. To be really if it is more than the clouds using a damp brush, so have just cleaned my brush, and using a damp brush, I'm smoothening these clouds, especially where I have this yellowish orange. I think I can add some more clouds in the top. You can see how beautiful the colors are looking. If you get to try, if you're still watching the video, I would suggest you to give it a try. I'm very sure you're going to love this sky. Once you get the hang of this technique am very sure you will use it quite a lot in your future paintings because it's a simple technique compared to when you use water in the background and the result is just mind-blowing. If you haven't tried it yet, to give it a try, I'm done with this sky. Now we'll have to wait for this to dry before we go the next thing [MUSIC]. The sky has dried completely. You can see how gorgeous those colors are looking. It hasn't faded at all, so that's one thing that I love about this technique. I'm someone who allow opaque and vibrant colors, which is really hard when you're working with watercolor. But this technique will help you retain the richness and vibrancy in your colors. If you're still not convinced using white watercolor in background, take out small piece of paper and give it a try just for my sake, at least, I'll be eagerly waiting for your comments. Anyway now, we can go the next step. We're going to add some small mountains along the horizon line. But before you do that, you have to make sure your sky has dried out completely. For this, I'm using a medium tone of violet, as we already have some yellowish orange to the background. The color that you're applying will slightly turned into a brownish color, so you can just use violet or can use bond amber if you prefer that. Go with a medium tone, don't make it too dark. Just add some random shapes over here. It can be a normal mountain or can be some random shapes like this. To make it look like there are some trees. You can do this on either side. As I'm coming towards the center, I'm making a charter. On either end it will be a bit higher and towards the center, it will be a bit shorter. That's the right side. You can see it's a very basic shape, you don't need to put a lot of effort here. The only thing to keep in mind is the tone of value. Go the medium tone. Don't use a darker value, and just add in some random shapes like this. Now I'm adding a similar shape on the left side as well. You can see towards the center, I made a charter. Now we can leave this for trying [MUSIC]. That has dried completely. Now, I'm going to peel off this masking tape, which we applied along the horizon line. As you all know, for the lake castle, I'll be using the same colors. We'll be starting off with violet, we'll start from the bottom and we'll go towards the top. Now, there's one thing that I want to mention before we start painting a lake. I'm not going to mask the boat. If you want to use masking fluid and mask your boat, you could do that. It's a pretty big shapes, so I think I can manage without masking fluid. But no pressure, if you feel like applying masking fluid is much better, you could do that way [NOISE]. To apply the paint onto the background, I'm using my size Number 12 round brush. We're starting out with water directly then I think I will gradually add in white. As we have an obstacle at the center, which is our board, I think it's better to start with violet and gradually apply some white and make it lighter. I'm picking an intense tone of violet and I'm applying that on the dry paper. You can add in some water if you feel like your paint too dry. Start with the really intense and vibrant tone of violet, which is much more intense than the color you use for your sky. This area needs to be really dark. We can apply some more violet. Now it's time to introduce some white watercolor. I don't think I have any left on my palette, so let me squeeze out some white watercolor. Now let's start applying that onto the background. I think I would need some violet as well. We will need to add some ripples as well while the background is still wet. Keep your colors ready before you start with your lake. Now I'm picking some more violet and I'm adding that at the bottom. You can see the color that I'm using, it is really intense. Now we could introduce white watercolor and we can make it lighter. I'm picking some white watercolor and I'm directly applying that right next to where I stopped violet, and I'm making it lighter. Carefully apply that along the outline of the boat. If you accidentally add some paint onto the boat, that's okay. But be as careful as possible and try to retain the shape of your boat. You can see at the bottom, I have a really dark and intense tone of violet. Now using white watercolor and making it lighter, as I'm going towards the horizon line. We will need to make it a bit more lighter, so I'm picking more white watercolor and I'm going to introduce that onto the background. I'm going to wash the paint from my brush and I'm going to pick some clean white watercolor. Right now there's a lot of violet on my brush. I'm thoroughly washing it and I'm picking some clean white and I'm applying that onto the leftover area. Once we're done with the violet, we need to introduce permanent yellow-orange as well. Go with a clean white watercolor and apply that onto the leftover area. Again, be careful when you're applying paint next to the boat. Try to carefully rate in the shape. Fill that entire area in white watercolor. You can see here on the top we have white, and towards the bottom we have a darker value of violet. But the transition between the colors are not that smooth and soft. We need to make it a better transition. Right now, it looks like two different patches of white and violet. Right where the violet is meeting white, I'm making it lighter. I'm trying to make it a better transition. I picked a tiny bit of violet and I'm making this area lighter. Right now it is looking much better. Earlier it was really looking like two different patches. That's a base layer. Now we're going to introduce some yellowish orange onto this. [NOISE] Wash out the paint from your brush, and pick some yellowish orange before your background dries. Now we're going to introduce this directly onto the white background. Over here we don't have any obstruction. We can apply that paint quite easily. It is not like the bottom there we had that boat, so we had to be a bit careful. At some places you can use yellowish orange, and at some places you can use a lighter one. This will make your background look more natural. I have applied yellowish-orange and violet. [NOISE] Now I'm cleaning my brush, dab it on a paper towel. Using a clean damp brush, I'm just smoothening the paint. I want this to be a smooth transition. That looks nice. Now we can start introducing vermilion. I'm just trying to create the reflection of the clouds. We don't need to add a lot, so wherever you have applied vermilion on your sky in a similar way, apply that onto the lake. I have mostly added them onto the right. I don't have much on the left, so I'm just leaving that area as it is. Now using a clean brush, I'm just smoothening this area. It is so much easier to smudge the color as how white watercolor in the background. The color will be so creamy. Just clean your brush. I'm using that damp brush, just push and pull the color to each other. It doesn't need to be exactly [NOISE] the same way how we have painted your sky. We just need some yellowish orange and some vermilion in between. Now we can [NOISE] start adding the ripples. Before that, I think I can make the bottom layer a bit more darker. I'm just adding some more darker value only at the bottom. The bottom area has become darker. Now we can start adding the ripples. For the ripples, I'm again using a darker value violet. Our background is not that watery right now. It's been a while since we have applied paint onto the background. It is still wet but it is not too watery. This is the perfect time to add the ripples. It is nothing but just some lines using a darker value. You can see the lines I'm adding, they're not spreading a lot into the background. Just like I said, there are two reasons for that. One is the background is not too watery, it is just lightly wet. Also the paint, I'm not using a paint that is too watery. Just add some lines onto the water. They can be thick or thin, it doesn't really matter. But what matters is you have to leave some gap in-between when you're adding those lines. If you take a closer look at the painting, you can see that gap have left in-between. In-between every line you can see the background color. That's how you should be adding your ripples. Now, just in case when you're adding those ripples, if you feel like they're spreading a lot into the background, just take a break, maybe just wait for a minute or maybe two minutes, and then start adding the lines. You will clearly see the difference. You can see how beautiful it has turned out. I'm loving it already. Actually, when you have white color in the background, the colors won't spread a lot, like when you have just water. It would be a little more easier to add the ripples when you have white color in the background. Just give it a try if you had to try it. I'm very sure you will get to try it. Right now I'm just adding some lines using a medium tone. I don't want the ripples to be too prominent closer to the boat, so the color I'm using has a medium tone. Only towards the bottom, I'm using a darker value. Don't take out a lot of paint and also watch your consistency of the paint that you're using. It shouldn't be too watery. It has to be dark but not too watery. If it's watery, it says dab your brush on a paper towel and then keep adding your lines. That's lake. Now before this dries, there is one more thing we have to do. We need to add the reflection of these trees or mountains or whatever it is. We need to add that on the lake. For that, I'm using a size number 2 round brush and I'm picking the same color. I have some violet here. I'm picking the same color. I'm just adding some lines. They have to be really subtle, so don't use a darker value. Go with the medium tone. On either side, simply add some lines right underneath the landscape. We're trying to make it look like this one is really far from us, so don't use a darker value. Go with a medium to lighter tone and just add some lines underneath these landscape mountain, whatever it is. You don't need to exactly replicate the shape or anything. Just add some lines. You can clearly see the way I'm adding it. Also, I forgot to mention when you adding this reflection, try to leave a tiny gap. You can see that white line between the mountain and the reflection. Just leave a small gap and then you can start adding your reflection. That's a lake. Our next step is to paint the boat. For the base layer we'll be using a lighter-value violet, and to other details, we'll be using paint's screen. Take a short break, let your painting dry completely, and timing the next section. [MUSIC] 32. Purple Sunset - PART 2: The background has dried up completely. Now we can start painting the boat. As I said earlier, I'm going to use a lighter violet water for the background. Then onto that, I'll be adding some details using Payne's gray. Pick out any of your medium tool, pick a size brush and turn your violet into watery consistency and apply that onto the entire boat. It can be purple or violet. We just need a lighter value. I already have some violet here, so I'm just going to use that. I'll just show you the color that I'm going to use. See that? That color I'm using. I think I accidentally added some permanent rose into it. Never mind. I like the color. It can be purplish color like this, or I can just use a lighter value of violet. Now fill up that entire boat in that color. Once we're done applying color to the entire boat, we need to add some medium tones using Payne's gray. Let's quickly fill this up. Carefully follow the outline and fill up that entire boat with a lighter value of violet or purple. The base layer is ready. Now onto those, we can start adding the medium tones. Right now it's just a simple flat wash. We need to start adding more details onto this. For that, I'm picking a medium tone of Payne's gray. It shouldn't be too dark and it shouldn't be too light for the as well to go to medium tone of Payne's gray. First, we can start some shadow and some deeper value along this corner of the boat. It might not look perfect right now, but that's okay. Just add in some deeper tones over here. Now we can add some along this line as well and also along the back side. We just need to add some medium tones of Payne's gray onto that violet layer. As I said earlier, it doesn't need to be too dark. It just has to be visible. We are trying to create some texture and some shadows here. That's the first step. Maybe we can add some overhear as well along that shape of the boat. You can see the color I'm using it is not too dark. For now we just need to add some deeper tones and some texture. I'm just picking some more violet, a lighter value and I'm just fixing the shape of the boat. Over here, there is some pain missing, so I'm just cleaning the shape. That's done. Now I'm thinking to pick a bit more Payne's gray. I'm going to make those deeper tones a bit more deeper. Right now I think they are not looking at prominent, the color is looking quite dull. I'm just picking some more paint. It's the same way how I have added earlier. I just want that colors to be a bit more darker. This is how it has turned out. You can see here, I have added some medium tones to define the shape of the boat. Now, once this dries, we have to add some deeper value and we have to make the shape more prominent. [MUSIC] Let's leave this for drying. That's a base layer. It has dried completely. Now we can start adding the details. For that I'm using a smaller size brush. This one is a size number 2 round brush. You can use any of your smaller size brush or a brush with a pointed tip. Now I'm picking a darker value of Payne's gray and I'm mixing that with a bit of violet. This is going to be more like a grayish violet. Just add a bit of Payne's gray or neutral sense into violet and create a darker value, violet. Now using this color, we can start adding the details. To make it easier, I'm attaching an image here. We're going to add those divisions using this color. You can see here it is just a solid wash, does nothing much complicated. Maybe using a pencil, you can first add those divisions. You can make that shape more visible and then you can start adding the paint. First, I'm going to add the one we have at the back side. This one is a bigger division. Maybe you can first add the outline and then fill that in that grayish violet. These divisions are really important. It will define the shape of your boat so be really careful. The best way is to add a sketch first, then you can fill that shape in that darker color. This way you won't make any mistakes. Also, it is good to use a smaller size brush or a brush with a pointed tip, at least for that outer shape than when you're filling it up, you can use a medium-size brush. I have mixed some Payne's gray with violet to create a darker value. Using that color, I'm adding those divisions. First I'm adding the one we have at the back side. Have added the horizontal line. Now, I need to finish the ship. For some reason, I thought of making the color lighter, but then it is not necessary. You can just fill that entire area in a darker tone of violet. You can just ignore what I'm doing right now and fill that entire section in a darker tone of violet. That's a full section. Now I'm going with the second one. First you can add the shape, then you can fill that in that grayish violet. Now I'm adding a horizontal line. See that? Now in a similar way, I'm adding other line on the top. Maybe we can make it a bit more thicker. Now I'm adding another line on the right side to finish that shape. Now let's fill that up. Have mixed a bit of Payne's gray with violet. This the same way how I did earlier. I'm using that color, I'm just filling up the shape. Go with the color with a bit more darker than a medium tone. That's the second section. Now we have one more left. Let's add that in as well. Again, I'm using the same color. This one is a much more smaller shape and this will define the shape of your boat so be really careful when you're adding the shape. As I mentioned earlier, it is better to use a pencil, and add a shape first then you can fill that in this darker violet. First I'm adding that horizontal line. Now over here we have a curvy part. Now I'm filling that up. You can already see how beautiful our boat is looking. The shape is more defined right now. Earlier it was quite flat and blank. Now when we added those deeper value and then we added those separations in between, it is looking more complete. But it is not yet done. We have a lot more detail to add. Now for the next detail, we need a medium to one of the same color we use right now. I just dip my brush in some water and I turned that into a medium consistency. Now using that color, I'm going to define the shape of the board. We can see the line I have added, and the color and medium tone, it is not too dark. It is just a simple line, but you can already see the difference. It has some more three-dimensional field right now. In a similar way, I'm going to add more deeper value in order to define the shape of the boat. This one as the first line. The next one goes here. Just follow the curve of your boat and add your line. You can see the thickness, it is not too thin and it is not too thick as well and the color I'm using, it's a medium tone. Now, we can just add some dry brush patterns onto the boat to add some texture. We don't need a lot and don't use a darker value called the medium tone. Just simply scratch in some color onto the boat. These texture that we're adding right now, will give our boat a more rustic feel. We don't want a clean boat. Let it be a bit rustic. That's the first step. Now I'm picking some more Payne's gray and I'm making this line a bit more darker. Now in a similar way, I'm adding another line over here. You can see how it is looking more and more pretty by each step. Now I'm adding another small line over here. We can define that thickness. It is just a line around the shape of the boat. Now, we can start adding more lines. Our intention is to define the shape of the boat as better as we can. Now, I'm dabbing my brush on a paper towel and I'm adding some more dry brush patterns onto the boat. All these little things we're adding right now is to add some texture onto the boat. This way we can make it look a bit rustic. I'm not so happy with that section on the top. I think I will pick some violet and make this area a bit darker. As the same thing that I said earlier, I don't know why I made it lighter, but I think it is not looking that nice, so I made it darker again. I think now it looks so much better. Anyway, let's continue with the rest of the details. I'm picking bad grayish violet and I'm just extending this line. See that. It's a thin line. It is not as thick as a clear. I'm just connecting that line. Now our boat is looking really beautiful. We have defined all those lines. Now I'm picking some Payne's gray, add a matrix and deeper value along the top part of these sections. This is just to add some shadow. This deeper value will make it look like this area is deeper. Using a taco value of Payne's gray, add the shadows. You can just add them and just merge that into the background. It doesn't need to be blended or anything. You can just leave it as it is. That's the flip side. Now I'm adding some darker value over here. Similarly onto the small section as well. You can see the difference. Now it feels like this area is deep. We have one more thing to add onto the boat to make it look a bit more realistic. I'm going to add some random sheet. It's more like an incomplete rectangle. See that? Similarly I'm going to add one on the side as well. It is just a small letter. Maybe it can be the brand name or some signage or name of the boat. It can be anything. I just add a small similar shape. That is our boat. Now we can start adding the reflection. For the reflection as well I'm using the same color that I mixed,paints gray and violet. First I'm going to add a shape at the bottom. Just a thin line to define the shape of the board. Use any of your smallest size brush or a brush with a pointed tip and define your line. Adding the reflection is also quite easy as we have these darker value for the background. Even if you couldn't get the proper shape, it wouldn't be a problem. It is not going to affect your painting. I'm going to start by adding a thick line right underneath the boat. I'm attaching an image here of the finished painting so that you can see how we are going to add the reflection. First I'm starting with a thicker line using a darker value. It can be Payne's gray or a darker value violet. Add a thick line right underneath the boat to show the shadows. These deeper values will make it look like the boat is floating on the water. Just add a thick line either using Payne's gray or a dark coat on a violet following the shape of your boat. You can see the way I have added that here, is a thick line using a darker value of Payne's gray. Now we can go with the next part of the reflection. Before that I think I will just merge this color to the background. I don't want that to be a clean line. Now, we can switch to violet. Go the darker value of violet. You can start adding those exact lines on either side. See that? It can be just some simple random zigzag line. It doesn't need to look perfect. As I said earlier we have darker shades in the background, so even if the shape is not really perfect, that's absolutely fine. Starting from the top, just add some symbols exact line. You can use any of your medium-size brush or a smaller sized brush. First add this exact line. As you're coming towards the bottom you can make it move wider. Now we need to finish that shape and in to fill that in violet. You can either go with a more deeper reflection or it can go the more shorter one. That's totally your choice. But towards the end add some zigzag line like this. That's the only thing you need to keep in mind. The rest is totally your choice. How are you going to add them if you have those exact line at the end? It is going to look okay. Now towards the bottom I'm making it more wider. I'm just randomly running my brush in as exact way. I'm not really worried about whether I'm getting it perfect or not. You can see the way I'm running my brush. Now let's add some more violet. Just keep running your brush in this exact way. I'm not looking at any reference image. I'm just trying to make hiding those lines. Just like I said, we just need some zigzag line on the end. You can see the rest. It is a big pile of cheap only lead the end I'm adding this exact line. For this as well maybe you can start with a pencil sketch and then fill up that in violet if that is more convenient for you. I'm almost done with the reflection. I just thought of extending some of these lines. I'm just picking few lines. I'm extending them a bit more into the water. Also adding some more lines at the bottom. I'm just running my brush as exact way. As I said earlier I'm not really worried about how they're going to look like. I'm very sure by the end it is going to turn beautiful. If they're using lighter values for the background, it's a different game altogether. At that time you have to be really careful about the shape. Right now we have used mostly darker value for the background. Even if the shape is not really accurate, it doesn't really matter. It won't affect your painting. This is where we have reached. Now I'm going to wash off the paint from my brush and I'm going to pick some white watercolor. I'm just going to add some highlights. I'm using my smallest sized brush and I'm going to add some white highlights. We don't need a lot of paint. It does need to be too prominent. Go with the paint which is not too watery and just add some highlights along the outer shape of your boat. You can see the color. It is not too prominent. Add a new line in a similar way. It doesn't need to be a continuous line. You can break that in-between. You have to be really careful when you're adding this line. Try to follow the same color of the boat. It is better if we can use the smaller size brush that it will be much more easier when you're adding this line. I've added some highlights. You can clearly see the shape right now. Now using white I'm going to add some texture onto the bottom part as well. This one is completely optional. I'm just adding some highlights over here. These are some teeny tiny details, but then it will have a lot of impact on your painting. This symbol details will make your boat look more rusty. But it is not really necessary only if you feel like you could add them. Otherwise, you can skip the step. That's done. Now we have one last thing to add. For that we will need to switch back to Payne's gray. Clean your brush properly and switch to Payne's gray or black. Now starting from here we're going to add two lines. I'm just taking that into the water. That's the first one. It has to be a thin and delicate line. If you prefer using a pen you could do that. Now, in a similar way I'm adding another one. I really love this brush. You can see the line I've got that is looking so thin and delicate. This one is actually a new brush. I haven't used it much. That pointed tip is really intact. Anyway, that was the last step, by that we are done with a dreamy landscape for the day. Here is how it has turned out. Now it's time to peel off the masking tape. I really loved how this painting turned out especially the color combination and even the boat. I think altogether it is looking quite nice. I really hope you all liked it too. Let me show you a closer look of the painting. Here it goes. You can see how beautiful everything has turned out. The colors are looking so vibrant and pretty. That is mainly because we have used white watercolor in the background. Looking at the painting I felt like it could be better if we can extend this part. It feels like something's missing over here. I'm just picking some violet and I'm extending this. I think this is looking far better. That's our painting for today. If I had to try to give it a try, I'm very sure you're going to love this technique. You can see that beautiful sky and the lake and those reflections. I think it's a wonderful piece. Thanks a lot for joining me today. I'll be back soon with our next dreamy landscape. 33. DAY 10 - Desert Mountains: [MUSIC] Hello my dear friends. Welcome to Day 10. Today we are going to paint a super easy, super gorgeous rocky mountains. It's one of the easiest painting from the antique collection and maybe the quickest one as well. You can do this painting in less than 20 minutes. Now let's quickly take a look at the color palette and the techniques. The sky is going to be a simple variegated wash of two colors. As you can see here, the majority of the sky is going to be this blue with this indigo, and towards the bottom, we're going to use a peachy color, which is a color that we're going to mix and create by our own. We'll try that in some time. Then for the mountains, I'll be using brown and to add the deeper tones, I'll be using some Payne's gray. Finally, you will need some white watercolor to add that-teeny tiny moon. Those are the colors you will need. Now I'm going to squeeze out the colors onto my palette. The first color you will need is indigo. If you don't have indigo, you can use Prussian blue or any other darker blue. Now coming to the second color that we need for the sky. To create this gorgeous peachy color, I'll be mixing a little of permanent rose with brilliant orange. That's how we're going to create this beautiful color. If you don't have brilliant orange, you can use vermilion, and if you don't have permanent rose, you can use any other rose or crimson. It's going to be a mix of these two colors. It's a beautiful color that you can use in your sunset sky. It is a simple mix of permanent rose and brilliant orange. It can be any rose and any orange. To create this color, we'll be mixing equal amount of permanent rose and brilliant orange. The next two colors are brown and Payne's gray, which is the color we'll be using for the rocky mountains. If you don't have brown, you can use burnt sienna, and if you don't have Payne's gray, you can use neutral tint or plaque. We'll be some Payne's gray to add the deeper tones. Now I'm going to swatch out the colors. I'm starting with indigo. The one I'm using here is from the brand, Sennelier. According to the brand, the color might be slightly different, but that's okay. If you don't have indigo, you can use Prussian blue or any other darker blue. That's all for this color. Now, the next one is that gorgeous peach color, which is a combination of permanent rose and brilliant orange. First I will swatch out those two colors, then we can try mixing them. First, I'm going to add a swatch of brilliant orange. I really love this color. It's a very bright and beautiful orange. Now the next one is permanent rose, which is again one of my another favorite color. You will see me using these two colors quite a lot in this entire 30-day watercolor challenge. All right. I have added a swatch of brilliant orange and permanent rose. These two colors are beautiful in their own way. Now I'm going to mix these two colors together, and let's see what is the color that we're getting. I'm just randomly mixing these two colors. I'm not really looking at whether I'm adding equal parts or not. It's a beautiful color. We'll be using the same color in few of our other painting as well. Just mix some rose and orange, it can be any rose and any orange, and just try the color. See that? I'll just add some water so that you will clearly see the difference. It's a beautiful color. [NOISE] I'll make it a bit more lighter. See that? That's the color we'll be using for the sky. If you add more orange or more rose, the color might be slightly different, so try a different color combination. This is how that color will look like if you add them in equal parts. It's a very bright and beautiful color. Now I will swatch out that again in it's highest intensity. You can clearly see here, I'm mixing some rose and orange, and that's the color. Just give it a try. Whether you are having crimson or carmine or any other rose, it doesn't really matter. Just mix that with vermilion or any other orange you have got and try the color. If you're not really happy with it, you can either use orange or rose, instead of this color. But trust me, it's a gorgeous color. Just try it out. It is going to look beautiful with that rocky mountains. I tried three different skies for the same painting but this color was the one I really liked. Towards the top of the sky, we'll be using a really intense and vibrant tone of indigo, and we'll make it lighter as you're coming down. From the bottom, we'll be applying this color and we'll make it lighter as we're going towards the top. The center where indigo and this color is meeting, we'll be using lighter values. On the top and the bottom, we have intense colors. Exactly like how I have shown here, we'll be making the color lighter as we're going towards the top. Those are the colors you will need for the sky. The next color is brown. As I mentioned earlier, if you don't have brown, you can use burnt sienna. The major element of today's painting is those rocky mountains. Which means even if you're changing the color for your sky, you really need brown or burnt sienna. Now the next color you will use is Payne's gray, which is the color we'll be using to add the deeper values and the details. If you don't have Payne's gray, you can use neutral tint or plaque, or if you have burnt umber or any of the taco values of brown, you can use that directly. That summarize all the colors you will need for today's painting. Now let's try painting the sky. We already had a look at the colors. For major part of the sky, we're going to use indigo and only towards the bottom, closer to the mountain, we are going to use that color we have mixed and created. It's a simple red on red sky. I will first change the water and we can start applying coat of water onto the sky. For that, I'm using my one-inch wash brush. Now I'm dipping my brush in clean water and I'm applying that onto a small section here. First apply a clean, even coat of water onto your sky. Right now I'm going to show a small section. You can either go with half indigo and half peach color, or you can go with a similar proportion that I have used here. My sky is evenly wet. Now to apply the paint, I'm going to use my medium-size brush. This one is a Size Number 8, round brush. You can either use a flat brush or a round brush. Now, I'm starting off with indigo. You can go with a really intense and vibrant color. Don't add a lot of water and make it lighter. Go with a really intense and vibrant color. See that? I don't have a lot of paint on my palette, so I'm just using what I have left there. But for your main project, be sure to go with a darker tone. Now I'm washing off the paint from my brush. Now using a clean, wet brush, I'm going to make the color lighter. See that? Use a clean brush and make your color lighter. Now I'm again washing out the paint from my brush and I'm going with my second color. Your brush has to be really clean. Make sure it doesn't have any indigo on it. Now, let's pick our second color, which is a mix of rose and orange, to have the really intense and vibrant color. Apply that at the bottom and then go towards the top. You can see the color here. It is really beautiful. You can try adding more orange or more rose into the same mix and see how the color is looking, and you can go the best one. I have added the second color. Now I'm going to wash the paint from my brush. [NOISE] Let's make it lighter as you're going towards the top. Using a clean wet brush, make the color lighter. Then blend that with indigo. The center where these two colors are meeting, we have lighter values and towards the top and the bottom, we have brighter and intense colors. Now, try to blend it well. If you want to add more indigo or more peach color, you could do that. Technically, we want brighter and intense tone on the top and the bottom, and the center, where these two colors are meeting, we have to make it lighter. When you're painting your main class project, try to go the really dark and intense runoff indigo on the top to make it look like a night sky. Right now I don't have a lot of paint left on my palette. I'm just leaving it as it is. You can see how the colors have turned out. Now, just in case if you want to make your sky look more dramatic, you can add some clouds using a darker value of indigo. I'm just leaving it as a variegated wash with these two colors, I don't want to add any clouds and make it the same. The top try to go the really darker tone of indigo and make it lighter as it come down. Then towards the bottom you can introduce that peach color. That's all about the sky. Now let's try the mountain. The sky has dried completely. You have to wait for that to dry before you add the mountain. Now the very interesting part of this painting is this mountain. Have to be really careful with the sketch. You can see this very interesting shape have used here. There are so many little peaks and there are so many saddles as well. You have to draw your mountain in a similar way. You have to make it as interesting as possible. Don't go with one or two huge mountain throughout your mountain and so many peaks like this. This is what will add a rocky feel to your mountain. First let's add the sketch and then we can try painting it. It is not at all difficult. It is really easy to add the sketch. I'll take a scrap piece of paper and then I will add the sketch on this list. Just simply add a shape like this. At some places, you can make it higher and at some places you can make it lower. See that it's pretty simple. That's how we're going to add the sketch. Now onto this, we're going to add the deeper tones onto these areas. On all the peaks, we're going to add some deeper value. Right now, I will show that with a pencil. Then later we're going to do the same thing with our paint. Onto all these little ups and downs, we are going to add in the deeper values. You can see the painting here. We're going to use the exact same approach when you are painting asper, onto all these points we'll introduce some medium values and some deeper values. For the base as we discussed earlier, I'll be using brown. Then onto that, we'll be introducing some deeper value. Along these areas using a darker value of brown, I'll be mixing some paints gray with brown to create a deeper value. You could use burnt umber or any other darker value of brown. Now we can try painting a mountain. It is really simple. We'll be adding this deeper value onto the wet background. You can clearly see those deeper value I have added here. It's quite simple and we're not really looking for a clean and a perfect blend. They can be really rough and messy so that we have some rocky texture on the mountain. Try adding mountain and understand that you're going to add your deeper values. Now let's do the same thing. First, let's add a sketch and then we can try painting it. I'm going with that irregular shape. I'm adding as many peaks as possible. One of it is going to be higher and the rest is all medium and shorter height. That's a sketch. It's a simple one. You can go with any shape that you prefer. We just need some peaks in-between. They can be taller or shorter. Now I'm starting out with brown. I'm going with a medium tone. I'm not adding a lot of water. Now, I'm going to fill this empty a mountain in brown. As I said earlier, if you don't have brown, you can use burns in a asphalt. Now let's fill this out. I'm using a size number 6 brush here, and I'm carefully adding that along the outline to have added here, see that. You can paint a similar mountain using green asphalt. This technique is going to be really helpful. Right now, I'm using brown here. If you're painting a green mountain, you can start with a medium tone of sap green. Then onto that, you can add your deeper value using a darker tone of green. Let me quickly fill this up and we can try adding the deeper value. [MUSIC] I have added brown onto the mountain. Now onto this we can start adding the deeper value. For that, I'm mixing a bit of Payne's gray with brown to create a darker value. If you have burnt umber or any other darker sheets of brown, you can use that directly. What we're going to do is we're going to add those deeper value exactly onto these areas we have added here. Earlier, I added the same using a pencil. Right now onto those area, I'm adding deeper value of brown. This is exactly what we're going to do on our painting as well. See that, we are going to add the deeper value onto the wet background in a similar way. You can use any of your medium to smaller size brush. Along those peaks adding your deeper value. It's a very simple step. All you need to do was add some deeper value along these lines. While the background is still wet, they will nicely spread into the background. You don't need to put a lot of effort, see that you can already see that three-dimensional figure we have got for the mountain. Add the deeper value along all these areas you have here. Now, if the paint is not really blending to the background, you can pick another brush and maybe you can spread that using are allowed brown. This one is my another brush. I have taken some brown on it and I'm trying to smash the color into the background. That's the main idea. If you want to add more deeper value, you could do that. Maybe we can add some dry patterns as for using a much more darker value of brown. You can add your deeper value from the bottom towards the top, or from the top towards the bottom. Our intention is to just add some rocky texture onto the mountain. It can be really messy and rough, you don't need to put a lot of effort in blending them. Now, in case if you want to add more patterns, you can use a much more darker value of brown. You can add some more lines. Along with this to add some more texture. You can add some dry brush patterns then the backroom dries. Yeah, you can keep adding more patterns and more darker value if you feel like you need more texture. If you feel like you have got enough, you can stop it there. Anyways, this is how my mountain has turned out. You can see the background color and those deeper value. The major thing here is the sketch. Go with a similar sketch, make it as interesting as possible. Add in lots and lots of peaks and go different heights. Then considering those peaks, you can add new new deeper value. Now there's one last thing I want to talk about before we start with our painting. You can see here, I have really intense colors, especially on the bottom. Right at the center, we have made the color lighter, but what's the bottom? I have made the color really intense. You can see those color right behind the mountain. The colors are really pretty in this painting. But if you look at the technique that I did right now, the colors are quite dull. You cannot see that intense color off peach at the bottom. That's something you have to be careful about. To be on the safer side, we can actually add that intense color until the horizon line. You will still have some left when you add the mountain. Over here, you can clearly see those different colors. But on the technique, that intense color is not at all visible, I just covered that with the mountain so that something you have to be careful about. Other than that, the painting is quite simple and straightforward. There is nothing much to be careful about. Get your art supplies ready and sign in the next section, let's give it a try. [MUSIC] 34. Desert Mountains: [MUSIC] We're already heading into the color palette and the techniques we've tried pinning a mountain. With that exercise, we realized the importance of the sketch. If you put a little attention on the sketch, that would have a huge impact on your painting. I'm going to start by adding the sketch. First I will add the horizon line. I'm adding that a little bit loosened up the paper. Almost three-fourths of the painting is going to be the sky. Then over here we have our horizon line. Now, write about this I'm going to add the mountain. It's a rocky mountain. Painting this is really easy, we already tried that but the major part is the sketch. You can see the way I'm adding it. I'm adding little ups and downs in between. I'm trying my best to make it more interesting so that when we add the deeper tones it will look more realistic. Go to the very interesting shape at so many tips in-between. That's a sketch. I already have the colors on my palette as we discussed I'll be using indigo which is the major color I'll be using for the sky towards the mountain. I'll be using a mix of these two colors. I'll be just mixing some brilliant orange with permanent rose to create a beautiful peach color. That's the colors we'll be using for the sky. Just in case if you want to use a different color for your sky you could do that. Maybe you can use indigo and just rules or indigo and orange. Yeah, feel free to go with the color of your choice. We're going to use wet on wet technique for the sky, which means we will have to apply a coat of water onto the sky. For that am using my one-inch wash brush, I'm applying a coat of water onto the entire sky. We just need a shiny coat of water so don't put in a lot of water onto the background. You can add water onto the mountain, that's absolutely okay. You don't need to leave them. The background seem a little wet. Now, to apply the paint onto the sky, I'm using my size and virtual round brush. You can use a flat brush or a round brush. Now, I'm starting out with a darker value of indigo. Really dark. I want the top of the sky to be really dark and intense. See the color, it is really dark. Maybe you can make it even more darker on the top. But as you're coming down, we'll have to make the color lighter. As I'm using a larger brush I'm able to cover up a larger area. You can see how almost fill half of the sky. Now I'm going to wash out the paint from my brush and we have to make the color lighter. Thoroughly clean your brush and using a clean brush, make the color lighter. Now, for the rest of the area we need to add that mix of orange and rose. Clean your brush, dab it on a paper towel, and just blend that into the background. On the top we have a really darker value of indigo and towards the bottom I have made the color lighter. Now let's pick the second color which is a mix of orange and rose. For that I'm using a medium-size brush. I'm mixing some brilliant orange and permanent rose to create that beachy color. Just like I said earlier, if you don't want to mix these two colors, if you want to use them separately you could do that. I mean, if you want to use just orange or just rose, that's totally okay. That's the color I'm using. Over the bottom I want the color to be pretty intense. Now, as I go towards the top, I want the color to be lighter. I'm just washing off the pain and using a clean brush and making it lighter where these two colors are meeting. Now let's make the bottom medium more lighter. I'm just picking some water and I'm making the color lighter. I'm just taking it to the horizon line. We have a really intense tone of integral on the top. As you were coming down we made the color lighter. Then from the bottom we introduce our second color which is a mix of orange and rose. Now, if you want to make the color more intense you could do that but make it intense only towards the bottom by having a mountain. As you're getting closer to indigo I'm about to make the color lighter. That's the sky. I'm pretty happy with the colors and the blend. The colors are looking really intense. Now we have to wait for this to dry. It's a beautiful color combination. When we add the mountain it will look even more pretty. Let's take a small break and let the sky dry completely. [MUSIC] The sky has dried. You can see the colors are looking so pretty and vibrant. Our next step is to paint the mountain, the rocky mountains. For that the major color you will need is brown or bruncina. I'm going to squeeze out some paint onto my palette. If the sketch is not visible maybe you can take out a pencil and just draw that again. That can be a bit helpful when you're adding the deeper tones. So have taken some brown onto my palette. The next color you will need is Payne's gray or neutral scent. If you don't have these two colors you can use black. We'll be using this color to add a deeper value. Have both the colors ready on my palate. Now I'm using my medium sized round brush, this one is my size number eight round brush. Pick a brighter tone of brown and just fill up your mountain and also the ground. Just follow the outline and add in brown onto the entire background. Don't add a lot of water. We want a brighter tone. You can see the color I'm using here. It is quite bright and vibrant. Go with a similar color. We want those mountains to be really prominent so don't add a lot of water. Go with an intense color. Now, carefully apply that along the outline I have added there. You can see how beautiful the sky is turning out and we're adding the mountain. As I mentioned in the technique section, it is very important to go with an interesting shape for your mountain so as to make it look more realistic and natural. You can see it has so many pixels. That's how you should be adding your mountain. I have applied brown onto the entire mountain. As we have some orange in the background, the color is looking really prominent and I'm quit laughing yet. Anyway, I'm picking more brown. I'm going to fill the bottom part, go to the similar tonal value and just fill that entire area in brown or plancina. We already tried painting the mountain in the technique section so you know how to approach it. Just in case if you want to paint the mountain and ground separately you could do that. Right now I'm painting them together. I think I can manage to add in the deeper value in vanco. But just in case if you are not really sure about that you can paint them as two separate sections. Maybe you can paint the mountain first and then paint the ground or maybe you can start with the ground and then paint the mountain. Anyway, I'm starting to add the deeper value. For that I'm mixing a little of Payne's gray with brown to create a darker value. It is more like burnt umber. If you want to use burnt umber as it is you could do that. I'm starting with the ground. On to the wet background I'm just going to add some lines using that darker value of brown. My idea is to create some rough texture on the ground. It doesn't need to be perfect. It can be as rough and messy as possible. Just don't put a lot of effort in cleaning them. Let them stay as it is. You see a darker value, I simply added some lines on to the wet background. Now, again, using the same color I'm going to add some random shapes and some lines and some dots and all shapes onto the background again. This will add more texture onto the background, that is my intention. Go around and add some random patterns onto the wet background. Do this before the background dries. If you feel like your background is looking really messy, well that's a great job because that is exactly what we need here. Now, let's start adding some depot value onto the mountain. For that, I'm using my smaller size brush. This will exercise number 6 round brush. You can use a similar size or maybe a smaller one. Again, go back with a darker tone of brown. Just make some paints gray or neutral tint into brown or burnt sienna or use burnt umber as it is. Now, on all these lines we have here, I'm going to add that darker value, so they have added these peaks and the saddle portions. Onto these areas, let's add the depot value. You can already see how beautiful it is looking. That's why I said earlier, the more peaks and saddles you have, your mountain will look more beautiful. If it's quiet plain and empty, you wouldn't have lot of options to add your depot value. It might be a bit tricky to make it look more realistic. When you have so many peaks and saddles in your mountain, the job is much more easier. I just added some depot value onto the surface of the mountain. Now, I'm going to add that horizon line. Using the same taco tone, I'm adding a line over here, which will separate the ground and the mountain. Now just keep pushing and pulling that depot value into the mountain. See that? From the bottom I'm just pushing that paint into the mountain to create some taco value at the bottom. Maybe you can use another brush. Maybe a slightly bigger brush would be better. This one's my size number 8 round brush. I'm again, pushing and pulling that paint. Our intention is to add some depot value and texture onto the mountain as well as onto the ground. You can add them how will you want to. But add them before the background dries so they will nicely spread into the background and to make those patterns really beautiful. If they look really prominent, it might not be that great. Just add them before the background drives, that's only thing you need to keep in mind. See that profile of the mountain, it's starting to look really beautiful. Now, you can simply add multiple values onto the surface of the mountain. It has to be a beautiful mix of taco values and medium values. It doesn't need to have any particular rule or anything, you can just keep on adding them until you feel like you have got a beautiful mountain. Right now, I'm just pushing some paint from the bottom towards the top. Now you can see it is quite messy, but that's okay. You don't need to worry about that. I actually tried the same painting with a different color combination for the sky, but then I wasn't really happy with it. I tried violet and orange. Then I try the same with indigo and this color. This turned out really great as we have loosened brownish tones for the mountain. It is going very well with the sky. Honestly, I really liked this painting because we could do this in less than 15 minutes, and it is equally dreamy and gorgeous as the other paintings created so far. Anyways, let's add the remaining details and wrap up the painting. Right now the background is not completely wet and it is not completely dry as well. This is the right time to add the remaining details. Because the depot value that we are going to apply right now, they won't spread much into the background as it is not too wet and it will stay exactly where we have applied them. Let's add them in and finish off the painting. I'm picking a bit more darker value of the same color, and using that color, I'm just randomly adding some patterns onto the ground at is literally some random patterns, you can add them however you want to. They don't need to look like lines or circular shapes or anything. Simply added some depot value onto the background. I'm adding mostly on the right side, I'm just assuming that all the shadows are falling on the side. Considering the left side and making Brasilia more darker. On the left side, I'm just adding one or two small lines and dots, I don't want this area to be really busy. Let's add very little patterns on the side. Our painting is already looking quite complete. Just in case if you want to add multiple value, you could do that better this onto the mountain or onto the ground. You could just add them in as you wish. Right now the background has mostly dried. The depot value that I'm applying will stay exactly where I have applied them, it won't spread into the background. Be really careful about the amount of depot tones that you're adding onto the background. Don't add a lot of patterns and make your background look really busy. Right now, you can clearly see the mountain and the ground. We have defined that horizon line. We have added some depot value towards the left side. Now just in case if you want to add multiple value, you could do that right now, or if you're happy with your painting, you can just leave it as it. I'm painting some multiple value, and I'm adding a little more onto the mountain, along these lines we have added earlier. This step is completely optional only if you want to make those patterns more prominent, you can pick a darker value and just randomly add some lines and some patterns onto the mountain. I'm just dragging my brush and I'm adding some dry patterns. You can see here on one side I'm using darker value, and on the other side I have that medium tone of brown. You have to carefully play with your dark and light, and that is exactly how we print that presumption field to the mountain. If you don't have the right amount of depot value, your mountain will look quite flat, and it won't have that realistic feel to it. Keep adding multiple value, if you feel like it is not enough. Sometimes it is really important to take break, get up from your seat and have a look at your painting. Sometimes you might have already added all the details, there is nothing much you need to be adding. When you're closely working on it without taking your eyes off, you feel like there's more you need to add, but that might not be the case, so just get it from your seat take a step back and have a look at your painting. Only if you feel like there's more you need to add, just add some more texture on the ground or on the mountain. Otherwise, just peel off your masking tape and call it turn. I also took a step back and I felt like I can add a bit more pattern onto the clouds. I'm quite happy with the mountains, so I'm not going to touch that. Using the same color, I'm just adding some dots and some little patterns onto the ground. Very little, I'm not adding a lot. I'm using a medium tone right now, it is not too dark. There's nothing much complicated, I'm just adding some small dots and small lines onto the ground, just to give it a feel that there are some stones hard, some small sticks on the ground. This is an extra texture, which is not really necessarily. As I said earlier, only if you feel like there's a need to add more, you could add that. Otherwise, you had time. Anyway to make our painting extra dreamy, there is one last thing we can do using white watercolor or white gouache. Our sky is simple variegated wash, but I think we can add a small moon on to this to make it extra dreamy. You can either use white gouache or white watercolor. I'm going to add a small crescent moon. For that, I'm using my size number 2 round brush. You have to use a brush that has a pointed tip or any of your detailing brush or even a white gel pen. This brush has a really nice pointed tip. For the same reason I love this brush. Right at the center, I'm going to add a small crescent moon. For some reason I always love adding crescent moon than a full moon. Just add a small crescent moon onto the left side or onto the right side or onto the center. Just the way I'm adding it right now. Look at that, as a really simple and a little addition, but I think that made our painting look complete. Honestly, I'm really happy with the way the this one have turned out. It's a simple, and a beautiful painting. You can do this in less than 20 minutes or maybe 30 minutes to the maximum. It is super dreamy and super gorgeous. The colors are looking so good together. If you haven't tried it yet, I would really recommend you try it out. I think you could use the same color combination because I have tried multiple color combination for the sky, and this is what I loved. Just give it a try if you get to try it. Here's a closer look. You can see how pretty those mountains and the sky is looking. That's a painting for the day, I hope you all loved it. Thanks a lot for joining me today. I'll be back soon with our next dreamy landscape. [MUSIC] 35. DAY 11 - Tropical Beach: Hello, my dear friends. Welcome to day 11. Today we're going to paint a simple gorgeous beach. I really love the color palette as well as the fill of this painting. You can see there is no much detail, so it is quite simple, and it wouldn't take you more than 30 min. Let's quickly have a look at the color palette and the techniques so that we can try this out. This sky's a little bit sky, and the color I'm going to use this cerulean blue, you might have guessed it already. As I always say, if you don't have cerulean blue, you can use any other blue you have got. It could be Persian blue, cobalt blue, or any other blue. That's all for this color. Now for the beach as well, I'll using cerulean blue. Along with that, I'll also be using some cobalt green. Along the horizon line will be using cerulean blue and as you're coming towards the bottom, we'll be using cobalt green. Then you could see some brown color as well, which is actually a mix of brown and yellow ocher. By mixing these two colors, you can really get that beautiful sand color. If you don't have brown, you can just use burnt sienna, mix that with a little off yellow ocher and you can create a similar color. Finally, to add the wave you will either need white gouache or white watercolor. I would recommend going with gouache if you have it because it will be more opaque and we will be really prominent. Those are the colors you will need for today's painting. Now, I will quickly swap them out. Cerulean blue is not a common color, but as I always say, you can use Persian blue, or cobalt blue, or any other blue. Same goes with cobalt green. That is also not a common color, but we already have tried how you can create this color. If you missed it, just go back to the color palette section. There you will find the necessary information on how you can create this color with the colors you may have with you. Just check that out if you don't have cobalt green. Now let me add these swatches. First I'm starting over cerulean blue, which is one of my most favorite color. Ever since I have started using this color, I have never come back to any other blue. I use this one for all my disguise. If you ever want to invest in any other blue, I would really recommend trying this color. That's for this color. Now, the second one is cobalt green. But just another favorite color of mine. I use this one quite a lot for my cityscapes as well as for night sky. I love using this color for not a light, and also you can create that tropical beach very easily with this color. Sometimes colors have a lot of impact on your painting even more than you really can think of. Sometimes even if the technique goes wrong or even if you don't add lots of details, some colors can make a huge difference. This one is such a color. Now the next color you will need is brown or burnt sienna. We'll be mixing a bit of brown with yellow ocher to create a beautiful sandy color. If you're using burnt sienna, you wouldn't need to mix a lot of yellow ocher. Burnt sienna as more of a yellowish brown, whereas brown is more reddish. That's brown. Now, I'll swatch yellow ocher as well then we can try mixing these two colors. That is yellow ocher. Now let's add some brown into this and see how the colors looking. Now using the same brush, I'm picking some brown, adding a few drops of water. Now, mixing that with the yellow ocher. That's a color. Now, I'm going to space it out. Here's the color. It is just a simple brown which has a slightly yellowish tinge to it. You can see the color here. If you want to use your burnt sienna you could do that. Or I can just add a mix of yellow ocher into either brown or burnt sienna and make it more yellowish. That's all about the colors. Now let's quickly try the beach. The sky is pretty simple. I will just use the water first, then we can try the beach. The sky is a very simple, wet on wet sky. We'll be making the background wet, then onto that, we'll be applying some cerulean blue by leaving some gap in-between. You can see all these gaps in-between. It is those gaps which will make our sky look more special. We'll be just applying a shiny go to water onto the entire background. Then onto that will be simply dropping in some cerulean blue by leaving some gap in-between. You can easily create a gorgeous sky. Now coming to the beach, it is again a wet and wet wash for the background layer. We'll be starting with cerulean blue. You can see the color here. Then we will be adding some cobalt cream and we make it lighter. From there we will be introducing our brown, which is a mix of brown and yellow ocher. Then when the background layer dries we could be adding in our view. That's what we're going to try it right now. Sky is pretty easy and straightforward. You can follow that when we are painting. Let's try the beach. First I'm going to apply cold water. I'm using my one-inch brush brush and I'm applying cold water onto a small section. Just make sure your background is evenly wet. You can run your brush multiple times so that there's no pulse of water in-between. The background is wet. Now we can start adding the colors. To add the colors, I'm using my medium-sized round brush. The paper is bouncing, so I'm just adding a clip over there. I'm picking my size number eight round brush and I'm starting with cerulean blue. You can go to slightly brighter value and add that along the horizon line. Over here we don't have the sky. Just assume we have the horizon line over here and add a little cerulean blue. Now as we're coming down, we have to switch to cobalt green and blend them well. Now let me pick my second color, which is cobalt green. You can add that right next to blue and blend them well. Have added cerulean blue and cobalt green, now I'm going to wash all the paint from my brush and I'm going to make it lighter. Now using seen clean wet brush, I'm making the cerulean lighter. Now I'm cleaning my brush again. Now let's switch to brown. I'm picking some brown and mixing that with the yellow ocher. Now onto the remaining area, I'm going to add that color. I'm starting from the bottom and I'm going toward the top. That's the color I'm using at the bottom. I think it became a bit darker. You can make it slightly lighter than this. This one is looking really dark. Anyway, I'm going to add a little more brown towards the top. Then we have to make it lighter. I'm picking some water and I'm adding darker brown over here. Now as you're approaching cobalt green, we have to make it lighter. Clean your brush properly. Using a clean brush, just make it lighter. That's our base layer. Now we'll have to wait for this to dry. You don't need to put a lot of effort in blending cobalt green and brown. You can just leave it as it is. We're going to add the wave right where these two colors are meeting. That won't be visible, even if you have a clean blunt or not, it is not going to affect your painting. That's a base layer. Now we have to lay this for drying. Now for the next step you will need either white gouache or white watercolor. I would recommend going with gouache as it is more opaque so that we will be really prominent. To add a wave, we can either use the smallest size brush or a brush with a pointed tip. Now, just add a few drops of water into either white gouache or white watercolor and make it into a thick, opaque consistency. Make sure your background has dried completely. Our first step is to add a irregular wavy line. We lead to add a thick white line a little below cobalt green. You can see my painting on the right side. The line has to be a little bit of cobalt green. I'm going to add one remaining patterns. Some of them has to be on the brown background, and some of them has to be on the blue. This is exactly where you should be adding a line, add an irregular line like this to make it look more interesting. Now, we can make it more thicker. Some picking some more white and I'm making it thicker. This line which will eventually turn into a wave has a lot of importance in our painting because we don't have a lot of details, the major feature is this wave. Be very careful when you're adding the line. If you want to, you can start with the pencil sketch and then you can just follow that line using your paint. I have added the wave. Now to make this look like a wave, we need to keep adding more lines onto the top area. The bottom has to be left as it is, we need a clean line at the bottom. You can see the painting here. Onto the top side of the line, I have added some messy lines. They don't have any particular size or shape or any thickness. They can be really random and messy. When you keep adding them and when you start filling up that area, it will look like a wave. You can just keep adding some irregular line from that where we added towards the top. Our idea is to fill this area, keep adding more lines. You can use the smallest size brush or a brush with a pointed tip. Right at the junction, keep adding some lines. We need to simply cover this area where the cobalt green and brown is meeting. You can keep adding more and more lines and you can make this area more denser. We just need pick off those colors in the background, they don't need to be completely visible. Keep adding some irregular lines until you feel like it is looking like a wave. This paper is really rough and I'm having a hard time adding those lines. Paper has a lot of texture, adding the same on my arts is much more easier. Anyway, just keep adding some lines. I think it is starting to look like a wave right now. Once you're done adding lines at the bottom, you can add some more to the sea as well, there you have cobalt green. But over here you can use something and delicate lines, maybe you can add some dry lines as well. Don't make it too thick and opaque. We only want prominent lines at the bottom, not on the area where we have cobalt green. You can see over the bottom I have thick and prominent lines, and towards the top, I have made them very delicate. Now I will add few more lines, then we can add the shadow. You can see the lines I'm adding right now, they are barely visible. We're just trying to create some texture. You can add some thin lines like this. That is more or less than, but it's still not looking like a wave. For that, we need to add the shadow. I'm just mixing a little of cerulean blue with brown to create a darker tone and have added some water. It's a medium tone. Now using that, I'm adding some shadow. You just need to simply follow the shape of your wave and add your shadow and a broken wave, don't add that as a continuous line. At some places you can add it and you can then break it and then add it again. Right now you can see a wave is looking a lot more realistic than earlier. It looks more three-dimension right now when we added the shadow. Now, just in case if you're not really happy with those white lines you have added, there is one last thing you can do to make your wave look better. All of which is nothing other than adding some dry lines. Take some paint on your brush, rub it on a paper towel and make sure your paint is not too watery. Now, just scratch on the paper and add some try patterns. This will make your wave looks so much better. Adding these dry patterns will make it look like the waters foaming. But don't add a lot. Try to add the lines first. If it's not working, you could do this. That is for the day. That summarize the color palette and the techniques. It's just a matter of painting the background and adding some irregular lines. Here's a closer look. It's a really simple and a quick painting. I'm very sure you guys are going to love it. If you're ready to give it a try, tell me in the next section. 36. Tropical Beach: We already had a look at a color palette and the techniques. Now it's time to paint this gorgeous beach. I have taped down my paper onto my table. Now, I'm going to apply a piece of masking tape right at the center. This is to divide the sky and the beach, so secure your paper and apply a piece of masking tape right at the center. Now, let's start painting the sky. For the sky, I'm going to use it cerulean blue as I discussed earlier. If you don't have cerulean blue, you can use cobalt blue or any other blue have got. It's a veteran with the sky. The first step is to apply coat of water onto the entire sky. You can use any of your flat brush or a round brush and apply a clean ink of of water. Make sure your background is evenly wet. For sky that we're trying today, it's a very simple sky. We're not really going with any purple sheep for the cloud or anything. We are simply going to drop in some cerulean blue onto the background. While we are applying paint onto the background, we'll leave some gap in-between. The character of the sky will totally depend on those gaps you're leaving in-between. Now to apply the paint, I'm using a medium-size brush, this one on for size number eight round brush, and I'm picking some cerulean blue. I'm going for slightly brighter tone because when the background dries, the color will be slightly dull. I want the colors to be really bright and vibrant. I'm using a brighter value of blue for the sky. Now, onto the wet background, I'm going to randomly apply some blue. You can see the color and also I'm leaving some gap in-between. They don't need to be any perfectly shaped clouds. You can see the way I'm leaving some gap in-between. They can be some lines and some random shapes. When you're adding that blue color into the background, just remember to leave some gap in-between. They can be any kind of shape. I have applied paint onto the background. I have cleaned my brush. Now using a clean damp brush, I'm just going to make these lines smoother. My brush is just dump it doesn't have any paint on it. I'm just pushing and pulling the color into each other to make it softer. I'm trying to read in that white gaps. Over here, I have a bit of white. Over here, I've got a bigger gap. That looks really nice. See that? That's the sky. It's a very simple sky. You can create a very beautiful, realistic looking sky using this method. Now I'm just adding some more blue on the top. A brighter value, maybe a little towards the bottom as well because when the background dries, it might look slightly dull. I'm adding some more brighter blue. Now let me smoothen them again. I'm washing off the paint, dabbing my brush on a paper towel, and using a clean damp brush, I'm just matching the colors to give it a more softer and smoother look and that's it, that's the sky. You can see how beautiful it is looking. It's a very simple technique, just give it a try and I'm very sure you're going to love it. It is just a matter of leaving some gaps in-between. Other than that, it is quite simple. The major thing is, you can see the different kinds of shapes I have got here. Retaining that paper white might be a bit tricky if you have a lot of water on your background. Just be sure your paper is not too watery. We just need a shiny coat of water on the background and just dropping your paint and you can create this gorgeous clouds. If there is a lot of water on your background, the moment you drop in the paint, they will start spreading into the background and you wouldn't be able to retain those white gaps. That's something you need to be careful about. There's a lot of water. Take a break, wait for one or two minutes until the water settles, then you can drop in your paint. Now it's time to leave this for drying. The sky has dried completely. You can see those beautiful clouds we have got here. They're looking super soft and dreamy. This is one of the most easiest technique you can use to paint a gorgeous sky. As I mentioned earlier, it's just a matter of having the right amount of water on your background and in those gaps. Other than that, it is quite easy. Just give it a try. Anyway, let's remove the masking tape and start painting the beach. We already tried the beach in the technique section. I'm very sure this is going to be really easy for you. As we discussed, I'm going to use cerulean blue and cobalt green. Then for the ground, I'm going to use a mix of yellow ocher and brown. I will quickly show that color again before we start. I'm picking some brown and I'm mixing that to yellow ocher. You can just mix equal parts of yellow ocher and brown. This is the color we're going with. I hope you have the colors ready. Now I'm going to apply a clean coat of water onto the entire beach. Then we can start adding the colors onto it. I'm using my one-inch wash brush and I'm picking some clean water and I'm making the background evenly wet. Be careful when you're close to the horizon line. Don't add any water into the sky. Maybe you can leave a tiny gap along the horizon line just to be on the safer side. My background is evenly wet. Now to apply the paint, I'm going to use a medium-sized round brush. This one of my size number eight round brush. I'm starting off with cerulean blue. Just the same way how we tried in the technique section. Go with the brighter tone and add that along the horizon line. Try to go with the clean straight line over here. Apply that color along the horizon line. Go with the similar tonal value, or maybe a bit more darker, but it shouldn't be too light. I think I can make it a bit more darker. That looks fine. Now, let's go with our second color, which is cobalt green. I'm washing off the paint, dabbing a brush on a paper towel. Now I'm picking some cobalt green. Go with the vibrant color don't add a lot of water. Add that next to cerulean blue or any other blue you're using. Blend that with the blue. You can see how pretty that color is looking. We can add a bit more. For the beach, we are going to use half and half proportion. For the bottom half, we're going to use brown, and for the top half we're going to use cobalt green and cerulean blue, we have reached almost half. Now I'm picking a bit more cerulean blue and I'm adding that onto this background. Just to add a few more texture onto the beach. I'm just adding some cerulean blue along the horizon line. To add some texture. I'm not adding any towards the bottom. It doesn't need to be a smooth, perfect plant. You can simply drop in that cerulean blue onto that background. We are simply trying to create some texture here. Now I'm going to wash all the paint from my brush. Using a clean brush, I'm making this area lighter. Now for the bottom half, we're going to use brown. Let's create that mix of brown and yellow ocher. Now let's add that at the bottom and let's go towards the top. Go the medium tone, don't make it too light. You can see the color I'm using here, it is not too light and it's not too dark as well. Go with similar tonal value. You can apply that at the bottom, closer to the masking tape. Now as you're going towards the top, you can make it lighter. Painting this background layer is very simple. We started off with cerulean blue, then used cobalt green. Now we have used a mix of brown and yellow ocher. I think I can make the bottom a bit more darker. I'm just adding some more paint, dabbing it on a paper towel, and I'm spreading that into the background. That's a base layer. Now, we'll have to leave us for drying. Alright, the background has dried completely. The colors are looking really gorgeous. I'm really happy with the colors and their intensity. Now for the next step, you will need either white watercolor or white gouache. I'm going to use white watercolor because I couldn't find that I kept my white gouache. But I would recommend going with gouache as it is more opaque. Now you will need a smaller size brush or a brush with a nice bonded to add the leaves. I'm using my size two-round brush and I'm adding a few drops of water into white watercolor. We want the color to be really opaque and prominent so don't add a lot of water. Our first step is to add that wavy line. We should be adding that a little bit of cobalt green. I'm adding that line over here, which is a bit below cobalt green. You can go with an irregular curvy line. First step is to add that beautiful line. You can see the thickness that is not too thin. Go to the paint that is legally opaque and add a line. If you want, you can start off by adding a pencil sketch, and then you can follow that line. If you prefer, that would be better. It's not a complicated shape. Even if you make some mistake, that would be fine. Because the line is not going to stay as a line, we're going to add more white to create that view. Even if you make some mistake, that is totally okay. I'm making it a bit more thicker. It is great if you can use white gouache. I think this one might figured when it dries. That's the first step. Now comes the fun part. We can start adding those messy lines. I'm using the same brush. You can use any of your smallest-size brush or a brush with a pointed tip. Now add any kind of lines onto this area using white paint. They can be of any shape and any thickness and any size. It can be a combination of all sorts of lines. See that. Some of them can be dry, some of them can be really opaque. Go with all sorts of lines. Now in a similar way, I'm going to fill this anterior line. Right now you can see there's lots of gaps in between. It is not too dense. But we can make it denser as we progress. Right now, and just fill it up. Slowly we can introduce more lines and make it more denser. Right now, you can see it doesn't look like a wave. It is looking quite empty. But as you progress, as we add more lines and we get denser, it will start to look more realistic. Don't give up. Keep adding more lines using white paint. As I said, it can be the white gouache or white watercolor. It can be any kind of lines. Some of them can be thick and some of them can be thin. They can be wavy or cool. Or any sort of shapes. Just don't give up because it is looking messy right now. It is going to look fine by the time we add more lines. The only thing you have to keep in mind is not to add any lines towards the bottom side. We have to have that line clean at the bottom towards the top you can add as many lines as you want. I think now we're starting to look more like a wave because we added more lines. But that's not enough. We need to add more. I'm just dragging my brush on the paper and I'm adding some dry lines. Along those lines, you can also keep dragging your brush on the background to create some dry textures. This will make your wave look more for me. Keep adding some try patterns as well as some lines and I'm very sure by now you might have started to like your painting. It might be looking more like a beach earlier than this started off with a lot of gaps in between. It wasn't like this. But right now when we are adding more and more lines, those gaps are filling up and it is getting more denser and denser, and starting to look more like a wave. Now we can keep adding more lines and then maybe you can add someone to the sea as well. At the bottom, we can add them. How will you want to but when you're adding them onto the sea, go with some delicate lines. Don't make them too bold and take over here. It's absolutely okay. Because you can create that for me water here. But when you're adding them onto the blue background, go with something and delicate lines. Don't make them too and thick. I think I can make the wave a bit more thicker. The line we have at the bottom. I'm picking some more white paint and making it a bit thicker. Also, I'm adding some lines onto the background. If you want to add more line, you could do that right now. Also if you want to make it thicker at the bottom, you could do that as well. Just have a look at your painting and understand what you need to add more. Whether you want to make that bottom line more thicker, or whether you want to add more line, turn to the water. It is totally according to your painting. If you want to add more, you could do that. Or if you feel like you have got enough of texture there, and if it's looking like a wave, you can call it done. This is where I have raised. I think it is looking quite nice. I can really feel the peach. The waves is looking pretty nice. We'll also need to add some shadow so that it will have a more three-dimensional figure. Before that I think I will add some more lines. I'm just adding few thin and delicate lines onto the sea. I think at the bottom I have enough just to make that transition look more beautiful. I'm adding some lines, very thin and delicate ones onto the water. You can see the color I'm using it is barely this blue. I'm just adding some random lines. They don't have any particular shape or any particular size. It is mostly using dry paint. I just want to create some more try patterns onto the water to bring some texture. Maybe we can add some more and acting, we can call it done. You can see the lines are matching. The heart name server. In a similar way when you're adding them onto the blue background. Now, I'm going to wash the paint from my brush and I'm going with a brown shade. We want a darker tone of brown, which is not too opaque. Just add some Payne's gray or some blue into your brown to create a darker value. Or you can use burnt umber, go with a lighter tone. Now using that color, we can add the shadow of the way. We try the same in the technique section. In a similar way, add your shadow. It doesn't need to be a continuous line. You can break your line in-between. See that. I broke a little section. Now I'm adding that again. If you break it, it will have a more realistic for you. If you add that as a continuous line, it might look a bit weird. Just break your line and just add them in between as more lines. You can see the color. It is not too dark. Go with the similar tonal value. You can see how beautiful that wave is looking. When we introduce the shadow. It looks like it is lifted up and it is looking more three-dimensional right now. Earlier it was looking quite flat. Right now you can really feel it is elevated. That's the difference the shadow can make. It might be a really simple step but then it has got a huge impact on your painting. Now, I'm going to wash the paint from my brush and I'm switching to blue. I'm going with a medium tone cerulean blue. Now using that medium tone of blue, I'm going to add a mountain around the horizon line. It's not a huge one. You can see the size I'm going with and that's the color it is not too dark. Go with the low-lying mountain. Initially, I thought of leaving the horizon line as it is without any detail. Then later I thought we can add a mountain. This can bring a more depth in our painting. It will look like the smartest really far. I think we can bring a better sense of depth in our painting. But it is completely optional. If you want to leave your horizon line as a clean line, you could do that. You don't need to add in any detail. Now, I'm going to add another small mountain. Leave a small gap and add a small mountain over here. The first one was a longer one. The one I added right now is a smaller mountain. With that we've completed several painting. We'll finish this painting in less than 20 minutes and our painting is looking really gorgeous. I hope you all liked it. Now, I'm going to peel off the masking tape. Looks like I have got a clean bottle. I'm really happy with the sky. It's a soft, simple, and beautiful sky and even the beach. We did a simple background layer and then onto that we added the wave. I hope that was easy. You can try the same technique with gouache as well. Here's a closer look of our painting. I hope you all loved it. Thanks a lot for joining me today. I'll be back soon with our next training landscape. 37. DAY 12 - Northern Lights: Hello my dear friends. Welcome to Day 12. Today we're going to paint a very beautiful Northern light. It's a wonderful color combination. My favorite part about this painting is the mountains. It is really easy to paint this mountain. Let's try that out. But before that, let's try the color palette. For the sky, as you could see here, it's a combination of green and blue, and these are the two colors I'll be using. Yellow, green light from Sennelier, and indigo again from Sennelier. You can use any green you have got, any brighter green. If you don't have any green like this, you can add a little of sap green into lemon yellow. It might not look exactly similar to this, but then we can use that one. This the pigment number PG7 and PY153. That's our first color. Then along with that, I'll also be using indigo. Now, to add the stars onto the sky, you will either need white watercolor or white gouache. Then finally, you will need brown and Payne's gray, which are the two colors we'll be using for the crown, as well as for the mountain. It's a very beautiful mountain which is really easy to paint, we'll try that in some time. First I'm going to swatch out all the colors I have taken here, and then we can try the sky as well as a mountain. First, I'm going to spurt out green. This one is a really pretty vibrant green. It's more like a neon green. That's my first color. Now, the second one is indigo. If you don't have indigo, you can use Prussian blue or any other darker blue. The one I'm using here is from Sennelier, it's more like a bluish indigo. Now, just in case if you want to try a different color combination for your sky you could do that. We just need a brighter color and a darker color, which will be a contrast to the first one. Those are the two colors I'll be using for the sky. Now, the next one is brown and Payne's gray. If you don't have brown, you can use burnt sienna. If you don't have Payne's gray, you can use neutral tint or black. We'll be using Payne's gray to add the deeper tones onto the mountain. It's going to be a color that we're going to add into brown or burnt sienna to make it darker. Even if you don't have Payne's gray, this absolutely okay you can just use black or any similar color. Or even an indigo, you can just mix that with brown to create a darker value. That is our last color. It's a very simple color palette and the painting is really gorgeous, and it is easy to create as well. That's the color palette. Now, let's try the sky. We're going to use wet on wet technique for the sky. Onto the wet background, we are going to drop in some wet paint and we're going to tilt turn all around the paper to create a courageous and beautiful blend. The sky will turn out and totally you depending on how much water you're background is. You need a little more than a shiny coated water on your background today, it is not like how I usually say. If the background is not watery, the colors won't spread into each other and you won't get a natural blend. I'm starting by applying a coat of water onto my background. Right now, I'm adding this on my sketchbook, so I'm not fixing that onto a board. But when we're doing all painting, it is really important to fix your paper onto a drawing board or any backing board so that again tilt turn, turn around your paper. Don't fix your paper onto the table. I'm applying a generous amount of water onto the background so that the colors can float around. Looks like that is better now. Now, I'm going to switch to my medium-sized strong brush, and I'm going to start applying the paint onto this wet background. First I'm picking green. The one I'm using here is pale green light, and I'm adding to curvy lines onto the bed background. You can see how beautiful that color is, and maybe we can add some more. I've added my first color. Now, I'm going to wash the paint from my brush and I'm picking my second color, which is indigo. I'm cleaning my brush, picking some indigo. I'm dropping that onto the top and also do that in-between space. Just dropping your color, don't worry about mixing it right now. You can see the beautiful contrast here. Whenever you're painting, Northern light you have to go with colors that will complement each other. Don't go with colors have similar tonal value. Right now you can see the first color is really bright, and the second color is really dark, and there is a beautiful contrast here. Now, I'm cleaning my brush, and I'm just tilting my sketchbook. You can see how the paint is floating down. Now, using a clean brush, I'm just helping them so that we have a better blade here. You can either tilt, turn, turn around your paper, or you can use a clean brush and just help out in blending. You can see how the colors are bleeding down. You can tilt your paper in the opposite direction, and make it bleed into each other so that it will have a natural blend. Or you can use a clean brush, and have them in blending. This paper is highly textured. The paint is not really floating into each other, but it is great for the mountain as it has got a lot of texture. Anyway, now I'm going to pick some more indigo, and I'm going to drop that onto the top to bring in a little more contrast and maybe some over here as well. That's how we're going to be in the sky. You can either go the same color combination, or a different color combination of your choice. I'm pretty happy with the blend, the colors are looking really nice. You can simply drop in your wet paint onto the bed background, how well you want to. Then you can keep tilting and turning around your paper in multiple directions so that the colors will spread and float into each other, creating a natural blend. Anyway, we'll try that in a better way in our main painting. Right now, I just wanted to show you the color combination. Anyway, our next task is to try the mountain, which is what I'm really excited for. We already spoke about the colors. I'll be using brown and Payne's gray. I want to color with just a bit darker. I'll be mixing Payne's gray and brown together to create a collaborative similar to bone tamper. Now, I'm going to start by adding a sketch. You can go with a simple shape, or an interesting shape for your mountain, like the one I have here. The interesting part about this mountain is the snow we have on the mountain. It is actually the paper white, I haven't added any white onto it. All these white gaps you see here it is actually the paper white. That's something we're going to try right now. It's a very interesting technique which you can use in your future paintings as well. Let me pick my pencil and add a simple sketch first. You can go with any kind of shape for your mountain. I'm adding two mountains here. That's a sketch. Now onto those we're going to simply adding a darker tone of brown, and in-between we are going to leave some paper white, which is going to be the snow. I'm picking some brown mixing bad with Payne's gray to create a darker tone. I want the color to be slightly darker. As I said, something similar to bone tamper. We are using wet on dry technique here. I haven't applied any water onto the background. I'm using the wet paint. I'm going to add that onto the dry paper. As I'm adding the paint, I'm leaving some gaps in-between. They can be of a linear shape, so just add some random shapes in between like this when you're adding your paint. Right now, it might not look that great, but trust me, as we are done turn adding the paint onto the mountain, it will start to look like a snowy mountain. I think you can see that right now. I have left some gaps in between, but I'm adding the paint. I'm going to do the same thing onto the other mountain we have here. While I'm adding the paint, I'm leaving some gap, which is the paper white, and that is turning into the snow. See that? How easy and how pretty it is. You can use the same technique to paint a Blue Mountain as well of very snowy mountain. You have to use a medium to lighter tone of indigo, and use the same technique to paint a beautiful snowy mountain. Now, I'm picking some more darker value of brown, and I'm adding that towards the bottom just to give it some more texture. Use a darker tone that's really dark. Let me pick some more brown. That looks better. Now, we can simply drop that darker values in between to make your mountain look more interesting. Maybe we can add some at the bottom as well and we can finish up the mountain. You can see how easily we created a snowy mountain, which is really beautiful. I really want you guys to try this out before we go with our painting. Now, just in case if you couldn't leave enough white gaps in between, and that is absolutely okay. You don't need to worry about that. We can come back and add some white patterns using white gouache or white watercolor. In case if you couldn't leave as many patterns as you wanted, that's absolutely okay. That's our mountain. Now, just in case if you want to add in more deeper value, you you do that right now. I think the colors are looking really pretty and it's going very well with the sky. Just give it a try to understand how easy it is. I'm very sure you guys are going to love this technique, and you can use this in your future paintings as well. You can see those different tonal values of brown and those white snow, I think it has come out really nice. In case you want to, you can drop in more deeper value to add some more texture onto the mountain. That summarize the color palette and the techniques you need to know for today's painting. Today's painting is going to be a really quick and easy one I cannot wait to paint this with you. Join me in the next section and let's give it a try. 38. Northern Lights - PART 1: [MUSIC] I have my paper ready here. We already spoke about the colors. They are also ready on my palette. I have fixed my paper onto a board. You can use a hardboard or a triangled board or any hard surface. It can be even a magazine, we just want to fix our paper onto a hard surface. Now, I'm going to start by adding the sketch. We just need to add some mountains. You can go with any shape that you prefer. It doesn't need to be exactly the same way how I'm adding it here. [MUSIC] That's a sketch, before you start applying water onto the sky, keep your colors ready. I have the colors ready on my palette, so I'm picking my varnish wash brush, and I'm going to apply a generous amount of water onto the entire sky. It is okay if you accidentally add some paint or water onto the mountain. As we're going to use some darker tones for the mountain, it doesn't really matter. This is my varnish wash brush, I'm applying a generous amount of water onto the entire sky. As I mentioned in the technique section, we want a good amount of water on the background so that colors can spread and float into each other. Keep adding more and more water onto the entire background until you feel like there's a good amount of water. I have applied water onto the entire background. Looks like it is evenly wet and have a good amount of water there. Now to apply the paint, I'm switching to my medium-sized trim brush, this one as my size number trim brush, and I'm starting off with green. First, I will add the paint right about the mountain. If we don't have a similar green, you can mix a little of lemon yellow puts up green. The color might not be as bright as this, but I think it will be okay. I'm using a good amount of green, I'm adding that onto the wet background. That's the first section, now I'm going to add another one on the top, which is going to be in a curvy way. Starting from this corner, I'm going to add a swirly line. You can add your paint how you will want to, it can be a curvy line or a swirly line. Just add that in any order and any shape. You can make it more vivid or like a more dancing lights. Those things are totally your choice, we will just need a wet background and we need to keep on dropping the paint onto the wet background. [NOISE] Now I'm washing up the paint from my brush and I'm going with indigo. I want to rarely top enough indigo. Otherwise, we won't get enough of contrast on this northern lights. Got a really dark and intense tone of indigo. First time, starting with the topmost corner, you can see the color, it is really dark and intense. Now, I'm adding that onto this in-between space we have here. Right now don't bother about blending them, just keep dropping your paint onto the wet background. Now I'm adding some paint right up on the mountain. I'm using indigo here, it is not as dark as the color I used above. You can already see how the paint is starting to float into each other. Our first task is to apply paint onto the anterior background then we can start to turn around our paper to blend them into each other. Right now you can see the background is really messy. But there is nothing to worry here, we are going to turn that into a magical sky. The major key here is having a background wet and also using a watery paint. Otherwise, it might be a bit difficult to blend the colors into each other because we're not going to use a brush, we are going to tilt and turn around the paper so that the colors will spread into each other by its own, creating a beautiful and natural plant. Before I start blending the colors, I will quickly add some paint onto this bottom-most corner. Over here, the color is looking quite real. I will quickly add some paint onto this corner to retain the shape of the mountain. I'm not really happy with the shape of the mountain, but I think we can fix that when we are painting, as we're going to use the really taco value of prompt for the mountain. I think I can cover this mess, so let it be this way. Now we can start tilting and turning around the paper before the background dries. We have to be really quick, keep tilting and turning your paper in every direction. You can also use your brush to push the paint into each other, but the major role, has to be done by tilting and turning the paper. Otherwise, the blend board look very natural and smooth. [NOISE] I'm just cleaning my brush and I'm just picking some paint from here. I'm trying to retain a continuous green line here. Maybe we can drop in some more paint to make it a bit more intense. I have added some more green paint, I have tried to retain that line here. I have made it a continuous line. Now I'm again tilting my paper. You can see the way the color is moving into each other, creating a gorgeous blend. The blended by tilting and turning the paper around is always so much better than when you use your brush. This will be a lot more smooth and soft. Now, just in case you want to drop in some more taco paint, you could do that right now. Do this only if your background is still wet, otherwise, just ignore it, maybe you can just add some on to the corner and try to tilting it again. If your background is starting to dry, don't drop in any more paint, just leave it the way it is. Now making tilting my paper. This one is a really messy method. Maybe you can put a plastic sheet or something so that it won't stain your table. I'm quite happy with the blend, the colors are looking really gorgeous. I'm just wiping off these corners so that I can reduce the amount of mess it is going to make. You can keep tilting your paper in every direction until you feel like you have got a beautiful blend. I'm happy with the way it has turned out, so I'm going to call it done, and I'm going to leave this for drying. [MUSIC] This is how color turned out. The colors are not looking that bright as earlier. When it dried, it is looking quite dull. Also, I couldn't really retain that green line we have at the bottom, but no complaints. I'm still happy with the blend. Now our next task was to add this task onto the sky. For that, you can either use white watercolor or white gouache. I'm going to use some white watercolor. I'm going to squeeze out some paint onto my palette. In having white gouache, I would recommend using white gouache as that is more opaque, and white watercolor can be more transparent. It's always better to use white gouache. I somehow misplaced my gouache I couldn't really find it. That's the reason why I'm using white watercolor here. Now we need to supply to the stars onto the background. I'm using smaller size brush. I'm adding a few drops of water into watercolor to turn that into a slightly thicker consistency. If I add a lot of water, it will be really transparent. That [inaudible] won't really show up. You have to go with the consistency that is between thin and thick. One thing I always recommend is dabbing your brush on a paper towel, once you have taken the paint on your brush so that you can be really sure about the consistency. Now using another brush, I'm going to tap on my smaller brush to create some stars. Looks like my paint is really thick, nothing is falling onto the paper. Now, I'm going to try again. [NOISE] That looks better. [NOISE] Now I'm going to tap and create as many stars as possible. [NOISE] I will concentrate more onto the darker areas. On the green side, it won't be really visible. Let's focus on the top where we have this taco indigo. [NOISE] You can add in as many as you want, there's no limit. That looks nice. Now using the same brush, I'm going to add some bigger stars as well. I'm going to randomly add some bigger dots, which are the bigger stars. For this step, you can also use a white gel pen. You can simply add some bigger stars whatever you want to. [MUSIC] I have added the stars. I think the sky is looking much more beautiful than only open the add stars. Now the next step is to paint the ground, after that, we can paint the mountain. 39. Northern Lights - PART 2: Now over here, I'm going to start with the greenish color. I just want to make it look like the light from the sky is reflecting on the ground. I'm starting with the color, which is slightly greenish, and that color is a mix of pale green light, and a bit of brown. Let's give that a try. It's more like an olive green. So I'm cleaning my brush and I'm picking a bit of green and I'm mixing that with brown and this is the color I'm going with. It is more like an olive green so you can mix any of the green that you were using with a bit of brown or burnt sienna and create a similar color and you can apply that along the horizon line. We're using this color only over here, for the rest we are going to use brown and Payne's green, we want some darker tones at the bottom. Now I'm picking more brown and I'm adding that at the bottom. It's only on the top I'm using that greenish color, for the rest I'm using brown and Payne's gray. I want darker tones at the bottom and a bit of lighter value on the top to make it look like the color of the sky is reflecting on the ground. Now I'm picking a much more darker value of brown and I'm adding that at the bottom. Right now we can clearly see that lighter green on the top and then brown and more of Payne's gray at the bottom. It doesn't need to be a clean blend, just add in your color how way you want to. We want some greenish color on the top and some darker brown at the bottom. That is all what we need, you can add them however you want to. We can see that lighter green on top, the rest is all brown and Payne's gray. To solving it, I think earlier we had a lot of green, right now we just have a small line of green there. This is looking much better. Now onto this background, I'm going to add some deeper value to create some rough textures. I'm picking some darker tone and I'm adding some lines and some dots onto this wet background. It's a night sky and the surrounding is pretty dark. You don't need to put a lot of effort in detailing the details on the ground. As I said, you can simply drop in some lines and some dots, or maybe some random patterns onto the ground. Just pick a darker tone and add that mostly towards the bottom. Try to read in that little of green we have at the top, don't add lots of darker tones over there. So you can see how I'm adding it. I'm just randomly adding some messy patterns onto that background to add some texture. That's all we need. Right now it might not make any sense, it might not look that great, but once we start painting the mountain, you will see how gradually our painting is getting alive. Just don't worry, if your painting is looking directly at the moment. Now we can start painting the mountain. We're going to paint the mountain exactly the same way how we discussed in the technique section. I'm using a darker tone of brown which is just similar to bond tamper so I'm mixing some Payne's gray with the brown to create a darker tone. If you have burnt umber, you can use that Tacitus and maybe just to add some deeper tone, you can use Payne's gray or neutral tint or black. I mix some Payne's gray with brown. I'll just match out the color on this scrap piece of paper. That's the color I'm going to use, it's pretty dark, but it is still has some brownish undertone. Now using that color, I'm going to start adding paint onto the mountain. I hope you guys have tried the technique section. We're going to use wet on dry technique here, which means we are not applying any water onto the background and we are applying that wet paint directly on the dry background. As you're painting, I'm leaving some cap in-between, mostly in linear shapes in an inclined way. Just keep adding paint onto your mountain and don't forget to leave some caps in between. It's going to be some white cap which will eventually look like snow. Keep adding paint onto your mountain, leaving some cap in between. It can be super thin, it doesn't need to be big patches. Just keep going and keep adding paint onto your background leaving some caps in between. It's a very easy technique, I want you guys to try the techniques section first and maybe you can try this on a scrap piece of paper and then come back to your main painting. Now in a similar way, I'm going to continue to add the paint towards the bottom, you can use some darker value in-between. Maybe you can add some more Payne's gray into the same mix and use a darker value to add some more realistic character into your mountain. Right now, I'm using a little more darker value of brown, but I'm using the same technique. As I'm applying paint onto the mountain, I'm leaving some cap in-between. Keep going, keep leaving some cap. We don't need a lot of cap, we just need some, especially on the top. Towards the bottom, you can simply fill your mountain in darker brown or burnt ampere. If you're using a paper that has a lot of texture, this technique will look really beautiful. In case you have some leftover textured paper at home, a rough paper or a handmade paper, just give it a try, I'm very sure you will love those mountains. Now, I'm going to add in some more paint, leaving some cap in-between. You can see how small those patterns are only bigger patterns. The smaller the better. Now I'm going to pick a much more darker tool and I'm going to fill the bottom. Over the bottom, I'm not going to leave any cap, I think I will just fill this up. I have a false snow patterns on the top and I'm quite happy with that. I'm just going to fill the rest using a darker value of brown, have mixed some more Payne's green to it and can clearly see the colors much more darker than earlier. When you use multiple tonal values of brown in your mountain, it will automatically add a lot of texture and more realistic value into your painting. Just don't use the same tonal value, keep using some darker value in-between and maybe some medium to untestable. This way your mountain will look really beautiful, so let's fill this out. I have added paint onto the entire mountain, now I'm just matching the color on the top to make it a bit better. Just use a dry brush and keep matching the color into each other until you feel like you have got a beautiful result. Looking at the painting, I feel like I can make the bottom area a little more darker. I'm not really happy with the color I have here so I'm just overriding that with a darker tone. I'm just adding a line and I'm just filling that up using a darker tone. I think this color looks much better. Earlier it was quiet light. That's a mountain. You can see how beautiful it has turned out. Now, just in case, if you want to add some more texture onto the mountain, you can use some dry paint and keep adding some dry patterns to add some more texture. If you're already happy with it, just leave it the way it is. That's a mountain. Now we're going with the final steps, with just some final touches. First, we're going to add some dry patterns onto the ground. For that I'm picking some Payne's gray. I'm dabbing my brush on a paper towel, I want a really dry paint. Now I'm simply adding some dry patterns on the ground. This is just to create some extra texture and pattern on the ground. If you already have enough, you don't need to do this. That is set, that's about painting for the day. Now we can peel off the masking tape. Usually when I'm trying wet on wet technique, when I'm using the pouring method, when I'm dropping wet paint onto the wet background, I never used to get a clean border, but this time, for my surprise, it's a clean border. Looking at the painting, I'm planning to add some more details. Anyway let me peel off the masking tape and let's try that out. Honestly, I'm happy with the painting, but I feel like we can add some green highlights onto the mountain as well as onto the ground. Maybe some white texture as well, especially on to the ground to make it look more snowy. I'm switching back to green and I'm going to add some highlights onto the mountain. I have some green paint here, I'm not adding a lot of water. I'm using a dry paint and I'm adding some green highlights onto the ground as well as onto the mountain. The step is completely optional, I'm just trying to make it look like the colors of the sky is reflecting on the ground. Use a dry paint but just not at all watery. Once you have taken the paint, you can dab a bit on a paper towel just to be sure it is dry and just add some green highlights onto the ground. I think it is looking pretty. If you're adding these green lines, just be sure to go with the dry paint. Don't use a watery paint and we just need them only along the top line. These are some extra details to make a painting more dreamy, but it is completely optional. Now using the same color, I'm going to add some patterns onto the mountain as well just the same way how we added those white lines. It doesn't need to be big patches, just add some simple lines just exactly the same way how we added white earlier. Just add some highlights onto the mountain as well, this will make your painting look more beautiful. That's green. Now I'm going to switch to white and I'm going to add some highlights onto the ground as well as a little onto the mountain. Again, remember to go with the dry paint, don't make it too watery. Once you have taken the paint, you can dab it on a paper towel to make it dry. Now we can add some lines onto the mountain. We already have left enough of white caps when we're painting the mountain, you don't need to do this. But in case if you couldn't really add a lot of white lines, you can fix that with white watercolor or white gouache. Just add some white highlights onto the mountain to make it a little more snowy. I already have enough white lines on the mountain, so I'm not going to add a lot. I just wanted to show you this is one way you can add some snow onto your mountain if you couldn't leave those white caps earlier. Just add in some snow onto the mountain if you want to add more. Now finally, in a similar way, I'm going to add some snow onto the ground as well. The mountain is looking really pretty. I think those green highlights are looking really nice. Let's add some snow onto the ground and with that, we can call it done. That's it for the day. Here are several dreamy northern lights. I hope you all loved it. I cannot tell you how much I love this mountain and those green light on the ground. It has come out really nice, I hope you guys enjoyed it too. Thanks a lot for joining me today, I'll be back soon with our next dreamy landscape. 40. DAY 13 - Dreamy Sunset: Hello, my dear friends. Welcome to Day 13. Today we are going to try a really beautiful, really dreamy sunset. You can see that boat and that tiny person riding it. That's something we are going to try in today's painting. I think the sky and the lake might be quite simple for you. We have tried similar ones in a different color competition. Anyway, I'm going to start with the color palette. For the sky I'm going to use three colors, for the sky as well as for the lake. They are violet, permanent rose, and brilliant orange. I'm starting with violet. The violet I'm going to use is from White Nights. You can use any violet you have got. If you don't have one, you can mix and create your own violet. That's the first color. Now the second color is permanent rose. If you don't have permanent rose, you can use carmine or crimson or any kind of rose or pink color. If you want to make your sky look a bit more dramatic, you can use Opera rose as well. That's our second color. The third color we have is orange. This one is brilliant orange. If you don't have any kind of orange, you can use formalin. That's otherwise the colors you will need for the sky as well as for the lake. To add the clouds we'll be using violet and maybe something like a purple color. We'll be just mixing some permanent rose with violet to make that into more of a purple color. Now, along with this, there is one more color that you will need, which is Payne's gray or neutral tint or black. We'll be using this color to add the boat as well as its reflection. That's the last color. That summarize the color palette for today's painting. Now let's quickly try painting the sky. Also we can try painting a boat and its reflection. That will be really helpful when you're painting the main class project. Let's give it a try. The sky is pretty simple. We'll start with the variegated wash of three colors is going to be a wet-on-wet sky. First I'm applying a coat of water onto a small section. We have already tried multiple skies. We're going to use the same technique here as well. It is just that the colors are different today. Apply clean water onto your paper. Now we'll be applying three colors onto this background. You can go with two colors or maybe four colors, that's totally your choice. Now, to apply the colors, you can either use a flat brush or a round brush. I'm using a flat brush plus a half inch flat brush. I'm starting with a really vibrant and intense tone of violet. With the flat brush, it will be a little easier to apply the paint and also to get a clean blend. I would prefer going with a flat brush, but if you don't have a flat brush, you can use a round brush as well. Anyway, you start with an intense tone of violet and apply that till almost half of your sky. You can see the color. It is rarely vibrant. I want the colors to be really vibrant even after it dries. That's the reason why I'm using intense colors here. In case if you are from the opposite team, if you'd like more of lighter tone and a transparent result, you can make your colors lighter, or maybe a medium tone. Now I'm picking my second color, which is permanent rose. I'm adding that next to violet and I'm trying to blend them. There is some violet floating down. It looks like there's a lot of water on my paper. Never mind. Let's add some more rules and make it a bit more vibrant. Now we need to use the third color, which is orange. I'm washing of the paint from my brush, again, cleaning up properly and switching to brilliant orange. Now I'm adding that after rose and I'm again trying to make it a clean blend. That's our base layer. Now onto those we need to add the clouds. For the clouds, as I mentioned at the beginning, I'm going to use violet and also, some pinkish violet. You can see the color here. It is more of a purple and pinky shade. That will be the color I'll be using when I'm closer to orange and rose. To add the clouds, I'm using my round brush. I'm mixing some rose with violet to make it more like a purple color. Now using that color, I'm going to add the clouds. Vary wildly you can use violet acetals and very closer to roles and orange go the purple tone, or maybe rose acetals. Pick your paint if your paint is too watery, tap it on a paper towel and keep adding the clouds. You can see the color it is more of a purple color. It is not violet. Now I'm picking more violet and I'm adding clouds onto area where I have violet. But for the orange area, it is really important to go with the color which is more of a purple or more pinkish. Because violet and orange are complimentary colors and they might end up creating a muddy grain in your sky so you don't need that. That's the reason why I told you to go with a purple color or rose acetals when you're adding your clouds where we have orange color in the background. Now I'm switching to rose, a medium to another rose. I'm going to use that color to add the clouds where I have orange. Now as you can see here, I'm not using violet, I'm using rose acetals. You can add your clouds however you want to if you want to make your sky look more dramatic, you can add more clouds. Or if you want a more soft and simple sky, you can just add some clouds at the bottom. You'll need to add any on the violet area. Just decide on how you want the sky to be. You want it more dramatic or more simple. According to that add in your clouds, just remember to vary the tonal values. Use a darker tone of violet when you're adding them onto the area where you have violet in the background. Then you have orange and rose go with more of a purple color or your crimson acetals. That's the sky. This is the exact same method we'll be using for our painting. Now the next task is to try the board. This might be a bit tricky, anyway, let's give it a try. I will show that on a bigger scale, so it'll be very clear about the details. Now you can either use your pen or a brush. I'm using my smallest brush because I want those details to be really crisp and clear. The brush I'm using here is my Size 2 round brush. First, I'm starting by adding a line. That's the length of the board. I'm using Payne's gray here. You can either use Payne's gray or neutral into our black, any darker tone. Now, let's turn that into a boat. On either end, we need to make it a bit cozy. I'm adding a line, an inclined line. We need a slightly pointy tip on either end. It can be an inclined line or a slightly curvy line. See that? Now in a similar way, I'm going to add another line on the right side and that will give us the basic shape of the board. Then onto this, we need to add that tiny human being. That might be a bit tricky, but then it is not impossible. You just have to give it a try. I'm very sure you will get it right, maybe in the second or third try. This is something that I use in many of my paintings that I have tried a couple of times. When I try now, it never goes wrong. I know where I should be focusing on. I really know the places where I will make a mistake. But this wasn't the case earlier, I have ruined many of my paintings by going with a weird shaped board. It will get easier by practice so just give it a try. Anyway, that's the basic shape of the boat. Now to complete the shape, we need to add a line on the top. It has to be a thin line. Start from this point and take that line until you meet the other end. Please use a brush that has a pointed tip, or you can use a pen that is more comfortable for you. That completes the basic shape of the board. Now onto those we need to add that tiny human being and also a few other details to make it look more realistic. Let's give it a try. First I'm adding a curvy line. That's the body of the person. Start from this point and add a curvy line. Now from here, add another line and bring it down. Now let's fill that in black or neutral zone to our Payne's gray. Just finish up the shape. Now onto this, I'm going to add the head. What is an irregular circle? It doesn't need to be a perfectly shaped circle. See that? It's more like a circle or an oval, something in-between, maybe. Now we need to add the legs. This will make him look like he is sitting on the boat. Now we need to add the hand. From here, I'm adding a small line. From that I'm adding another inclined line just to show the ore. From there add an inclined line. That completes the human being. We'll be going with the smallest scale. It won't be asked to just this. Even if it is not completely right, that's okay. Now I'm adding a small shape here. This can be a bundle or the fishnet or some other belongings of this person. Maybe we can add a small bundle on the other side as well. All right, so that completes the boat and have a friend who's riding the boat. Let me show you a closer look of the board. You can see how beautiful it has turned out, it is not that difficult I really want you guys to try it out. We'll be going with the smallest key of the same for our painting. This is a great element that you can use in your future paintings as well. You just need to paint a gorgeous guy and a lake and then add a small boat like this, and that will complete your painting. Next, I'm going to show you how to add the reflection. You can see here I have not really gone into the details. I have added a very basic shape and I have added that reflection using some lines. That's one way on how you can do it. The next one is going with a solid shape. To add the reflection, we'll be using a medium to lighter tone of Payne's gray, which will be the color that we're using for the boat. Right now I'm planning to do that with a pencil. I'll just follow the same shape of the boat and I will show you the reflection. Just add the basic shape first, the basic shape of the boat. It has to be a mirror image. You can do the same thing with your brush or with a pen, no, pen doesn't work because we need a lighter tone. That's the basic shape of the boat. Now we need to add the reflection of that human being and also that bundle. As you can see here, the size of the boat is really small for the main painting. You don't need to put a lot of effort in making them perfect. You don't need to follow each and every detail. You just need to look at the overall picture and go with the shape which looks like a boat and a person. It shouldn't be looking like a mountain or a coconut tree or something else. It just have to look like boat that's all. Don't break your hair to make it look perfect. Well, we just need to add a basic shape that looks like a reflection. All right, so that's how we're going to add our boat and reflection. This is the size will be going with. I would really recommend to try it out. You can either go with some lines like this, but you can clearly see it is very busy. I don't really follow every detail. Just give it a try and be confident at it and tag me in the next section, let's together paint this dreamy sunset. 41. Dreamy Sunset: We had a look at the color palette and the techniques now it's time to give it a try. First I'm going to apply a piece of masking tape a little below the center of the paper so the top portion is obviously the sky and the bottom is going to be the lake. As we discussed already, first we're going to apply a variegated wash or three colors then we'll be applying some clouds onto that. I already had the colors on my palette. We'll be going with violet, rose and orange towards the bottom. Then onto that we'll be adding some clouds using violet or maybe a color that is a little purplish. First I'm going to pick my one-inch wash brush. I'm going to apply a clean coat of water onto entire sky. It's a wet on wet sky so apply a nice even coat of water onto the entail paper, run your brush multiple times just to be sure that water has raised everywhere, we need a shiny coat of water. I have made the background wet. Now to apply the paint, I'm using my flat brush. You can use a flat brush or a round brush. Now, let's start with violet, good and intense total violet and apply that on the top. You can see how colleges that color is. Almost for half of the sky we are going to use violet and on the top we need an intense tone. We can make it a bit more darker so I'm picking some more violet and I'm going to make it really bright and intense on the top. You can see the color that is quiet dark and intense so it's just a flat wash of violet. I have almost reached half of the sky now it's time to switch to the second color. Till here, I'll be applying rose and for the rest I'll be using orange. Okay, so that's violet. Now I'm going to wash out the paint from my brush and let's switch two rose or carmine or crimson or any other rose color. Clean your brush properly. Now pick your second color. The one I'm using here is permanent rose from ShinHan. It is a brighter version of crimson so let's pick some rose and apply that right next to violet and let's blend them well. Don't use the smaller size brush. It will be really difficult to blend the colors, we're using smaller size brush. Now I'm washing up the paint and I'm picking some more clean rose and adding that to the bottom. Now for the leftover space, I'm going to pick some orange. I'm going to add that. Now, I'm going to wash the paint on my brush and I'm going to make the color lighter towards the horizon line so we have a really bright on violet on the top. We added violet, almost half of the sky and for the leftover area, we used a rose and orange. I've cleaned my brush properly. I'm picking some more orange, some fresh orange and I'm adding that at the bottom. Maybe I will add some more rose. I want the colors to be a bit more brighter so if it already happy with your background, you can just leave it as it is. I want the colors to be a bit more bolder and brighter. Now on the top, I think I will add some more violet, especially along the masking tape. There is a bleed on the top so I'm just covering that with some violet. The background layer looks really bright and pretty. Now we can start adding the clouds. To add the clouds, we need a round brush so if you're using a flat brush earlier, wash it thoroughly and keep it aside. If you were using a round brush, you can use the same to add the clouds. I'm using a medium sized round brush. This one is Size number 8. Now to add the clouds, I'm creating a purple tone so I'm taking some violet mixing that with rose to create a proper tone. Now, I'm going to add that onto the background. I think that looks really dark and it's a bit watery as well so I'm dabbing my brush on a paper towel and I'm starting to add the clouds. You can see here they're not spreading too much, that is because my paint is not too watery and also the background so if you're using a paint that is too watery tap your brush on a paper towel and then add your clouds. This way you will have a better control on the way both clouds are spreading. Keep adding your clouds how will you want to, towards the bottom where we have rose and orange, you can use more of a purplish color. Don't use violet as it is. You can see the color right now, I have added some more rose and it's not looking like violet, it's more of a purple color. Now I'm breaking some rose as it is and I'm going to add some clouds onto area where I have orange. Pick colors in a similar manner when you're adding the clouds, when you're adding them onto the violet area, you can use violet as it is and when you're adding them onto rose you can go with the purple tone then one to orange, it can be more pinkish or you can just use your crimson or carmine or rose as it is. Painting sky is one of the most important aspect of any watercolor painting. If you're someone who allowed painting watercolor landscapes, there is no escape from skies. You can use the same technique and go for a different color combination and that will give you under sky. Over here of using bright and vibrant colors. We started off with a variegated wash of three colors. Maybe you can try the same thing with blue. Go with any kind of blue, like crushing blue or cobalt blue or cerulean blue. Go for a gradient wash, then you can add clouds onto that using a lighter tone of Payne's gray so that will give you a different sky, but it's the same technique. This one might be a bit more challenging as we using multiple colors but as I said, the technique is the same. If we can do one, we can do all of them. Here we have added some clouds. Now I think I'll switch to violet and I will add some more on the top. Now, in case if you don't want your sky to be too traumatic, you can skip adding clouds on the top. You can just add some clouds over the bottom where you have that junction of violet, rose and orange and again, just leave this area as it is without adding any clouds. Only we are having a really dark and intense frontal violet here so it doesn't really matter if you add them or not. You can lead them just as it is. They're not really visible so maybe if you don't want to add any clouds over here, that's totally okay. I'm thinking off adding some more clouds where we have rose and orange. I'm not going to add any on the top because it is not really visible and there is no point in adding them. Here, I'm adding some more clouds and maybe a bit onto the orange area as well, so this is completely optional in case if you are already happy with your painting, you can just keep adding clouds and also, if you feel like you're back is starting to dry, just leave it as it is, don't add any more clouds, it might ruin your painting. Just because I'm adding some more cloud doesn't mean you need to do the same. If you're happy with your painting, you can just call it turn and leave it for drying. I think that's a bit dark. I'm going to dab my brush on a paper towel and using a medium tone, I will add some more clouds onto the orange area. It's fine. I think I don't need to add more. I might end up spoiling it so let's call it a down, maybe a little bit of violet over here but some paint missing on the top so this happens when the water from the masking tape flows back into your painting so it's good to wipe off your board of, whenever you feel like there's some excess water on it so that it doesn't float back into your painting and create those kind of bleeds. Anyway, that's the sky. Now, we can leave this for drying. I'm quite happy with it. The colors are looking so bright and pretty. It is a really dramatic sky. The sky has dried completely. The colors are still looking quite pretty. Now, I'm going to peel up the masking tape and we can start painting the lake. We can use the same colors for the lake as well. We'll be using violet, rose and orange, but in the opposite direction. I'm not going to apply any water, I'm just cleaning my brush and I'm starting off with orange. Maybe I might need some more rose. I have the colors ready. Now, I'm using my flat brush and I'm picking some orange. Now I'm adding that right underneath the horizon line. Try to go for a clean line over here. You need a straight line at the horizon so maybe you can use a color that is slightly brighter than the color you use for the sky. We have made the color lighter over here so the color that I'm using right now, it's more of a medium tone. Now I'm picking some rose and I'm adding that right underneath the orange. Finally, we need to pick some violet, wash off the paint, maybe I will add two more rows and then go with violet. I'm just adding another line here. Now for the rest, I'm going to add violet. Again, I'm using a bright intense tonal violet. It is not too light, you can see the color here. Now I'm trying to blend that with the rows. It doesn't need to be a clean blend, we're going to add some ripples onto this. Even if it's not a clean blend, it doesn't really matter. Don't push your wallet a lot into the orange, they might create a multi-color, so try to limit it. There you have rows. Let's clean my brush and I'll add some more violet on the bottom. You can see here, it's not a clean blend, it is not looking that great but that's okay, we just need to apply these colors onto the background. For the rest, we need to switch to our round brush. I'm just keeping this brush aside and I'm picking my medium-sized round brush. This one is Size number 6. You can go for a medium-sized or a smaller size fresh. First, we need to fix the background, then we need to add some ripples onto it. I'm picking a medium tone of rows, it can be crimson or carmine, go the medium tone and just add some lines onto the background. Just run your brush back and forth and add some lines, this will add some ripples onto your background, as well as it will blend the colors in a more natural way. You can see how instantly we made it look better, now we need to add more ripples using a darker tone. First, pick some rows and keep adding some lines on to that red background. It can be medium tone. Only towards the bottom we are going to introduce a darker tone the rest is all going to be in a medium tone. I'm picking more violet, a really intense violet, and I'm going to add some lines onto the wet background. It's a very simple step, the only thing is your background has to be still wet. I'll go with the darker tone or violet and just keep adding some lines onto the wet background. They can be slightly thick. That's a very simple step. With the lines I added right now, they are not completely visible so what I'm going to do is I'm going to pick some Payne's gray and I'm mixing that with violet to make it even more darker. Using that color, I'm going to add some more lines. Now, with a small visible, and you can see that gap in-between. Whenever you're adding these lines, try to leave some gap in between, don't add them too close to each other and as you are going away from the bottom make it slightly thinner. I always follow a basic control when I'm painting waves or ripples. It's really simple, it is nothing much complicated. The lines that I'm adding closer to the masking tape, the one at the bottom, I made those lines more thicker and polar and can clearly see that from the painting here. The lines I added towards the bottom masking tape are more thicker and more polar and the one that I'm adding away from the masking tape are more thinner and they're more lighter. That's exactly what I'm doing right now. You can see the colors here and along the horizon line, I have barely added any. At the bottom, you can make them more deeper and thicker and darker and as you're approaching the horizon line make them thinner and lighter. You can see how pretty our lake is looking and you can really feel the depth here. It is my very busy temporal that helped me achieve the depth in this painting. Closer to the masking tape, I used a darker tone or violet and I added some thick lines. Also, you need to leave those gap in-between which is really important. Towards the horizon line, I made the color lighter, and I used a medium tone. Those lines are not very prominent like the ones we have at the bottom and that is exactly how I achieved the tape. It's a very simple trick. You can use this in any of your painting and it will always work. Now, we'll have to leave this for drying and then we can add a our boat. Meanwhile we wait, I want to show you one other painting that I did. This is something I did earlier with the same technique, but the colors weren't that great, it was dull. I did another one too, let me show you that. This one I was really happy with the color combination, I wanted to rework on the sky. Just ignore these boats, they are out of scale, I was just practicing them. I actually wanted to try this one more time, but for some reason I decided to change the color combination and I went with this one. If you're going to try the same painting with any other color combination, just go ahead and do that. You can just go the same subject, you can add a boat at the center and go with any color combination for the sky and the lake. Maybe you can go with a monochromatic theme, or maybe a night sky, even that will look great. Anyway, our background has dried completely, now we can start adding the boat. We already tried a bigger version of the same boat in the technique section. You can either start by adding a pencil sketch or you can directly use your brush. The brush I'm using here are Size number 2. I want the boat to be really tiny. Go to any of your smaller size brush or a brush that has a pointed tip, if you're not really confident, just like I said earlier, start with the pencils sketch, that might be a bit more easier. I'm planning to add the boat at the center, you can add it towards the right or the left, that's totally your choice. Before you go ahead, just make sure your background has dried completely. Let's begin. This might be a bit tricky if you haven't tried the technique section. If you haven't tried it, I would recommend to go back and just try it out. Because over there you will find a bigger version of the same boat. Anyway, I have added a line a little below the horizon line. It shouldn't be too low, maybe half a centimeter, or maybe even more less. Now let's turn that into a boat. It's a long boat. Depending on the size you want to follow, make your line more longer or shorter. Now, I'm going to turn that into a boat. It's a very simple boat, but then the scale is quite small, that's the main tricky thing here. Other than that is really simple. That's why I told you to try it on a bigger scale and understand the details first then you can try the same on a ratio scale. That will be a little more easier and also will give you some more confidence. I have added the basic shape of the boat, now, I'm going to add a thin line on the other side to finish the boat. It is really thin. I would really recommend to use a miniature brush or a brush with a pointed tip otherwise, it won't be that easy to add a small boat like this. I have added the basic shape of the boat. Now onto this, we need to add that tiny human being. We have to start with the head, so little above the horizon line, I'm adding a tiny oval maybe a irregular oval shape. That's a head or I would say it's an irregular circle and now, we need to add the body. First, I'm adding a slightly curvy line on the right side, I'm taking it to the boat. Now, on the other side as well and I'm feeling that up. That's our tiny human being. I think it is looking pretty nice. Now, I'm going to add a tiny hand or maybe before that, I think I will add a small shape here to make it look like you're sitting on the boat. Now, maybe some fishnet or some other belongings so just add our rough shape here to make it look like there are some things which he have kept on the boat. Now we need to add a tiny hand and arm so it's just a line. That's a human being and the boat, I think it came out really nice. Now to finish off the painting, we need to add a reflection so that's the next task. To add the reflection as well, I'm going to use Payne's gray, but in a lighter tone. The reflection doesn't need to be as dark as this one. I'm adding a few drops of water and I'm turning Payne's gray into a medium tone. For the reflection, we need to add a shape which is slightly similar to the shape of the boat. It has to be in the opposite direction as the middle image. You can see the color at a medium tone of Payne's gray. Just like I've been trying in the techniques section, it can be a solid shape using a medium to lighter tone or you can just add some lines and a similar shape of the boat. Here's the finished painting. By lines, I mean something similar to this, you can see the way how I have added those lines. If you take an overall look at the painting, it is looking a bit similar to the boat, but it is not exactly the same. That's okay. You can either go with this method or you can just add a solid shape like the one we tried in the technique section. I think that will be a lot more easier. Anyway, we just need to get a rough shape of the boat on the lake. It doesn't need to be exactly the same so you can either go with some small lines like this or it can go a solid shape. The only thing that you need to keep in mind is the tonal value, go with a medium to lighter tonal value, don't make it too dark. Just go with the method that you're more comfortable with and add in the reflection. Just remember, it doesn't need to be exactly the same, we just need to shape with this similar to the boat and that person sitting on the boat. Just don't break your head to make it look perfect, just add it however you can. Anyway with that, we're done with our painting for the day. I'm really happy with the painting. The colors are looking really vibrant and even that boat turn out pretty nice. Now, I'm going to peel off the masking tape. Just in case if you want to add some birds onto the sky, you could do that, that would be a great addition. Maybe you can add two or three big birds, or maybe a small group of five or six birds or you can just leave it after if you don't need to add any. Or you can just leave as it is, you don't need to add any birds. I'm not planning to add any birds, I think it is looking quite pretty the way it is. I'm just going to leave it as a simple yet a dreamy sunset. That's our painting. I really enjoyed creating this painting, I hope you all lauded too. I want to try the same thing in a monochrome format like the one I showed earlier. Anyway, here's a closer look of the painting. I'm really happy with the boat and that tiny human pain. It came out really great. Now, just in case if you're wondering how I got it so good, the answer is, this is not the first time I'm painting a boat and a human being. It's an element that I use in my sunset painting mostly so I have tried it multiple times, maybe more than 10 or 20 times. So now, I get to try it every time I try it. It is just pure practice, nothing else. Thanks a lot for joining me. I hope you all love this painting, I'll be back is one with the next to the landscape. 42. DAY 14 - Blue Lake: Hello my dear friends, welcome to Day 14. Today we're going to paint a beautiful blue lake. With this painting, we'll try a couple of new techniques on how to paint an easy snowy mountain and also how you can create those reflections quite easily. That's something you will learn in today's painting. Also, it's a bit different color palletes from the ones you have tried so far. We haven't tried much of green landscapes. Here is one that we tried earlier. We'll also be trying another green landscape in the coming days. Today paintings for everyone who missed using sap green. Let's start by looking at the color palette. For the sky, I will be using cerulean blue, which might be an easy guess because you all know my love for this color. I'll be using the same color for the lake as well. But along with that, I'll also be using some indigo to add the deeper value. You can see that taco value at the bottom, that is indigo. For the mountains as well, I'll be using a lighter value of indigo. Then for the landscape, you can see that taco tone at the bottom. That is also indigo. That's the second color. The next two colors are leaf green and sap green. I'm guessing you all have sap green, but leaf green might not be a common color. It's actually a light green. You can see the color here. If you don't have this color, that's absolutely okay. You can just mix a little of sap green with lemon yellow, and you can create a similar color. I really love this color. If you have watched my spring watercolor challenge, you might know how much I love this color. It is nearly over and I think I need to get a new tube really soon. This is the color. It's a beautiful fresh green. If there's someone who loves painting landscapes, especially green landscapes, this color might be a great addition. Now, I'm going to start on the colors. I'm starting with cerulean blue. Just like I always say, if you don't have cerulean blue, you can use Prussian blue or any other blue of your choice. The sky is pretty simple. We will be making the background wet. Then onto that wet background, we'll be randomly applying blue, leaving some gap in between. That's it. That is how we will be painting the sky. Now the second color is indigo, which is the color we'll be using to add the deeper value. If you don't have indigo, you can just use any taco blue. Or we can just mix a little of Payne's gray into Prussian blue or cerulean blue, and create a similar color. That's our second color. Now the next one is sap green, which is a really common color. It comes in almost all the basic watercolor sets. I'm very sure you all have sap green. Finally, we have leaf green, which is not a common color, but you can create a similar color by adding a bit of sap green into lemon yellow. That's a color palette for today's painting. Now let's try out some techniques. I think we can try the mountain as well as the lake so that you will have a better idea on how to paint those reflections. The sky and the landscape is quite simple, which you can follow while we're painting. First I will add the mountain. To paint the base layer, I'll be using a medium to lighter tone of indigo. First I will add a shape, then we'll have to wait for that to try. After that, we can add the snow using white watercolor. It can be white watercolor or white gouache. Go to the medium to lighter tone of integral or any other darker blue and add in a shape and fill that an indigo. It shouldn't be too dark and shouldn't be too light as well. If it's too light, those white won't be really visible. It has to be a color, something similar to this. It can be a solid gouache. Just add a mountain and fill that in a medium to lighter tone of indigo. Now let this dry and in the meantime, we can try painting the lake. To pain the lake, we'll be using wet on wet technique. We'll be adding those green reflections first then we'll paint the rest of the lake. Keep your colors ready. We'll need cerulean blue or any other blue that you're using. Then we'll need indigo, sap green, and leaf green. Now, I'm starting by applying a coat of water onto a small section. I have my one-inch wash brush here and also I have my flat brush. To paint the lake, we'll be using a flat brush. Pick some water and start applying that onto your paper. We need an even coat of water. Don't add a lot of water. We just need a shiny coat. Just keep running your brush multiple times just to be sure the coat of water is even. I have made my background wet. Now we can start applying the paint. For now, we're just assuming we have some plants and trees over here. First, we will start with a reflection of those trees and plants, which means we'll be starting with leaf green and sap green. Then we will slowly introduce cerulean blue and indigo. Let's give it a try, to apply the paint, I'm using a flat brush. I have my half-inch flat brush here. I'm starting with leaf green. I'm going to apply this color along the horizon line. From the top, I'm just dragging my brush towards the bottom, and I'm adding lines of different lengths. Just keep dragging your brush down. They can be of any length. They don't need to have any particular shape or size. That's leaf green. Now, I'm going to pick some sap green and I'm going to do the same thing. We'll have a combination of different tonal values of green here. Just like I did earlier, I am drying my brush from top to bottom and I'm creating some thick lines. After the background is wet, they are slightly spreading into the background. Maybe we can introduce a bit more darker tone, especially on the top. I'm picking some indigo and I'm mixing that with sap green. I'm adding that color on the top. Right now we're not adding those landscape on the top. When you paint them, it will look even more beautiful. For now, just add some deeper value on the top in a similar way how we did earlier. Now, I'm going to wash the paint from my brush. Now I'm going with indigo. I'm picking a darker tone and I'm adding that at the bottom. You can see the color is quite dark. Now as we go towards the top, we can use cerulean blue. Pick some cerulean blue or any other blue that you're using and apply that onto the leftover area. Keep adding that. It doesn't need to be a clean blend. At the bottom, we need a darker tone. For the rest, we need a brighter blue. It can be Prussian blue or bright blue or any other blue. Now you can see here we are approaching the green. You can simply add your paint around those landscapes. Don't worry about how it is looking right now. It can be a bit messy, but that's okay. Just add your paint around those landscapes. This is how your base layer should look like. Maybe you can make the blue more brighter. That's our base layer. Now for the next step I'm going to switch to a round brush, so I'm just keeping this brush side and I'm switching to a round brush. It can be a medium-sized round brush or a smaller size round brush. Any brush will work. The one I'm using is Size number 8, it can be Size number 6 or 4 or any other brush. Now just keep running your brush back and forth. See that. You just need to keep pushing and pulling the colors into each other. Don't be scared, you're not going to ruin your painting. Your background has to be still wet while you're doing this, so be a little quick and consistent. I think you can already see that the difference, earlier it was looking really messy. Now it is starting to look like reflection. Just keep dragging your brush. At some places you can push the green into the blue, and at some places you can push blue into green. Do this until you feel like you have got a beautiful reflection. It's an easy technique, it isn't that complicated. But the only tricky part will be making your background wet for a longer time. If you're using 100 percent cotton watercolor paper, it will be a lot more easier compared to [inaudible] gray watercolor paper. That's a reflection. Now, to make it a bit more interesting, I'm switching to a darker tone. I'm using indigo and I'm adding that along the top line. I think it's better if I can use a flat brush. Let me switch to a flat brush. Now, using a flat brush, I'm just dragging the paint down. I have already added some deeper tone here, so I'm just pushing that paint down to create the reflection. That looks nice. This is how it has turned out. Now, we need to add the ripples. For that, pick any of your smaller size brush or a medium size brush. This one has Size number 4. Now, let's go with the indigo. We need a darker value and we're going to add some lines onto the background. This is the exact same technique we tried in the previous painting, but with the bottom, you can go with thicker and bolder lines. As you're going toward the top, you have to make them thinner and you can go to medium tones. At the bottom I used a darker value and the lines are much more thicker. Now, I'm making them more thinner and the color is not that dark. I think we can make it a bit more darker at the bottom. The lines I added earlier just got spread into the background and it's not really visible. I'm going to pick a little more darker value of indigo and I'm going to add some more lines at the bottom. When you're adding these lines don't add them too close to each other, try to leave a gap in-between. Just add some lines onto that wet background using a darker tone. Don't use the paint if it is too watery. If it's too watery, dab it on a paper towel and then add your lines. What happens is, if the paint is really watery, they will start spreading into the background the moment you have applied them and it won't stay like lines. In order to make them appear as lines, you have to make sure the paint is not too watery. That's a lake and the reflection. I think it came out really nice. Now when we're painting, we'll be adding more deeper value along the horizon line. We'll have those trees and landscapes, so it will look even more beautiful. Right now we haven't added any trees or landscape, so it looks quite incomplete. For now I think it's okay, we can try that when we're doing the main painting. Next, we're going to try how we can add snow onto the mountain. For that you can either use white gouache or white watercolor. I'm going to use white watercolor. It doesn't need to be too opaque and too prominent, so white watercolor would work. I'm using titanium white and I'm squeezing out a bit onto my palette. We don't need a lot of paint, just a tiny bit of white is all we need. We're not going to make them too opaque. I have taken out the paint, wash your brush thoroughly and make sure it is clean. I'm using a smaller size brush and I'm picking some paint. Although it is not too watery and it's dry. Now using that paint, I'm going to add some lines onto the mountain. We have these sloping faces of mountain, we're going to add the white paint along those areas. Starting from the tip of the mountain, we can start adding some white lines. As I said, it doesn't need to be too opaque, so we can add few drops of water. Now keep adding some lines. I have multiple sloping lines here. Onto all these areas, I'm going to wet and dry white paint. You can see the way how I'm adding it, it is not too prominent. It's a dry paint and I'm adding that in a sloping way. I guess you can already see the difference here, you can compare the left side and the right side. We can really feel the snow on the right side. In a similar way, I'm going to add some lines onto the left side as well. Just go around and pick all the sloping area in your mountain. Over there add some dry lines using white paint. It can be the white gouache or white watercolor, but don't make it too prominent. We want them to be really soft and subtle as the mountain is really far. If you make it too prominent, you won't get that depth in your painting. Go with the dry paint and add very little lines or patterns. It's a really easy method. Using this method you can create a gorgeous snowy mountain quite easily. This method can be used whenever you want to paint a snowy mountain that is really far away. Start off with a medium to lighter tone of indigo or any other blue, then once that dries, you can add those white patterns using a dry white paint. It can be either white gouache or white watercolor. That's our snowy mountain. We're going to use the exact same technique in our main project as well. It's a very simple technique that can not go wrong. That summarized the color palette and the techniques you need to know for today's painting. I would really recommend trying out the leak and the reflections, especially if you're new to watercolor. If you try it out, you'll have a better idea on how to handle those colors and how to blend them, how to add those lines and how to make it look beautiful. Just give it a try. The same method can be used in your other projects as well whenever you're painting a lake and whenever you're adding a reflection. That's going to be really helpful in your future projects. Now it's time to give it a try, so grab your color, try the techniques and join me in the next section. 43. Blue Lake: [MUSIC] We had to look at essential techniques and the color palette. Now it's time to give it a try. I already have my paper ready here. First, I'm going to add the sketch. We need to add the horizon line, and also we need to add a mountain. Just adding a simple mountain, this one is really far. We'll be using a lighter value of integral photos. So add a new mountain. Now, right above the horizon line, we need to add some plants and trees. Just some very basic shapes. Honestly, this one is not really necessary. You can add that when you're painting. But then this will act as a guideline when you're adding a reflection, you will know how deep you want your reflections to be. Just add it off shape along the horizon line. I have added those trees on the right side. You can see on the right end, it is a bit higher. Towards the center, I have made it shorter. Same on the left side as well. Just add a rough sketch, we can modify this later. It doesn't need to be perfectly shaped right now. That's the sketch, now we can start painting. As we discussed already, I'll be using serene blue for the sky, it's going to be a simple wet on wet sky. First step is to apply a clean coat of water on to the entire sky. You can apply water onto the mountain as well, it doesn't really matter. To apply the paint, I'm using my size six round brush. We are going with a medium tone. You can use Prussian blue or cobalt blue, or any other blue. Pick a medium tone of any blue that you are using. And just add some lines on to that background, leaving some gap in-between. So you can see the color. It's a medium tone. And I'm leaving enough of gap in-between. So it's a combination of whitespace and blue. So that's our sky, I know it's a very simple sky. The sky obvious doesn't need to be too dramatic. If you want to go for a gradient wash of blue, that also would be nice. You can start with a medium tone of blue, then make it lighter as you're coming down. Anyway, this guy is done. Now we'll have to wait for this to dry before we cover the next step [MUSIC]. So this guy has dried, you can see it's a very simple yet a beautiful sky. The next step is to paint a mountain. For that, I'm using my medium-sized round brush, and I'm picking a medium tone of indigo. Just like how we have tried in the technique section. First, we have to apply a solid wash of indigo onto the entire mountain. Then we have to leave that for drying. So-called a medium tone of indigo, and fill that entire mountain. Wash all the color you're using, don't make it too dark, and also don't make it too light as well. Go with a medium tone and apply that carefully around outline of the mountain. Because we have the landscape at the bottom, I think it is better to make it lighter. So I'm picking some clean water and I'm making it lighter towards the bottom. So it doesn't really affect the landscape. That's a mountain. Now we'll have to leave these for drying. Meanwhile we can start with the lake. We'll be adding some landscape above the horizon line. But for that as well, we'll have to wait for this to dry. So let's start with the lake. First, I'm going to apply a coat of water onto the entire background. So I'm using my one-inch flat brush and making the entire background wet. Just make sure it's clean, even coat of water. Don't add a lot of water. We just need to shine equal to water. So my background is evenly wet. Now we can start dropping the colors. And it is exactly the same we have tried in the technique section. So first I'm using a flat brush and picking from light green first. Be sure your brush is clean. Let's pick this light green. This one is leaf green, it's a beautiful color. It's from the branching. I'm very sure there are many other colors similar to this. I don't want similar colors, with this main green from White Nights, that also looks something similar to this. So I have taken some paint. Now from the horizon line, I'm simply dragging my brush towards the bottom. I'm adding the paint. So you can see at some places, the line is more deeper, and at some places the lines are shorter. So I'm just trying to match it roughly like the sketch we have added about. You can see on the right side, we have a taller landscape. Then towards the center, we have made it shorter. So I'm just trying to create the same here. So first drop in your green. Now using the same brush, I'm going to pick some sap green. I'm not washing off the paint from my brush, so I'm just picking some sap green next. And I'm adding that on top of this. I'm dragging my brush from top to bottom, and I'm adding some thick lines. I'm just randomly adding that sap green in-between the lighter green we have added earlier. You can see it doesn't have a proper shape, but don't worry, it's going to be okay. I need a darker tone of green. So I'm mixing some indigo with sap green. And I'm doing the same thing using that color as well. So start with a light green, then go with sap green and a darker tone. Then just add some lines from top to bottom. You just need to drag your brush towards the bottom and add a line. Now, let's clean the brush. And let's quickly add the remaining colors before the background dries. So I'm picking some cerulean blue and I'm adding that onto the background. I'm just adding the blue paint around the reflections we added earlier. If you have tried the technique section, I'm very sure you might be really confident. Otherwise you might be worried a bit, because it is really messy right now, but that's okay. Trust the process, it is going to look okay. We'll fix that reflection. So just keep adding your paint before the background dries. You can see here, as I'm coming down making the blue more darker. Now towards the bottom most area, I'm going to introduce some indigo to make it even more darker. I'm picking more paint and I'm making it a clean blend. So we have a medium tone of blue on the top, and darker tone one the bottom. I feel like the colors really light along the top. Because when the background dries, the color might look even more dull. So let's make this area a bit more brighter. So I'm picking more cerulean blue. And I'm adding that again around that flexion. During this stage, your painting might look hopeless, but that's okay. Trust me, trust the process. We're going to make it look the best. So just don't worry. I think I will make the bottom area a little more darker. Just over here. So that's a base layer. Now for the remaining tasks, we need a round brush. So I'm just washing off the paint and I'm keeping this one aside, and I'm picking a round brush. This one is a size number six round brush. You can use any of your medium tool, smallest sized brush. Now we're going to run our clean damp brush back and forth. And we're going to make this look more like a reflection. So pick any of your smaller to medium-sized round brush, and gently push and pull the paint into each other. So we're just dragging the colors into each other. You can already see the difference between the right side and the left side. The right side is looking more like a reflection. Now let's repeat the same thing. See that? So pretty right? And we easily created this reflection. The major thing here is this has to be done while the background is still wet. So you shouldn't be waiting for a lot of time. Just go ahead once you have applied the paint onto the background, and just keep dragging your brush back and forth until you feel like you have caudal reflection. If you are using a good-quality watercolor paper, the background will stay wet for a longer time and this exercise might be a bit more easy. Now I'm picking some blue and I'm adding some more lines. I won't be adding a lot of lines over here, I want to retain the green colors in the background. So I'll just be adding one or two lines and that's it. We'll be adding some ripples at the bottom. That's our next task. But before that, I think I will add some deeper tones on the top, just to define the horizon line. But it's not really necessary because anyway we'll be adding those landscape on the top. So this area will be covered. But anyway, let's add some deeper value here to define the horizon line. So that looks nice. Let's leave this for the time being, and let's quickly add ripples before the background dries. So pick a darker tone of indigo or any other blue that you are using. It has to be really dark. Now onto the wet background, I'm going to add some lines. See that? Those are thick lines. When you're adding them, try to leave a gap in between so that we can see the background color. It's exactly the same way how we tried in the technique section. So I'm really hoping you guys were able to follow what I did so far. I'm quite happy with the way it has turned out. I thin I have added enough lines. If you want to, you can add more, maybe some multicore and bolder lines at the bottom. Don't add a lot of lines along the reflection. Let's leave it simple and nice. So for me, I'm happy with the way it has turned out, so I'm just going to call it done and I'm going to leave this for drying. Just in case if you want to add more lines, if your background is still wet, go ahead. If you're background's starting to dry, I wouldn't recommend adding more lines. In that case, I would say take a break and leave your painting for drying. [MUSIC] The background has dried completely. Our next task is to paint the landscape. For that, we'll be using leaf green, sap green, and also indigo to add the deeper tones. For this, we can use any of your medium-sized tone brush. I'm going to use my size number six tone brush. Need to keep switching from color to color. So maybe if you want to use two or more brushes, that is also okay. First I'm starting with indigo. Another technique that we're going to use here is really simple. First, we'll add some deeper value at the bottom. The next to that we'll add some medium green. Right right I have added indigo. Next I'm going to introduce some sap green. Let's take some sap green and apply that right next to to indigo. You just need to add them in a very randomly. It doesn't need to be a clean blend or anything. Simply keep on adding your colors next to each other. Now, I'm going to pick some leaf green, and I'm adding that on the top. See that? So we have a darker tone at the bottom, a medium tone in-between, and on the top we have a lighter green. Now, towards the top we can add some leafy pattern. Just some small irregular pattern to make it look like there's some plants or trees. It's a bunch of trees actually. Just keep pushing and pulling that paint into each other. It doesn't need to have any proper look. We just need that darker tone at the bottom, some medium tone in-between, and some lighter tone of green on the top. That's all what we are looking for. It can be rough and messy. But overall, if you look at it, it will really look like a group of plants or trees. Just keep repeating the same step until you reach the other end. I already have some green on my brush. I'm adding that. Next, I'm picking some sap green, applying that next to it. Now towards the bottom, I'm adding some indigo. You can see how beautiful it has turned out. I think it looks really natural. Now, we need to do the same thing until we reach the other end. So it's just a matter of switching from one color to another. There is no particular shape or order that you need to follow. It doesn't need to be a clean blend. It's a messy but easy way. Just add with a darker tone. Add that at the bottom, then use a medium tone of green next to that and keep adding some leafy pattern. Then on the top, we can go with a lighter green and finish it off. So try to go with a similar shape that we have added for the reflection, the height. So over here on the left side, towards the left end, I have made the trees a bit more higher. Same as how we have in the reflection. Now in a similar way, I'm going to continue this. This is a step that you can do in a very careless way. It is just a matter of looking at those different tonal values of green. You have to have a darker tone at the bottom and a lighter tone on the top. That's the only thing you need to keep in mind. The rest is really simple, so keep adding your colors and finish up that anterior line. [MUSIC] So this is where we have reached. We have a little more left on the right side. Over here, we have made it a bit more higher compared to the left. First I'm going to add that leaf green on the top. Then I will pick some sap green and I will add that track next to leaf green. I'm just rubbing my brush and I'm blending them. It doesn't need to be a clean blend, as I said earlier. I hope you guys like this technique. Actually I've tried a couple of techniques on how to paint landscapes and group of trees. Something similar to this one. But every time it wasn't looking that realistic and effort was much more. But this one is a technique that can be done by anyone. It can be done by an absolute beginner as well. It is just a matter of adding the colors next to each other. We don't need a clean blend or we're not looking for any particular result here. We're just adding the paint right next to each other. The only thing you need to keep in mind is to switch from one color to another. We need to use a darker tone at the bottom. Then for the rest, you can use sap green and leaf green. You can use them in any proportion. I have some more area left at the bottom. I'm going to fill that as well. Over there, I'm going to use a bit more darker tone. I have used light green and sap green on the top. You can see the way I'm running my brush. I'm just adding that paint onto the dry paper. I'm not trying to blend them or I'm not trying to create any particular effect here. I'm just adding that paint directly onto the dry paper. I'm just leaving it as it is. I'm not putting any extra effort in blending them. We have some more area left at the bottom. Over there, we need to use a darker tone, so I'm using indigo and I'm finishing that off. On the top we have enough of sap green and leaf green. Now, what is missing in some darker tone. I'm adding that right away and with that, we'll be done with the landscape. Then the next step is to add the snow onto the mountain, which also we have tried in the technique section. That is also quite simple. So basically, all the techniques that we're using today can be used in your future projects as well. Whether it is the mountain or the landscape or the reflection. The same can be used in different color combination. Maybe we can try a scene painting in autumn theme. For the landscape, you can use more of orange and yellow and brown. You can paint the lake also in a similar way. You can use cerulean blue and indigo for the bottom. For the top where you have a reflection, you can use your brown and orange colors. That's a lake and the landscape. Now our last step is to add snow onto the mountain. For that, you will either need white gouache or white watercolor. Now to add that snow, I'm using my size two round brush. Just make sure it is clean. Pick some white paint. I already have some on my palette. It doesn't need to be 100 percent opaque, so even white watercolor will block. Now along the sloppy areas, add some dry white lines. Don't make it too loose. Go with a slightly dry paint. If it's not too dry, maybe you can tap your brush on a paper towel and then add these lines. Along this slope area, keep adding some dry white lines. See that? I think it is already looking snowy. You can compare to other side and this side. It's a very simple step, which can also be used in your future paintings. Whenever you're painting a mountain which is really far, just apply a medium tone of indigo onto the background, then add some white when it dries. It is as simple as that. In a similar way, I'm going to add snow onto the other side as well. It doesn't need to be too prominent. You can go with white watercolor. It does need to be gouache. Along those sloping line, you can add some dry white lines and that's it. We tried the exact same thing in the technique section, so I'm hoping it is very clear for you. Now, let me quickly finish the other side. [MUSIC] Again, see how beautiful it is looking. I'm really loving the way the reflection and the mountain is looking. Beautiful, right? The colors are going so well together. I think the colors are looking so well together and I'm pretty happy with the landscape and the reflection. We already tried a couple of interesting techniques today. We learned to paint that beautiful mountain, then be learned to paint a simple yet realistic landscapes, and also a beautiful reflection. Give it a try if you were to try it. I'm very sure you're going to enjoy this painting. Here is our painting for the day. I hope you all enjoyed painting this beautiful green lake. Thanks a lot for joining me today. I will be back here soon with our next dreamy landscape. [MUSIC] 44. DAY 15 - Gradient Mountains: Hello, my dear friends. Welcome to Day 15. Today we're doing a monochrome painting. We're going to paint a beautiful gradient mountains. We're going to explore one single color today. We will explore what are tonal values and how you can use them in your paintings to create depth. The color that I'm going to use for this painting is Payne's gray. You can go with any other color of your choice. You can go with purple or any green or any brown or any color. This is the color I'll be using. This one is from the brand Rembrandt. You can use Payne's gray from any brand. I'll just show you the pigment number for this one. It is PBk5 and PB15. That's the color I'll be using. The next color you can use is indigo. Even that will be a great color or maybe even violet. I've taken out some paint onto my palette. Now, I will swatch out this color in different tonal values. First, I will add some water and I will turn that into a lighter tone, then we can gradually make it darker by adding more paint into the mix. Now, I'm going to add few drops of water into the paint I have taken here. Let's make it lighter. The more water you add into your paint, it will get lighter. First we're starting off with a lighter value, which means right here we have more water and less paint. Now I'm going to sparse that out on my paper. That's the color. It's a lighter tonal value of Payne's gray. You can make it even more lighter by adding more water. That's the first tonal value I have added. Now, into the same mix, I'm going to add some more paint and I'm going to make it a bit more darker. You can see the color here. It's slightly darker than the color I have used above. If the tonal value of the color is lighter, that means the color is more transparent, and if it is more dark, it means the color is more opaque. Right now you can see these two are really transparent. You can clearly see the texture of the paper because I have added a lot of water in these. Now, to the same mixture, let's add some more paint and make it a bit more darker. That's our next tonal value. In a similar way, I'm going to keep making the color darker and darker, and that is exactly what we're going to try into this painting as well. For each and every mountain, we'll use different tonal value of Payne's gray and we gradually make it darker the same way how we are adding the swatches here. The same exercise can be done using any other color of your choice. It can be indigo, Prussian blue, violet, or any other color. You can start with the lightest tonal value by adding quite a lot of water into the color and then, gradually, you can make it darker by reducing the amount of water and adding more pigment. Here I have added five different swatches of Payne's gray. To be honest, this is just a few. By modifying the amount of paint and water, you can create even more. Understanding the tonal value is the first step, which we tried already. I hope you are clear with what is tonal value. Now, I'll just add a swatch because I'm starting with the darkest stone. Now I'm cleaning my brush, picking some water, and I'm going to make it lighter as I'm approaching towards the other end. Picking more water, making it lighter again. In general, Payne's gray has a granulating property. For the same reason, I'm not a great fan of Payne's gray. Instead of Payne's gray, I use mostly neutral tint, but I'm nearly done with my paint. That's the reason why I'm using Payne's gray today. I mostly use Payne's gray to mix and make the color darker. I don't normally use it as a single color. Anyway, that's a swatch. You can see, I have used a darker tone on the left end and have made it lighter towards the right side by adding more water. In-between you can see there are plenty of different tonal values here, maybe more than the swatches we have added on the left side. Depending on how many different swatches you need in your painting, you can keep altering the amount of paint and water and you can create plenty of swatches. That's the basic idea. We're going to use the same method to paint our mountains. We'll start with a lighter value. You can see here, for the sky, I have used a really light tone of Payne's gray, which could be something similar to the first swatch. Then as I'm coming down for the mountains, I have started making the color a bit more darker. Towards the bottom-most end for this one here, I have used a really, really dark tone of Payne's gray which is so much close to black. That's the basic idea. Maybe before we go with our painting, we can quickly try those gradient mountains. First I'm picking some paint, adding some water, and I'm making it really light. Using that color, I'm going to add a mountain. It is not really necessary to add a sketch first, but if you prefer that way, you can add a sketch and then fill that mountain in a lighter gray color. That's the first one. Now I'm taking some water and I'm making it lighter. For this one, as you could see here, it's a really light tone of gray. That's a first tonal value I have used. I'm not showing the sky here. For the sky, we'll be using a lot more lighter value so that you can clearly see the difference in the tonal values. Now the major part for this painting is you'll have to wait for multiple times in-between for each and every layer to dry. There are six different layers here, which means you have to wait for six different times for each of them to dry. Even though it's a simple and easily doable painting, we'll have to wait full multiple times in between before we add each of these layers. You can either use a blow dryer or a heat tool or you can just wait for your layers to dry. To speed up the process, I'm going to use a blow dryer and I'm going to make it dry quickly. I really love doing these paintings where it has different layers, where I play with different tonal values, but the only thing I hate is using a blow dryer. Honestly, I'm not a fan of using a blow dryer. To me, I feel like it makes the colors dull. I'm not really sure if it's just a feeling or it is real. Anyway, that has dried. Now let's go the second layer. For the next layer, as we discussed already, we need to go with a slightly more darker tone, so I'm picking more paint, mixing that with a color I have created earlier to make it darker. Now let's add the mountain. First, I will add an outline. Looks like this area hasn't really dried. I'm using my blow dryer again just on that section to make it dry. This is why I said earlier, you have to make sure your background has dried completely every time you go with your next layer, otherwise you won't get a clean line. Now, let's add the second mountain. I'm picking some water. I'm making it lighter. You can keep modifying your shape how you prefer, or you can start by adding a pen sketch if that is more comfortable for you. Whichever the tonal value you're using for your mountain, we're making it lighter as we're coming down to create a foggy, misty feel. I'm picking some water and I'm making it lighter as I'm coming down. That's the second layer. Now I'm going to pick my blow dryer again to make it dry. You can see over here, it is looking a bit messy. That is because I added my mountain before the previous layer dried. That's why I said earlier, it is really important for your layers to dry completely before you proceed with the next mountain. Give it enough of time or you can use a blow dryer to speed up the process. Now, I'm picking a little more darker value of Payne's gray and I'm adding the third layer. You can see here how I'm making the color more darker as I'm coming down. For the first one we use lighter value, and for the second one, the color is a bit more darker. Now for the third one, it is even more darker. In a similar way, we'll keep modifying the color. We'll make it darker. You can use any color of your choice, whether it is indigo or green or purple or brown. The idea is the same; start with the lighter tonal value, then make it darker as it come down. Now I'm making it dry. We have added three layers. Now I'm going to add the last one, which is a really, really dark tone of Payne's gray. I think I will need some more paint. That's not enough so I'm going to squeeze out some more paint onto my palette. This time I'm using a really dark tone. For this, I'm going to add some trees on the top. Just some basic shapes that is not that well detailed. Add some basic shapes like these along the top. You can see the color. It is so much darker than the colors we used earlier. This is how we're going to make the color more darker. It is just that in this mixture we have more pigment and less water. Earlier we used more water and less pigment. That's the only difference. For our main class project as well, you're going to use the exact same approach. It is just that over here we have only used four layers, which means only four different tonal values. But for our main project, we'll be going with seven layers, which means that it will be seven different tonal values. Also the shape of the mountains will be a little more detailed. I really hope the idea is clear. As I said earlier, you can pick any color of your choice. It doesn't need to be Payne's gray. Burnt umber would be a great color, or maybe indigo. Choose the color of your choice and make some empty space on your palette because we are using just one single color and we don't want that to mix with any other colors on your palette. That's all about the color palette and the techniques you need for today's painting. Technically, we have done the painting here. It is just that we'll be adding more layers and we'll also be going with a better shape for the mountains. That's the only difference. Now let's give it a try. 45. Gradient Mountains: We already had a look at the color palette and the techniques. The color palette is just one color which is Payne's gray, I hope you guys have chosen your color. As I said, it can be any color it doesn't need to be Payne's gray. Now I'm going to take out some color onto my palette and I'm going to start with the sky. I also have a scrap piece of paper here just to try the tonal values that I'm going with. You can just keep a sketchbook or an old paper just something that you can try your color on. Now I'm going to use my one-inch wash brush and I'm going to apply a clean coat of water onto the entire paper. Just apply a gentle even coat. So my paper is evenly wet, now we can start painting the sky. To paint the sky, I'm going to use my Size number 12 round brush. This way I can apply paint onto a larger area quite quickly. Now I'm adding a few drops of water and I'm making the color lighter. For the sky we have to go the really light tone of Payne's gray or which will be the color that you're using. Add enough of water and make that into a lighter tone. I will add a swatch of this color on the paper I have taken here so that you can see which is the tonal value I'm going with. That's a color. I think it's a bit dark, but that's okay. I'll just apply this on the top. We already have water on the background. So the color will be slightly lighter when it dries, and also am making it lighter as I'm coming down. So apply that medium tone on the top and make it lighter as you're coming down to the gradient sky. Now I'm washing off the paint on my brush. Now, I will quickly make it a clean blend and I will leave it for drying. The sky is a very simple gradient wash. Start with a medium tone of Payne's gray or any of the color that you're using and make it lighter as you're coming down. That's the sky. Now, before I leave this for drying, I'm going to take out a piece of paper towel, and I'm going to wipe off the excess amount of water from the masking tape. Just wipe it off. Otherwise, the water can float back into painting and it might ugly bleeds on the border. So this is something I do whenever there is an excess amount of water on the border. So that's the sky. Now, I'm going to grab a blow dryer, and I'm going to quickly make this dry so that we can go with the first layer of mountain. That's a sky, and it's a beautiful blend. Just touch your sky and see if that's dried completely. Just double confirm it. Now to paint a mountain, I'm going to use a medium-size brush. I have my Size number 8 brush here. I'll be using this one, and then I have my other brush, which is Size number 12. Using this bigger brush, I will pick some clean water, and I will make it lighter. You can use the same brush. You don't really need two brushes. So let's begin. For the first mountain, I'm going use a tonal value with something similar to the one I used for the sky, the color you see on the top. So let's add a mountain, this one is a very small mountain. So I will add outline first. You can either go with the similar profile for your mountain or we can go with a totally different one. You can see the tonal value. It is quite light, and I'm adding a mountain towards the left side. You can add that to its right or it can go the different shapes. I have added the basic shape. Now I'm going to switch to my bigger brush, and I'm picking some clean water and I'm making it lighter. Just extend it towards the other end, and just blend that into the background using some clean water. I think I will add some more paint onto the left side. I'm just dropping in a little more paint. Just onto this side, I'm going to leave the right-side as it is because over there I'm planning to add my second layer, overlapping that one. Now, I will make it lighter again using my pickle brush. So that's the first layer. Now you can either leave this for drying, or you can use a blow dryer to speed up the process. The first layer is in, now we can go the second one. For that, we are using a little more darker tonal value of paint gray. I'm adding more paint into the same mix. That's the color I'm going with. It is a bit darker than the first tonal value we used. So I'm adding a bit more paint, and using that color, I'm going to add the second mountain. If you're planning to add a mountain in a similar shape to mine, maybe you can wait for me to add a shape first, then you can actually follow the same shape and fill up your painting. I have added the mountain, now I'm picking some clean water and I'm making it lighter. When you use a bigger brush, it is actually a bit more easier to make it lighter rather than with a smaller brush. That's the reason why I'm using a bigger brush for this step. You can see the different tonal values here. The first mountain is in the background, and for that we have used a lighter tonal value. For this one we have used a little more darker tonal value. It isn't that dark, but compared to the first one, it is a bit darker. So that's how we're going to create the depth in our painting. There is no much details. It is just a tonal value that we are playing with. If you want to modify the shape of the mountain, you can do that right now while it's still wet. I actually don't want to complicate it, I want some simple shapes. That's our second layer. Now I'm going to grab my blow dryer and I'm going to quickly make it dry. Two layers are in, now it's time to go the third layer, which means the color has to be slightly darker. So I'm picking more paint and that's the color I'm using. It is slightly darker than the previous tonal value. Now using that color, I'm going to add our third mountain. Don't go with similar shapes for all the mountain. Try to make them a bit different from each other. That is what makes your painting look more beautiful, as we didn't have a lot of details or a lot of colors, we're just playing with one single color. So we only have two things that we're playing with. One is the tonal value and the next thing that the shape of the mountains. So I'm adding my third one here. It's more of a flat shape, and the shape is very much different from the other two mountains. Now, we can pick some water and make it lighter. That's our third mountain. Maybe we can drop in some more paint on the top, it doesn't look even. I'm picking some more paint, adding that over here, and I'm making it even. Now using my other brush, I'm just making it lighter. That's the third mountain. Now, we can leave this for drying. It is actually a very simple painting which you can do in less than 15 or 20 minutes. It is the drying time in-between which adds up and make it too lengthy process. Other than that, it's a very simple painting. You just need to watch how the tonal value, and go with an interesting shape for your mountain. I'm just making this side a little higher. I think that looks better. Now it's the drying time. So you can either use a blow dryer or a heat tool to speed up the process, or it can take a break and you can leave your painting to dry completely on its own. So we have added three mountains, now it's time to go with the fourth one. For that, we need a slightly darker tonal value of Payne's gray. I'm adding more paint and I'm reducing the amount of water. That's the color I'm going with. This time I'm going to add some teeny tiny shapes on the top to make it look like there are some trees over there. I'm just wondering what shape I should go with. Maybe we can start from here, overlapping the other mountain. Let's make it slightly overlapping, and you can see those teeny tiny shapes on the top. I'm just pressing the tip of my brush and I'm creating those tiny shapes. It's just a very basic shape. It doesn't need to be well detailed. Using the next tonal value add a mountain, this time the tree is relatively visible. Now I'm picking my bigger brush, and I'm picking some water, and I'm making it lighter. Picking more water, adding that right over here to make it lighter. Maybe we can drop in some more paint to make it even. We can see here towards the left, it's a bit higher and towards the right, I have made it lower. I did it this way because I want to start the next mountain from the right side. Now we can see those teeny tiny shapes on the top. It's a very simple detail but then it will make you mountain look more natural. Now I'm picking some more water and I'm making it lighter towards the bottom. On the top we have a darker tone, and towards the bottom I have made it lighter. So that's our fourth layer. Now it's time to make it dry. I'm going to grab my blow dryer to speed up the process. If you have enough of tough time, maybe you can take a break and wait for your layers to dry in-between. The fourth one lesson. Now let's go the next one, which means the color should be a bit more darker and the background has to be completely dried. Here's the color. It is much more darker than the previous color. Now using this color, I'm going to add my next mountain. As I said earlier, I'm going to start that from the right side, from here. Over this side, we have a lower-end. Right from here, I'm starting my next layer in a similar way how we did earlier. I'm adding those teeny tiny shapes from the top to make it look more natural. For this mountain, I'm planning to make the left end more lighter to create a misty-foggy feel. I'm adding more paint only on the right side. You can see I haven't added any paint on the left. Over there, I will use a lighter value to finish the mountain. Let me add some more shapes over here. Then I will grab my bigger brush to make it lighter. Honestly, it's a very simple painting when you get the idea right, it is just a matter of playing with different tonal values of any color and also using some interesting shape for your mountain. I have added the basic shape. Now, I'm going to grab my bigger brush, and using some clean water, I'm going to make it lighter. Now, using the same tonal value, I need to finish the rest of the mountain towards the left. I haven't added any trace over here. First let me blend this into the background. You can clearly see on the right side I have a darker value and towards the left, I have made it lighter. I'm continuing the same shape. I will use my medium-sized brush and I will add those teeny tiny trees on the top. I just wanted to make our painting more interesting. That's the reason why I did this. If you want to continue the same tonal value, you could do that. Now, using my bigger brush, I'm just blending that into the background. We're nearly done with this layer. Depending on how much space you have left, you can go for one more layer or maybe two if you have more space. I'm just picking some more paint. I'm making both shapes a little more prominent especially on the right side. You can keep modifying the shape of those trees or mountains while the background is too wet. Make use of the time. If you want to make it look more interesting, or if you want to add some more trees, or if you want to modify the shape, just make yourself the time and do that right now. Once you're done adding those shapes and then adding the paint, pick a bigger brush or any of your clean brush and smudge the paint into the background to make it look even. That's our fourth layer. I'm pretty happy with it. I really love the different tonal values we have used here. On the right it is really dark and on the left, we have made it lighter to create a foggy feel. Now, it's time for this to dry. This time I think I will skip using my blow dryer and I will come back when the painting has dried completely. Those are their we have reached. I'm really happy with the way it is looking right now. I think we can really feel the depth here. The tonal values have come out great and also the shapes of the mountain. Now, I'm planning to add two more layer of mountains. Depending on the space you have left at the bottom, you can go with one layer or two layers. Now, for the next one, it is obviously a little more darker tone of Payne's gray. Let's pick a darker tone of Payne's gray and start adding the mountain. I'm adding that somewhere over here. I want that to be a little away from the previous mountain so that those lighter tones will be visible. You can see the color, it is pretty dark, but I will make it slightly lighter by using some water. Anyway, on the top, I'm adding those teeny tiny lines to make it look like there are some trees. For the next layer, I'm in the final layer, I'll be using a very intense tone of Payne's gray, which is nearly close to black. For this one, it will be a little more lighter than that. Now, for this one, I have made the left side more higher and I'm making the right side lower. In a similar way, you can slightly modify the shape of the mountain to make them look different. It doesn't need to be a complicated shape. We just need these little tweaks. Just make sure to go with different shape for your mountain to make your painting look more interesting. I have added the basic shape. You can see those tiny lines I've added on the top to make it look like they are trees. Now, I'm going to pick some clean water and I'm going to make it lighter. For this, I'm using a bigger brush and I'm blending that back into the background. That was my sixth layer. As I said earlier, I'll be adding one more layer, which is going to be a much more intense value of Payne's gray. Let me quickly finish this and then we can go with the final layer. Now, in case if you don't have space for the next layer, that's absolutely okay. You can go for a darker value for this one, and you can enter your painting here. I'm just making it even. Towards the right side is a bit lighter compared to the left. I'll just quickly run my brush and maybe I will drop in some more paint to make it look even. I'm really loving those tonal values. Payne's gray is a beautiful color to paint these paintings. Even indigo that is also a gorgeous color to try monochrome paintings. When I started taking watercolor seriously, this was the first painting I did. It is still one of my favorite subject to paint in watercolor. I love playing with different tonal values and creating that depth in our painting. It's a very simple technique which anyone can master, and also it makes a simple and elegant wall decor. You can paint a series of gradient mountains, maybe three or two. You can try painting the same on a larger scale paper, and you can frame it and use it as a wall decor. Anyway, now it's time to dry this layer so that we can go with the final one. That's our painting. You can see those gorgeous mountains. Now, we're going to go with the final layer. That will be done with our painting. For that, as I mentioned earlier, I'm going to go with a darker tone of Payne's gray, which is nearly close to black. I'm starting that from the right side and I'm making it lower towards the left, which is actually the opposite of the previous layer. I'm again, adding those tiny shapes on the top. Now, I'm going to fill this up. For this one, I'm using a solid color. I'm not making it lighter. First have an idea about how you want to add your last mountain. If you don't have enough of space, you can modify the shape a little according to the space available on your painting, and you can decide on the height of it and add that in. I have made the right side higher and I'm going to make the left lower. In a similar way, I'm going to finish the shape and I'm going to fill that in Payne's gray. We have added the last layer of mountain. Now before I wrap it up, I'm thinking to add some birds. This is just optional. If you want to leave it as it is, you don't need to add birds. Now, to add the birds, I'm using my smaller-sized brush. This one has Size 2 round brush. It has a really nice pointed tip, which is perfect to add those teeny tiny birds. I'm planning to add them over here. You can see the size, they are pretty small. If you're adding them, go the similar size. If you don't want to add them, that is absolutely fine. I think I will add five or six birds. If you want to add more, you could do that. Or if you want to just have two or three, that is also okay. Or maybe you can add one or two huge birds. That way your whole focus will be on those birds, which means the birds are quite closer to you and the entire landscape is far away. If you want to change the entire language of your painting, that can be done. The major element or the foreground element will be the birds and the background will be your mountains. Those are my birds. I think I have added more than six. I have added all of them towards the right side. Maybe I will add one or two birds on the left side as well. With that I will call it done. Maybe the last one. Just one is all we need. That's our painting for the day. I really love monochrome paintings because they are simple yet so beautiful. You can create a wonderful depth in your painting just by using one color. Now, let me remove the masking tape and show you the finished painting. I have tried similar gradient mountains using Prussian blue and burnt umber. Burnt umber is a gorgeous color. If you haven't tried it yet, I would suggest you to give it a try. It's a wonderful color to try monochrome painting. Anyway, here's our finished painting. You can see those gorgeous tonal values and the depth we have created here. I hope you all had a lovely time being with a simple and beautiful painting. Thanks a lot for joining me today. I'll be back here soon with our next doing the landscape. 46. DAY 16 - Snowy Mountains : [MUSIC] Hello. Welcome to day 16. The previous painting was a monochrome gradient mountains. We used different tomnal values of a single color, and we created this painting. We didn't add much details onto the mountain. It was quite flat and plain, but today we're going to try a snowy mountain but it's really easy to paint. This is the painting for today. We learned to create this beautiful snowy mountain in today's class project. I'm very sure the techniques that we're trying today will be really helpful in your future projects. Without wasting any more time, let's take a quick look at the color palette and the techniques so that we can try this gorgeous class project. For the sky, I will be using cobalt green and Prussian blue, and also a bit of indigo to add some deeper tones. Let's first patch all those colors. If you want to go with a different color combination, that is totally okay. We're not really focusing on the sky today, the more focus is on the snowy mountain. Go with any color combination that you prefer for your sky. These are the colors I'm going to use cobalt green and Prussian blue. Then also a little half indigo to make the sky a bit more dipper, so that's all for this color. Instead of cobalt green, you can also use turquoise [NOISE] blue. Now the next color is Prussian blue. First I thought of using violet and blue for the sky then somehow I settled at cobalt green. Anyway, these are the two colors I'll be using majorly for the sky. As I said, you can go with any other color combination of your choice. It doesn't need to be the same colors. If you want to try basal sky even that would be great. It doesn't need to be a night sky. That's my second color. The next color we have is indigo. This one is really optional. When I try the sky using cobalt green and Prussian blue, I was really happy with the darkness. I want the color to be really dark and intense so that's when I introduce a bit of indigo. Indigo is just optional. You can go with cobalt green and Prussian blue and paint a beautiful sky. You can see on my painting there is some deeper tones on the top, and also in-between. That is indigo but it isn't really necessary. These are the three colors I'll be using for the sky. Next, we need ultramarine blue, which is the major color you will need for the mountain. Now, just in case any of you want to know the brand of the colors I'm using, these are the colors. Cobalt green is from ShinHan. Prussian blue is from Art Philosophy, and indigo is from Sennelier. Those are the three colors I'll be using for the sky. Now, coming back to the snowy mountain. To paint the base layer of the snowy mountain, you will need ultramarine blue. If you don't have ultramarine blue, just use Prussian blue. For some reason, I feel ultramarine blue will make your snowy mountain look a bit more realistic compared to the other blues. You can see the color here. It has a more icy feel to it but if you don't have ultramarine blue, that's absolutely okay. Just use Prussian blue or any other blue you have got. Now to add the details, you will either need Payne's gray or neutral tint or black. It can be any of these three colors. We'll be adding some dry patterns onto the background to make it look more realistic. Now, I will quickly spatter these two colors then we can try a mountain. This one is from Art Philosophy. It can be from any plant. I already have some Payne's gray on my palette. Honestly, I'm not a great fan of ultramarine blue. Ultramarine blue is slightly granulating and for the same reason, I'm not a fan of it. I honestly don't like granulating colors match. I feel it doesn't go with my style. I mostly use thalo blue instead of ultramarine blue. But thalo blue's not a common color. That's why I'm using ultramarine blue today. [NOISE] Anyway, our last color is Payne's gray. We'll be using this color to add some dry patterns onto the mountain. If you don't have Payne's gray, just go with black or neutral tint or any similar color. That summarized the color palette for today's painting. Now, before we started the project, I think we can try the mountain so that we'll be very clear about how to approach it. We will be painting a mountain as two steps. First, we will paint the background using ultramarine blue, and then we will leave that for drying. Once the background layer has dried completely, we'll be adding some dry patterns onto the mountain to make it look more realistic. That's how we're going to paint the mountain. Now, first I'm going to add a sketch. It's a very simple sketch. You can add a basic mountain. I'm going to go with a tall mountain, adding a line at the center, an irregular line. It's along these lines we'll be adding those medium tones of ultramarine blue. Then under the same area, we'll be adding our deeper tones. Now, I'm going to bring that down, hiding under small mountain, the background. Now, I'm adding a line at the bottom, an inclined line to define the ground, something similar to the painting. Now, maybe we can add a small piece on the left side, just over here. That's the sketch. It's a very simple sketch. There is nothing much complicated here. You can add a very basic mountain. However, we can turn that into a beautiful snowy mountain. If you have ultramarine blue, I would suggest you to go with ultramarine blue. Only if you haven't, you can use Prussian blue or cobalt blue or any other blue you have got. Now, let's start painting the mountain. First, let's paint the ground then we can go with the mountain. I'm picking my flat brush, and I'm adding a coat of water onto the ground. Just a clean even coat. Don't add a lot of water. Now, using my medium size brush, I'm going to apply a medium tone of ultramarine blue onto the ground. That color I'm going to use, it shouldn't be too light and it shouldn't be too dark as well. Onto this wet area, I'm adding some lines, leaving a gap in-between. When your painting a snowy mountain, the majority of your background has to be your paper white. Don't add a lot of paint. Looks like there's a lot of water on my background, so I'm just dabbing my brush on a paper towel, and I'm cleaning that a bit. When we are doing our main project, I'll be painting the ground, and the mountain separately. Otherwise, the colors may spread into each other and we won't get clean lines but over here, I'm not really looking for perfection. I'm going to paint the mountain right away. That's a ground path. We're going to be in the mountain. Also in a similar way, will be applying coat of water. Then we'll be adding some medium tone using ultramarine blue. Here between the ground and the mountain, I'm going leave a tiny gap. I'm going to apply coat of water onto the mountain. So I'm picking my round brush. This one is size number 8 round brush. I'm applying coat of water onto the entire mountain. Carefully add that along this line. When you're doing your project we'll be doing this separately. We'll wait for the bottom to dry then we'll paint the mountain. There is a little water over here. I'm just cleaning it. The background is wet. Now, we can start applying ultramarine blue. Just like I did earlier, I'm going to pick a medium tone of ultramarine blue. I'm going to add that along these areas we have added. It doesn't need to be perfect line. Our background is wet so we just dropping that paint onto the wet background. They can slightly spread into the background that is totally okay. See that? Just add some lines using ultramarine blue onto the wet background. When I'm adding the paint over here, I'm leaving a tiny gap so that the paint doesn't spread into the ground. You can see the way how I'm adding the paint in an inclined way. Whether you're adding a paint from the top to bottom or bottom towards the top, go in a similar pattern. This way, it will look like the mountain sloping down. Now maybe we can add some more paint onto this area. You can see the color I'm using. It's a medium tone. Don't make it too dark. If you feel like your paint is too watery, you can tap your brush on a paper towel and keep repeating the same step. So that's the base layer. At this point, your painting might not look that great. It might be looking a bit weird. But that's okay. It is just part of the process. When we add those deeper tones, I mean the final details, your painting will start to look more realistic. [NOISE] It is just part of the process. Wait for some time until we add those final details. Now, I'm going to grab my pillow dryer, and I'm going to quickly dry this up so that we can add the final details. You can see it is looking quite weird right now. It doesn't look like a snowy mountain at all. But that's okay. You're going to see the magic in some time. That has dried. Now, to add the final details, I'm going to pick my smaller size brush. I'm going with Payne's gray. We're going to simply add some dry patterns onto the mountain in a very random way. First, we will add some along those medium tones we have applied, then we'll add some randomly as well. That's going to do all the magic. You can either use Payne's gray or black or neutral tint. We're going with the darker tone and we're using a dry paint so you need a paper towel. I'll just show you a closer look of those patterns. See that? It is just some random patterns. It doesn't have any proper shape or any particular pattern. We're just going with a dry paint, and we're going to add some dry pattern onto the mountain. I'm picking some Payne's gray. I'm tapping my brush on a paper towel to remove the excess amount of water and make the paint dry. Keep tapping until you feel like your paint is really dry. Go with the darker tone. Now let's start adding those dry patterns. First, I'm going to apply those along the area where we have applied medium tones. Here it is on the left side. Onto that area, just keep adding some dry patterns using Payne's gray or neutral tint or black. Whenever you feel like your paint is not too dry, dab it on a paper towel and repeat the same step. When you keep adding these patterns, you will slowly see how beautiful your mountain is turning out. Yeah, that messy stage in-between is part of the process. Just keep going. Don't give up in between. See that? I think it's already looking quite pretty. Let's keep adding more patterns and make it more beautiful. Your paint has to be really dry, otherwise, you won't get these dry patterns. First, we're going to add them on to the areas where we have applied medium tones. After that, we can add some more to the other side as well. Let's focus on this area first. Let's keep adding more dry patterns. The brush I'm using here is size number 6. You can use any of your smallest brush. Don't use a bigger brush. Now, I'm going to use a much more darker tone. You can see those varying tones here. I think this side is looking really beautiful right now when we added those patterns. Now let's add some more to the other side as well. But over here, I'm not adding a lot. I'm adding more on the area where I have medium tones. That's where we have shadows. On this side you only need to add a little in a very random way. Keep adding your dry patterns until you feel like you have got a beautiful snowy feel there. It is not that difficult once you get the hang of it. It's going to be a really easy. Maybe you can try adding these dry patterns on a rough paper, then add that onto your main painting. Trust me, it is not difficult. When you tried one or two times, you're going to get a hang of it. It is just a matter of having that dried paint on your brush. If you feel like your paint is watery, dab it on a paper towel, and then give it a try. Snowy mountains can be a great element in your watercolor paintings. If you're not getting it right, don't give up. Give it another go. I'm very sure you will get it right in one or two tries. You can already see how beautiful our snowy mountain is turning out. I'm going to add few more patterns along the bottom. Then maybe we can add some on the ground as well. Honestly, I'm just rubbing my brush on the paper. This paper already has some texture. It's a rough watercolor paper. The paper that I'm using for the class projects is cold-pressed. It doesn't have a lot of texture. Even if I'm taking a wet paint, the texture is coming out quite great. Anyway, let's add some patterns on the bottom as well to define the ground. Right now you can see it is looking quite flat. Also over here, you can see those deeper tones of blue, which I didn't really add on the technique section because clearly, I had no patience to wait for the background to dry. But that's something which will focus on when we're doing our main class project. For now, let's learn the technique rather than looking into the perfection. Now, I'm going to quickly add some patterns onto the ground as well. In a similar way, how we painted the mountain, let's add them first along the medium tones. Over here, let's add the medium tones first. I'm following that same inclination. We have added an inclined line here. I'm adding the dry patterns also in a similar way to replicate the slope. I hope you guys are able to follow the technique. It is not that complicated, it is really simple. You just have to give it a try. Especially if you are trying snowy mountain for the first time. First, you have to add the new medium tones. Then onto that, we just have to add those dry patterns. The only tricky part might be getting that dry paint on your brush. But don't worry, just keep a piece of paper towel and keep dabbing your brush on a paper towel until you feel like you have got a dry paint. Trust me, you can do it. Don't give up in-between. When I first tried watercolor, I was new and brave to try this technique for the first two years I think. If you're a beginner and if you're trying it out, I would say that is really great because you're one step closer to getting it right. I think I will quickly add some more patterns onto the mountain as well. Then we can quickly paint the sky as well. That will really enhance the snow because of that contrast. Right now the sky, the mountain, everything is quite white and flat. When we introduce the color of the sky, you will see how beautiful it is going to look. It will really elevate the snow and it will bring a contrast in our painting. There is one more thing that I want to mention before we start with our protect. The moment you feel like you have got enough of pattern and it is looking like a snowy mountain. We can call it done. You don't need to keep adding more just because I'm adding more, your painting has to be a right mix of those medium tones, dry patterns, and paper wide. Don't fill up the entire paper. Honestly, you don't even need to add these many patterns. If you're happy in between, you can just call it done. It's just a matter of your satisfaction. You can just ignore all those extra patterns that I'm adding. If you look at my painting and the technique here. On the painting, I have added quite a lot of patterns and it is looking quite busy. But it's still looking beautiful. On the other hand, if you look at this one, I haven't had a lot of patterns. It is quite simple compared to the painting, but it still has its own beauty. That is exactly what I'm trying to say. If you feel like your painting is looking beautiful, you can just ignore what I'm doing here. Again, just watch the rest without adding any more details onto your painting. Now before I paint the sky, I'm planning to add some deeper tones at the bottom using ultramarine blue. I'll just give it a try. The background is already dry. I'm not really sure whether it will work or not. But just to define the ground and the snowy mountain, I'm going to add a level of paint over here. Now, I'm just merging that into the background to make it look a bit soft. I'm just trying this. You can just ignore what I'm doing here because it's not necessary. We're going to do this in our painting. I just don't feel like living in the space. That's why I'm adding some blue over here. Anyway, that looks better. That's exactly what we're going to try in our painting. Now, I'm going to quickly paint the sky using cobalt green and Prussian blue. [NOISE] This is going to really enhance the mountain. Let's see. I'm using cobalt green and I'm adding that right along the outline of the mountain. Be really careful. Don't add any paint onto the mountain. You don't need to use the same colors for the sky as I mentioned earlier, if you want to go for a different color combination, you could do that. Maybe you can go for a blue cloudy sky or any other color combination of your choice. Maybe you can go for a paintless sky. That's totally up to you. I'm just focusing on the mountain here. The sky is totally yours. Now I'm adding some Prussian blue and I'm just blending that. I'm not really focusing on blending them perfectly. I just want to show you how the sky can enhance your mountain. That's a little of cobalt green and Prussian blue. Maybe I will add some more paint onto the top. A darker tone of Prussian blue. We can already see how pretty that mountain is looking when we added the color onto the sky. It instantly brought a beautiful contrast in our painting. That snowy mountain is looking a lot more prominent. That's why I said earlier, the moment you start painting your sky, the entire painting is going to look even more beautiful. That is exactly what you're seeing right now. Look at that so pretty. I have some indigo left here, just a teeny bit. I'm going to apply that also onto the sky to make the top area a little more darker. I think the sky is also looking quite nice. Maybe I liked it better than the one I painted for the class project. You can just go for a gradient wash of indigo, Prussian blue, and cobalt green. It doesn't need to be a dramatic sky like the other one. [NOISE] That's summarize the color palette and the techniques for today's painting. We are on Day 16, which means we are starting off with the second half of the watercolor challenge. That also means there are more dreamy watercolor landscapes coming in. I cannot wait to see you in the next section where we're going to paint this gorgeous snowy mountains. Pick your colors and try the mountain, especially if you're new to watercolor. Don't forget your paper towel, who's going to be your best friend throughout this project. That summarized everything you need to know for today's painting. Now, let's give it a try. I'll see you in the next section. [MUSIC] 47. Snowy Mountains - PART 1: We already had a look at the color palette and all the necessary techniques. Now, I'm going to start by adding a pencil sketch. It's a very basic mountain. You can add a mountain how you want to. I'm going to add a ground at the bottom and a mountain on the top. Similar to something we'll be trying the technique section. If you don't want to add the ground, that's totally okay, you can just add a mountain. That the shape I'm going with. Now, I'm adding some lines where I'll be adding the medium tones. Onto this area, we'll be adding a medium tones. Onto all these pockets I will add medium tones. You can add these lines right now because that's going to be really helpful when you're adding these medium tones. Now over here as well, I'll be adding medium tones. I'm adding a line. That's my mountain. Maybe I will add another pocket here to add medium tones. Onto all these lines I've added right now, I'll be adding medium tones. Now, I'm adding the ground. On the left side, I'm planning back to be a higher point. Maybe we can add a small bit here. It's a sloping ground. On the left it is higher and on the right it's lower. Now onto this asphalt, I'm adding one or two lines where I'll be adding the medium tones. That's the first line. Now, I will add another line on the top and also at the bottom. That's my second line. Now, another one on the top. Onto all these areas, I'll be adding my medium tones. That's my first step. Then later when everything dries, we'll be adding our deeper tones, which is those dry brush patterns. As we already discussed, I'll be using ultramarine blue. If you don't have ultramarine blue, you can use [inaudible] blue or any other blue that you've got. Now first, I'm going to apply clean cold water onto the entire ground. I'm using my size number 12 brush. You can use any of your flat brush or round brush, it doesn't really matter. Just apply a clean coat of water onto the entire ground. Apply that folded line we have on the top. Now, I'm keeping this brush aside and I'm making my medium-size brush. This is in a size number eight. I start applying paint onto the snowy ground. You will need a medium tone of ultramarine blue. Just add two drops of water and turn that into the right tonal value. It shouldn't be too light and it shouldn't be too dark [inaudible] . Also keep a paper towel next to you. Dab it on a paper towel just to be sure your paint is not too watery. Now, let's keep adding them along these lines we have added here. There is some water missing on the top. That is evenly wet. Now, along these lines, I'm going to add some medium tones. Just add that along the lines you have added. If your paint is watery, dab it on a paper towel. You can see the tonal value. It's a medium tone. It is not too light and it's not too dark. Similarly, let's add another line. Is an inclined line, this will make it look like the mountain is sloping down. I'm adding one more line over here and maybe a little onto the corner. You can clearly see those gap in-between. I haven't completely filled the entire area. There are some cap in between that I have added these lines. That is really important. It should be a perfect combination of your paper white as well as that ultramarine blue. Be really sure about the water content in your paint. If you paint is too watery, it will start spreading into the background and you won't be able to retain those gap in-between. If you feel like your paint is really watering, dab it on a paper towel. Now I'm cleaning my brush. I'm tapping that on a paper towel. Using a clean brush, I'm just softening this. I'm just running my brush. There is nothing much here. I just want to make it look a little more smoother. That's the first step. Now, we'll have to wait for this to dry and after that we can start painting the mountain. I mean the base layer. That has dried. Now let's paint the mountain. I'm going to go with the same method. First, I'm going to apply a clean coat of water onto the mountain. Then onto the wet background, I'm going to add ultramarine blue. First time picking mine because [inaudible] and I'm applying a coat of water along the outline of the mountain. Carefully, apply that following the outline. That is wet. Now I'm switching to my medium-sized round brush. I'm starting to add the paint from the bottom and I will go towards the top. In order to differentiate between the mountain and the crowd, we have to add a medium tone at the bottom. I'm adding that over here. Also, will add some deeper tones along the lines we have added on the top. You can see the color. It's a little darker than the color I used earlier. Apply that along the bottom. Now, from there you can track your brush towards the top in an inclined way. Just push that paint into the background and keep adding your medium tones onto rest of the area. We have already added some lines, we just need to follow those lines and add your medium tones. This is just the base layer so even if you make any mistake, that's totally okay. It doesn't need to be perfect. But just be sure to leave enough white gap in between. Don't fill up the entire background. Now I have one more space here. Over there as well. I'm adding some medium tones. Have some medium tone at the bottom. Then also I have some lines. Now, a little onto the side as well. How about a paint onto the necessary areas? Now I'm cleaning my brush and I'm tapping that on a paper towel. Using a clean damp brush, I'm just matching those colors to make them look smoother. First, I will fix the bottom line. I think the line is not proper here. Right now, you're back from the spread. If you want to add some more color or if you want to modify the shape, you can do that right now. I'm adding some more paint onto this corner. Just to add those shadows. I think the modern already has a snowy field. It's a beautiful combination of people, white and ultramarine blue. You have to add your paint in a similar way. There should be enough for white gap in between. Don't fill up the entire background in blue. Retaining those with white is the key to get a beautiful snowy mountain. Leave enough of gap in-between that something has to be really careful. Now I'm cleaning my brush and I'm just matching those colors to give it a more smoother look. I was supposed to do the cilia, but then I got distracted. I thought of adding some more deeper tones. Anyway, now I'm going to quickly fix the background and then we can leave this for drying. Right now I'm just merging the color to make it look smoother. I'm using a clean dry brush, I don't have any paint on my brush. Using that brush I'm simply smudging the color. We already tried a similar mountain in the technique section. I'm hoping you guys are much more confident with the technique. That's how it is looking right now, I'm quite happy with it. Actually, we attended the background but I want to add some more blue onto these corners. I thought of making these areas a bit more prominent, I mean the shadows. I'm just dropping in a little more blue, only on to these corners on the top the rest I'm going to leave it as it is. The background is already dried so the color I'm applying wouldn't spread into the background, it will stay where I have applied it. That's the background, I'm really happy with it. Now, let's leave this for drying. If you're already happy with your result, you don't need to apply any more blue. You can just call it done just because I'm adding some more blue it doesn't mean you have to do the same. Let's take a quick break and come back when this has dried completely. That is dry. You can see how beautiful it is looking right now. I think it only looking super snowy. Before we add the rest of the details, I'm going to paint the sky. For the sky, as I mentioned earlier, I'll be using cobalt green and Prussian blue. Then to add the deeper tones, I'll also be using a bit of indigo. You can go with any of the colors of your choice, it doesn't need to be the same colors. You can go with purple, or pink, or any color combination. This paint has become really dry it's been here for awhile now. I have made it to let loose. Now, we have to start by applying coat of water onto the sky. For that I'm using my one-inch wash brush and I'm applying clean coat of water onto the entire sky. When you're closer to the mountain be a little careful, don't add any water onto the mountain. Maybe you can leave a tiny gap, so that you won't accidentally add any water onto the mountain, or you can go with wet on dry technique if you prefer that. Leave a tiny cap, we don't want to touch the mountain, so my background is evenly wet. Now to apply the paint, I'm using my medium size brush. You can use a flat brush or a round brush. I'm starting off with Prussian blue, a really dark and intense storm, and I'm adding that onto the top of my sky. As I'm coming down, I'll be adding cobalt green. I want a major color of my sky to be Prussian blue, and only towards the bottom I'll be adding a little of cobalt cream. More than three-forth of my sky, I'm going to apply Prussian blue. You can see the color, it is quite dark and intense this will enhance the mountain. I'm picking some more blue, adding that onto the right side. I'm thinking to add cobalt green only towards the left. You can see that area I left. Over there I'll be adding cobalt green, I'm carefully adding some paint right above the mountain. I'm adding that outline first, then I will fill this area in Prussian blue. We can clearly see, I only have a little area left on the left side. Over there I'll be adding cobalt green so I'm going to wash all the paint from my brush. Let's switch to cobalt green. I only have very little paint on my palette, I think that would be enough. I don't want to squeeze in more paint. I'm carefully applying that onto the side. Take your paint along the outline of your mountain. Don't add any paint onto the mountain. Now let's blend that with Prussian blue. I'm not really looking for a clean, smooth blend, I want a little dramatic sky, so I'm just pushing and pulling the color into each other, and let the colors create its own blend. I'm not really worried about how it's going to look like, I want a dramatic sky. Without no order, I'm just randomly running my brush back and forth This is how it is looking right now. I'm not really happy with the colors, I want the color to be a little more intense. For the same reason, I thought of introducing a little of indigo. As I explained the technique section, this is completely optional. Only if you're not really happy with the colors of your sky you can introduce some indigo, otherwise you can just go with Prussian blue and cobalt green. I'm just going to drop in some indigo in a very random way, maybe some lines, or some clouds, or just something onto the background to make it look a little more intense. For some reason, I wasn't really happy with the Prussian blue. It is now looking as intense as I imagined. I want the colors to be really intense to make it look like a night sky. On the top and also towards the right side, I'm introducing some indigo. I'm keeping this cobalt green as it is, I don't want to get rid of that. Onto this side, I'm introducing some indigo. You can see the colors quite dark right now compared to earlier. I'm not really sure what happened because usually I used to be really happy with Prussian blue, but this time for some reason I wasn't really happy with Prussian blue, I'm picking some more cobalt green to make the bottom area a little more smoother. Again, I'm pushing that paint into indigo to make it a better blend. I think that looks better now. You can actually go with cobalt green and indigo if you prefer that, or you can go with a variegated wash of cobalt green, Prussian blue, and indigo on the top. You can add your painter where you want to? It doesn't need to be the way I'm doing it. I don't know what I'm doing here, I'm just making the sky a lot more darker. That's all I have in my mind. Using a clean brush I will first fix this area where we have cobalt green, then just maybe I will add some more indigo. Now, I'm going to pick some more indigo and I'm going to add some final round of details. Just dropping in some multiple value onto the sky in a very random way. You can see, I'm focusing more on the right side, I'm retaining the cobalt green as it is. Just onto the right I'm adding some cloud using indigo. Now I feel like I should have just gone for a variegated wash of the indigo and cobalt green. I did a lot of extra work to make it look darker. Maybe I will add some more indigo on this side and I will call it done. It was a lot of extra work, but I was really happy with the mountains, so I didn't want to start it all over again. Also I'm quite surprised with the quality of my watercolor paper. The one I'm using here is from Arches, it is 100 percent cotton watercolor paper, which is 140 lb. It is still wet surprisingly, and that's the reason why I can add more and more paint. But I did quite a lot of extra work which was not at all necessary, I should have just gone with cobalt green and indigo as I said earlier. Anyway that's our sky, now we can leave this for drying, and then we can add the final details onto the mountain, and with that we'll be done. Let's take another break and come back when the sky have dried completely. 48. Snowy Mountains - PART 2: After all that unnecessary work I did, here is how my sky has turned out, not that bad. Anyway, now it's time to add the final details onto the mountain. For that, I have my size number 6 round brush here. You can use any of your medium-size strong brush, and we need Payne's gray, clerk, or neutral tint. You will also need a paper towel to dab off the excess amount of water from your brush and to make your paint dry. So I'm picking some paint, a really dark and intense runoff pink-gray. I'm dabbing my brush on a paper towel. You can see the paint is quite dry right now. Now, using that dry paint, I'm going to add some patterns onto the mountain. First, I will focus on the area where I have added those meeting tones. This is something similar to what we tried in the technique section. So pick your paint, dab it on a paper towel. Let's start adding those dry patterns. So first time focusing on those areas, where we added meeting tools. I'm not touching the white area right now. First, let's add them onto the blue area. Then we can slowly add some onto light area as well. So does just some random patterns, it doesn't have any particular shape or size. Just go with dry paint and keep adding those patterns. This might take a while to cause homogeneous, quite huge. We have a lot of area to cover. So we can see the shape I have created. I added that along the medium tones. Now, in a similar way, let's go the next section. What is this one here? Let's pick some more paint. Let's keep adding those stripe patterns. Onto the white area, I'm not adding any right now. Let's focus on the blue part. Please don't rush, take it slow. I know it might take a bit of time, but you have to be really patient. Keep adding your patterns in a very slow pace. Because we don't want to add lots and lots of pattern and make it too busy. We want a simple snowy mountain. Let's not add a lot of pattern and make it look traumatic. I said earlier, our major focus is on the area where we have blue. Onto the other area where we have white, we are not going to add a lot of patterns. We want to retain most of the people white. So only add fewer patterns over here, where we have white in the background. So in a similar way, let's keep going and keep adding more patterns. So those are there I have raised, you can see how pretty it is looking. I think it is looking super realistic. I really hope you guys are able to follow the technique. Now, in as similar way, we have to keep adding more patterns and we need to fill up this area. So the simple technique, once you get the hang of it, you can do it quite easily. You don't need to look at what I'm doing here. Just focus on the area by applying medium tones first. Add your deeper tones over there. Then you can add few onto the background as well. So let's keep going. Let's keep adding more try patterns using Payne's gray. If you're still not sure about how to get these patterns, maybe we can try it on a scrap piece of paper first, then add them onto your mountain. It is not that complicated. It is just that you have to have dry paint on your brush. It shouldn't be watery. So whenever you put new paint from your palette, just a moment to dab that on a paper towel. Make sure your paint is really dry before you add these patterns. Once you get the hang of it, it is a really easy technique. Just give it a try. I won't see you will get it right in the first try or maybe in the second or third try for sure. But don't be afraid to give it a try. So let's keep adding more patterns and let's fill up the mountain. Then we need to add onto the ground as well. If we take a look at my painting, you can see how I'm roughly following an incline, but I'm adding those patterns. So the test that I'm adding them along the medium tones have applied. That is my first focus. Then along with that, I'm adding some random patterns as well. Now, we have one more small section here, onto that as well, I'm adding some deeper tones. So with this area, we'll be done with the whole mountain, then we have to add some pattern tile to the Crown Castle. With that, we're done with the mountain. You can see how pretty it is looking. It's a really easy and simple technique, and you can create a car just my mountain. When you look at the finished painting, it might look a bit difficult, but that's not the case. When you try it, you will understand how easy it is. So if you're still having tried, I would really recommend you to try it out. Now, let's add the final details onto the ground so that we can finish off our painting. Last first time following the medium tones, I will add those deeper value along the area where we have blue. Then onto the background, I will add that too. The technique is exactly the same. Onto the area we have white. We just need to add very little patterns. Onto the area where we have shadow, which is our blue. We can add more patterns. So this exactly how we tried earlier. It is just a matter of having try paint on your brush, you can add them along these medium tones, then onto the white area as well. So every time if you're confused about the consistency, you can dab your brush on a paper towel and keep adding similar patterns onto the ground as well. See that. It doesn't have any particular shape or size. Honestly, I'm just rubbing my brush on the paper and I'm creating some dry patterns. The only thing too concerned about here is to have that dry paint on your brush. The moment you feel like your paint is not too dry, dab it on a paper towel, and I'm very sure you will get those try patterns. That's it. With that, we're done with our painting for the day. I'm really happy with the painting. I love those three mountains. I hope you guys loved it too. Now, let's remove the masking tape and have a closer look at the painting. So honestly, we just used one single technique throughout this painting. It is just a matter of adding that dry brush patterns, and you're going to get a beautiful snowy mountain. But yeah, it would take a bit of a time, even though it's just a single technique. You can use the same snowy mountain near future paintings as well. Maybe you can reduce the amount of snow and then you can reduce the amount of people white and give it a different look. It can also increase the amount of patterns, so that will be less snowing. If you want more snowing, you can reduce the amount of blue and make it more whitish. Anyway, here is the finished painting. You can see those really gorgeous patterns. I think it has come out really nice. So feel to try, do give it a try. Make sure that you're going to love this technique. That's all for the day. Thanks a lot for joining me. I'll be back soon with one extremely large. 49. DAY 17 - Glowing Evening: [MUSIC] Hello my dearest friends. Welcome to Day 17. Today, we're going to try a glowing evening. It's a beautiful color combination, I'm very sure you guys are going to love this. You can see that sky and just glowing mountain. I actually tried the same painting quite a few times, this was the first try. I really loved the sky and the mountain, but then I wasn't really happy with the beach then I try the same thing with another subject. Every time I did I was pretty happy with the sky, but then I wasn't really happy with the rest of the details and that's how I decided to make it quite simple. That's how I landed on this painting. Anyway, let's have a look at the color palette. First, I will start with the sky. Over here you can see that glowing color, that is permanent yellow orange. We'll just need a little. We are trying to create the sun here, so just over there we'll be using a little of permanent yellow orange. The rest is brilliant orange. If you don't have brilliant orange, you can use any other orange you have got. For the rest of the sky, we'll be using orange and turquoise blue, that color you see on the top. The one I'm using is from white lines. Basically, you will need three colors for the sky: turquoise blue, brilliant orange, and permanent yellow orange. Then to add the clouds, I will be using indigo. If you don't want to add any cloud that is also totally okay. You can see the color here, that is indigo, but towards the bottom, I'll be using mostly orange and brown to add the clouds. Those are the colors you will need for the sky. We can quickly try that out so that you have a better idea about how to handle those colors, so first-time swatching mark permanent yellow orange. This one here is a yellowish orange. You can also use yellow as it is. That's our first color, the next one is brilliant orange. Again, if you don't have this color you can use any other orange you have got. You can also use vermilion. This one is more bright. If you want a similar color, you can add a little of yellow into vermilion. You can create orange similar to this. That's our second color. The next one is turquoise blue which I'm guessing you-all have. If you don't have it, you can go with any other blue of your choice. That's turquoise blue. These are the three colors we'll be using for the base layer. Turquoise blue and orange are complimentary colors. You can already see the color of the water here, it has turned into a green color. That is because these two are complimentary colors and when mixed together they'll create a green. For the same reason that these two colors are meeting we'll be making them lighter. You can see that over here right where these two colors are meeting, I have made the orange as well as turquoise blue lighter. If you mix them in their highest intensity, they will create a green in your sky which we don't want for our sky. That's something you have to keep in mind when you're trying out these color combination especially if they are complimentary colors. The next color you will need is indigo. We'll be using this color to add the clouds and also for the water. You can see those lines on the water. To add those deeper tones, I'll be using indigo. Finally, you will need some brown. I will be using brown to add some clouds onto the sky and also for the mountain. If you don't have brown just like I always mentioned you can go with burnt sienna. That would also work perfectly for this painting. The last color you will need is Payne's gray which we'll be using to add the deeper tones for the mountain. If you don't have Payne's gray you can use black, or neutral tint, or any similar color. That summarize the color palette you will need for today's painting. Let's try the sky and maybe we can try the lake as well. This water has become super dirty. First, I will change this. Let me get some clean water. It is always good to have two jars of water next to you. One is to rinse all the paint from your brush, which can stay dirty and the other one has to stay clean. Sometimes in-between your painting, you will need clean water. Maybe to make one of the color lighter or to apply for the water onto the background. When working with watercolor, it is good to have two jars of water next to you. Let's try the sky. First, I'm going to apply a clean coat of water onto a small section using my one-inch wash brush. I'll paint a small section now. We can try the same on a much more elaborate manner when we try our class project. I have applied a coat of water onto a small section. We can start adding the paint onto this wet background. The first color I'm going to use is permanent yellow orange. We don't need a lot of yellowish orange, we'll be adding that only next to the mountain right over here to create a glowing field. I'm picking a little of yellowish orange just a little and I'm adding that over here. Right now, I don't have any sketcher, I don't have any horizon line. I'm just adding that over here. That's just a little, we don't need a lot. We're imagining the center is somewhere over here. That's where we've seen a lighter tone here. Let's pick orange. This one is a bright orange, you can use any orange or even vermilion. Apply that right next to a yellowish orange. It doesn't need to be a clean and perfect blend. We'll be adding clouds on top of this so it doesn't really matter whether you have a clean paint or not. That is yellow and orange. Right now, we don't have the horizon line and we don't have the mountain, so I'm not really sure whether it is making sense. We just need some lighter tone of yellowish orange where we are planning to add the sun, and then right next to that you can introduce some orange. I think we can make it a little more brighter, so I'm picking some more orange and I'm making this a little more brighter. I'm not going to change the yellowish orange, I'm just keeping it as it is. I'm just making the orange a little more brighter. I'm making that lighter so that we can go with our second color. Towards the bottom we can have an intense tone of orange, but as you're approaching the top you have to make it lighter and we need some yellowish orange where we are planning to add the sun. That's the first step. I'm going to pick my third color which is turquoise blue, and I'm going to start adding this from the top to bottom. On the top we can have a brighter tone, but as you're coming down you have to make it lighter right when you're about to meet the orange, otherwise they will create a green color in-between. Wash out the paint from your brush, clean it thoroughly, then you can tap out on paper towel. Using a clean damp brush, make this area lighter. There is something wrong with my paper. Never mind. Anyway, that's the background layer. Onto this wet background, we need to start adding the clouds. I'm going to use the same brush to add the clouds; this one is a medium-size brush, and I'm picking some indigo. On the top that we have turquoise blue you can use a darker tone of indigo, but as you're coming down you have to make it lighter. Here you can use a brighter tone of indigo. You can add your clouds however you want to. If you want a really dramatic sky, you can add more clouds or you can just add few. While the background is still wet, keep adding your clouds. Don't add a lot onto the orange using indigo. If you're adding, you can go with the medium tone so that it won't create a muddy color. Now over here, I'm going to add some more clouds that has a lighter tone of orange. I'm picking some more integral. That looks really dark. I'm just quickly marching that into the background. That color looks fine. You have to use a similar color when you're adding clouds onto the orange part. Onto the turquoise city, you can use a brighter value. I'm adding some more clouds over here, then I will switch to brown. Depending on how dramatic you want your sky to be, you can keep on adding more and more clouds. On the top, you can go with a darker tone so that it'll be really prominent, but towards the bottom go with medium tones and also you subpoena, which is not too watery. If it's really watery, it will start spreading into the background and it won't get that cloudy shapes. Now I'm cleaning my brush and I'm going with some orange and some brown. I'm just mixing these two colors together and using that color, I'm going to add some clouds onto the orange area. If you use indigo to other clouds over here, you won't be able to get that glowing feel. To reach in that glowing feel, you have to use orange or a brownish orange to add the clouds over here. I'm picking some more brown. I'm using that color. I'm adding some more clouds. The color I used earlier was really light. It does not at all visible. I added a little more brown. Maybe over here we can use a lot of orange asphalt. The idea is when you're getting closer to the sun, you have to make your color more orange, sharp, brownish to retain that glowing feel and on the top, where you have turquoise blue, you can use indigo or any taco tone of blue to add the clouds. Now using a clean brush, I'm just matching the color into the background to make it a little smoother. All right, so that the sky, I'm not really happy with it because the paper is quite bad but never mind, that's how they're going to be in the sky. I hope you guys got the idea. Now let's leave that for drying. [MUSIC] Okay, so that's how it has turned out. The colors are looking a little dull compared to earlier when it was wet. The colors on my paintings took a much more brighter than this. I think I have used more brighter colors there. Anyway, you know the idea so if you want brighter cell, you can use more brighter colors. For this painting. We are using two colors for the clouds. We're using indigo where we have turquoise blue, and we're using brown and orange where we have orange the background. That's something you have to be careful about. Now, I'm going to apply a coat of water onto the bottom. Let's pin the league and maybe we can add small mountain asphalt. I applied cold water. Now I'm picking some turquoise blue, really bright and intense tone. Now I'm going to add this onto the wet background. I'm starting from the bottom. Over here, I'm using a really bright and intense tone and as I go towards the top, I'm going to make the color slightly lighter. Now too light, it is still a bright tone. Towards the bottom-most data, you can use the color and its highest intensity and as you go towards the horizon line, you can make it a little lighter. That's about background. Now onto those, we're going to add those lines onto the water to make it look more realistic. For that, I'm going to use indigo. You can see my papers in horrible condition. There is something coming off from my paper. Anyway, let's add those lines using a darker tone of indigo. I'm using my same brush. My background is still wet and onto this, I'm going to add those lines. When you're adding these lines, try to leave a gap in-between so you can see that gap. I have our two lines and there's a small gap in-between. This has to be rated how much of a line you're adding, try to leave a gap in-between and also if your paint is too watery, tap it on a paper towel and keep adding your remaining lines. The paint is watery, it will start spreading into the background and it won't end up having no gap in between. Also, you can see here at the bottom I have our ethical lines using a taco tone and as I go towards the horizon line, I have made them lighter and also the lines are much more thinner. That's a basic tempo that I always follow whenever I'm painting a lake or river or a sea towards the bottom. Onto the area which is closer to us, I always use taco values and I go with boulder and thicker lines. The lines that are closer to the horizon line, I used to make them thinner and lighter. That way we can create a depth in our painting. I will add few more lines using a darker tone at the bottom. Be sure not to use the watery paint. If you paint is watery and tap the toe on a paper towel. Now, I will fix the horizon line. I'm just making the street and also onto the right side, I will add some more deeper tones because on the right side I'm going to add a mountain. By doing this, we can skip adding the reflection. I'm picking a darker tone and I'm adding that onto the corner. Just some lines onto the water. That's a lake. It's a very simple technique. I think we have used the same in our other paintings as well. This time the color is different, the technique is all the same. Now we can leave this for drying. [MUSIC] Okay, so that's the sky and the league. We're going to do the same thing a little more detailed way in our main painting. You can see that on our painting itself. If you're new to watercolor, I would suggest you to give it a try so that you can be really confident and you are trying our class project. Now, I'm going to add a small mountain onto the right side. Now we can quickly try how you can create that glowing effect. Over here, I'm going to add a lighter tone right there we have applied yellow in the background and for the rest, I'll be using mostly brown and Payne's gray. You can see the same thing on our painting. I'm assuming the sun is behind the mountain. To create the glow, highest orange and brown on the top and for the rest are how I used to darker tone. In a similar way, I'm picking a bit of yellowish orange and I'm adding that over here. Assuming the sun is sometime next to this area, so I have added a lighter tone there. Now for the rest and picking up brighter orange. You can use vermilion or any other orange. Now add that right next to that yellowish orange. Now for the rest, I'm going to pick brown and Payne's gray. We want a rest to be more darker. Now let's add onto the remaining area so that I think in already see that glowing field here. For the rest, I'm adding brown. You can also use burnt sienna if you don't have brown. Now I'll simply fill the rest of the area. Now, I'm picking a bit of Payne's gray and I'm adding that onto these corners, onto the extreme corners. I want this area to be more darker. Maybe we can add a small detour here as well using that darker tone. You can see the instant glow here. It is already looking quite tricky. Now I'm just fixing the shape at the bottom. I'm making this area steroid. Technique is quite simple, there it is closer to the sun, you have to introduce lighter tones. You can use more of a yellowish orange or maybe some orange. Then for the rest you can use brighter tones of brown and burnt umber. Okay, so that's a technique that is really easy to create a glowing mountain. It just a matter of using a lighter tone here. That has to solve brown and Payne's gray. Give it a try, especially if you're new to watercolor. This is also going to be really helpful in your future projects. [NOISE] You can use the same technique whenever you're painting a sunset. That's summarize the color palette and the techniques you need to know for today's painting. It's a beautiful color combination and it's easy painting as well. We will learn to paint a beautiful sky. You can see those gorgeous clouds and the gorgeous colors. Then we will learn to paint a beautiful mountain as well. Altogether, it's going to be a really wonderful painting. It is literally glowing over here. If you're ready to give it a try, grab all your colors and try the techniques and chime in the next section. [MUSIC] 50. Glowing Evening: [MUSIC] We tried all the necessary techniques that we need for today's painting. Now let's start with the pencil sketch. First, I will add the horizon line, then I will add the mountain. That's what you need to add. It is an easy sketch, so add a line, a little bit of the center of your paper. Then towards the right side, I'm going to add a mountain. You can add your mountain how want to. This is the shape I'm going with. Now over here I'm adding my horizon line. That's this kit. Now I'm going to apply a piece of masking tape along the horizon line to divide the sky and the lake so that we can get a clean line over here. Just apply piece of masking tape along the horizon line. We already had a look at the colors you will need. I'll be using brilliant orange and turquoise blue for the sky majorly and a little of yellowish orange towards the mountain. Then to add the clouds, I'll be using some indigo and a bit of brown. The first step is to apply a coat of water onto the entire sky. For that, I'm using my one-inch wet brush and I'm applying a clean even coat of water onto the entire sky. In case if you don't have permanent yellow-orange that is absolutely fine. You can just use a little of yellow over here. It doesn't need to be yellowish-orange. I have applied a clean coat of water onto the entire sky. Now we can start applying the paint. For that, I'm using medium-sized round brush. This one is my size Number 8 round brush. I'm cleaning it properly. This is the brush I'm using, it's a size Number 8 round brush. Now let's pick a little of permanent yellow-orange and add that right about the mountain. See that? I'm just adding that onto the background. Now I'm cleaning my brush and I'm dabbing that on a paper towel. I'm making this area lighter, which is just about the mountain. For the rest, I'm retaining that brighter tone. I have made the color lighter right about the mountain, then I'm using a brighter tone for the rest of the area. I'm just assuming that the sun is somewhere over here. That's the reason why I have made this area lighter. If you couldn't really make this area lighter, there is nothing to worry. You can pick a clean brush and start lifting some paint and make that area lighter. Just clean your brush and dab it on a paper towel and using a damp brush, lift off some paint from the area. That is it. Now let's start adding our second color, which is brilliant orange. You can use any orange of your choice. At the bottom, I made the color really intense. Now I'm just running my brush back and forth to make it a better blend. Try to retain that yellowish orange over here. Don't add any intense tone. Now I will make the color lighter as I'm going towards the top. Only at the bottom, I have made the color really intense. Now towards the top, I'm making the color lighter. It is really important to retain that yellowish orange over here, which is right about the mountain. We are trying to create a glowing fill here. Now, let's clean the brush and switch to turquoise blue. I'm going with a bright tonal value of turquoise blue. I'm going to add that on the top. As I'm coming down, I'll make the color lighter when I'm about to meet orange. On the top you can have an intense tone and as you're approaching orange, we'll have to make it lighter. These two colors are enemies, so don't make them meet each other. Now using a clean brush, I'm just making this area lighter so that they won't blend into each other. That's our base layer. It's not a perfect blend. That's absolutely okay. Because we're going to add some clouds into this. It doesn't really matter whether we have a clean blend or not. Now, before the background dries, we need to start adding the clouds. Let's go with indigo. Let's quickly start adding the clouds. That is really dark. I'm dabbing my brush on a paper towel and continuing with the same color. I'm not going to pick any new paint. I will just use that same paint and I will just push and pull that into the sky creating more clouds. That's the color I'm using. This color looks perfect. Earlier it was really dark. Now, let's add in some more clouds. As we discussed in the technique section on the turquoise blue area, I'm going to use indigo. As I'm coming down, as I'm approaching the orange part, I'll be using mostly brown and orange. I will add some more clouds using indigo then I will switch to brown. This time using a little more lighter tone of indigo. That's again much more darker. I'm just making it lighter. I'm using that color. I'm adding some clouds, right where these two colors are meeting. Just a little to make that transition look more beautiful. Right at the junction, I'm adding some clouds using a lighter tone of indigo. See that? That's a tonal value I'm using. It is really light. It's not too dark. You can clearly see, I'm adding that color, right where these two colors are meeting. Just to make that transition look more beautiful. Otherwise, it will look like two different bands of orange and turquoise blue. Let's add some more onto the orange area using a lighter tone. Let's switch to brown. If your paint is watery, dab it on a paper towel. You can use brown as it is, that's brown or you can add a little of orange into the same color to make it a little more brighter. That is the color with orange in it. You can go with any color of your choice and keep adding more clouds onto the wet background. Now I'm dabbing my brush on a paper towel and using a slightly damp brush. I'm smudging those clouds to get a better shape. The color I'm using right now is really light. Maybe we can add some more over here towards the bottom. There we have brighter orange in the background and a little over here as well. Over here, the background has already started to dry. Don't mind. Let's add some clouds using brown. Towards the bottom, it is really important to go with the color which is more orange-ish otherwise you won't be able to create that glowing effect. For the rest, you can use brown or orange as it is. Now I'm picking some more orange and I'm adding some clouds over here. You can see the difference. They are closer to the sun right now, so the color has to be more orange-ish and more lighter. We're done with the sky. I'm quite happy with the way it has turned out. If you want to add more clouds, you could do that only if your background is still wet. Mine is almost dried, so there's no time for me. If your background is starting to dry, just leave it the way it is. Don't add any more clouds. They won't blend into the background and you might draw in your sky. That's how our sky has turned out. It is already glowing and that glowing effect will be more prominent. Then we add the mountain. Now, we'll have to wait for this to dry before we go with the lake. [MUSIC] This sky has dried completely. Now, we can start painting the lake. You can see those lighter tones over here. Then around that we have an intense run of orange, then some turquoise blue on the top. It's a beautiful color combination. Anyway, let's peel off the masking tape and start painting the lake. For the base layer we'll be using turquoise blue. Then to add the deeper tones we'll be using indigo. First, I'm going to apply a coat of water onto the entire lake. Be careful when you're closer to the sky. You can leave a tiny gap right under the sky, so that you won't actually add any water to the sky. Our lake is evenly wet. Now we can start applying the paint. For that, I'm using my size Number 8 round brush and I'm starting now, the turquoise blue. It's a beautiful color. See that? First, let's add that over here. Carefully run your brush along the horizon line and make it a straight line. You can add some paint onto the mountain. That is okay. First, add a medium tone onto the entire lake. Now, towards the bottom, we can make the color darker. It doesn't need to be a clean blend. Any really we're going to add some lines onto this so it doesn't really matter whether we have a clean blend or not. Now, I'm picking some Indigo and I'm adding some line to the bottom. See that? Right now the background is really wet, we have just applied the paint, so it is totally wet. The lines I'm adding they're not staying where I have applied them. Maybe we have to wait for a minute or maybe a little more depending on how watery your background is. Anyway, I'm taking out some more turquoise blue onto my palette. First, I will try adding some lines using this color. I'm using a really dark tone of turquoise blue and I'm adding some lines. I think this color is also looking nice. We really don't need indigo. Maybe to make them a little more prominent, we can use indigo. Just add new lines onto the background, leaving some gap in between. The background is still watery. You can see those lines are spreading into the background. Maybe we will have to wait for another minute. Otherwise, the lines you're adding will spread into the background and they won't look like lines. Also when you're adding these lines, don't forget to leave a gap in between. That is what makes your water look more realistic. It is quite important. Now I'm going to leave my painting for a minute or maybe 30 seconds so that the paint will settle and we can add the final lines. This waiting time will totally depend on the amount of water you have in your background. If it is starting to dry, you can go right away with those lines, otherwise, you can wait for 30 seconds or maybe a minute. The weather is pretty good here, it has become cooler, and I also have the AC running, maybe that's the reason why my background is not getting dried. The water has settled. Now, I'm going to pick my smallest size brush, this one is size number 6. I'm going with really dark and intense runoff indigo. Using this color, I'm going to add the final lines onto the water. Now let's keep adding those lines. You can see the way they are turning out. They are very prominent. Early way back and was totally bad. Now, just the right amount of wetness. Your paint also should be not too watery. If it's watery, rub it on a paper towel before you add those lines. Now the conditions are in my favor. I can keep adding those lines. See that. My background is still wet and the paint I'm using, it is not too watery. I'm adding those lines onto the wet background. They're not spreading too much. At the bottom, I have used thicker lines and towards the horizon line, I have made them thinner and lighter. When you add the line to the bottom, give some pressure and use the same brush to add thicker lines. When you're adding them closer to the horizon line, use the tip of your brush and add thinner lines. You don't really need to change the brush or change the paint. It's just a matter of that pressure you apply on the brush. You can see how beautiful it has turned out. Don't forget to leave the gap in between these lines. That is really important. You can see that gap between every line I have added here, so that background color has to be visible. I'm thinking of making those lines a bit more prominent. Let's see. I'm picking some more indigo and I'm making the lines a little more darker just onto the same media I have applied earlier. I'm not adding any new lines. That's our lake. I think it has come out really nice. I can really feel the depth here. Also, you can see the effect of those thicker lines at the bottom. It made the water look realistic. I'm really happy with it. Now let's dry and tie. You can either use a blow dryer to speed up the process or you can take a small break and come back when your painting has dried completely. [MUSIC] That has dried completely. Look at that in water. So beautiful. I think [inaudible] blows a beautiful color combination. The sky is looking quite pretty. Now it's time to paint the mountain. If you're using the same brush to paint your mountain, wash it properly, there might be some blue color on it. We'll be starting off with a lighter tone of permanent yellow-orange. There's some blue. It might create some green on your mountain. Wash it thoroughly until you're sure there's no blue paint on it. I have cleaned my brush now I'm picking some permanent yellow-orange. I'm adding that right over here where we have the sun. If you don't have yellow-orange, you can use yellow [inaudible] Along the outline of your mountain, add your lighter tone. It can be yellowish, orange, or just yellow. Now, let's pick a more [inaudible] of orange and add that right next to this color. Then we will keep on building the color. The orange I'm using here is brilliant orange. You can use vermilion or any other orange have got. Now we need some brown and also some Payne's gray. If you don't have brown, you can use [inaudible] Now, we're going to start building the colors. We're going to make them more darker towards either end. That is brown. You can see the color I'm using here. They are not too light, they are quite intense. Now I'm going to finish out the shape using brown. Then I will add some Payne's gray as well. We're not going to touch the yellowish part on the top. Onto the remaining area, we'll be adding more brown and Payne's gray. Now towards the bottom, I think we can make the color more darker, so mixing some Payne's gray with brown. I think that was indigo. I don't have Payne's gray on my palette. I'm going to squeeze out of the top painting. Now. I'm mixing that with brown and I'm going to create a color with a similar [inaudible] Using that color, I'm going to finish up the mountain. It's just a matter of playing with the right tone and values. Closer to the sun, we need a lighter tone, which can be more yellowish or orange-ish. Then for the rest of the area, you can use more of brown and burnt ampere. These different tonal values and contrast with the color is really important to create that glowy feel. If you use the same kind of tonal value, you won't be able to create that glowy feel for your mountain. Right there you have your sun go with orange or yellow. Then for the rest, we can use brown and Payne's gray. I hope the idea is clear. I know I kept repeating so many times. I just want to make sure you guys are on track because this mountain is the key feature of this painting. It is what brings everything together. Without this mountain, everything's going to look quite plain. This mountain has a lot of importance in our painting. Now we need to make those color look more smarter. I'm washing up the paint, dabbing it on a paper towel, and picking a little of paint. I'm pushing and pulling the color to each other and I'm just merging them. Maybe we can pick a little love orange. Or maybe I just damp brush. Just merge the colors and give it a better look. Try to retain most of this orange color we have over here. Don't add any taco values. For the rest, if you want to make the colors more dark and intense, you can do that. Maybe onto the corners, you can make it more darker. But don't touch the center where we have lighter tones. We have to retain them. Otherwise, you won't get that glowy feel. Using a clean damp brush, I'm merging those colors a little more. That aside. We're almost done. But before we wrap it up, I'm planning to add a tiny mountain in the background using a darker tone of brown, and maybe some rocks onto the water to make it a little more interesting. I'm just being a darker tone of brown, more like burnt amber. Using that color, I'm going to add a tiny mountain along the horizon line. Right now, I'm using brown. It's a darker tone of brown. First, I will add the sheet, then I will put a darker tone. I'll just add some Payne's gray into the same color. Using that darker color, I will just add some highlights. So I'm adding that towards the left side. Because on the right we have the sun. That area has to be lighter. Just a little darker tones. You don't need to add a lot. Also, you can see the size. Go with a similar size. Don't make it too huge. If you want to add one more, maybe two at the left side, you could do that too. Next, I'm going to add some teeny tiny rocks onto the water using the same color. I'm planning to add three or four of them. I don't add a lot. If I want to add more, you could do that. Maybe you can add some more to the right side as well. I'm just adding them towards the left side, somewhere over here. If you want to add more, you can add them in a scattered way. These little details will make our painting look more interesting. But if you don't want to add them, that's totally okay. You can skip adding them. I have added three. Maybe I will add one more over here and maybe a tiny one towards the left. A super tiny one. Those are the rocks. Now we need to add the reflection. I just dipped my brush in water. Now I'm making the color slightly lighter, the same color I used. Now using that medium tone, just add some lines underneath these rocks. We don't want them to be too prominent, so-called the medium tone. You can see the color is quite light, it is not too dark. Simply add some lines underneath these shapes. The color I used was Payne's gray. I used to darker tone of that to add the rocks. Now, I'm using a medium tone to add the reflection. It is just a matter of adding some lines underneath a rock. They don't need to be too prominent. That's our painting for the day. As I said earlier, if you want to add some more darks onto the right side, you could do that. Now, I'm going to remove the masking tape. Let's have a look at the finished painting. It's a beautiful color combination. I'm very sure you're going to love this. That glowing mountain has come out really nice. The colors are going so good together. I hope you all loved it too. Here's the finished painting. It is really glowing. See that? It's just a matter of choosing the right colors. You just have to start with a lighter tone of yellow or orange. Then you can keep building the colors and make it more darker. It's a simple technique which you can use in any of your sunset painting to create a glowing mountain or a glowing tree, or a glowing landscape. The same approach can be used on any subject. That's all for the day. Thank you so much for joining. I'll be back here soon with our next dreamy landscape. 51. DAY 18 - Lighthouse on the Meadow: Hello, welcome to Day 18. Today we're going to paint a beautiful grassy meadow and a lighthouse. Here is the painting that we're doing today. I really love the color palette and also how the painting has turned out. We have a little stream and that gorgeous grassy pattern. I think everything is looking so good together and that lighthouse. While I'm painting, I'll be applying a piece of masking tape to preserve the white space where we have the lighthouse. I'll be just taking a piece of masking tape and I will cut that in the shape of lighthouse, then I will stick it back onto the paper to preserve the white. You can also use masking fluid if you prefer that. We just need to preserve the paper white over there to create that white space in the lighthouse. I'll quickly take you through the color palette as well as some basic techniques so that we can confidently paint our class project. I will start with my favorite color, cerulean blue. I'll be using this color for the stream as well as for the sky. You can use any other blue we have got. It doesn't need to be cerulean blue. First I will spread out that color. The sky, as well as the stream, is just a gradient wash. For the sky, we'll be starting off with a medium tone. Then as I'm coming down, I will be making it lighter and for the stream, it's opposite. Towards the bottom, I'm using a medium tone and towards the top, I have made it lighter. That's all for this color. If you don't have cerulean blue, that's totally okay. You can go with Phthalo blue or Prussian blue or any other blue. Coming to the grassy meadow, it's a combination of some brownish tones and some greenish tones. I'll show you the colors I'm going to use. I'll be using two greens, one is leaf green and the other one is sap green. These are the two colors. Sap green is going to be the major color, as you can see from the painting itself. Leaf green is light green, which has an opaque properties and for the same reason, I'll be using that to add the grassy pattern. That leaf green, it's a beautiful color. It's not a common color, if you don't have it, that is totally okay. You can just add a little of sap green with lemon yellow and create a similar color. The next one is sap green, which I'm assuming you all have, that's a common color. It comes in all the basic watercolor set. Those are the two greens we'll be using. Along with that, you'll also need some burnt sienna or brown. You can see that brownish tone on the grassy meadow. To add in that, I'll be using the log brown. But it's not really necessary. If you want to go with just green, you could do that. That's our next color. For some reason, when I was painting, I thought of adding some brownish tones. But when I look at the painting now, I feel that it wasn't really necessary. So you can just use brown or burnt sienna. You can mix brown with either leaf green or sap green to create a olive green color. See that? That's the color I'm going to use in the background, just a little bit along the horizon line to give it some earthy tones. If you add more green, the color will be slightly different. If you want to use a similar color in your background, you could do that. Otherwise, you can just go with the green and sap green. See that? Those are the brownish tones on the background. Now, coming to the next color, we need to add some darker tones onto the grassy meadow to make it look more interesting. You can see the deeper tones at the bottom. For that, I'll be adding a little indigo with green to create a darker tone. Indigo is our next color. If you don't have indigo, that's totally fine, we can just mix some blue with green to create a darker tone. That's our next color. We'll also need some Payne's gray, again, for some deeper tones. I'll be using this for the lighthouse mostly. If you don't have Payne's gray, you can use black or neutral scent. Indigo and Payne's gray is mostly to add some deeper tone. You can see those deeper tones along the bottom and also on the lighthouse. You can either use Payne's gray or indigo or any other darker tone. The last color is red, you can see down the lighthouse, the one I'm going to use is Pyrrole red. If you don't have Pyrrole red, you can use any other red, or even crimson or carmine. Even though the lighthouse is really far, I want to make it really prominent and a strong feature for painting. That's the reason why I'm using this red, if you don't want to make it too strong and prominent, you can go with a lighter tone. That is our last color. Now before we start with the whole painting, I want to give you a rough idea about how we're going to paint the meadow. First, we need to add a sketch, with just a simple natural curvy line to define the shape of the stream. There is quite a lot of green space here so we're going to paint the grassy meadow as two parts. I'll add a quick sketch and I will show you how we can do that. That's my horizon line. Now, I'm going to add a nice curvy line here, which is my stream. That's a top part. At the bottom we'll have some nice grassy area here. I'm just adding a rough sheet. We'll be adding lots and lots of grassy pattern here and what we have at the center is the stream. We're going to paint this material as one section and the remaining, we're going to paint as a second section, including the stream as well as the grassy pattern at the bottom. The first section is to paint the top area. As I said you can either go those brownish tones or you can just use green and light green. Only I mixed some brown and sap green. I'm going to mix a little of orange with sap green and you will see the color, see that? This one is a more pleasant olive green. You can either start with this color or we can just covertly green. I'm going to use this color. For some reason I feel like using some earthy tones on the meadow so I'm going to apply this color on the top and as I'm coming down, I will be using more of sap green then I will make it darker towards the bottom. That's the color I'm using. It's more like olive green. Towards the bottom, I'm going to add some sap green, a really intense tone of sap green. I want the colors to be really bright and prominent to create that contrast. I'm going to fill that entire area in sap green. Then gradually, I will start introducing more deeper tones along the outline, the bottom outline. You can either start by some earthy green like this, by adding a little orange or brown into sap green, or you can just start with light green as it is then towards the bottom you can introduce more deeper value. Right now we're missing a color with a slightly darker. I have added little of indigo into sap green, and I'm adding that color along the bottom outline. I'm just adding that along the shape we have added here. I think I will switch to my smaller size brush. That will be much more easier as I need to add some grassy pattern as well. I'm using my smallest brush here and I'm using the same color, it's a mix of indigo and sap green. Using that color, I'm adding some deeper tone along the bottom line. Add a deeper tone. Now we can start adding some grassy lines onto this wet background. First I will add some grassy pattern using the same color I used earlier, a mix of indigo and sap green. I'm using a small size brush here and I'm trying simply adding some grassy lines at the bottom. My background is still a little wet. It hasn't completely dried. We can add some grassy pattern on the wet background to create some texture and with the background completely dry, we can add one more round so that will be more prominent. The ones we are adding right now may not be really prominent, but that's okay. We're just trying to create some texture here. Next, I'm going to use a lighter tone. This is my leaf green, the same color we discussed earlier. Now using this color, I'm going to add some grassy pattern. This one is slightly opaque. I will just squeeze out some paint and I will show you how the grass will look like when we add with this color. I have taken out some paint. I'm using the same brush. I have just added a few drops of water. I'm not going with the watery paint. Now I'm adding some grassy lines. You can see they're quite prominent. It's a beautiful color and because of that slight opaque character, we can add them on top of darker colors as well. There are many similar colors available in the market. There is may green from white night, which is another gorgeous color. I'm adding this grassy line only at the bottom. I'm not adding them on the top. On the top, I used lighter tones. It may not be really visible. You don't need to really waste any time adding grassy pattern on the top. I will show you the pigment number of this color to make it more clear. If you look at the pigment number, you can see it's a combination of two pigments and white. PW6 is white and it is the amount of PW6 make it opaque. I will show you a white watercolor tube to make it more clear. This one is a white watercolor and you can see the pigment number it is PW6. So the green is a combination of some green pigment and also white and that is the reason why it has simple peak quality to it. If you don't have this color, you can just create a lighter green by adding some sap green into lemon yellow then add a little of white watercolor into it to make it opaque. I hope that is clear. Now, I'm going to quickly dry this up using a blow dryer. That all for section now we have to paint the bottom part. For the bottom part, we also have the stream. We will start with the stream, then we will add paint onto the meadow, the remaining part of the meadow at the bottom. Let's do it. For the second section, we're going to start with blue. I'm using cerulean blue, and I'm going to paint that on the stream. On the top, I'm planning to go with a slightly lighter tone. I'm applying a brighter tone at the bottom, and as we go towards the top, we can make it a little lighter. Start with a brighter tone of blue, which will be the blue you're using, it can be Prussian blue, cobalt blue, ultramarine blue, or any other blue. Start with a brighter tone at the bottom then you can pick some clean water and make it lighter. Carefully add the paint along the outline. Don't go with the watery paint and don't smash the green. Gently apply that along the outline you have here. We're going to use the same approach for our class project as well. If you want to try it that would be really great, otherwise, just give it a watch before you go with your class project so that you have a better idea about the steps you need to follow. Just add on your paint following the outline. We have applied blue, now I'm washing off the paint from my brush. Let's go with green, I'm using sap green here. I'm missing a brighter tone here, you can see the color it is not that light, that's very intense. Now, we need to combine this with the other section on the top so I'm adding some paint here to make it look less weird. I'm tapping my brush on a paper towel and I'm just matching the color into the background. We'll be adding some classic pattern on top of this when everything dries so even if it is looking weird right now, that is totally okay. I have applied blue and green. On the top, we can see that clean outline but at the bottom, we'll be covering this area in grassy pattern. We wouldn't have a clean border like the top. Now, just like how we have added some deeper tone down here, I'm going to add some deeper tone at the bottom as well then onto that I'll be adding some grassy pattern. I'm picking a little of indigo and I'm dropping that at the bottom, just onto the corner. If you have a darker background, the grassy pattern that you're going to apply will be really prominent. That's the main reason why I'm making this area darker. Onto the corners, I have added some darker tones. Now, I'm switching to my smallest size brush. I'm picking some darker green and using that color, I'm going to add some random lines at the bottom. Our background is still wet but that's okay. Just be sure not to go the watery paint, go with the slightly dry paint and keep adding some grassy line. The paint I used earlier was quite light, now I'm using a darker tone and I'm again adding some grassy line. We just want to get rid of that strong transition between blue and green. Keep adding these grassy line onto the wet background until you feel there is no strong separation between these two colors. Right now we can see it is gradually covering up that blue and it is really looking like a grassy meadow. Just keep adding them. Right now the background is wet but that's okay. We can just keep on adding them once it dries, we can go with a much more opaque version of green and add some more grassy line. For now, this is all we need. Now, we will have to wait for one or two minutes for that water to settle. Right now the background is really wet, we cannot add the rest of the grassy pattern right now. It will just fade into the background. It won't be prominent. You can either wait for a few minutes or you can use a blow dryer and quickly make it dry. I used a blow dryer to speed up the process. You can just leave it for maybe two or three minutes just for that water to settle. My background is still a little wet, it is not completely dry. You can either go with a slightly wet background or you can go with a completely dry background, that is totally okay. It is just that the lines we're adding right now, I'm in the grassy lines, they should be prominent. It shouldn't be spreading into the background completely. Right now you can see they are looking like lines. It does not spreading a lot. Now, just like how we did earlier, we're going to add those nice grassy line along this entire area, cover that entire area. Right now we're missing a darker tone. Once you have added some grassy line using a darker tone, you can switch to a lighter tone. It can be either leaf green or any other light green. As I said earlier, you can just add a little of sap green with lemon yellow and a bit of white into it to create a lighter green like this. Now using that color, you can keep on adding some more grassy line onto the same background. Go with a beautiful curvy line. It can be just a freehand line. Some of them can be longer and some of them can be shorter and just add them like this. For this step, it is good to use a smaller size brush or a brush with a pointer tip. This one is a Size number 2 round brush. It has a wonderful pointed tip and I love to add grassy lines with this brush. Keep adding them. You can add some on the top as well because it's completely dried right now and if you add the grassy pattern right now, it will be really prominent. Keep adding them until you're happy with the result. The idea is pretty simple. You can keep jumping from lighter tones to darker tones. Right now I'm using a darker tone. I was adding some darker lines as well. The beauty of the grassy meadow is the different tonal values of green. At some places, you can use a darker tone and at some places, you can use a lighter tone and add beautiful freehand lines. That's the meadow. We're going to follow the exact same method when we're doing our class project as well. We do this as two separate parts, we'll first be in the top section then we'll be in the second section. There we have the stream as well as the meadow. Next, I will show you how we can paint the lighthouse, it is again quite simple. It's a very simple shape. It's not a complicated lighthouse. You just need to add two inclined line. I will show you you in a bigger scale so that you will be very clear about the details. Now, on the top, we need to add a line and also a small structure. It is just some handrails and a small triangle on the top to represent the roof. Maybe we can do that in their painting. That's the sketch. It is just a matter of adding two inclined line and a horizontal line on the top. When we are doing our class project, we'll be applying a piece of masking tape onto this to preserve the white. Right now as I'm not painting the sky, I'm just going to directly apply the paint. The first color you have to use is a lighter tone of indigo or any other blue. It's not too light maybe I would say it's a medium tone. Applying that towards the left side. Now, I'm going to wash all the paint from my brush and with some clean water, I'm making the rest lighter. On the left, we have some medium tone and to its right, we are making it lighter by adding some clean water. That's a base layer. Now, this has to dry before we go with the next step. We'll be adding some divisions on top of this and we will be adding red onto it. Just in case if you want to drop in some more paint, you could do that right now as it is wet. You can see those divisions, adding those divisions is what makes our lighthouse look more beautiful. I'll quickly use a blow dryer and I will dry this out so that we can add the remaining details. The color I'm going to use is Pyrrole red. You can use crimson or carmine or any other red color or a different color of your choice. I made it dry. Now you can either start by adding some lines using your pencil or you can directly go with your brush. This is the color I'm using. It's a bright and beautiful red. I'm picking some red. I'm using my smallest size brush here. Make sure the background is completely dry. Now, we can add those divisions. I'm planning to go with three red division and three white, so at the bottom I have white then I have added two lines, now the second section, now the third one on the top. Try to go the similar division if you can, it shouldn't be too different from each other. Now, onto these areas, I'm going to apply red. It is good if you can use the smallest size brush, carefully apply that onto these sections. You can see how beautiful that color is. I wanted to bring in a contrast onto this lighthouse, that the reason why I thought of using red. Initially, when I started, I thought of using a darker gray then I thought a bright red would make it really interesting. It will bring a beautiful contrast because we have a bright blue and green already in our painting and that's how I decided to go with Pyrrole Red. But if you don't want to make it too strong, you can go with a lighter red or a different color of your choice. I have added three sections of red and three sections of white. Now, onto the red, I need to drop in some deeper tones as well. Let's quickly fix the shape. Now, I'm picking a darker tone. I might even love indigo with red and I'm creating a darker tone, just a teeny bit of indigo. I'll just show you the color. That's a mix of indigo and Pyrrole Red. See that, it's a simple darker tone of red, you can either make some Payne's gray or some indigo. Now let's add a little of that color onto the left side of the lighthouse, only where we have red. Now, just clean your brush and smudge that into the background to make it look smoother. I think you can already see how beautiful it is looking. That deeper tone made a lot of impact. It is looking more like a three-dimensional feature now. Anyway, to add the remaining detail, I'm picking the same darker tone, I'm using that color. I'm adding some small opening here. Now, the only thing remaining is to add that roof structure, so first I will add a horizontal line here then I will add another line on the top. There's just two parallel lines. Now, connecting these two, I'm going to add some simple vertical lines to make it look like those are handrails. You have to use the smallest size brush for this. Now, I'm adding another vertical line on either side then on the top, I'm adding a small triangle, which is the roof. It's a very simple lighthouse which anyone can paint. There is no much-complicated details on this. It's a simple yet a beautiful lighthouse which you can use in your other paintings as well. I think this lighthouse will really look good with a beach, maybe a rocky beach and some water splashing onto the rocks. I think that would be an interesting topic to paint. Anyway, that summarizes the color palette and the techniques you need to know for today's painting. It's a simple color palette, as we discussed, we'll be painting these last two sections. We'll first paint the top section then we'll paint the bottom section, which includes the stream as well as the meadow. We're going to follow the exact same method. You can see those two sections here as well. We will first paint the top section and then we'll paint the bottom section. Grab all the colors if you can, try out the techniques and join me in the next section. 52. Lighthouse on the Meadow - PART 1: [MUSIC] We already had a look at the color palette and then it's three techniques. Now, it's time to give it a try. First step is to add the pencil sketch. First, I will add a horizon line which I'm planning to add somewhere over here. Add a straight line. The top section is your sky and the bottom is going to be the meadow. Now we need to add a light house and also a small stream. I'm starting with a lighthouse. First, I'm adding two inclined lines. That's the size I'm going with. Now, I'm adding a horizontal line on the top and then I'm adding a triangle which is the roof. We can add the divisions when we are painting. Right now I'm just adding a line. That's the lighthouse. Now, we need to add the stream. On the top side you have to go with the natural curvy shape, which is the right side. I'm adding a line, a curvy irregular line. Now, over here we'll be adding lots and lots of grass and so many other patterns. You just need to concentrate on the top part. Over here we'll just add these random pattern when we are painting. On the top add that shape and over the bottom you can just add some grassy lines like this just to indicate the area. This line is quite important. That is what defines the shape of the stream so go with a nice irregular curvy shape like this. That's our sketch. Before we start painting there is one more thing that we need to do, which is masking the lighthouse. For that you can either use a masking fluid or you can take a piece of masking tape. You can use any method that you prefer. If you want to use masking fluid, that is totally okay. Applying a piece of masking tape on top of this and I will trace the shape and I will cut it and paste it back. Whenever it is a not too complicated shape, I use masking tape. This is the most easiest method. But in case if you want to use masking fluid, there is no problem. They work the same way. You just need to add that basic shape. You can just ignore the top part. Now, I will remove the masking tape and I will cut that shape using a scissors then I will paste it back. We just want to retain the paper white over there because we're going to use a combination of red and white. The white is going to be the paper white. That's the reason why we're applying a masking tape and we're going to mask out that area. This way we can paint the sky confidently without worrying about whether the paint will get into the lighthouse. Either apply a piece of masking tape or you can go with masking fluid. This one is a very basic shape. We can cut it quite easily. Now, I'm going to paste it back. Our intention is just to retain the paper white, right there we have a lighthouse. That's the shape I have cut. Now I'm going to put this back and I'm going to secure the paper white. It's a simple method. Now we can paint the sky quite easily without worrying about the lighthouse. I have applied that back. Now, let's start painting the sky. For the sky I'm going to use cerulean blue. You can use any other blue of your choice, it doesn't need to be cerulean blue. I'm going with a simple gradient wash, it's not a complicated sky. For the stream as well I'll be using the same color. It can be any kind of bright blue. You can use cobalt blue or ultramarine blue or Prussian blue or any other blue. Take out your blue. Now, apply a coat of water onto the entire sky and start adding your paint. I have my one-inch wash brush here. I'm picking some clean water and I'm applying that onto the sky. You can see I'm running my brush on top of the masking tape. That is totally okay. Gently run your brush in adequate water onto the entire sky. Now you can use your flat brush or round brush. I'm using a flat brush. Any brush will work. Clean it properly and pick a medium tone of cerulean blue or any other blue and start applying that from the top and as you're coming down you can make it lighter. It's a medium tone, it is not too light. To make your sky a little interesting, you can leave some gap in-between when you're applying your paint or you can go with the simple gradient wash. Which will be the sky you want? You can go with that. I'm making the color a little more brighter on the top. That's the sky. Now, I want to make this area a little more smoother, just at the bottom. I'm cleaning my brush and dabbing that on a paper towel and I'm just making this area smoother. That's our sky. It's a really simple sky but this color is beautiful. You can see how beautiful that blue was. I think this explains my love for cerulean blue. Before I leave this for drying, I'm going to pick a little of water and I'm going to make this area smoother. I'm just picking a little water and I'm just [inaudible] that into the background. That looks fine. Now we can leave this for drying. [MUSIC] The sky has dried completely. Now I'm going to remove the masking tape. Gently remove it only if your background has dried completely. You can see that clean white space. That's another use of masking tape. In these cases, when the shape is really simple, you can easily cut out a piece of masking tape and apply that to preserve your paper white. You really don't need to use a masking fluid. Now, let's go with the next step. We're going to paint the grassy meadow and for that I'm using a bigger size round brush. This one is size number 12. Now, I'm starting out with the olive green color. Along the horizon line I'm going to use that color. First, I'm picking a little of sap green, mixing that with a little of orange. Depending on the color you want you can either use brown or orange. We just need a little. I'll just patch out the color that I'm going to use. Here is the color. It's a beautiful olive green. If you're using brown, the color will be a little more darker. You can either use brown or orange. I'm starting to apply that over here right along the horizon line. That's the first color. It's a mix of sap green and a little of orange. Now, let's start introducing more vibrant colors. I'm going to pick more sap green and I'm going to add that right next to this color. Go with a vibrant color and add that right over here. Now, as I'm coming towards the bottom, I'm going to make the color more and more darker. You can add that along the outline. Carefully add that. Now let's introduce more brighter green. That is sap green alone, I haven't added any color into it. You can see it is quite bright. Go with some tone and value. Make it as bright and dark as possible. Put on your brush carefully along that outline and fill up that entire area. Now we need to introduce more darker tones towards the bottom. Before that, you can just clean it up. I'm just running my brush and I'm adding some deeper tones along the top as well just to give it some texture. Now adding a little over here. I will back on this [inaudible]. You just need to add some lines onto my background and they will spread into the background leaving some coarse texture. I'm going to concentrate only on this much area for now. The rest, we can paint when we're painting the stream. There is quite a lot of green area in our painting so let's paint them as two sections. Here's the first part. Now we'll pay the second part once we are done with this. Now we need to introduce more darker tones. For that, I'm picking on a lot of indigo and I'm mixing that with green to create a darker tone. Using that color, I'm just going to add some darker tones along the outline then bottom edge. Just dropping that deeper tone, our background is still wet, they will spread into the background. It doesn't need to have any proper plant or anything. We're just trying to create some texture here. On top of those, we'll be adding some grassy pattern. However it is going to turn out, that's okay, it doesn't need to be a beautiful, perfect blend. All those grassy lines we are going to add will cover up the background. Just dropping your deeper value along the bottom line without worrying a lot. Right now, our idea is to create some texture in the background. We don't want to leave that plain. That's the reason why I'm adding these darker tone to the bottom. We can add a little on the top as well closer to the lighthouse, but let's concentrate most on the bottom. This is where we need those darker tones. Let's add a little over here as well. Right at this area, let's add in some medium tones and maybe a little towards a lighthouse. I'm just adding some random lines onto that wet background. I'm using a medium tone of green, the same green I used earlier. The colors are looking quite nice, but just in case if you want to add some more deeper tone, you could do that right now because the background is really wet. I will just add some paint onto this corner. I'll just add a darker green for now so that we can pick the same green later when we are painting this area. I'm just picking some dark green and I'm adding that over here. Is going to get rid of that lighter tone because we'll be continuing with medium and darker greens towards the bottom. We can add that right now. It will be really easy later. I'm just planning to add some more deeper value on the top, which isn't really necessary. I think the background is looking quite pretty already, but I will try making it a little more darker. This is completely optional. If you're already happy with your background, you can just leave it there and you can skip what I'm doing right now. I'm just adding some deeper tone onto the side as well. Is the same way how we did earlier on the other side. I'm not really liking these lighter tones, but if you're happy with the background, you can just ignore what I'm doing here. I'm just trying to add some more medium tones over here. Sometimes I have the habit of overworking, even though I'm happy with the result. That is exactly what you're seeing here. Over here, I'm thinking to add a little more deeper tone. I'm mixing some sap green, and light green, and maybe a little of brown. I'm just adding that color on top of this area. It is slightly darker than the color I used earlier. I'm again telling you this is not necessary. I just want to make it a bit more deeper. Now, maybe I'm planning to add a lot of brown. Not that bad. That's how it has turned out. Anyway, I think it's time to stop it now, otherwise the background will dry up and I wouldn't be able to add the remaining details. This is me just overworking and complicating the painting. Anyway, let's start adding the deeper tones and the remaining details. For that, I'm picking a darker tone. I'm going to add some integral with sap green, and I'm going to add that right along this line. For now, we have a medium tone here, but we need to make it even more darker. That's our next step. We are not going to add any deeper tone along the top, we're just adding them along this line. You can use any brush. This one has a bigger-sized brush. It can be a medium-sized brush or a smaller-sized brush. I think it's better to go with the smaller size brush. That was too big. Anyway, I need to add some grassy lines as well. Let's go with the smaller-sized brush. This one is a [inaudible] round brush. Now, let's go with the darker tone of green and let's keep adding some grassy lines on the wet background. Right along this line, just keep adding some lines like this, just some curvy random lines. Our background hasn't dried completely. You can add that right now. They don't need to look prominent and they don't need to have any proper shape. Right now, we're just creating the texture. We'll be adding more grassy patterns once the background dries so that time we can make it better. For now, just keep adding them using a darker tone of green and try to create some texture in the background. We try the same thing with technique section. Add them only at the bottom, the rest you can leave it as it is. Just keep adding those grassy lines until you feel you have got a dense and thick area there. [MUSIC] That's how it has turned out. We just need to add them along the bottom part. There you have those medium and darker green. You don't need to add these patterns on the top. You can just leave the background color as it is. You can also see this area looking quite weird. That's okay. We'll be adding paint at the bottom and we can cover that area. For now we're just concentrating on this part. Let's keep adding more grassy pattern. Now, I'm using a lighter tone of green. The color I'm using here is leaf green. It is slightly opaque. I'm using that color. I'm going to add some grassy lines on the same way that I added earlier. I want to create a dense and thick area here, and I want to use different tonal values to make it look more realistic. If you don't light green, that's totally okay, you can just create your own light green by adding a little of white into sap green. Using that color, you can keep on adding some grassy pattern here. We try the same thing in the technique section. It's not that complicated. You just need to paint the background first then keep adding some grassy lines. We're going to use the same technique on the bottom as well, but along with that, we'll also need to paint the stream. For now, concentrate on this area and you can keep on adding as many grassy lines as you want. The more, the merrier. Keep adding them until you feel you have got a really dense and thick grassy meadow. Anyway for now, I'm happy with the result. Now, let's leave this for drying so that we can start painting the stream and also the remaining grassy area. We'll be adding a final round of grassy line at the end when the background has completely dried. For now, this is all we need. Now let's take a small break and leave this for drying completely. If you want to speed up the process, you can use a blow dryer or a heat tool and make your painting dry quickly. Otherwise, you can take a small break, enjoy a cup of coffee or some cookies and come back recharged. [MUSIC] 53. Lighthouse on the Meadow - PART 2: That has dried completely. Now, I'm going to start painting the stream. I'm using a medium-size tone brush, and I'm going with cerulean blue. We can use any other blue of a choice. This is the brush I'm using. It is size number eight. Now, I'm picking a medium tone of cerulean blue, a little brighter than the color I used for the sky. See that? It's a bright color. You can use Prussian blue or cobalt blue or any other blue. Now, I'm applying that along this edge. Towards the right bottom corner, I want the color to be really intense. Now as I'm going towards the top, I'm making the color lighter by picking more water. At the bottom, try to go the intense tonal value. As you're going towards the top, pick some water and make it lighter. It's a pretty blue. You can see how gorgeous it is looking. This is the reason why I love this color so much. Carefully run your brush along the outline and apply your blue. The bottom can clearly see the color is really intense. Towards the top, I have made it a bit lighter. Now, again I'm adding that brighter color over here onto this corner because there will be lots of shadows and reflection over here, so let's add a darker tone right underneath the edge. That's the basic shape of the stream. Now, I'm going to wash all the paint from my brush. Using clean water, I'm spreading this into the background. Just spread it out randomly, it doesn't need to be clean and smooth. That's our next step. Now, clean all the edges and apply blue if you missed any area. If you want to make the blue more brighter towards the bottom, you can do that right now. We're not going to add any reflection or any other details onto the water. We're going to concentrate on the grass from here. Just in case if you want to add some more paint onto the background, you can do that right now. That's a stream. Now, let's start painting the remaining area. For that, I'm using the same brush, and I'm using green. First I'll add sap green onto the entire area. I'm using the intense runoff sap green. Simply apply that onto this entire area. It can spread into the blue, that's totally okay. You can see the way how I'm adding the paint. I don't need a clean border here. That blue paint is still wet, and this is the exact time when you need to paint your green. Keep adding your paint onto that area, enveloping the stream. I have applied green onto the entire area. You can see on the top we have a clean border, and towards the bottom, we're going to cover this area in grass. Now, I'm going to clean my brush, and I'm dabbing that on a paper towel. Now, using a clean damp brush, I'm smudging this area. If you remember, this is the area where we stopped earlier. Now, to make it look like one single piece, you need to smash the color. Otherwise, it will look like two different pieces of grass. Now, we need to start adding multiple values. Right now we have used just sap green. It needs to be more darker. I'm going to pick some indigo, and I'm going to mix that with green, and I will make the bottom part more darker. Add the darker value onto these corners, and just push and pull that into the background. It doesn't need to be a clean, small plant. Maybe you can introduce some terminals in-between to make it look interesting. If you don't want to add brown, that's totally okay. I just felt like adding a little bit nicer tone in my palette, but this is completely optional. Just make the color darker at the bottom, that's all we need. If you want to, you can make it even more darker. I'm just going to leave this here, and I'm switching to a smaller size brush. You can see it is quite messy. Now, we're going to fix it. I'm going to pick a darker tone of green. This one is a size number two round brush. Now, using this brush, I'm going to keep on adding some classic pattern at the bottom, and that will fix the background. Keep adding them until you cover that blue area. Keep on adding them throughout that entire area. Go with longer lines and let it touch the blue background. See that? From the green, I'm adding them, they're longer lines and I'm taking them till the blue. This way you can cover that entire area and you can make it look more natural. You can already see the difference between the top and the bottom. There we have added these lines, it is looking more realistic and natural. On the area where we haven't add any grass on the top, it looks really weird. Let's keep adding these grassy lines and fill up this entire area, adding nice long curvy lines. Just keep adding them, there is nothing to worry. Add them into the stream and cover that entire area. See that? That's our first step. Now, we have covered that entire area. But we need to make them look more prominent. We can use indigo as it is and we can add some more grassy lines using a darker tone. We'll also need to add some grassy lines using leaf green. Let me add few using this darker tone, then I will switch to leaf green. Right on the background hasn't dried completely, it is still a little wet. You don't need to worry about that. Just keep adding those lines. Only thing to keep in mind is not to use the watery paint, go with the paint that is not too watery. You can still see those lines. Even though they are spreading a little into the background, they're still looking like lines. I think we have added enough of darker value for now. Next I'm going to switch to leaf green, and using that color as well I'm going to add some grassy line. Don't add a lot of water causes slightly opaque paint. If it's too watery, tap it on a paper towel and keep adding some grassy lines. Just randomly add them in. There is literally nothing to worry here. You can add them in a careless manner. Just keep adding some lines using lighter green. If you don't have leaf green, you can create your own lighter green and add them in. Go for nice curvy lines like this, and keep adding them. As I said earlier, we'll be adding more round of grassy line when everything has completely dried. Right away just creating the texture, and it doesn't need to look perfect. Right now our idea is to cover that blue area. We don't want to see the edge of that blue color. They just randomly adding some grassy line until you feel like you have got a nice grassy effect here. I think in all of these right here. To me it feels like there's nice breeze here and the grassy lines are leaning on to the stream. Keep adding them until you feel like you're happy with the result. I think it is coming out really nice. I just want to show you the color again. This is the one I use, it is leaf green. It's a beautiful color. If you followed my watercolor challenge, you will know how much I love this color. It's a gorgeous color to paint green landscapes. See that? It is not an opaque paint, but it still has some opaque quality to it, and that is what makes this color more beautiful. I have added enough of grassy lines here, and it's looking quite tense and thick. I think I'm really loving the way this is turning out, even though I overworked a little earlier. Let's keep adding some more grassy lines and make it look even more better. You can add some grassy line onto this area if there is a separation visible. Over here it is not really visible, I think I can just ignore that part, and I'm going to add some more grassy line leaning into the stream. It is just a freehand curvy line. Some of them can be really long. We can just lean it next to water. I have added quite a lot of grassy line to the bottom, and I think that's looking quite beautiful. It is coming out really nice, and I'm really loving this area. We have a lighter value of blue here and the darker value towards the bottom. I think that difference in tonal value is making it even more beautiful, and also that beautiful contrast, the blue and green is going so good together. Anyway, I'm quite happy with it. I cannot wait to paint the lighthouse, that is my other favorite part of this painting. Now, we need to add similar grassy lines on the top part as well. That's my next task. We already have added quite a lot of them in the background, so we don't need a lot. Using that lighter value, just go with a lot of grassy line. Use the smallest size brush or a brush with the pointed tip so that you can add nice crisp thin lines. Go for a nice curvy line. Some of them can be really long, some of them can be short. Go ahead and add them in and make your painting look more beautiful. That's how my painting has turned out. I have added quite a lot of grassy pattern. I think we've added enough. I was using a lighter tone of green to add the grassy pattern. Now we need to add few using a darker tone as well. I'm washing off the paint from my brush and I'm switching to a darker tone. I have the tough indigo here. Now using this, I will add some grassy line over here, along that outline. I'm adding very little. We already have quite a lot of grassy pattern there. Just to make it a little more interesting, I'm adding some using a darker tone. Be sure to go with a smaller size brush or a brush with a pointed tip. We need some thin and delicate lines, so keep adding them along that outline. You don't need to add them throughout that entire line, just add few in between. That is how it has turned out. Now in a similar way, I'm going to add few at the bottom as well. I'm picking indigo and I'm randomly adding few grassy lines. When you add grassy patterns with different tonal values of green, it will look more realistic. That's the only reason why I'm doing this. Pick some paint on your smaller size brush and add few random lines in between. You can see that different tonal values. Let's add some on the top as well. We don't need a lot, we already have quite a lot of pattern there. You can add few in-between to bring in some deeper tone. I'm really happy with the way it has turned out, so I'm not going to add any more. If you want to make it more denser, you can add more grassy line. Otherwise, we're in a good shape. Now there's one last thing I want to do before we go to the lighthouse. I'm planning to add some reflection along the top outline of the meadow. I think it is looking a bit incomplete. I'm washing out paint from my brush and I'm picking a medium tone of green. It's a medium tone, you don't need to mix in any other color with it. Just go with a medium tone of sap green. Now just keep adding some lines along the bottom line of that grassy meadow. Just follow the same shape and keep adding simple lines. You can see the color I'm using here. It's a medium tone. Don't go with a darker tone. It doesn't need to be too prominent. Keep adding some simple lines using a medium tone of green. We want them only on the side. You don't need to add any reflection on the other side. There's just a matter of adding some simple lines along the bottom part of the meadow. Picking a bit more paint, and I think I will just add a line here, a little thick line. Then I will just keep on adding some lines. I'm just extending that into the water. Initially, I was planning not to add any detail onto the water, but then it was looking a little incomplete, and that's the reason why I decided to add some lines. You can see it is not too prominent. I'm using a medium tone here. It is not too dark. I think it looks better and complete now. That's all with the grassy meadow and the stream. Now, our final step is to paint the lighthouse. Before that, we'll have to wait for everything to dry so that we don't accidentally smudge any color. The entire background has dried completely. Our next task was to paint the lighthouse. For that, I'm going to use some pyrrole red and a bit of indigo. We need to add a light to value of indigo onto the entire lighthouse first. Then once that dries, we can start introducing red. I'm picking a medium tone of indigo and I'm adding that onto the left side of the lighthouse. It shouldn't be too dark. Go with a medium tone and add that only onto the left side. You can see the color, it's a medium tone, it is not too dark. Apply that onto the left side. I think that is really light, we can make it a little more darker. I'm adding a bit more indigo onto the left side. That color looks fine. It's a medium tone, and I'm adding that on the left side. Now towards the right, I'm making it lighter. I'm not going to add any paint onto the right side. I want that paper white over there. That's the first step. Now we'll have to wait for this to dry before we go to the next details. Next, we're going to add those divisions. For that, you can use either any red or crimson. I'm going to use pyrrole red. We just need a little bit of color. If you don't have red, there is no problem. You can go with crimson or carmine or any other similar color. Now using my smallest size brush, I'm going to add those divisions, then I will fill that in red. I'm planning to go three divisions, three bands of red and three bands of white. Just make sure your background has dried completely before you add into those bands. First I will add a line at the bottom. Now adding another parallel line on the top. That's the first division. Similarly, I'm going to add the second division. That is the second one. Now adding another line on the top, and that make the third division. We have three set of red and three set of white. Now, I'm going to fill that in red. If you want, you can start with the pencil sketch and just add those lines first, then you can fill that in red if that will be more easy for you. You can see how bright that red is. It's a really bold red. Now, in a similar way, I'm going to fill the other two bands as well. I'm trying to create a contrast here. That's the reason why I'm using a really bold color. If you want to go with just white you can't do that, or instead of red if you want to go with a different color, that is also totally okay. Maybe you can go for a more bluish or grayish color. It doesn't need to be this intense. Just use your color. It doesn't need to be red or crimson, or orange. Now, I'm going to fill the other two sections as well. Try to use a smaller size brush or a brush with a pointed tip, and carefully follow the outline and fill that up. We have three divisions of red and three divisions of white here. Now before the red dries, I'm going to add some deeper value onto the left side. Just the same way how we added those deeper tone of indigo. I'll just mix a little of Payne's gray with red. Using that color, I'm going to add some deeper tone on the left side. Just on the left side. You don't need to add any on the right. Add that for all the divisions. Once we add those deeper value, it will have a more three-dimensional feel. Just add a little of deeper value on the left side, and then you can smudge that into the background. That's a base layer of our lighthouse. Now we need to add the final details. We need to add that roof and also the window openings. That's going to be the last step, and with that, we'll be done with our painting. Let's go ahead with that. We try the lighthouse in the technique section. I'm going to follow the same thing. First I'm adding a line here. Then I'm adding another line. Then I will add some vertical lines connecting those two just to show some handrails. I'll just make the top line a bit more thicker. That is not really visible. That's the first step. Now we need to add two vertical lines, first one and the second one. Now on the top, we need to add a small triangle, which is the roof of the lighthouse, so just add a small triangle on the top connecting those two lines. It has to be a small triangle just to watch the size. It shouldn't go out of proportion. See that? That's the size I'm going with. Now, to finish on the lighthouse, we need to add those opening. That's our last step. I will just fix the shape. I will also add some deeper tone over here just to show the shadows. Just a little underneath those handrails. That is it. Now we can add the opening, which is the last step, and with that, we'll be done with our painting for the day. As the lighthouse is quite far from us, the opening has to be really small. I'm just going to add a thick line, it's just a small simple line. That's the opening. Now in a similar way, I'm going to add that on to the second white section. We have one more at the bottom. Add one onto that as well. With that, we're done with our painting for the day. You can see how gorgeous it has turned out. I'm loving the color palette. Everything has come out really beautiful. I overworked a little on the grassy meadow. If I just ignore that, I'm happy with the rest. Anyway now it's time to peel off the masking tape and have a look at the finished painting. Gently remove your masking tape at an angle so that you won't rip off your paper. I'm really loving that lighthouse. As we have gone with a smaller size, it really looks like it is quite far. That's our painting for the day. Here is a closer look. I'm really happy with the way it has turned out. So beautiful. That's it for the day. I hope you all enjoyed today's painting. If you like to try do give it a try. Thanks a lot for joining me today. I'll be back as soon with our next dreamy landscape. 54. DAY 19 - Dreamy Sunset: Hello, my dear friends. Welcome to Day 19. Today we're going to paint a simple yet a dreamy sunset. I really love this painting. I think it's the color combination, especially the area over here where the pink is meeting the orange. I absolutely love this color combination. But it is actually a simple variegated wash of three colors, violet, pink, and orange. We're going to use the same colors for the lake asphalt. At the center, you can see I've used that pink and orange color. On either side, I have used violet. It's a simple painting actually. There is no much complicated techniques for this painting. Anyway, I will take you through the color palette first. The violet I'm going to use is this one. This is from White Nights. It is really intense and vibrant. You can use any violet you have got or you can mix and create your own violet. That's a major color. You can see I'll be using that for the sky as well as for the lake. Now the next color is opera pink. Opera pink is a bright pink, which is not a common color. If you don't have it, you can use crimson or any other rose shade you have got. This one is from Sennelier. That's our second color. I'm not a huge fan of this color, it is really bright, but sometimes to create a striking contrast I use this color. I think people who are more into floral paintings will love this color. Anyway, our next color is brilliant orange. This one is, again, bright orange, just like the name says. But if you don't have this color, you can use vermilion or any other orange. Those are the three colors you will need for the sky as well as for the lake. Now, I'm going to swatch out these colors then we can try some mixing options as well. I'm starting with violet, which is the major color I'll be using for the sky. Almost half of the sky is going to be violet. You can see the color here it is quite intense. As I mentioned, the one I'm using here is from the brand White Nights. You can go with any violet of your choice or you can mix and create your own violet. The second color is opera pink. All the three colors I'm going to use for the sky and the lake is quite intense. If you want to use more of lighter or softer tones, you could do that. It doesn't need to be this intense. You can make them lighter. That's our second color. Right after violet we'll be using opera pink and we'll be mixing them together, and towards the bottom we'll be using orange. That's our third color. You can either use these colors as it is. You can just start with violet then go with pink and then orange. I'll be mixing lilac orange with rose to create a beautiful peach color. This is the mix of these two colors. I'll show you how that looks like so you can decide on whether you want to go with the same colors or you want to mix and create that peach color. That's a lilac orange. Now I'm picking some opera rose and mixing that with orange. Now, let me swatch out this color for you. It's a bright orange with a pink undertone. It's a gorgeous color. You can use it in your sunset skies. Is really vibrant and it is really intense. Now, I will add some more rose into the same color. Now let's see the difference. I have squeezed out a bit more of opera rose. Now, I'm going to mix that with the same color. Right now, I'm adding more rose into orange. That's the color. It's a little more intense right now because we have added more opera rose. Towards the bottom of the sky, along the horizon line, I'll be using a similar color. You can see that over here it's an intense color. Now, I'm going to add two drops of water and I'm going to turn the same color into a medium tone. I will show you the swatch. It's again, a beautiful color. I'm adding some water and making the color less intense. If you dilute that color, you will get a beautiful peach color. See that? It's such a pretty color. Now, maybe I will add some more water. Let's see how the color is looking like. This is a much more diluted version of the same color. You see that? Such a pretty peach color. It's a combination of opera pink and bright orange. You can go with a brighter tone or a lighter tone according to what you wish. I'll be using a lighter tone on the water here, but towards the horizon line, I'll be using a brighter tone. You can just decide on which color you want to go with. According to the amount of pink and orange you have in your mix, the color will be different, and also according to the colors that you're using. See that. Such a pretty color. That's the color I'm going to use for the sky, especially along the horizon line. I want to tell you it is not really necessary to mix your colors. I just thought of giving it a different field, that's the reason why I have decided to mix these two colors together. I didn't want the usual colors in my painting. But if you want to use them as it is, that's totally okay. You can start with violet, then go with opera rose, and a bit of orange towards the bottom. It's not at all necessary to mix these two colors, just keep that in mind, but I would still recommend you to try this out. Try mixing these two colors together and I'm very sure you will end up having a new favorite color, even if you're not planning to use that in your painting. Anyway, let's go with the next color, which is brown or burnt sienna. You can either use brown or burnt sienna. Both of them will work. We'll be applying brown onto all these rocky structures, then to add the deeper tones we'll be using Payne's gray. That's brown. Now the last color you will need is Payne's gray, which is the one we're going to use to add the deeper tones. If you don't have Payne's gray you can use black or neutral tint or any similar color. That's more of the color palette you need for today's painting. Now, we can try painting a rocky structure. It's an easy one, but still we can try it out. Painting these rocky structures are really easy, it is just a matter of adding those deeper tones. You can see those lines I have added using Payne's gray. That is what makes your rocky structure more realistic. First, you need to add an interesting sketch. I just have one major rocky structure at the center, the rest of them are normal rocky shapes. Maybe I will try that shape. First, add in your sketch. Just a random irregular sketch, which is a tapering shape. Only for the one at the center, you can go with the long tapering shape like this, for the rest you can go with some normal shape. Now, we can start painting this. The first step is to apply burnt sienna or brown onto the entire structure. You can use any brown you have got. You can go with a medium tone or a darker tone, that's totally your choice. I'm using my medium-sized round brush and I'm picking some brown. I'm applying that onto this entire structure, so carefully follow the outline and fill that up. I'm a huge fan of brown color. I don't really like burnt sienna much because of that yellowish color. This one is a more reddish brown and I love this color. I love to use brown color in my sunset skies as well, especially when I'm painting that golden hour. It really goes well with permanent yellow-orange. Anyway, just carefully follow the outline and fill that entire structure in brown or burnt sienna. Go with the medium tone. Don't make it too light. That's a base layer. Now we need to start adding the deeper tones onto the wet background. That will make it more interesting. Right now it is just a flat, solid wash. Now onto the structure, I'm going to drop in my deeper tone. For that, I'm picking some Payne's gray. You can either use that directly or you can mix that with a lilac brown and use a darker tone. Don't go with the watery paint. Dab it on a paper towel if it's too watery. Now, along this line you have here, just drop in your deeper tone. You can see the color I'm using, it is quite dark. Keep adding them along those lines. I have added them on the top. Now in a similar way, I'm going to add them from the bottom and I will drag my brush towards the top. There is a brush hair stuck here. I'm now getting it. Never mind, let it be there. I will pick it up when the background dries completely. Anyway, let's keep adding the deeper tones. I'm adding them at the bottom. I'm just pushing that paint towards the top. The bottom has to be really dark. Now keep adding some lines from the bottom towards the top. On the top and the bottom, we have some deeper tone and we have added them in a linear way. You can already see how beautiful it is looking. It is just a matter of adding those deeper tones. Of course, you can add a flat wash of brown or burnt sienna onto the entire rocky structure, then onto that you can drop in your deeper tone in a linear way. That's the basic idea. If you want to drop in more deeper tones, you can do that. That's totally okay. I hope the idea is clear. It's a very simple technique. It is just a matter of adding those deeper tones and creating those textures. For the other rocky shapes as well, we'll be using a similar method. We will first add brown onto the entire structure, then we'll add some deeper tones using Payne's gray. Now let's try a small blending exercise of the colors we're going to use for the sky. I'm starting off with violet, a really bright and intense violet. For almost half of the sky, we're going to use violet. You can see how gorgeous that color is. I'm someone who allow using bold and vibrant colors. If you want to use more of a medium tones, you can reduce the intensity of the color and go for medium tones. You can use the same color, but reduce the intensity. That is violet. The second color we're going to use for the sky is opera rose. As I said, if you don't have opera rose you can use crimson or any rose. I need to make the color slightly lighter over here, so I'm picking some water and I'm making it a little lighter. For our class project, we'll be using wet on wet technique, so it will be a little more easier to blend the colors. The next color I'm going to use is opera rose. I need to squeeze out some clean paint. Now, let me switch to opera rose and apply that next to violet. Again, I'm using a bright shade. As I said, if you want to go for medium tones or lighter tones you could do that, just add a little water and dilute the color and use that for your sky. That's our second color. Next, I'm going to use that mix of opera rose and orange. I already have some paint on my palette, the one I mixed earlier, so I'm using that color. I'm adding that at the bottom. You can see how beautiful that color is. I'm making it a little lighter. For the sky, I'm planning to use a brighter tone only at the bottom. You can see that bright band of orange towards the horizon line. Over here, I'm going to add a little of brighter tone. I'm picking some bright orange and I'm adding that over here. It really makes a difference in your sky. Don't use the same intensity throughout towards the bottom, make it lighter, and just along the horizon line make it really intense again. Right now it doesn't really show any difference here, but you can see here on my painting. Over there I have really followed those technique. Over here, I actually forgot to make it lighter, but it really makes a difference if you make it lighter. You can make it intense again towards the horizon line. It's a really simple step but will make a huge impact on your painting, so just remember to make it intense only at the bottom. That summarize the color palette and the techniques you need for today's painting. This one is actually one of my most favorite paintings from the antique collection. I think it's a color combination that made me fall in love with this painting. I'm really excited to try this painting with you all, so without wasting any more time, let's get started. 55. Dreamy Sunset - PART 1: We had a thorough look at the color palette and some necessary techniques. Now it's time to start painting. I already have the colors on my palette but I'm squeezing out a bit more so that I won't run out of them in between. It is not necessary to code the same colors. If you want to try and explore new color combination, you could do that. I have taken out violet, opera rose, and some green orange. Now I'm going to apply a piece of masking tape along the horizon line to divide the sky and the lake. Carefully apply piece of masking tape along the horizon line. Run your fingers multiple times just to be sure it is fixed properly. Now we're going with the wet-on-wet technique so the first step is to apply a clean coat of water onto the entire background. Use any of your wider brush and apply a clean even coat of water onto the entire sky. You don't need to leave that rocky structure at the center, you can apply water onto that as well. Looks like I have applied a lot of water. I'm just wiping out that extra water from the border so that it won't float back into the painting. Now, we can start adding the paint onto the background. For that, I'm going to use a flat brush. You can use a flat brush or a round brush. This one is half-inch flat brush. We are starting off with violet. That's the brush I'm using. This one is a half-inch flat brush. If you want to go for a three by four-inch, that's totally okay. Now let's start going with violet and apply that on the top of the sky. You can see the color I'm using. It is quite intense. Now I'm going to apply this almost through half of my sky. On the top, I want a really intense tonal violet. The white I'm using here is from White Nights. You can use violet from any brand or you can mix and create your own violet. It's just a solid wash. Now I'm making this area a little lighter, just a little. Now let's clean our brush properly. Let's go with our second color which is opera rose. Again, go with the brighter and intense tone and apply that right next to violet and blend them well. I think we can make the color a little more intense. There's a lot of violet, so I'm just washing it off and I'm picking some more clean rose and I'm adding that over here. You can see the color, it's a bright rose. If you don't have opera rose you can use crimson or any other rose color. Now, let's go with our third color which is a mix of rose and orange. I'm picking both the colors and I'm mixing them well. You see that? That's the color I'm using. Now I'm adding that at the bottom and I'm mixing that well with opera rose. That's the base layer. Now, just in case if you want to make any of the colors more brighter you could do that. I want to make the pink a lot more brighter. After I do that I will apply a bright tone of orange along the horizon line, just along that line. I'm cleaning my brush and I'm picking some more opera rose. I'm adding that on the top of the paint that I added earlier. I just want to make this area a little more intense. If you're already happy with your background, you don't need to do this. Now I'm just blending that with violet. The sky is a simple variegated wash of violet, rose, and orange. You can either use orange as it is or you can mix a little of opera rose or any other rose with that to create a peachy color. Now I'm going to clean my brush. We are done with our base layer. Now before I wrap this up, I'm going to add an intense tone of orange at the bottom. Just along here I'm adding a really intense tone of orange. You can see how intense it is. Now I'm just blending that into the background. I just want that intense tone only along the horizon line. The rest I want to be in a medium tone. That's the sky. I'm pretty happy with the colors and the intensity. Right here, I have used more violet for the sky. Just in case if you want to go for a different proportion, if you want to use more orange or more rose, that's totally okay. You can modify your sky however you want to. That is totally in your control. Anyways that's the sky. Now we can leave this for drying. That's how the sky has turned out. The colors are really intense and vibrant. I'm very much happy with the colors and the blend. It is actually a very simple painting. There is no much complicated techniques here. But I think there's a color combination that makes it really special; the violet, the pink and orange and the blend of those colors. I think it's a gorgeous color combination. Anyways, now it's time to start painting the lake. For the lake as well, we'll be using the same colors. It's going to be a combination of violet, orange and rose. We're going to use wet-on-wet technique. The first step is to apply a clean coat of water onto the entire lake. I'm going to pick my one-inch flat brush and I'm going to apply a coat of water onto the entire lake. Be sure not to add any water into the sky. You can leave a tiny gap over there so that you won't accidentally add any water to the sky. Make your background evenly wet. Now to apply the paint, I'm going to use my flat brush, the same brush I used earlier. It's a half-inch flat brush. I'm starting now with rose. This one is opera rose. I'm adding that color at the center. Background is wet. Now onto the red background we're adding some opera rose at the center. You can add the paint onto the rock, that is totally okay. We'll be adding a darker tone of brown and Payne's gray onto the rock. Even if you add some paint on it, that's totally okay. That is opera rose. Now onto the top, I'm going to add a little of orange. I'm not cleaning my brush with the same brush. I'm picking a little of orange and I'm adding that right over here. This area is closer to the horizon line. I want some orangish tone over here. That's that. I've added quite a good amount of rose but I'm adding orange only at the center. Now let's switch to violet. I'm going to wash the paint from my brush. I'm picking some violet. Now, I'm going to start adding them from either side. It's a pretty intense tone. Now I'm just dragging my brush from either side towards the center. I'm carefully applying my paint along the horizon line and I'm adding them around the rocks as well. You can see how the paint is spreading a little into the rock which is totally okay. As I said earlier, you don't need to struggle to retain them. Now in a similar way, I'm going to add paint on the other side as well. Go with the flat brush, pick some paint and drag your brush from either side towards the center. You can see it is quite messy right now but that's absolutely okay. We're going to fix it, just add in your paint. I have added enough of violet on either side, and I have added that rose and orange at the center. Now, I'm going to keep this brush aside and I'm going to switch to a round brush. I'm picking my Size number 6 round brush. Make sure your brush is clean. There shouldn't be any other paint on your brush. We need a clean damp brush. You can dab your brush on a paper towel just to be sure the brush is clean. Now using that clean damp brush, just keep running it back and forth. We are trying to create a smooth transition here. Right now the violet and pink at the center looks like two separate sections so we want to make that transition look better. Keep dragging your brush back and forth until you feel like you have got a beautiful transition. To make it easier maybe you can pick some paint as well. I have picked a little of opera rose, and using that color, I'm adding some lines at the bottom. This step needs to be done while the background is still wet. That's the only thing you need to be careful about. If you've been picking a lot of paint be sure to dab it on a paper towel or clean it if it's a lot of paint. There is a lot of violet on my brush so I'm going to clean it. I'm picking some more rose and I'm dragging my brush back and forth to give it a more smoother finish. My background is still wet so I can do this quite easily. If your background is starting to dry, be really quick. I'm really loving the color we have got here. It's a beautiful mix of opera rose and orange. I'm quite happy with the blend but I think I will add a little more rose at the bottom. I'm picking some more opera rose, a slightly brighter tone, and I'm adding that at the bottom. The rest of it is looking quite nice so have no plans to touch it, especially this area, I'm loving that color we have got here. Anyway, our next step is to add some deeper value under the rocks. This also needs to be done before the background dries, so let's do it quick. It's already starting to dry. We're just going to add some deeper tone underneath this rocky structure to show the shadow and reflection. We're not going to add any other details. Let's pick a darker tone of violet and add a little of that underneath all these rocky structures. It has to be a darker tone and you can just add that darker tone underneath these rocky structures. You have to use a color that is slightly darker than the color you have used on the background otherwise it won't be visible. The pencil sketch might not be really visible right now but that's okay. We can add them in approximate way. Just have an idea where you're going to add your rocky structures and add a deeper tone underneath those area. I have added some on the right side. Now in a similar way, I need to add them on the left as well. Don't add a lot of darker tones onto the center where we have that rose and orange. That is something you have to be careful. Over here I'm trying to smudge it. I don't want lots of darker tones over here, especially on that rose. Focus on the area that you have violet and adding new deeper tones over there. Now in case if you have added any rocks at the center, I mean the area that we have rose and orange go with a violet which is more pinkish. Into the same violet, you can add some opera rose and turn that into more like a purple shade. Using that color, you can add in your reflection. I have two rocks here at the center which is coming on the area that I have rose. Over here, I'm adding a pinkish color for the reflection, it is not completely that dark violet. My background has almost dried. I'm not really able to blend them into the background but never mind. I'm almost done. Now over here as well, I'm adding some deeper tone. I have some rocky structure here, now on this right corner as well. At this point, your background might not be looking that great which is totally okay. You can see mine. It is looking a bit weird but that's okay. It's part of the process. Once you add those rocky structures using a darker tone of brown. Once the rocks are in, everything's going to look fine. This is just part of the process. You don't need to worry about it. I have added some deeper violet on this right corner but there is no way I can spread that into the background because it is completely dried. I've added some violet here. Now I'm going to pick a pencil and I will add a rock at the bottom so that I can cover this area. We have some target on the background and we have a rock in the fulcrum. We can fix this area quite easily. That's our background. We are done with the lake as well. It's a base layer. Now once we add the rocky structures, everything's going to look so much better. Now it's time for a short break. Let's come back when the painting has dried completely 56. Dreamy Sunset - PART 2: The background has dried, now we can start painting those rocky structures. In the same way how we tried in the technique section, we're going to use brown and to add a deeper tone, we're going to use Payne's gray. When we start painting those rocks, we will have a beautiful contrast in this painting and it will instantly get better. On the lake, you can see those taco tone of our light. We're going to add rocky structures right about that. Once you start filling up those rocky structures, you will instantly see a difference in your painting. As we discussed earlier, I'm going to use brown and Payne's gray. If you don't have brown, go with burnt sienna, that's totally okay. I have taken out some brown. Now, I will need some Payne's gray as well to add a deeper tone. Only step left is to paint those rocky structures. For all of them we're going to use the same method. We only have a huge structure, the rest of them are quite small. To paint that, I'm going to use my size Number 8 round brush, you can use any of your medium-sized round brush. Now, I'm going to start with brown. We have that major feature at the center, carefully follow the outline and fill that entire structure in the medium tone of brown. You can see the color I'm using here, it is not that light, it is quite intense. Now I'm just filling up that entire shape. The base layer is a solid wash of brown or burnt sienna. Now, onto this we'll be adding some deeper tones using Payne's gray. That is when the whole difference comes, right now it is just a flat wash. Now, at the bottom, add that paint right about the violet line. Once you fill this up, everything will make sense. We have a small area left at the bottom, I think for that we can use a darker tone. I have some Payne's gray on my palette so I'm picking that with the same brush, and I'm adding that at the bottom. Now, we can just push that onto the top and create some texture on this rocky structure. We're just trying to create some texture and some patterns on the rock to make it look more natural so you can keep adding some lines. We have these little pockets on the rocky structure. Along those lines, you can add some darker tone, the same we have been trying in the technique section and also, you can add some random line as well using a darker tone to add some more texture. You can already see the difference. First, I started off with a darker tone of brown then onto that I introduce some Payne's gray. At the bottom, I have added more to show the shadows. It's just a matter of adding the deeper tone onto the background. Now, we can add some more along these pockets. It's a very simple step, it is just a matter of adding that deeper tone while the background is still wet. Use a darker tone of brown on burnt sienna for the background. Then onto that, keep adding some lines using Payne's gray or burnt umber. If you want, you can keep adding more darker tones and more texture onto the same. I'm adding some more darker tone onto these pockets. Now, in case you feel like those patterns are really prominent, you can pick some brown. Again smudge those patterns to make it look less prominent. This will give it a more smoother look. Depending on how you want your rocks to be, you can go with any method. If you want more of a darker tone and more texture, you can introduce more darker tones. Or if you want a more softer look, you can add them all to the wet background and spread them into the background. Now in a similar way, I'm going to paint the rest of them. I'm going to start with this one on the corner. First I'm picking some Payne's gray and I'm adding that onto the outer shape. Then I will pick some brown and I will smudge that. For the structure at the center we have used a prominent shape, that's a key feature of our painting. For the rest, I'm going with a very simple and basic shape. At the bottom as well as onto the left side, I have added some deeper tone. Now I'm picking some brown and I'm adding that onto the remaining area. You just follow the outline and fill up the remaining area in brown or burnt sienna and you can only see those textures there. It's just a matter of adding that deeper tone onto brown and creating some texture on that rocky structure. It's a very simple step. You can see how gorgeous it has turned out, even though we have simply added some darker tone at the bottom, and we simply fill the rest in brown. Now in a similar way, I'm going to paint this small piece here, I'm starting all with the Payne's gray, I will add that onto the left side and also at the bottom, then I will fill up the remaining in brown just the same way how we did earlier. That's the next one. You can see how easily be painted that. Our paint is starting to look more complete. Only the one at the center, this one here had a prominent shape, the rest is all very basic shapes so you don't need to put a lot of effort just add some deeper value at the bottom and also on the surface to create some texture. Now, in a similar way let's paint the remaining structures. I'm starting with Payne's gray again, and I'm adding that at the bottom. Add a slightly decline using Payne's gray or black or which will be the color you have with you. Just add that at the bottom. For the rest, you can use brown. I'm using another brush and I'm filling up the shape in brown. The technique is exactly the same. At the bottom we need some deeper tones and at the top you can add some texture using a darker tone as well. Then for the remaining, you can use brown or burnt sienna. Now, I'm going to pick some more Payne's gray and I'm adding some random shapes on the top to give it some texture. That's the next one, now let's paint the remaining rocks. We have couple of rocks on the right side, on this corner here and also on the left. I'm planning to add one more rock on the top, closer to the one we added right now. Honestly, I'm not really happy with the color here, so I thought I can hide a little by adding a rock. Anyway, we have some darker while at in the background so we can easily add a rock here. I'm starting out with Payne's gray, now I'm picking some brown and I'm filling up the rest. The darker area already is so you don't need to put a lot of effort in detailing it, you can simply add some Payne's gray at the bottom and some brown on the top and that's it. Honestly, it is just a matter of adding those deeper tones and some brown. It's a very simple technique. You can add deeper tones however you want to. We need some darker tone and some medium tone on that rock, the rest is totally up to you. Now, I'm quite happy with this area. Now, it's time to paint the right side. We have quite a lot of rocks here. I'm starting off with brown. First, I will add the shape. Then I will drop in some deeper tones at the bottom and also onto the surface. This is totally random. First, you need to define the shape, then you can keep adding some deeper tone wherever you want to. If you haven't noticed, I'm not washing my brush in-between because there is no point. Anyway, we're going to add some deeper tone. You can keep switching from brown to Payne's gray and adding your deeper tone and medium tone with the same brush. Now, I'm adding some deeper tone over here. We have another rock over here. For that, we can use medium tones. Keep on dropping your darker tones onto this rock in a very random way and at the bottom as well. Define that line, so that's done. You can see how simple it is. It is a matter of adding those deeper tones as I said earlier. Now, in a similar way, I'm going to paint the rest. I have 1, 2, 3, 4, four of them. I really hope the idea is clear. You can either start with Payne's gray or brown. You need to add some deeper tone at the bottom and also onto the surface. Right now, I'm using brown, and I'm filling the small rock entirely in brown first. Then onto that, I'll drop in some deeper tone using Payne's gray. It can be either way, you can either start with brown or with Payne's gray. As this is an evening scene and as we are using darker tones, it is not really necessary to add a lot of details. You can simply add a deeper tone to create some texture. That is done. It is that simple, you have to give it a try. In a similar way, I'm going to quickly paint the rest of the rocks. I have two of them on the right side, and one or two on the left as well. The right side is done. I'm pretty happy with it. Now, we have two more rocks in the left as well. Let's paint them in a similar way. I'm starting with brown, and I'm first defining the shape. Once we have the shape ready, we can add the deeper tones using Payne's gray. I have added the shape. Now, I'm switching to Payne's gray, and I'm randomly adding some deeper tones. If you want to modify the shape, you could do that. This one doesn't have any shadow. It is right along the masking tape. If you want to make it more bigger, you could do that. Now, I have one more on the corner, let's paint that, and with that, we'll be done. Again, I'm starting off with brown, and I'm filling that shape. I'm planning to make this one a little bigger than my sketch, so that's the size I'm going well. It's pretty huge. Now, I'm filling that entire shape in brown. Now, let's pick some Payne's gray and add a deeper tone, so that's a huge rock. Keep adding your deeper tone in a very random way, add some texture. You can add your paint in a very careless way. The messier the better because there will be more texture if you add them in a messy way. That's our last rock, if you want to add one or two, you could do that, maybe some smaller one in the background, but I'm quite happy with it. I have no plans to add more. I'm going to stop it here. I'm quite happy with the entire painting. The sky, the lake, and the rocks, and everything literally, it's a gorgeous color combination. I know it's a very simple painting, but then it has my heart. I love those colors. When I try this color combination, I was really blown away. First, I tried the same thing with permanent rose instead of opera rose. That was okay, I wasn't really happy with it. But when I tried the same thing with opera rose, it was really glowing, and I couldn't really believe my eyes. The colors were so pretty. I really want you guys to try this out. If you can and if you have them, try to use the same colors. It's really gorgeous and magical color combination. Now, before I wrap this up, I'm planning to add a small mountain along the horizon line to define it better. It's going to be somewhere over here. I'm picking some brown a medium tone, and I'm adding a small mountain. This is completely optional. I thought of adding something here to define the horizon line better. I have added that shape using brown. Now, I'm picking a little of Payne's gray, and I'm adding that at the bottom. Just a little. It's not a darker tone of Payne's gray, it is a medium tone. That looks fine. I think we can call it done, otherwise, I will end up adding more details, and I will spoil that smooth and glowing feel of this painting. Now, it's time to peel off the masking tape and add our gorgeous painting. I hope I have got a clean border for this because I'm really happy with it, and a clean border can make me even more happy. So far, I have got a clean border, and even the last one. Here is our super dreamy painting of the day. I cannot tell you how much I love this color combination. I think I said that enough, but I'm really loving this color here. It's a beautiful color with some mix of opera rose and brilliant orange. It depends according to the color that you're using. The colors might be slightly different if you're using vermilion, or crimson, or any other colors. But anyway, I'm very sure your painting will turn out really dreamy and really beautiful. Look at that tip then glue. I hope you liked it. If we get to try, do give it a try, I'm really sure you're going to love this painting. Thanks a lot for joining me today. I'll be back here soon with our next dreamy landscape. 57. DAY 20 - Crashing Waves: Hello, welcome to Day 20, which means we are just 10 days away from finishing our watercolor challenge. Here's what we're painting today. It's an easy PCC sky which anyone can paint. The only tricky part might be the sky. I will quickly show you how you can paint a cloudy sky so just in case if you're able to follow that, you can go with the gradient sky. You don't need to add those clouds so just go with a medium tone on the top and make it lighter as you come down. The rest is quite easy. We'll be just adding some tonal values of blue onto the background. Then we'll be adding some white texture onto that to create those waves. That is really simple, which you will see in some time. Now, I'll quickly walk you through the color palette then we can have a look at the sky as well. The first color you will need is blue. Obviously, you can guess the color I'm going to use it is cerulean blue. I'll be using cerulean blue for the sky. You can use any blue of your choice. It doesn't need to be cerulean blue. You can go with cobalt blue or Prussian blue or any other blue. It's going to be a cloudy sky so along with blue, you will also need Payne's gray or a bit of neutral tint of black to add the shadow of the clouds. Anyway, I'm going to spat out cerulean blue first. It's a gorgeous blue. If you love painting blue skies, it's a gorgeous color to add a new color palette. Ever since I have started using cerulean blue for the sky, I haven't used any other color. It's such a pretty color. That is cerulean blue. First I will swash out all the blues, then we can have a look at the remaining colors. Now the next color you will need is indigo. I won't be using indigo as it is, I'll be mixing indigo with cerulean blue to create our deep blue. Indigo seems really dark to me so I'll be mixing a little of cerulean blue with this. I will show you that color as well. That is indigo. Initially I thought of using indigo as it is then I tried mixing a little of indigo with cerulean blue and I got this gorgeous color. This one is more of bluish, a deep blue. I didn't want the blue to be really dark so that's when I thought of mixing these two colors together. That's the color I'll be using. You can either use indigo as it is or you can just mix that with some blue to create a different version of blue. We'll be starting up this color. It's a mix of cerulean blue and indigo. You can just mix any of the blue that you're using with indigo to create a similar blue. Now the next color you will need is turquoise blue. Right after I have applied that darker blue on the top, I'll be using turquoise blue for the remaining area and towards the bottom, I'll be using some cobalt green. Then again, I will go back with turquoise blue towards the bottom. I'll swatch out turquoise blue and then cobalt green. The one I'm using here is from White Nights. I really love this color. I don't like the one from ShinHan Matt so this is the one I always go for. That is turquoise blue. Now the last one you will need is cobalt green, which is a really bright and vibrant pastel green. Maybe I should say pastel bluish green because it is not entirely green. I'll be mixing these two colors together. You can see the color here, it is not as similar as cobalt green. It's actually a mix of turquoise blue and cobalt green. That's what I'm going to show you next. Actually, when you're painting, you don't need to mix these two colors. You will already have some turquoise blue on your brush, and the same brush you just need to pick cobalt green and there you have that color. Now, according to the brand of the colors you're using and the pigment they have used in their paint, the colors will be slightly different, but that's totally okay. I'm only aiming to create different tonal values of blue onto the background so we need darker tone, a medium tone, and a lighter tone. You can see the color I have used at the center. That is the mix of turquoise blue and cobalt green. That's all about the colors you would need for the sea. Now to paint those rocks, I'll be using brown and Payne's gray, which is the next two colors you will need. If you don't have brown, you can use burnt sienna. That's our next color. Now the final color is Payne's gray. We'll be using Payne's gray for the sky as well. We'll be using a really light tone to add the shadow of the clouds. For the rocks, we'll be using a deeper tone to add those texture. That's our last color. Technically we need a darker blue. It can be just indigo, you don't need to mix that with cerulean blue or any other blue. Then we will need turquoise blue and cobalt green. If you don't have cobalt green, just keep that, you can just use turquoise blue. That's summarized the color palette you will need for today's painting. Now the only thing I'm planning to show is the sky. The rocks are quite simple. We already tried a similar one in the previous painting. Today's is a much more simpler one. We're just going to drop in some deeper tone onto a blank background. It is really easy to paint this. It is just a matter of adding those texture using a darker tone onto a brown background. I'm not planning to show that, but I think we can try the sky, which might be a bit complicated for the beginners. Just try it along with me. If you're not getting it right, that's totally okay. Just go with a gradient wash of blue for your sky. You don't need to add those clouds. Even that will look really great. Let's give it a try. First I'm going to add a clean coat of water onto my paper. I will just do it. I will just show a small section. I have my one-inch wash brush here and using this brush, I'm picking some water. The water is not that clean. Don't mind. As a step like that onto a small section here. Make sure the coat of water is even. There shouldn't be a lot of water. We just need a shiny coat. If there's a lot of water the moment you are applying that paint onto the background, it will spread a lot and it won't be able to retain the paper white, which is your clouds so you just need to have the right amount of water on your background. You can just keep running your brush multiple times just to make sure it is even. I have applied a clean coat of water onto the background. Now to add the paint, I'm using my medium size brush. This one is a Size number 8 round brush and I'm starting off with a medium tone of cerulean blue. I want the color to be slightly bright. I don't want to make it too light. If you want to go for a lighter tone, you could do that. I'm using a medium tone. Now let's keep applying that onto the background and leaving some gap in between. That's the first one. See that. I have left some gap in between, which is my cloud. Now over here I'm leaving another one which is a smaller cloud. Maybe we can add one or two more at the bottom. We're creating the clouds by leaving some paper white. We're just adding the blue by leaving those white gaps, which will eventually turn into clouds. Depending on how you want your clouds to be, you can leave those gaps. You can see we have three clouds here. You can modify the shape. They're not spreading too much. It is because I had the right amount of water on my background. Now I'm just dabbing my brush on a paper towel and I'm adding a little of lighter tone at the bottom to finish off the sky. Now onto this before it dries, we need to keep adding the shadow. I'm not 100 percent happy with the shape of the clouds, but that will totally depend on the way how we have added your paint. If you want better looking clouds, try to leave a better shape. There's a lot of blue on the top. I'm just making it even. Now before it dries, I need to add in the shadow. For that, I'm picking a lighter tone of Payne's gray, a really light tone. Add in some water and turn that into a lighter tone. It shouldn't be too watery. If you feel like it is too watery, you can tap your brush on a paper towel and just keep adding that onto the bottom part of your cloud. We don't need to add them on the top, only at the bottom so go the medium to lighter tone and add that along the bottom line of your cloud. You need to do this for all the clouds here and this has to be done before your background dries. Be really sure about the color you're using. It shouldn't be too dark. Go the similar tonal value. Now I'm cleaning my brush and I'm dabbing that on a paper towel so it's a clean, damp brush. Now using that brush, I'm just matching this gray to make it look more smooth. That's it. That's our cloudy sky. You can see how easily we have created a color, just cloudy sky. It is just a matter of leaving that white gap when you are applying your paint. If you're new to watercolor, just try it out on a scrap piece of paper and keep repeating it. This could be a cautious technique that you can use in your future paintings. As you progress, you can keep exploring the same sky using multiple colors. Maybe you can introduce one more color onto the cloud, a yellowish or a more published tone. It is just a matter of getting that water control right then with some practice, you'll be able to handle it much more easily. I'm really happy with this cloud on the top because we have brighter tones around it and I think it is looking more three-dimensional compared to the others. Anyway, that's how we're going to paint the sky. If you're not getting it right, don't worry, just go with the gradient wash for now then maybe you can try it later. The sea part of the painting is absolutely easy, which you will see in some time. We'll be applying different tonal values of blue as the base layer, then we will paint the rocks and finally we will add those white plateaus and waves. That's all for the day. We try the necessary techniques and the color palette. Before we start, I will just show you a closer look of the painting. You can see those plateaus. The background is a simple layer of different tonal values of blue, then onto that, we'll be adding these plateaus and some waves for which you can use either white gouache or white watercolor. I would recommend going with white gouache if you have it, which would be more opaque and it will make your waves look more prominent. If you don't have gouache, that's totally okay. You can go with white watercolor. That's all for the day. Now it's time to give it a try. 58. Crashing Waves - PART 1: We had a look at the color palette and essential techniques. Now, I'm going to start by applying a piece of masking tape right at the center. The top part is going to be the sky and the bottom is going to be the sea. Just apply piece of masking tape right at the center. Now we can start painting the sky. It's a cloudy sky, we're going to use wet-on-wet technique, which we tried already. I'm going to use the same technique here. First, I'll need to apply coat of water onto the entire sky. For that, I'm using my one-inch wash brush and apply a clean even coat of water onto the entire sky. Run your brush multiple times just to be sure there is no pools of water in between. We need a clean even coat, so my background is evenly wet. Now to apply the paint, I'm using my medium-sized round brush, size number eight round brush, and I'm picking some cerulean blue. As I mentioned earlier, you can go with any blue of your choice. You can use Prussian blue, cobalt blue, or any other blue. Go with a medium tone. Now, let's drop that onto the wet paper. You can see the color, it is quite bright, go a similar tonal value. Also you can see the shape here, that's the shape I want for my cloud. Depending on the kind of shape you want for your cloud and also the size, leave your paper white. Now I'm adding that paint at the bottom, I'm defining the shape of the cloud. That's my first cloud. It is just paper white. Now I'm adding the second one, maybe a smaller one. Now maybe one more on the left side. I have three clouds here. I have cleaned my brush and also you can see how I have left the paint. I want a bigger cloud at the bottom that's why I haven't been any paint over there. Now using a clean brush, I'm just merging that cloud to make it look smoother. That's the first step. Now before we add the shadow, if you want us merge any color, if you want to make it any better, you could do that right now. I have a lot of paint over here so I'm just pushing that into the background to make it look even. My background is still really wet so I think I have some more time to add the shadow. I'm just reducing the size of the cloud at the bottom and I'm turning that into two different clouds rather than a single one. Now let's clean the brush and let's start adding the shadow. For that, I'm using a lighter tone of Payne's gray. Clean your brush properly, and pick a really light tone of Payne's gray. It shouldn't be too dark, it has to be a lighter tone, so add few drops of water and turn that into a lighter tone and then tap the brush on a paper towel. Because we don't need a watery paint, our background is already watery. If you go with the watery paint, it will start spreading to the background, which is not really recommended. Go with the paint which is not too watery. If it's too watery, you can tap it on a paper towel. That's the right color and the right consistency. Now using this paint, I'm just adding a shadow along the bottom part of the cloud. Now similarly, we need to add shadow for the rest of the clouds as well, so go with a medium to lighter tone of Payne's gray, which is not too watery and keep adding that medium tone or lighter tone along the bottom part of the cloud. Now I can tap a brush on a paper towel, and using a Damp Brush, you can smudge the color into the background to make it look smoother. We're retaining that paper white to create the clouds. You can already see how pretty this cloud is looking. If you want to alter the shape, you could do that right now only if your background is still wet. Otherwise, just leave it as it is. Now using a Damp Brush, I'm fixing the other clouds as well. I'm using 100 percent cotton watercolor paper here that's the reason why my paper is still wet. If you're using a cellulose paper or a low-quality watercolor paper, it might have dried. Using a good-quality watercolor paper has its own benefits, even though it is expensive. Anyway, that's our sky. I have added five clouds here. A bigger one on the top and some smaller ones on the bottom. I think I can add some more paint over here, I'm picking a little of Payne's gray, very little, and I'm adding that over here to define the shape better. My background is starting to dry, so it is better if I don't add any more paint. If I keep going, I might end up ruining my sky. I don't want to take a chance, so that's my sky. That's the sky. Now, I'm going to leave this for trying. This guy has dried completely. You can see those beautiful fluffy clouds. It has become much more softer than earlier. When it was wet it was looking a little prominent, now everything is looking really soft and fluffy. Now, before we start painting the sea, we need to add a pencil sketch. The sketch is quite simple. We just need to add some rocks on the water. Towards the left and the right corner, I'm going to add bigger ones, and then I will add some smaller ones as well. Anyway, if you want to add rocks in a similar pattern, you can follow the image here and add them in. Otherwise, you can add them the way you want to. The sketch is almost ready. It's a very basic shape, you're going to put a lot of effort. We can fix the shape later. Now, I'm going to add a line here. On this area, I'll be using a darker tone and for the rest, I'll be using medium and lighter tones. That's how the painting is composed. By using different tonal values. I'm trying to create a depth here. Now, let's start adding the paint. Onto the top, the area I said earlier, I'm going to use indigo and towards the bottom, I'll be using more of turquoise blue and cobalt green. I've taken out some indigo, I will need some turquoise blue as well. I already have some cobalt green so the only color mixing is turquoise blue. I have all the colors ready. We'll be using indigo for the deeper tone, then turquoise blue for the medium tones, and cobalt green for lighter tones. Now to apply the paint, I'm going to use my medium-sized brush. This indigo is really dark, so I'm mixing a little blue with it to make it more bluish, and that's the color I'm using. It's the same thing we tried in the technique section. It's a mix of cerulean blue and a bit of indigo. I just want to turn this indigo into a little more bluish color. Now let's start adding that. That looks really dark so I'm adding a little water. That looks fine. That's the color I'm using, it is a mix of Prussian blue and indigo. Now onto this horizon line, I'm going to add that color. Go for a clean and straight horizon line. Be really careful when you're adding a paint. Try to get a straight line over there. Now I have added a line. I'm adding that paint until the line I have added. See that? Remember I have added a line here. So I'm just following the line. I'm adding the color. Now, I'm going to go with turquoise blue, and I'm going to add that next. Right next to the blue I added earlier, I'm going to apply turquoise blue. Again, the color look really dark. So I'm adding some water and I'm making it a little lighter. That looks really nice, beautiful color. Now, I'm going to pick some cobalt green. I haven't washed off the paint from my brush. So it had some turquoise blue. Using the same brush I'm picking some cobalt green, and I'm filling up the rest. This color is a gorgeous mix-up turquoise blue, and green, that's why the color is not so light. Now maybe we can pick some water and make it lighter. Now as I'm coming towards the bottom, again making the color slightly darker. So let's pick some darker blue, the one I created earlier. Let's add that over here. I think we can also add some turquoise blue to make it a little more interesting. So I'm picking some turquoise blue and adding that over here. I have almost fill up the entire area. I will pick some cobalt green, and I will just add that over here. So you can see here in the background we have a varying tonal value of blue, and that is what makes our sea look more gorgeous. We started out with a darker tone, then we use some turquoise blue and some cobalt green. Then towards the bottom, we again use some turquoise blue and darker blue. So that's all background. It doesn't need to be a clean even blend. It can be really messy and rough. Anyway, we're going to add some waves and splatter white onto this background. So it doesn't really matter whether we have got a clean blend or not. You'll see it look more realistic if you have different tonal values of blue. That's the only thing you need to be concerned about. The rest is totally okay, you can add new paint however you want to. Start with a darker tone. Then you can use a medium tone, then towards the bottom, again, go with a darker tone. I know right now the background is quite messy, but that's okay. We're going to fix it by adding the waves and splatters. So before we go the next step, the background has to dry completely. So let's take a short break and come back when the background is ready. So that has dried. Now we can start painting those rocks. I'm just going to add some brown and some Payne's gray onto these rocks. I'm not going to detail them. Because anyway, as I said earlier, we're going to add some splatters or white and some things onto this. So we're going to put a lot of effort in detailing them it wouldn't really show up. So let's simply add some brown and some Payne's gray onto these rocks. First, I'm starting with this one here. I'm using Payne's gray and I'm just adding that onto the rock. Simply follow the outline you have added and drop in some Payne's gray and some brown. Now, I'm going to pick some brown using the same brush. Now let's add that onto remaining area. We're just trying to create some random texture on the rock. It doesn't need to be detailed. You don't need to put a lot of effort on these. Maybe we can paint the bottom one in a little more detailed way because they are quite huge and they are more closer to us. For these ones, you simply need to add your deeper tones. So carefully fill that, until shape. and some brown and some Payne's gray. Now in a similar way, I'm going to paint the ones on the top as well. We have some small rocks on the top. Maybe you can modify the shape if you want to. So that's the first one. You can see how simply filled up that shape and some brown and Payne's gray. I'm going to do the same thing on the other ones as well. Maybe we can go with this. I'm adding a darker tone not brown. If you have burnt umber, you can use that directly or you can mix a little of black or Payne's gray or indigo with brown to create a darker tone. Now for the bottom, I'm going to add Payne's gray. I'm just filling up that shape. So carefully add your paint along the outline. As we're using a really darker tone, if you want to modify the shape, you could do that. Also if you want to add some more rocks, that is also totally okay. I'm adding a small one here. I will just add some more deeper tones onto this. There is some gap in-between. I will just fill them up and add some deeper tone at the bottom as well. Now using the same color, I'm going to fill those small rocks on the top. For these ones, I'm not using any brown. I'm just filling that in Payne's gray. Again, if you want to add more, you could do that or if you want to modify the shape also, that's totally okay because we're using a darker tone. So it is quite easy to do that. I know at this point you're painting might be looking a little lifeless, but that's okay. When we add those white waves and plateau, everything's going to look a lot better. Now, I'm going to be in this rock here. This one is a huge one. First I'm starting off with brown as a darker tone, and I'm adding that along the outline. We have one more on the top. So first let's paint the first one. Now for the rest of the area, I'm going to go with the darker tone, some Payne's gray. I'm adding that onto the right side. You can also add some little marks on that ground area just to create some texture. So that is my first rock. Now in a similar way, I'm going to be in the other one on the top. As I said earlier, it's a very simple step. We just need some brown and Payne's gray on the rock just to create some texture. There is no particular rule or method that you need to follow here. Again, I'm adding brown onto this one, following that shape, if you want to modify the shape, you could do that as well. Now, onto this, I'm going to drop in some Payne's gray to create some texture. I'm just randomly adding that. There is nothing particular here. So it is just a matter of adding that brown onto the background. Then adding some darker tone using Payne's gray or one damper. Now in a similar way, I'm going to paint the remaining rocks we have on the left side. We have a huge one on the bottom and a smaller one on the top. I'm done with this. Now I'm picking some brown and I'm adding that onto this one. Maybe I will start with the darker tone because I already have that paint. I'm adding that darker tone at the bottom. Now, I'm cleaning my brush and I'm picking some brown and I'm going to fill up the remaining area. So I have darker tone at the bottom and a medium tone of brown on the top. That's it. Now I have a last one on the bottom. First I'm filling up that in brown. Now let's drop in some darker tone. This absolutely, you see there's no particular method at all that you need to follow. You can simply drop in some brown and some paints gray onto all the rocks. So we're done with that. Now we'll have to wait for this to dry completely before we go the next step. 59. Crashing Waves - PART 2: Everything has dried completely. Now comes the best part, we are going to add lots of waves and splatters onto this painting. For that, we can either use white watercolor or white gouache. I would recommend going with white gouache because that is more opaque than watercolor and it will really stay prominent. I'm going to use white watercolor just because I couldn't really find my white gouache too, but if you have gouache, go with that, that is the best option. To apply the paint, I'm going to use my Size 2 round brush. You can use any of those smaller to medium-sized brush. I'm starting off with white watercolor,. A thick and opaque version of white, I'm not adding a lot of water. I also have a paper towel next to me so just in case I want to make the paint dry, I can dab my brush on a paper towel and make it dry. Now, along this line, I'm adding a thick white line to create a wave. Remember, we have created our line here when we added the sketch. Right along that area, I'm adding a thick line. It doesn't need to be a perfect line, it can be an irregular rough line. See that? We're going to add a wave here. This is the main reason why we added darker tone on the top and medium to lighter tones over the bottom. Add a thick line. You can use a dry paint. It can be either gouache or watercolor as I said earlier. Go with that opaque paint, don't add a lot of water. Now, let's add some dry patterns as well. Above that line, I'm adding some dry patterns to make it look better. You paint has to be really opaque, that is a major factor here, otherwise, they won't be prominent. When it dries, it will just fade away. Don't add a lot of water, just few drop is all we need just so that it can pick the paint. Start at the thick white line right above those rocks you have added. This end of section is all about adding white splatters and waves onto your painting to make it look better. Now, I'm adding a small wave on the top as well. It's a dry paint and I'm adding a small irregular, wavy line. Now, I'm dabbing my brush on a paper towel to make it dry again and I'm continuing that line. Also I'm adding some texture on the background. See that? The paint is really dry, that's the reason why I'm getting that dry line. Now, let's add some more paint around the rock. I want to create that there are some waves splashing onto these rocks. I'm adding some paint around the rocks as well. I want this for you to be a really rough and strong one, so I'm adding more white paint over here. You can see it is quite messy right now but that's okay. You can just keep adding some white paint randomly. It's going to look okay by the time we add the second wave. We'll be adding another wave splashing on the rock below this one. By the time we add those white patterns, that is going to look okay. For the background, we simply apply the colors. We didn't really put a lot of effort, it was just a matter of using that different tone and values of blue. Now, when we keep adding these white patterns, your painting is going to look a lot realistic and a lot better. Trust the process and keep going. Over here I have added some lines as well. Now, I'm going to pick some more thick paint and I'm adding the second wave right about this rock. We can see the paint I'm using, it is really thick and opaque. Go with the similar thickness and add some paint around the rock and I'm also adding a line here. Now, I'm going to dab my brush on a paper towel to make the paint dry. I'm using that dry paint, I'm just matching the color. I'm just trying to make it look like there's a wave crashing onto the rock. Keep adding some dry patterns to make it look better. First, you can start with a thick opaque line. Then using the same brush, you can add some dry patterns. Now, we're going to envelope this rock in some white paint to make that they will look much better. I'm adding some more paint on the top. It's a combination of thick paint and dry paint. All you need to do is take some paint on your brush, dab it on a paper towel to make it dry, then just keep rubbing your brush on the paper to create some dry patterns like this. Right now, I'm adding that patterns above the rock to create a feel that the wave was crashing onto this rock. Along that entire shape, you need to create similar pattern. It is just some dry paint, there's nothing complicated here. We just need to keep on adding that dry paint until you feel like you have got a splashy water effect there. Along that entire shape, keep adding that white patterns. I think I can already see a difference here, earlier painting was looking quite plain and flat. We haven't added any details onto the water, now those white patterns are making a real difference. Let's keep going and keep doing the same thing. You can see over here, it is looking really gorgeous. I'm adding some dry patterns on the top as well. This is something that you can just decide on as you go. If you want to add more patterns, you could just do that. It doesn't need to be totally dependent on what I'm doing here, you can keep adding your white patterns how you want to. Just to have an idea in mind that you want your crashing waves to be, and according to that, keep adding your paint. I'm adding one wave here, which is my prominent wave. You can see that area, how beautiful it is looking. Next to this one, we have our new rock toward the left side. I'm just going to extend this wave. First, I'm going to add some thick white paint under this rock here. I'm following that shape and adding some thick white paint. You can see this quite opaque, I haven't add a lot of water. Go to similar consistency, it has to be really prominent. Now, I'm dabbing my brush on a paper towel and I'm going to keep adding those dry patterns onto the surface of the rock to make it look like they're splashing. It's a very simple method. Once you get the idea right, it is really easy to do and you don't need to put a lot of effort here. You can just do that in a very careless way. You can have some music playing on or some movie playing, even then you are not going to lose the track. It's just a matter of having an idea on where you want your waves to be and just adding those dry patterns. This is the brush I'm using, it has a really nice pointed tip. Now, using this brush, I'm going to add some line onto the background as well. I've added a few extra drops of water so it is not too dry. Now using this pointed brush, I'm going to add some lines onto the background, mostly along this area. I'm adding some thin lines in a very random way. There are some wavy, curvy lines. It doesn't have any particular shape or a size, it can be a broken line or a continuous line. Keep adding some lines, they can be however you want to. The paint I'm using here is a medium tone, it is not 100 percent opaque. I don't want them to be too prominent like those crashing waves, I just want to create some texture on the scene, that's the reason why I'm adding these lines. Go with the paint which is not 100 percent opaque and keep adding something delicate lines. Don't make it too opaque and too thick so you have to use a smaller sized brush or a brush with a pointed tip. I think have added enough of lines, now I'm connecting this area. I have to make this area more prominent so I'll be adding more paint and it will make that a more thicker wave. The top area is looking quite nice. We have to continue the scene and finish the entire painting. I'm picking more paint and we'll add some more splashing water here. It's a dry paint now and it is more opaque than earlier and I'm simply rubbing my brush on the paper to create some dry patterns. You can literally see, I'm rubbing and scratching my brush on the paper to create those dry patterns. I don't know if there's another word for this, but that is what I'm doing. If you feel like your paint is watery, dab it on a paper towel, and keep repeating the same step to create more texture. I'm going to continue in a similar way and I'm going to add more paint on this corner and also underneath the other rock. In case if you want to add your waves in a different way, you can do that too. It doesn't need to be exactly the same way how I'm doing it here. You can go with your imagination and adding your wave however you want to. Now as I planned, I'm going to add some paint over here as well. Along with that, just like we did earlier, I will add some lines. Honestly, I don't have any reference in nature or anything in front of me. I'm just adding those paint however I feel like in that particular moment. I'm trying to add some lines and also some texture onto the water here. Then towards the bottom, I think I will add a splashy wave. I'm just adding some random lines onto the water to create a little more texture. Then I think I will add some thick paints underneath this area to give it a little more prominence because it is right at the center and I want this area to be the main feature of my painting. I'm just adding some random lines now. Once I'm done with that, I will add some thick paint and also some dry patterns to make it look more interesting. I'm going to keep adding some lines onto this area at the bottom. Using a thin brush, the lines has to be really thin. That's one thing you have to keep in mind. Other than that, there's no particular rule or method that you need to follow, you can keep adding some random lines. They don't need to have any particular shape or size. If you can make it wavy, that's going to be really nice. It can be a long line or a small line. This area I'm talking about, you can see we have quite a lot of space here. Under this area you can keep adding some thin, delicate lines. Let's do this. I got you an image here. If you have any doubts, you can just add them in a similar way or you can just go in your own way and add them in. [MUSIC] This is how I have progressed. Just keep in mind, they don't need to be 100 percent opaque. You can go with a medium tone of white and keep adding those lines. I hope it is not that difficult. Now, I'm going to add some more lines. Then towards the bottom, I need to add a bigger wave. Well, let's keep going and just keep adding more lines. Right now I'm focusing on the area around this rock. First, I'm adding a thick line using an opaque paint. Now around this, I'm going to add some lines as well using a medium tone. I just dip my brush in little water. Now I'm adding some paint around this rock. Once I'm done with this, I'll be adding a bigger wave at the bottom. Then along with that, I'll also be adding some splatters. Let me quickly finish this up. [MUSIC] I have added enough of lines. You can see how pretty it's turning out. But it looks a little weird at the bottom, so we're going to fix that. Over here, right where I'm adding these lines, I'm going to add a bigger wave. For that, I'm picking more paint. Let's first add a big shape here, then around that, we can keep adding some dry patterns and make it look like they're splashing. Pick a lot of white paint and add a huge shape here. It can overlap on the rock to make it look more natural. You can see it looks really weird. It looks like a patch right now, but that's okay. First add in your paint in a patchy way. Go with an opaque paint. Don't add a lot of water and add a shape. First, add that patch of white. It can be a big patch. I'm going to continue this to the other side as well. I'm picking more paint and I'm making it to more prominent. Once we are done with that patch, we can keep adding more dry patterns to make it look more like a wave. At the beginning, it might look a bit weird, which is actually part of the process. Don't worry about that. Keep adding more white paint onto this bottom area. You can also add some small shapes and small dots using white paint. Or maybe not, we will be adding some splatters here. This can be fixed when we are splattering. As I said, I'm just adding them as I go. I don't have any reference to meet or anything in front of me. Literally, I'm taking the process naturally as it is coming to me. Anyway, the idea is to add a big crashing wave at the bottom. First, we need to start with the shape. You can go with a white opaque paint. Don't add a lot of water, add a big patch, then using dry paint, just match that into the background to make it look more natural. Continue this until you're happy with the shape of your wave. Right now, I'm just rubbing my brush and I'm creating some dry patterns. You can see how beautiful it is looking. It's really looking like a wave right now, earlier it was just a patch. Keep adding that dry patterns. That is what makes it look more natural. You can add more onto the rock as well. So add those dry patterns onto the rock. It has to be dry, that's the main thing. It shouldn't be an opaque watery paint, it has to be opaque dry paint. Once you have taken the paint, you can dab it on a paper towel. Now I'm adding some lines on the background as well. I think this area is looking quite clean. I'm going to add one or two waves here. A small wave, which is not too thick, and it is not too prominent as well. That's the first one. Maybe we can add another one here. That looks fine. I don't want to ruin it by adding a lot of details. Now I'm coming back to the crashing wave, picking more paint and adding that at the bottom. I should have been gone with white gouache into that watercolor, that would have been more prominent. Never mind, I will need to keep adding some more paint to make it look more prominent. That is how it just turned right now. Next, I'm going to splatter some white onto the background to make it look more realistic. It will really look like the water splashing. This tip is going to be a game changer. I have taken paint on one brush. Now I have another brush. Maybe I'll go with a bigger one. [NOISE] Now I'm tapping on my smaller brush to create some splatter. I want most splatters at the bottom, but we have this big wave. I'm focusing on this area and I'm adding more splatters here. Just tap on a brush and create some white splatters. Now, along with that, you can also add some big white dots. Just add some dots and little shapes using white paint to give it more interesting features. That's that. I think it is looking really interesting with those splatters and lots of white texture. Let's add some over here as well. Now, maybe onto this rock, and this one as well. This is a matter of adding that white patterns. You know how boring our painting was looking at earlier when we just had those rocks and that blue background, but right now it looks really different. These white patterns made a lot of difference in our painting. It instantly made our painting look a lot realistic. If you want to add more, keep going and keep adding those white patterns and maybe some more textures if you would want to. I will add some more white dots on the top. I don't want a lot towards the horizon line. Maybe I will just add some patterns, and I think I can call it done. The painting is looking quite interesting to me and I'm really happy with it. I'll just add some more paint to make it look more prominent. Because I have used white watercolor, I'm not really happy with the opacity. As I said, I should have looked for my white gouache. Anyway, no complaints. I'm quite happy with the entire fill up this painting. [NOISE] Now there's one last thing I want to do. For that, I'm picking some Payne's gray. I'm just adding some patterns onto the rock. It's a dry paint and I'm creating some texture. This is just optional. Only if you feel like there are some texture lacking, you can do this. Otherwise, I think we're in a good place. We already have some texture. Only in case if you want to add some more prominent textures, you could do that. Otherwise, you can just call it done. I will quickly add some more texture. Onto this rock, I'm adding some darker patterns. It is just Payne's gray and it's a dry paint, and I'm just adding some texture to make it more interesting I just modify the shape a little. That looks nice. Now, I'm planning to add some tiny rocks using the same paint. This step is also completely optional. Only if you want to do that, you can follow the step. Otherwise, you can call it done. You can see they are quite tiny. I'm using Payne's gray here. Go with a similar size, don't make it too huge. Be really careful not to make it too huge. Go with similar size. If you're applying to make it bigger, you will have to use brown first and then add some texture using Payne's gray. That's last one. I'm quite happy with it, but I'm not really sure whether that was a great idea or not. I think I will need to add some white patterns underneath this, otherwise, it will look quite weird. I will just make this one a little bigger. They both are the same size, so I'm just making it slightly bigger. Now, I'm going to clean my brush. [NOISE] I'm picking some white paint. I'm adding that to the bottom just to let a lot of dry paint underneath all these rocks I have added now. That's it. We're done with our painting for the day. I'm really happy with what it just turned out, especially those textures and those crashing wave. I'm not really happy with the sky. For some reason, I didn't really like the clouds. But I think the [inaudible] of the painting is really nice. Anyway, now it's time to peel off the masking tape and take a closer look at our painting. [MUSIC] Here's our painting for the day. Look at that waves and those texture. I think it has come out really nice. I hope you all loved it. If you haven't tried it yet, do give it a try. I'm very sure you're going to love this painting. That's all for the day. Thanks a lot for joining me. I'll be back soon with our next dreamy landscape. [MUSIC] 60. DAY 21 - Scenic Waterfall: Hello, my dear friends. Welcome to Day 21. Opening for the day is simply a gorgeous waterfall. We'll be using wet-on-wet technique to create that misty field for the waterfall. We'll start with the basic sketch, then we'll paint the waterfall area and after that dries, we will paint the sky part. The waterfalls you see here, it is actually the paper white. We're not going to use any paint for that. Altogether, I feel it's a gorgeous painting to explore wet-on-wet technique. Now without wasting any time, let's have a look at the color palette and the basic techniques. I will start with my favorite blue, the cerulean blue. You can see the lighter tone of blue here. That acetylene blue. You can use any other blue of your choice. We just need a little of that for the sky. That a medium to lighter tone. That is cerulean blue. The next color you will need a sap green. We'll be using a lighter to medium to knock sap green for the background. You can see those trees and landscape in the background. These ones. That's a medium tone. Then for these rocks as well, I'll be using sap green. That's our second color. The next color you will need is indigo. We'll be using indigo mainly for the leaf. You can see those deeper tones that is indigo. Talking about the deeper tones, you will also need Payne's gray you can see that darker tones on the rock, that is Payne's gray. That's our next color. If you don't have Payne's gray, just use black or neutral tint or any similar color. The one I'm using here is from the brand Rembrandt. Now, along with this will also need one more color, which is mainly for the lake. You can see that gorgeous blue here, that is cobalt green. Along with indigo, you will also be using this color. If you don't have cobalt green, you can use turquoise blue. Now there's one more color that you will need, which is leaf green. We spoke about this color earlier as well. It's not a common color. You can see those dry patterns here. To create these dry patterns, I have used leaf green. You can see those patterns on the rock as well as on the waterfall. This color is slightly opaque just because they have used the white pigment. You can see PW6 that is actually white and that is what makes this color slightly opaque. But if you don't have this color that is totally fine. Either you can just add a little white into sap green to create a lighter green which is opaque or if you want a color which is nearly similar to this, you can add a little of sap green to lemon yellow, add a little of white to create a similar color, so that's our last color. That summarize the colors you will need for today's painting. Along with those you'll also need a little or white watercolor, which is for the final details and some highlights. Now before we start to get a better idea, I'm going to quickly show you how you can paint your waterfalls. First, I will start with a pencil sketch. It's a really simple sketch, depending on how you want your waterfall to be, you can add in your sketch. We're just trying to indicate the location. I'm adding irregular line that I'm adding to vertical line, then I'm making continuing that line, adding another vertical line and then again continuing that. Those vertical part is your waterfall. You can see the section here and also this one, so those two are the waterfall, which is where we are going to retain the paper white, will add very little paint over there and we will need a maximum paper white to create that waterfall feel. Now I'm going to grab my one-inch wash brush, and I'm going to apply a coat of water onto the entire rock and waterfall. For now, we're not going to paint the sky, we'll paint that after we're done with the waterfall. Get a clean coat of water onto the entire waterfall area. You just need to follow the outline on the top. For the rest, we can simply fill that up. But on the top, be sure to follow that outline. Don't add any water onto the sky. That is evenly wet, now we can start dropping the paint onto this wet background. For that, I'm going to use a medium sized round brush. You have to make sure your brush's clean. There shouldn't be any paint stain on it and also keep a paper towel next to you because we are going to work with the paint which is not too watery. There will be chances when you have to dab your brush on a paper towel. Clean your brush thoroughly, make sure that it's clean. There's no paint stains on it. Now, we're going to start off with a lighter tone of indigo. I already have some indigo on my palette. I'm adding a few drops of water and I'm turning that into a lighter tone. Now, pick that paint, dab your brush on a paper towel to remove the excess amount of water. Now, using that paint, that looks really dark. I'm dabbing my brush again and I'm making it lighter. Go the medium to lighter tone. Dab it on a paper towel, if you feel like your paint is watery. Then keep adding some random lines onto the area that you have your waterfall. You just need to add few lines. The method of the area should be your paper white. Similarly, do the same thing on the other section as well. You can see the color I'm using and you can also see how I have written those paper white. Now I'm going to switch to Payne's gray. I'm using a really dark tone and I'm adding them onto these rocks we have in-between. You can see the color I'm using. It is quite dark. Start with that on the top. As you're coming down, you can make it lighter. Because at the bottom you will have towards water splashing. The color will be slightly lighter. Also don't use the watery paint. It feel like your paint is too watery, dab it on a paper towel. If it's still watery, it will start spreading into the background and you wouldn't be able to control the way it's spreading. Go to pain which is not too watery. You can see here on the top I have used a darker tone and as I'm coming down, I have made it lighter. Now I'm dabbing that on a paper towel and using the same paint, I'm adding some lines on the waterfall to make that transient look much more smoother. The I'm simply smoothening this area to give it a better transition and you can see that lighter tones at the bottom and darker tones on the top. Now, I'll do the same background. I'm going to drop in some sap green. We're just trying to create a texture here so pick a bold and vibrant, don't off sap green and apply that onto the same here where you have applied paints gray and create some texture. Now let's do the same thing on the other sections as well. See that by doing this, it will have a more natural feel to it. Now when you're adding green as well, you have to make sure not use much deeper tones and darker tones towards the bottom. You have to make the bottom part lighter. Clean your brush and make it lighter as you go towards the bottom, we need to create a splashy water feel there. Dab your brush on a paper towel and using a clean, damp brush, just match the color when you're over here. That's how it has turned out. I think I can make the topic more darker. I'm dropping in some more Payne's gray on this area. Only on the top. It doesn't need to be a clean, smooth blend. It can be rough and messy because we are trying to create some texture here, some rocky texture, so it can be absolutely messy. There's no problem in that. That's a rock and the waterfall part. Now we can paint the lake, which is again wet-on-wet technique. I think that area has dried. First, I'm going to pick some clean water and I'm applying that at the bottom. If the bottom is too wet, you don't need to do this. Only if it has dried you can apply, could have water again. Now, I'm starting out with indigo. A medium tone. Start with a medium or lighter tone, then we can make it darker as you progress. Now the only thing you need to keep in mind is not to add any paint closer to the waterfall, which is really, really important. If you use darker values here, you wouldn't be able to create that misty field for the waterfall, so be really careful when you're applying paint over this area. It has to be really light. Go with the similar tonal value. Now, I'm going to pick a little more darker value of indigo, and I'm going to apply that onto either side. But I'm not adding any paint at the center where I have the waterfall. I want to retain that lighter tones. Over here I don't have any space left. Actually, I wanted to add some cobalt green as well, but never mind, I think I will just add some water to the same background. But the main point is making this area lighter. Once you have added your paint in, you can just match that area using a wet brush. Once you have added your paint clean your brush thoroughly, and dab it on a paper towel. Then using that clean damp brush, just match the paint to make it look smoother. When you have a larger area to play around, it'll be really easy. Right now, I don't have a lot of space here. Also my background is not too wet. Anyway, I'm going to pick some cobalt green and I'm going to add that over the bottom, still a little here. You can see my painting here on that against the quadrant of integral and cobalt green. Right now, I don't have a lot of space here. Considering the space I have here, I'm adding a little bit of cobalt green at the bottom just to show you how gorgeous that colors are looking. Now using a clean, damp brush, I'm going to match this area to make it look softer. Right here, I'm not going to add any rocks or anything on to the lake but on the painting we will be adding some huge rocks, so that will make it even more better. All the weirdness can be covered with that. Right now when you're doing this exercise, the only thing we need to keep in mind is the rating that people want. Now you have your waterfall and also where the waterfall is hitting the lake. That's a major thing you need to keep in mind before we start with our project. Now using a clean brush, I'm just matching this area. You can see the difference here already. But right now, I'm not going to add in a rock as I said earlier. When we add those elements, it will look even more better. For now, this is all we need. You can see those varying tones and also those rocks. Those are the things going to make your painting look more better. Now the background layer has dried. Now on to this to make it look more realistic and more natural, we need to add some more texture. Right now it looks quiet place and quite lifeless. Now, to change that, we're going to add some dry patterns onto those rocky structure. To add those textures, we'll be using dry paint. Pick some paint on your brush. Right now I have leaf green on my brush and dab that on a paper towel. I'm just adding some dry patterns onto these structures. It doesn't need to have any particular size or shape. Simply, scratch your dry brush on that background to create some texture. Now, I'm adding the same using Payne's gray. You can use Payne's gray, sap green and leaf green to add those textures. Anyway, we just need some texture on the background. It doesn't need to be any particular way. The only thing to keep in mind is to go with dry paint. Once you have taken paint on your brush, remember to dab that on a paper towel and just keep on adding some dry patterns to give it more life and character. Now using the same, I'm adding some dry patterns on the waterfall as well just to create that continuation. You can see those lines are badly [inaudible]. They don't need to be too prominent and be sure to use a dry paint. That is where we have reached. We'll be using the same method to paint our class project as well. But again, see that rocks are a huge element. The rocks on the leak. That's something which will add a lot of quality and character to a painting. They are quite easy to add. We can try them and we are painting our class project. I'm not going to show them right now. For the rest, we are going to use the same technique. We'll first add the sketch. Then we will be painting the paper white where we had the waterfall. Over there we will just add some lines using a lighter tone of indigo. Then for the rest of the area for that rocky structure, we'll use darker tone of Payne's gray and asphalt green, and as we're coming down, we'll make the color lighter to create that misty field for the waterfall. For the lake's film, where it is closer to the waterfall, we'll add lighter tones over there towards the bottom. We'll make the color more intense and vibrant. I hope the idea is clear. Now, I will go paint in the sky asphalt. For that I'm using a lighter tone of cerulean blue. Am simply applying that paint onto the entire sky. You can try with a medium tone and as you're coming down, you can make it lighter. You don't need to apply any water. You can simply apply your paint directly onto the background. I'm making this area lighter, again to create that misty view. On the top we have a medium tone and towards the bottom, I have made it lighter. Now, I'm picking some sap green. I'm going to add that onto either side. You can see the tonal value I'm using here. It is a medium tone. Don't go to a darker tone. Simply drop in that paint onto either side. You don't need to wash your brush when you're switching from blue to green, you can use your brush directly. I want to create a blurry field for this landscape here because I want to make it look like they're quite far. That's the reason why I'm dropping that green on the wet background. Now to make it some more interesting, you can add some darker tones on either side. By darker tone I mean the color has to be slightly darker than the color we used earlier. It shouldn't be too intense. You can see the tonal values I'm using here go to similar tonal value. That the sky and the trees in the background. That's some lighter color palette and the necessary techniques you need for today's painting. We're going to use the exact same technique for our class project as well. As I mentioned earlier, we will be adding some extra rocks on the water. That's only difference. I would love to be adding some deeper tones. You can see those rocks and those texture on the water. That is something which we will add on our class project. Other than that, it's going to be the exact same technique. Try the technique and understand how you can retain those paper white and how you can control the way the paint is spreading. Join me the next section. Let's give it a try. 61. Scenic Waterfall - PART 1: Here we are. We already had a look at the color palette and necessity techniques. Now we can start right away. First I'm going to add a pencil sketch which is a simple sketch, you just need to add those basic lines defining the shape and the size of the waterfall. I'm making the site higher. Now from here, I'm just adding some random vertical lines just to indicate the waterfall. That's the first one. Now I'm going to continue this line and I'm going to add a second waterfall. This side is a little lower than the other side. Now I'm continuing that line. It's a really simple, basic sketch. I'm just indicating the location of the waterfall. Now I'm going to add a few rocks in the water. Maybe we can extend this line. Then this is where the water is falling. I'll just roughly indicate those area. Now I'm going to add a few rocks. I'm planning to add two rocks on the right side and maybe one on the left. I'm going to add the first one over here. This one is pretty huge. Now a smaller one right right to that. Now I'm going to add another one on the left side. You can go with any size and any shape and if you want to add more rocks you could do that too. That's my next rock. On the left side, I'm planning to add only one. I have gone with different sizes. That's our sketch. It's a very simple sketch. There is nothing much complicated here. We already had a deeper look at the color palette and the techniques. I think now we can start painting right away. First step is to apply clean cooler water onto the entire rocks and waterfall. For that, I'm using my one-inch brush-ish and I'm picking some clean water and I'm applying that along the outline here. I'm not adding any water onto the sky. Just the same way have you tried the technique section, I will first paint the waterfall and the lake. Then we can start painting the sky. Apply an even coat of water onto the entire rock and waterfall. You can apply that on top of the rocks as well. We show the coat water is even, we don't need any pools of water. Keep running your brush multiple times. Now, I'm going to switch to my size Number 8 round brush. Make sure your brush is clean. Now I'm starting off with a lighter tone of indigo, a really light tone. My palette is really messy. I'm not really sure which one is indigo. I've noticed the color I picked was Prussian blue. Anyway, now I located indigo. It has some green on it. You will go with a lighter tone of indigo. That's the color I'm using. It's a lighter tone. Now, tap your brush on a paper towel before you start adding paint onto your paper, your paint shouldn't be watery. Pick your paint, dab it on a paper towel so that you have a dry paint on your brush. It is not too watery. Now, just a way how we added those pencil lines, we can keep adding some lines using a lighter tone of indigo, to some random lines. Use some gap in between so that we have some purple white. Similarly, we have to add some lines on the other side as well. Leave enough of paper white in-between. Don't fill up the entire area. Just add some random vertical lines using a lighter tone of indigo, leaving some gap in between. Now using the same brush, I'm going to pick some Payne's gray and I'm adding that onto the rocks here. Your background is watery. Just add that onto the background. Again, don't go to the watery paint. Go with a slightly dry paint. If your paint is too watery, it will start spreading into the background in a very vigorous way. It will be really difficult to control the rate of spreading. Go to paint which is not too watery and apply that onto the background. See that? Now towards the bottom you have to make it slightly lighter. On the top, you can use a darker tone. Maybe using the same color, you can add some lines onto the waterfall as well. Always remember to dab your brush on a paper towel if you feel like it is watery and if it's spreading a lot. Now keep adding more lines and more pain. The only thing we need to keep in mind is to have a darker tone on the top and a lighter tone at the top where we are approaching the lake. Now I'm cleaning my brush and using a clean brush I'm just making this area lighter. That's the first step. Now onto the same media. I'm going to drop in some sap green. In a similar way how we tried in the technique section. That's ready. Now I'm going to pick some sap green and I'm going to apply that on top of this to create some greenish tones. This way it will look more natural and earthy. By adding green, you're trying to indicate there are some plants or some moss on that rocks. But if you want that rocky feel, if you just want to use Payne's gray, that is totally okay. Now I'm adding some darker tone on the top. You can see here as I'm coming towards the bottom, I'm not adding a lot of paint. We want to create an effect of water splashing. Now I'm pressing my brush and I'm dabbing that to our paper towel. I'm just adding some more lines to make that transition more smoother. See that? Simply add some lines using a damp brush. You just need to pick the paint on the background. You don't need to pick any new paint. If you feel like there is a lot of paint on your brush, dab it on a paper towel and keep repeating the same step. I'm happy with the way it is progressing. I think I will just add some paint over here onto the bottom area. I'm bringing a little off-indigo, a lighter tone. I'm adding that over here onto this bottom part. You can see it's a lighter tone. It's not too dark. That's the first step. Now we can start painting the lake. My background has dried, so I think we'll need to apply a coat of water. For that and switching back to my one-inch brush and I'm applying a coat of water only onto the lake part. We just need a gentle coat of water. Don't add a lot of water. That is evenly wet. Now, I'm going to start applying paint onto the background. Just like we discussed we'll be using indigo as well as cobalt green for the background. You can use any of your medium-sized round brush. I'm using a size Number 8 round brush. I'm starting off with indigo. The only thing you need to keep in mind is try to leave some paper white where you have the waterfall. For the rest of the area, you can go with medium to darker tones. I'm starting by applying the paint underneath these rocks and also around them. But I'm not adding any paint where the waterfall as hitting the lake. You can see they haven't applied any paint over there. Now I'm cleaning my brush, I'm just merge that into the background. Try not to add much paint where you have the waterfall. That is something you need to keep in mind. Make your background wet, apply indigo underneath the rocks, then clean your brush properly and smudge the paint right where you have the waterfall. We want lighter tones here or maybe the paper white as it is. That area is done, you can see how I'm smudging the color. I want bare minimum paint over here, I want that paper white to be visible. Now for the rest of the area, I'm going to apply indigo. Towards the bottom, I'm going to switch to cobalt green. Let's add some more indigo. Now for the rest, I'm picking some cobalt green. If you don't have cobalt green just use turquoise blue. Look at that. Just apply that and blend it with indigo. It doesn't need to be clean blend, you can just apply your paint and let that spread into each other. You can see how it has turned out here. We have a lighter tone around that waterfall and for the rest we have used a medium to darker tones. Now, I'm dabbing my brush on a paper towel and I'm just running that back and forth to make it a better blend. Also, we can drop in some darker tones underneath the rocks. Maybe the pencil sketch might not be really simple but I think you can assume that it is going to be. Just add some deeper tone where the rocks are going to be. Using a clean brush just merge that into the background. In case if you want to add more deeper tones, you could do that too. In case you feel like there's a lot of cobalt green in your background. Just add that into the background to even it out. I think we can pick a little more darker value of indigo and add that underneath the rocks. Right now those darker tones are not really visible. I'm squeezing out some more paint. I'm using indigo from Sennelier, it's a gorgeous blueish indigo. I've taken out some paint, now I'm using a darker tone and I'm adding that right underneath the rocks. I think this color is better, so I'm just adding a little around the rocks as well. The bottom part is still wet but the background has dried, so I'm not adding any paint over there. I will just add them at the bottom where it is still wet. The rest of it I think we can fix when we're painting the rock. For now, I'm just adding some deeper tone underneath a rock. I will add some paint onto these corners as well, there are some paint missing here. If your background is still wet you can keep adding more paint onto the corner, you can make them darker. But the idea is to leave some whiter space where you have the waterfall, don't add any paint over there. That area needs to be lighter. For the rest you can add the medium tones to a deeper tones according to your choice. I think this looks fine for now, the rest of it we can fix when we are adding the rock. We can add an extra rock or we can make it bigger to hide out the weird areas. Anyway, I'll just add some more lines on the lake and leave this for drying. I'm pretty happy with it. The only thing I want to fix is this area, there's a strong line here. Using a clean brush, I'm just merging the color here. That is set. I'm really happy with this area. We have lots of lighter tones here and we have some medium tones and deeper tones at the bottom. Before this dries I think I've let some more lines using darker to enough indigo underneath the rocks to make it look more prominent, so that we don't need to add any deflections later. Only on either side, I'm just adding some more lines using a darker tone of indigo. I think that looks good for now, I'm pretty happy with it. Now we can do this for drying. The background has dried completely, now we can paint the sky and we can finish out the base layer. For that, I'm using my biggest [inaudible] brush and I'm picking a lighter tone off sadolin blue. It's a really light tone and I'm going to add that onto the entire sky. Towards the bottom, I'm making it a little lighter. We just picked some water and make it lighter as you're approaching the waterfall. Be sure not to use the watery paint and don't add any paint onto the waterfall. We don't want this to smudge so Be really careful when you're applying paint closer to the waterfall. Now onto either side, I'm going to drop in some green onto the same background. I'm picking some sap green. I'm just adding that onto the wet background. I just want to create some green color into background. I'm trying to make it look like this one is really far. I'm not going to put a lot of effort here, I'm simply dropping in that medium tone of green onto the wet blue background. Now I'm picking some more blue, mixing that with green and I'm adding that onto either corner. Just a little. Now I think I'll switch back to sap green. I'll clean my brush, dab it on a paper towel. Now I'm picking some sap green again, a medium tone, and I'm adding some random patterns on either side to make it look like there are some trees or plants or some leaves here. I'm not adding them at the center, I'm adding them only on either side. Keep adding those teeny-tiny patterns onto the wet background. If you feel like your paint is too watery, dab it on a paper towel and keep adding them. We want a blurry field here, they don't need to be too prominent. Don't use a darker paint, go with the medium to lighter tone. We just want to create there some trees or some plants in the background. It doesn't need to be too prominent until we tilt. There are some paint missing here. Carefully adding some paint along the outline and a little on the side as well. That's the background. Now, just in case if you want to add some more deeper tones, you can add that only onto the corners, don't add them closer to the waterfall. I'm pretty happy with the tone and values and effect I have got here. Over here, I've used a lighter tone, and only onto the corners I have used a medium tone. I think I really can feel adept here. That's the sky and the landscape in the background. If you want to add some more details, you could do that. Maybe you can add some branches and some leaves. I'm happy with this and I have no plans to add more details. I'm going to leave this for drying. 62. Scenic Waterfall - PART 2: The background has dried completely. Now we can start painting the rocks. For that, I'm using my size number six round brush. You can use any of your smaller to medium-sized brush. For the base layer, I'll be using mostly darker tones so I'm mixing a little of sap green with Payne's gray to create a darker green. That's a color I'm going to use for the rock mostly. It's a darker tone. It's a mix of Payne's gray and sap green. That's the color. It is quite dark. You see that? If you use lighter and medium tones for the background later when we add the final details, it won't be visible so you can go with a darker tone. This is the mix of Payne's gray and sap green. You can either use Payne's gray and sap green or you can just mix some indigo into sap green. Now I'm giving it a proper shape and similarly, I'm going to paint the other two rocks as well. We have one more here, a smaller one. Then on the other side we have a bigger one. We can give it the proportion when we add the final details, or we can simply apply the darker tone onto the entire rock. The right side is done. We have one more on the left side. I'm going to paint that too in a similar way. I already have some darker tone on my brush. I'm adding that at the bottom. Now towards the top, maybe I will use some sap green to make it a little lighter. In a similar way, apply paint onto all the rocks you have in your painting. The base layer is ready. I'm just planning to change the shape of this one, I'm making it a more rounded shape. That's done. Now, our next task is to add more lighter tones on to this, to give some highlights. For that, I'm going to use leaf green, as I mentioned in the technique section. I'm squeezing some paint onto my palette. I'm not going to add a lot of water. I will just add one or two drop just so that I can pick the paint. Now, I'm going to add that around the top portion of all the rocks here. See that? Just add that along the outer shape to give it some highlights, we'll be adding some dry pattern to the end. For now, this is all we need so keep adding some lighter green along the outer sheet and then some mustache into the background. Now I'm going to go the second one, leaf green is not a common color. If you don't have it, there's nothing to worry. You can just create lighter green similar to this by adding some sap green into lemon yellow. Then to make it opaque, you can add some white watercolor. Now using that color, you can keep adding your highlights. Add that paint around the outer shape, then smudge that into the background so that it won't be too prominent. The side is done. Now, I'm going to do the same thing on the other rock as well. That's done too, you can see how it has turned out. It is looking really beautiful. I think when we added those lighter tones it has a multidimensional field to it. It doesn't look flat. Now let that dry. Meanwhile, we can add some texture onto the waterfall area, that is also looking quite flat. To make it look more realistic and more interesting, we need to add some try patterns onto those rocky structures as well. That's our next task. I will start with this one. First, I'm picking some sap green. Now I'm damping my brush on a paper towel to make the paint dry and using that dry paint, I'm adding some texture. See that? Simply add some dry textures onto that rocky structure. You can use sap green, leaf green, and also pain green to add more deeper tones. That was sap green. Now I'm going to pick some Payne's gray and I'm going to do the same. You can see the difference already. This one is looking a lot more realistic than the other two. In a similar way, you can keep adding dry patterns using different tonal values of green and Payne's gray. If you add more textures and more patterns, it will look a lot more realistic. Keep going and keep adding more patterns using a dry paint. Remember to dry your brush on a paper towel every time you pick paint, otherwise you will end up adding more prominent patterns. You just want some dry patterns here to make it look more like a rocky structure. Now I'm picking some leaf green and using that color as well, I'm going to add some dry patterns. You see that? You can see how beautiful it has turned with all those different tonal values of greens and Payne's gray. Now as you add those, you can add some dry lines on to waterfall as well just to make that transition look more beautiful. You don't need to add a lot, right next to that rocky structure, you can add some dry lines. For this technique, there is no limit. You can keep adding more patterns until you're happy with your result. I'm picking some more sap green. I'm adding that over here. Keep adding those textures until you feel like you have got enough of patterns there and you're happy with the result. That's a full side. Now, I have two more to go. In a similar way, I'm going to add patterns onto the other two sections as well. This one is also nearly done. Now using the same brush and the dry paint, I'm going to add some lines to the waterfall as well just to create that continuation. Now we have one more left. I'm picking some leaf green and I'm adding some dry patterns onto it. Similarly, you can add some patterns to Payne's gray and sap green as well depending on how intense you want your patterns to be. These patterns are really easy to add. It is just that your paint shouldn't have a lot of water. If you feel like there's a lot of water, dab it on a paper towel, and then keep adding your patterns. The best part is you can keep adding them, there is no particular size or particular shape for it. You can just keep on adding those dry patterns. That is done. Now, we're going to add the final details onto these rocks as well. Again, we're going to add some dry patterns and picking a really dark tone of Payne's gray, and first I'm adding that around this rock. It's just some simple dry patterns. We just need to add them onto the surface of these rocks. So pick your paint, dab it on a paper towel. If you feel like your paint is watery and using some dry paint, keep adding some patterns. See that, it is looking a lot better than earlier. Similarly, we need to add patterns onto the other two rocks as well. We don't need a lot of patterns, just add a few here and there. I'm already happy with the result. You can see how beautiful it has turned out. So that task is also done. Now I'm going to clean my brush and I'm going to switch to white watercolor. You can either use white watercolor or white gouache. Now we're going to add some final details onto the water, as well as for the waterfall. Squeeze out some white watercolor or white gouache onto your palette. Now to add these details I'm going to use the smaller-sized brush. This is the brush I'm using, this is a size number two round brush. I would recommend going with the brush that has a pointed tip because we're going to add some delicate lines onto the water. Now add few drops of water just so that it can pick the paint, don't make it too watery. Now using this paint, I'm going to add some lines onto the lake underneath the rocks. They have to be really thin and delicate. It is good to go with the brush that has a pointed tip or any of your smaller-sized brush. Don't use your bigger brush. We don't want them to be too bold and thick. I think for start we'll add those white patterns on the rocky structure as well as in the waterfall. Then I will come to the lake so that I will actually smudge the color. Now, just in case if you couldn't do it in a lot of white, if you feel like there's a lot of lines on your waterfall, you can hide them all using white paint. So that is the first thing you can do using white watercolor or white gouache. Then along with that, you can also add some lines onto the green and Payne's gray area. I mean, this rocky area. See that? By adding these lines were trying to show there are some small streaks of waterfall there. You just need to add one or two lines like this using a dry paint. See that? Add them in a similar way. These are some very simple details, but they will add a lot of quality to your painting, so never skip them. You can see the difference between the right side and the left side. The right side is looking a lot better than the left just because of that white lines. In a similar way, let's add some dry broken line onto the other side as well. It doesn't need to be a continuous line and doesn't need to be a prominent thick line. Just add a simple broken line using a dry paint like this. You can add one or two, that is totally up to you, or maybe more. Now similarly, I'm going to add one or two onto the other side as well. But that will be done with the waterfall part. I think those white lines made a lot of difference. Everything's looking so good right now. The waterfall part is done. Now we need to add some final details onto the lake as well. Now following the shape of these rocks, I'm going to add some random lines. See that? They have to be really thin and delicate. So go the brush that has a pointed tip or any of your detailing brush, don't make them too thick and bold. Just add some random wavy curvy lines on the water around these strokes. See that? So simply run your brush in a curvy way and add some random lines. We're going to add these white lines only where we have these rocks. Start with the shape of the rock. Add some curvy line around them. Then along with that, you can also add some simple lines. Simply extend them into the water in a curvy way. You can see the thickness of the line. They are quite thin, go in a similar way, don't make them too prominent. Now let's add some over here as well. We're just trying to create some more extra movement in the water by adding these lines. How you want to add them, you could add them. There is no particular way. The major thing is to add them underneath these rocks. Then you can add some in the background as well. So keep adding them. The only thing is there has to be really delicate. Don't make them too prominent and bold. So go with the brush that has a pointed tip or any of your smaller-sized brush, so that you will get them in the right size. I think now you can really see that movement of the water, although it is quite flat. I think we can add some more lines, maybe few in the background and also in the foreground. Keep adding them until you feel like you've got a beautiful result. They're just some random curvy, wavy lines. There is no particular shape or size that you need to follow. You can simply keep on adding them. Now I'm thinking to add a little around this rock just to create some splashy water there. Around that rock I'm making it a little more prominent. Just over here. I'm quite happy with the rest. I just want to create a feel that there is some water hitting on these rocks. I'll just add some white paint here to make it a little more prominent. Maybe I will add some more lines into the background. So just add them in until you feel like you're happy with the result. That is done, that is all white patterns. Now, before I call it done, there's one last thing I want to do. I'm just washing out the paint from my brush. I'm picking some leaf green. I'm adding some highlights onto the rocks. First, I'll fix this. There's some white paint on this rock, so I'll fix that shape first. Using the same paint, I'm adding some dry patterns onto the rock. This time it is much more prominent because the background has dried completely. Early when I added, it was not dry, so that wasn't really prominent. Now we can really see the difference. That is it, we are done with our painting for the day. Now, I'm going to peel off the masking tape and I will show you a closer look of the painting. That's our painting for the day. It is actually an easy waterfall. Once you get an idea on how to retain that people white and how to handle your paint, you will be easily able to create this. In case if you don't get it right in the first try, there is nothing to worry. Give it another go. It is just a matter of getting that water contour right, and that comes to you with practice. That's all for today. I hope you all enjoyed today's waterfall. Thanks a lot for joining me. I'll be back here soon with our next dreamy landscape. 63. DAY 22 Aurora Borealis: Hello my dear friends, welcome to Day 22. Our painting for the day is a beautiful Aurora Borealis with the Sequoia tree. I really love the tree more than the sky, especially the tree trunk. Now let's take a look at the colors you will need. It is actually a very simple painting. We'll be pouring the paint onto wet paper and we'll be just tilting and turning it around to create that beautiful blend, which means you shouldn't be fixing your paper onto your table today, but you should be fixing that onto a new drawing board. This one is actually a backing board of my Arches paper and I have applied a piece of wallpaper onto it. That is the board I'm using. It the same thing that you see on my table. I'll be fixing my paper onto this small board so that you can tilt and turn it around to create a coleus blend. This drawing board or any kind of backing board is one of the major thing you need for today's painting. The colors you can go with any colors of your choice, but you will really need this to create that gorgeous natural blend. Now I think we can take a look at the colors. For the sky I will be using four colors, I will need a lighter tone, a medium tone, and a darker tone. The color you see here that is cobalt green, that is the first color, then right next to that, the color you see here is turquoise blue. You can see that on the top and the bottom. Finally, you will need some violet and some indigo. I'm going to start with cobalt green. The one I'm going to use is from the brand, Mijello Mission. I have some paint leftover here. That's the color. It's a gorgeous color to use for Aurora Borealis and northern lights. This is the one. I love this color. Now the next one is turquoise blue. This one is from White Nights, again, another favorite color of mine. That's our next color. For today's painting, you will need some extra paint because we are going to pour in wet paint onto a wet background. We'll be applying a generous amount of water onto the anterior background first then we will add in the watery paint. That is turquoise blue. If you want to go with a different color combination, that is totally okay. You don't need to follow the same colors. You can go with a different color of your choice. The next one is violet. This one is also from White Nights. I love using these three colors together in my northern lights. Now to make it a little deeper on the top, I'll be using some indigo. This is optional, only if you want to make that top area a little more darker. Those are the four colors I'll be using for the sky. You can skip one or you can add one, that's totally your choice. Now along with these colors, you will also need some white watercolor or gouache to add the stars onto the sky. I'll be using white watercolor, but it can be either white gouache or white watercolor. The next color you will need is brown and Payne's gray, which is the color I'll be using for the tree trunk. If you don't have brown, you can use brown sienna. That is our next color. I already have some brown on my palette. For the tree we will be applying a medium tone towards the left side, and towards the right side we'll be applying a darker tone. For this we will be mixing some Payne's gray and brown to create that darker tone. If you have burnt umber, you can use that directly, you don't need to mix and create a darker brown. Our next color is Payne's gray. The next set of colors you will need are the greens. You can see the foliage of the tree. I'll be using a sap green, leaf green, and some Payne's gray. You can see the lighter tone here that is leaf green. Then the medium tone is sap green and the darker tone is Payne's gray. I'm going to swatch out those colors as well. I will start with the leaf green, which is not a really common color. In case if you don't have this color, you can just mix some sap green into lemon yellow to create a lighter green. This one has a slightly opaque quality, which we already discussed in the previous painting. If you want to turn your color into a little opaque, you can add some white watercolor or white gouache into it, or you can simply use that light green as it is. Our next color, sap green, which is a common color, and I'm guessing you all have it. For the foliage we'll be using leaf green, sap green, and also some Payne's gray. You can see those deeper tones, that is Payne's gray. Here's a closer look on the foliage and you can see those different tonal values of cream. That summarizes the colors you will need for today's painting. Now there are two things I want to talk about before we start. One is applying your paper onto a board, which is really, really important. The next thing is we will need to preserve the area where you have the tree. For that, I'll be using a masking tape. I'll be applying masking tape onto the paper and I'll place the paper wide. You can either use a masking tape or you can use masking fluid, which will be the one that you prefer. First we will add the sketch, then onto that we'll be applying the masking tape. It's a very simple shape, it's not a complicated shape. Masking tape will really work, but if you want to use masking fluid and that is what you're more comfortable with, you can go with that. We will have to preserve the paper white over here. We'll first paint the sky, then once that dries, we will peel off the masking tape and paint the tree. That's all about the technique and the color palette. We really don't need to try out any techniques for today's painting. It is really, really simple. It's just a matter of adding that wet paint onto the wet background and tilting and turning your paper around to create a gorgeous blend. Then the tree is really simple, which you will see in some time. Now it's time to give it a try. 64. Aurora Borealis - PART 1: All right, so I'm going to start by adding the sketch, which is just two lines, and that is your sequoia tree. It's going to be a huge screen. That's the first line. Honestly, I think I don't really need to add this case. I can just take a masking tape and add the sketch on top of it, then cut it and paste it back. I'm going to grab my masking tape. I'm going to apply that onto my people. I think this is the easiest way rather than adding the sketch. That's my masking tape. I'm applying that onto my paper right where I need the sequoia tree. Then I will add my sketch on top of this. Don't put a lot of pressure right now just place it. Now add a line on the top, an inclined line. I'm not going to continue that till the bottom. I want the tree to be wider on the top compared to the top. I have to start with a line only on one side, and I have added my masking tape in an inclined way. Now I'm going to pull off the masking tape. Be very gentle. Now, I'm going to cut this piece. It is just a small piece that I need to cut off. You see that? I'm just going to cut that with my scissors and I will place it back on my paper. This is an easy method. It is not that complicated. It is a steady need to cut that off and you need to place it back. But in case if you prefer using masking fluid, you could do that. There is no problem just adding a line and apply masking fluid on top of that entire shape and preserve that paper white. Or whenever the area that I need to preserve a regular shape, then it is not that complicated, I always use masking tape. That's the shape. Now, I'm going to stick that back. I have only cut one side. The other side is still a straight line. On the top, I want the shape to be little tapering, and at the bottom, I want it to be slightly wider so that's our sequoia tree. Now, we can put some pressure on the paper just to be sure there's no gaps in-between. Just run your fingers or a ruler on top of it to secure it properly. Now, I'm going to squeeze out the colors onto my palette. I'm starting with indigo. As I mentioned earlier, I'll be using four colors for the sky. The first one is indigo then you will need violet, then some turquoise blue and cobalt green. I'm going to quickly squeeze them out onto my palette. The indigo I'm using here is from Sennelier. Now the next color is violet, this one is from White Nights. You can use any violet have caught. That's our second color. Now you will need turquoise blue, which is again from White Nights, and finally, you'll need cobalt green. This one is from Mijello mission, and I love this color. There is this color which will add that illuminating and glowing feel for our sky. The rest of the colors we're going to use are quite bright and vibrant. It's only this color which has that glowing feel. The colors are ready and we have our whole ready as well. I'm assuming you guys have fixed your paper onto a board and not your table. Because we need to tilt and turn around our paper to create a beautiful natural plant. This is really important for today's painting. Now, I'm going to start by applying a generous amount of water onto the entail background. I'm dropping in some water. It is not like the other paintings we have done. You can have some extra water on your background. Keep adding a generous amount of water onto your entire background. I'm applying my water above that tree as well because we have secured it with a masking tape, and once we are done with the background, when we peel that off, you will have the all paper white. If you are masking fluid, you will have to wait for some time for that to dry. Maybe an hour or two. Apply your clean cold water onto the anterior background. You have to make sure that what it has reached everywhere. Now we can start painting. The first color I'm going to add onto the background is cobalt green, and for that, I'm using a medium sized round brush. I'm cleaning it properly and I'm adding a few drops of water, and I'm turning this color into a watery consistency. So you can go in any order you can apply a paint how you want to. I'm thinking of adding this paint at the center. Then right next to that, I'm thinking of adding turquoise blue, and then violet, then some indigo on the top. That is what I have planned. I'm adding an intense turn off cobalt green at the center in a curvy way. Now I'm going to switch to my second color, which is turquoise blue. Clean your brush properly. Go with your second color. Just like I did earlier, I'm adding few drops of water and I'm turning this into a watery consistency, and I'm adding that right next to cobalt green. You can see the paint is little watery. This one is turquoise blue from White Nights. See that. It's a bit watery. I'm adding that to the bottom as well. You can add in how much paint you want and it can make it as intense as you want. Now I'm again washing off the painting and I'm going with my third color, which is violet, and I'm adding that on the top as well as on the bottom right next to turquoise blue. Again, you can go with an intense tone or a medium tone according to what you prefer. Now, you don't need to put a lot of effort in blending them, which we can do by tilting and turning the paper. First before the background dries. You focus has to be on applying the paint onto the background. Now I'm picking some indigo and I'm applying that on the top. Let's add paint onto the entire background first. Now we can start tilting and turning the paper. Because we have applied paint onto the entire background. You can tilt and turn around in any direction. See that you can see the paint floating down. Keep doing this until you feel like you have got a beautiful natural blend. I'm planning to add some more violet onto the background. I'm picking my brush and I'm picking some more violet. Now I'm adding that onto the background. That's on the top. Maybe I will add some at them at the bottom as well. Now I'm going to again tilt and turn my paper to make it a better blend. Only if you want to make the colors more intense, you can drop in more paint. Otherwise, you can just tilt your paper and blend the colors which you already have on your background. You don't need to make them more intense. I'm tilting that upside down right now. You can do that in every direction to get the best blend. I'm thinking to add some more turquoise blue. What I'm doing right now is completely optional. If you're already happy with the colors, you don't need to drop an extra paint. You can just ignore all the extra steps that I'm doing right now. Because I want the colors to be a little brighter. That's the reason why I'm adding more paint. I'm not going to add any extra paint at the center, I want to retain most of that cobalt green because that is what gives that glowing fluid for our sky. You can see those paints floating around so keep tilting and turning around your paper until you feel like you have got a beautiful effect. This one is a really messy process so be sure to keep a paper towel or a cotton cloth next to you, and wipe off all the paint from your table before it gets stained. I'm really happy with the blend. There are some more paint on the top. I will just keep tilting that for a few more minutes, and also I'm just dabbing off the paint from the bottom. It will float back into my painting and might create some blade on the corners. See that. That cobalt green is looking so good. In-between, if you want to drop in some more paint, you could do that too. Only if your background is still wet. If it's starting to dry, just leave it as it is. Don't add more paint. That is how it just turned out. I think it's pretty good. The colors are looking really good. They're very vibrant and intense. It depend on the way how you have applied paint onto your paper. The major thing here is to use a paint that is slightly watery so that they can float around and spread into each other. Okay. There is some paint at the bottom. I'm just trying to push down. Okay. I think that is looking pretty nice. Now before I leave this for drying, there is one major thing I want to mention. Right now there is still some watery paint on my paper. But as I'm happy with the blend, I'm just going to leave it as flat on the table, and I'm going to leave it for drying on its own. I'm not going to use a blow dryer. What happens is when you have watery paint on your background, you can see there is some watery paint at the center. When you push that air onto the paper, it will just push away your paint and might create some ugly bleeds on the paper. In case if your background is too watery, never use a blow dryer. Leave it for drying, let it take its own time and let it dry automatically. Now, in case if your paint has settled, it is not at all watery, then you can use a blow dryer. That won't be that risky. But if you have that watery paint, when you blow that air onto your paper, it will just push away the paint and create some bleeds on your paper. That's the reason why I told you not to use a blow dryer if the paint is watery. Alright, so that's my sky. Now, I'm going to leave this for drying. Okay, so that's the sky. I'm really happy with the blend and the colors. Now before we start painting the tree I think we can add the stars. For that, you can either use white watercolor or white gouache. I'm using white watercolor. Now. I'm going to squeeze out some paint onto my palette. We want the stars to be really prominent and bright so we shouldn't be adding a lot of water into your paint. Just few drops is all we need. Take out the paint on your palette, then add few drops of water. I know many people allow the two brush technique, to add stars. If you're someone who love the two brush technique, you could go with that method. Right here, I'm adding a few drops of water into my white watercolor. I'm turning that into a thicker consistency. Now other dab that on a paper towel just to be sure it does not too watery. Now I'm picking another brush and I'm going to tap on my smaller brush, and that's how I create my stars. It looks like the paint is really dry. Maybe I will need to pick some more paint. See that. This way you will get small, tiny stars. You can add more stars on the top and the bottom they have that darker tools. Now let's repeat the same step and keep adding more stars. I'm really happy with the blend here. It looks so good. I think it's a gorgeous color combination. I hope you guys are loving your sky as well. Let me quickly add some more stars, then we can paint the tree. The tree is also quite interesting. I think I have got enough of stars, I'll add some more at the bottom. Then maybe we can add some bigger ones as well using the brush. They're so many stars, right? I think that's enough. Now using my brush, I'm going to add some bigger stars as well in a very random way. It is just some bigger white dots. Go with any of your smallest size brush or a brush with a pointed tip, and keep adding some bigger dots in between. Okay, so let me quickly add the stars, then we can leave this for drying. That's done. That's a little gorgeous sky. My hands are in a really messy situation. I need to go wash them. I think it's a good time to take a break and come back when the background has dried completely. 65. Aurora Borealis - PART 2: The sky has dried completely and now we can start painting the sequoia tree. For that, first we need to peel off the masking tape. I'm not really sure the paint has seeped in through, anyway let's give it a try. I'm gently peeling it off, so that's a clean white paper. Other than a little area at the bottom, the rest of the tree really worked. Never mind. At the bottom anyway, I'm going to use a darker tone so that wouldn't be a problem. Now, we can start painting the tree. As I mentioned earlier, the first color I'm going to use is brown. Then along with that, you'll also need some Payne's gray to add the deeper tones. You will also need some Payne's gray or any other darker tone to add the deeper values so let me squeeze out that as well. I have the colors ready, I have taken out brown and Payne's gray. Now, to paint the tree, I'm going to use the smallest size brush. I think I will use my size six round brush so here is the brush that I'm going to use at a size number six. Now, I'm going to clean it properly and I'm starting with brown. If you don't have brown, just go with burnt sienna. Now, using a medium tone, I'm going to apply that on the left side. Towards the right, I will make it darker by adding some Payne's gray, so start with the medium tone. Looks that is really dry, so that's the color I'm using. Now we can start applying that almost two, three-fourth of your tree. Towards the right side, we can introduce a deeper tone, so keep applying that color. Now towards the bottom you can make it slightly darker compared to the top. I'm picking more paint and I'm adding that at the bottom. You can see that on the values on the top we have medium tone and towards the bottom we have a darker tone. Now onto the remaining area, I'm going to use the darker tone so I'm picking some brown and I'm adding some Payne's gray to that. I have created a darker tone. This one is very similar to burnt umber, so you can use that as well. Now, apply that onto the left side. If you want to make it a little wider at the bottom, you could do that. Now let's continue that till the top. I have applied a darker tone of brown onto the right side. If you want to make it more wider, you could do that when you're applying your darker brown. You can fix the shape. We started out with the medium tone and towards the bottom, we made it darker. Then onto the right side we applied a darker tone of brown. Now, I'm just going to dab my brush on a paper towel and I'm picking some brown and I'm making this area small though. Right now that transition look really strong, so let's make it a better blend. I think it turned out really nice, I really can feel the light on the left side. That is what I tried to create and I really feel it worked. As we had used medium tones on the left side, it really feel there's some light hitting on it. Just by playing with tonal values, we have created a gorgeous effect here. Now let this dry and after that we can add the remaining details. Now we can add the remaining details. For that you will need a smaller size brush or a brush with a pointed tip. We're going to add some lines onto the tree. You can use a medium to darker tone of brown. Now using that color, simply add some lines onto the tree. They're literally some random lines, they have to be really thin and delicate. That's the only thing we need to keep in mind , so keep adding them. They can be longer or shorter. We can see the way how I'm adding it. Onto the surface of the tree, I'm simply adding some lines. I'm using a medium tone on the top. As I'm coming down, this color might not be visible, so I'll be using a darker tone as I'm coming down. Just keep on adding some random lines onto the surface of your tree, it will create a gorgeous texture. It looks really realistic. That is done. You can see the difference those lines made. Now our tree has a beautiful texture. Now I'm going to pick a little more darker value. I think I will add few lines in between to make it a little more prominent. I have already added enough. Just in-between, I'll use a darker tone, see that? Now, let's add few on the top as well using a darker tone. That looks perfect. Here's a closer look of the tree. I'm really happy with the texture. Now, our next task was to add the branches. Now there's one last thing we need to do before we start adding the branches, for that I'm picking a darker tone. It's a really dark tone of brown. I have added more Payne's gray into the mix. Now using this color, I'm going to add some smaller marks on the tree, just some small random marks. We'll be adding our branches onto these marks. There where you're planning to add your branches, you can add these marks using a darker tone. They don't need to have any particular size or shape, you can simply add some random marks. Now I'm adding few on the top, see that? I'll be adding my branches onto these marks. You can decide on how many branches you want to add. I'm not going to add a lot, I think I will just add four or five of them. I will add some branches onto the surface of the tree, the face, and also onto the side. I know the top part of the tree is looking quite weird, but that's okay. Just ignore that for now. We'll be adding leaves and foliage over there, and we'll be covering that up. Anyway, I'm going to start with my first branch. When you're adding your branches, be sure to go the smallest size brush or a brush with a pointed tip. That's my first branch. You can go to the darker tone of brown and maybe towards this area, you can make it slightly thicker and towards the end, you can make it thinner. Similarly, you can add your branches wherever you want to. Onto some of them we'll be adding foliage and we will leave some of them empty without any foliage. Now I'm adding my second branch, now adding my third one onto this patch. You can extend it however you want to. I'm planning to add more branches on the top and less at the bottom. You can see the way how I'm adding, I'm adding some of them onto the surface of the tree and some of them onto the side. In a similar way, you can add as many branches as you want. Now I'm adding another one at the bottom, I think that looks fine. Maybe we can leave it for now and if we need, we can add more branches later. I think it's a good time to start hiding the foliage so that that weirdness will go away. Right now our tree is looking really weird, so let's add in the foliage. For that, I'm going to use sapling and leaf green. Then also I'll be using a little of Payne's gray to add the deeper tones. As we discussed in the previous paintings, leaf green has a slight opaque quality to it. If you don't have that color, you can add some white into any of your light green. You can create a light green by adding some sap green into lemon yellow and then just add a little white water color into that to make it slightly opaque. That's a color I'll be using. It is one of my favorite color, I think you can guess that by the condition of the tube. Anyway, I have taken out the colors onto my palette. Now we can start adding the foliage. First I'm starting with sap green. I'm picking a really intense and vibrant one-off sap green. I'm not adding a lot of water. Now, using that color, I'm going to add a random shape to create that foliage. The shape of the foliage is a little peculiar. It's not like the normal tree cover so I'm just adding an image here so that you can have a look and add in your foliage in a similar way. You shouldn't be spreading your foliage a lot like the normal trees. Take a look at the image and add in that basic shape. Then onto this we'll be adding some deeper tones and also some lighter tones. First you need to get that shape right. For now, I'm just using sap green. Slowly we can start introducing more deeper tones and lighter tones. Add that basic shape. If you want to, you can add a pencil sketch and you can simply follow that outline when you're adding your paint. Anyway, now I'm picking some darker tone. It is just some Payne's gray and using that color, I'm going to add some foliage onto the right side. I'm planning to add more lighter tones on the left side and darker tones on the right. Just in a similar way, how we painted the tree trunk. For the tree trunk as well as you can see here, we used medium and lighter tones on the left side and darker tones on the right side. We're trying to create a feel that there's sunlight hitting on the left side and that is why that tide is comparatively lighter. It's a simple trick, we're just controlling the tonal values that we're using. We're using darker tones on the right and lighter tones on the left side. That is that, it is very simple, but you can create a beautiful effect in your painting. Right now, I'm using Payne's gray as it is. It's not a darker tone of green, it is just some plain Payne's gray and I'm adding some random small patterns to create a filler of leaves. I'm adding that on the right side, and you can see I have some medium tones at the center. Now, towards the left, I'll be using more of lighter tones versus leaf green. We'll be following a similar approach when we are adding foliage onto the branches as well. It's just that on the top of the tree, the shape has to be slightly bigger and thicker and denser. When we're adding them onto the branches, we'll be using a smaller shape. Now I'm cleaning my brush and I'm switching to leaf green. As I mentioned earlier, if you don't have leaf green, there's nothing to worry. You can just mix a little of sap green into lemon yellow or any other yellow to create a lighter green. If you want to make that color more opaque, you can add some white watercolor or a bit of white gouache. Now using that color, I'm going to add my foliage on the left side. You can already see that lighter tone. We have three different tonal values of green on the tree. I'm simply pressing the tip of my brush to create these random patterns. It is not a complicated technique. You can use any of your brush. It can be a medium-sized or smaller-sized brush and keep adding these little patterns. When you add a lot of them close to each other, it will create a beautiful effect. Keep adding those little patterns onto the left side. You just need to simply press the tip of your brush on the paper and create these random small patterns. As I said, it doesn't have any particular rule or any particular pattern. You can simply add them onto your tree. You can see how I'm adding them. Along with those, you can also add few onto the darker area as well. This is just to give it a more natural feel. We don't want that to look like three different sections of cream. To make it look more natural and more realistic, we can add a few onto the darker area as well. Just a few patterns. You see that? Simply add a few patterns on top of the darker tones you have added earlier to create a better feel and a better transition. They don't need to be 100 percent opaque and they don't need to be too prominent. These need to be a little visible. Keep going and add in your foliage on the top of the tree however you want to. You can either follow the same way how I'm adding it here or you can go with a different shape. That is totally up to you. The technique is the same. You have to use lighter tones on the left side and darker tones on the right. Let us quickly finish this, then we can start adding foliage onto those branches. This is where we have reached, we have added the foliage on the top. Now in a similar way, I'm going to add foliage onto these branches as well. The same method, you just need to keep on pressing the tip of your brush and create some leafy pattern there. Right now, I'm using sap green. Now onto this, I'll be adding some leaf-green as well to create those highlights. I won't be adding foliage onto all the branches. I think I will add them onto the ones on the top. Anyway, now I'm picking some leaf green. Just like I did earlier, I'm adding them onto the left side. Maybe we can add some darker tones as well. We can add them at the bottom. Let's pick some Payne's gray and add them at the bottom to create some shadows and some deeper tones. The basic idea is the same; lighter tones on the left, darker tones on the right as well as at the bottom. That's the first one. I feel this branch is really thin. I think it's good to make it a little thicker. I'm switching back to brown and I'm making it slightly to go. To me, it looks like it is too thin to carry the weight of that foliage, so I'm just making it a little thicker. That's done. Now we can go back with the foliage. I'm planning to add on the right side. I'm starting off with Payne's gray. Again, I'm adding that teeny tiny shapes using the tip of my brush. Then I will slowly start picking more sap green and maybe a little love leaf green. I'm picking some sap green, adding the rest of the shape, which is on the top. The bottom, I'm using a darker tone to show that shadows and deeper tones. On the top, I'm using that medium green. That is second one. You can add in your foliage on to whichever branch you feel like. It doesn't need to be in the same order and the same shape. If you want to make it more thicker and more denser, you could do that. Maybe you can make the shape much more bigger. Those things are totally in your hands and totally with your imagination. You can add them however you want to. Now, I'm going to add some foliage over here. Maybe I will add a small branch first. Picking some brown. I feel like there's a lot of space over here and it will look really nice when we add foliage onto that cobalt green area. Because for the rest, we have more of deeper tones. I'm picking some sap green and I'm adding a foliage here. It is the exact same way how we did earlier. Start with sap green, add in your Payne's gray. So adding your medium tones, your darker tones at the bottom, and a lighter tone on the top. Let's add that in. That is done. Now just in case if you want to add more foliage or more branches, you could do that. I'm planning to make this one slightly bigger, so I'm extending that foliage onto this branch. I'm using Payne's gray here, and I'm adding that deeper tones at the bottom. In a similar way, if you want to add more branches or more foliage, you could do that right now. There is no limit. If you want to make your tree look more dense and more dramatic, you could do that right now. I'm really happy with the painting. The only thing I regret is that foliage on the top. I feel like I should have pushed this area a little more down because we have darker tones in the background. This area is not really visible. Anyway, I'm just adding some more leaves over here using a darker tone just to make it a little more bigger. You can keep modifying the shape if you prefer. I'm planning to make this one a little more wider. I'm adding some more leaves on this side using a darker tone. Looking at your painting, you will automatically understand what needs to be done. It might not be the same as mine. Only if you feel like you need to add more leaves using a darker tone or a lighter tone, you could do that. If you're 100 percent happy with your painting, you don't need to put this extra leafy pattern. You can call it done and peel off your masking tape and add all your car, just aurora borealis I'm just going to add in some more leafy pattern using a darker tone onto this side, as well as onto the bottom part of those foliage we have added on the branches. These are the areas I'm talking about. I'm simply adding some leafy patterns here using a darker tone to create some shadow. I think it is looking better now, but it is not 100 percent necessary. Now in a similar way, I'm going to add some darker tones onto this one as well. That looks fine. I'm really happy with it. But now I feel like adding some leaf green as well. Maybe I could do that also. I'm picking some leaf green and I'm adding some more patterns onto the left side. This is again optional. You don't need to add it. If you're already happy with your painting, you can just ignore what I'm doing here. Otherwise, you can just pick some fresh leaf green or any lighter green and add some foliage onto the left side to create that glowing feel more prominent. With this, I'm going to call it done. I promise I'm not going to do any extra work. I will add few more leafy pattern using this light green. Then I'm all set to peel off the masking tape. These are the things which doesn't have any particular size or shape or any particular order or role. Those are the things I enjoy, just like adding this task. I keep going until I feel like I'm happy with the result. Anyway, that's it for the day. I'm happy with it. Before I peel off the masking tape, let me show you a closer look at this beautiful aurora borealis and my sequoia tree. You can see that beautiful textures on the tree trunk and also that foliage. I think the backdrop is making it extra beautiful. Anyway, now it's time to peel off the masking tape. There was a lot of wet paint on the masking tape. It hasn't dried completely. You can see that wet paint on my board as well. There's a lot of paint on my hands. Anyway, here is our painting for the day. I cannot tell you how much I love the sky and my sequoia tree. To me, it's a beautiful painting. I really enjoyed it. I hope you guys enjoyed it too. If you had to try, do give it a try, and let me know if you liked it. Thanks a lot for joining me today. I'll be back soon with an extremely landscape. 66. DAY 23 - A Day at the Beach: Hello, my dear friends. Welcome to Day 23. Today we're going to paint another seascape. It's a gorgeous painting. You can see those textures on the sand, as well as on the sea. It's a beautiful color combination. You see that? I think it turned out really well. It's not that difficult, it is just a matter of creating those textures on the sea as well as on the sand, which is quite doable. Let's start with looking at the color palette. These are the colors we used for the previous painting. There are only few colors you need extra today. I think I'll start with these colors itself. I'm not going to stress them out again. I will start with the sky. For the sky, you can see I have used blue as well as violet. It's going to be a brown red sky. We will start with a medium tone of cerulean blue. Then we will make it lighter as we coming down. Then towards the horizon line as well, we'll be using a medium too. Then at the center, using violet, we'll be adding some clouds. Those are the two colors you will need for the sky. Cerulean blue as well as violet. As I always say, if you don't have cerulean blue, there is nothing to worry. You can use any other blue you have got. It could be brushing blue, cobalt blue, or any other blue. Now, coming to the sea, you can see there is quite a lot of different tone of values of blues and greens here. That is the beauty of this painting. To create the different tone of values will be using cerulean blue, then some turquoise blue, some cobalt green, and a bit of sap green. We'll be making the background wet and we'll be applying all those colors onto the background to create those textures. We're going to paint the sand also in a similar way. We'll be applying yellow ocher fist then on to that, we'll be adding some brown and some burnt umber to create those texture. Finally, we will drop in some tripod tones of brown onto the sand to create that final details. Same onto the beach as well, we'll be adding some trip patterns of white to create those wave-sand final details. Now for the rocks, it is something similar to the one we tried earlier. Remember all these ones. We're going to paint these rocks also in a similar way. But it is just that we'll also be adding some brown to create a little more of the field. That's all about the color palette. I think I will just add the colors which are missing on these, which is yellow ocher. I'll just run through them again. For the sky, I will use cerulean blue and violet, which can be any blue and any violet. Then for the sea I'll be using some cerulean blue along the horizon line. Then I will be using some turquoise blue, cobalt green. To create that beautiful texture at the bottom, I will also be using some sap green. Then for the sand, the base color is yellow ocher and that the background, I'll be dropping some brown, a medium tone of brown and a darker tone. For the medium tone, I'll be using brown as it is. For the darker tone, I'll be mixing a little of Payne's gray with brown. That is the color I'll be using over here and also at the bottom. Those are the colors you will need for the sea as well as for the sand part. Now for the rocks, we'll be using some sap green, brown, and some Payne's gray to have a deeper tones. Finally, to add those textures and those highlights, I'll be using some leaf green. That's in my, the color palette you need for today's painting. Painting the sky is really simple. You all can do it quite easily, but I think we can try the sea and the sand so that you have a better idea on how to handle those colors, as well as how to create those textures. Let's give it a try. The major feature here is the wave. You can see how gorgeous it is. That is what makes our painting look complete. You can either start by adding a wavy line like this. You can just use your pencil and add a line. Then add in your paint. Onto the side you will be using more of yellow ocher and brown. Onto the top, it is more of a bluish and greenish tones. You can either start by adding a line or you can just add them while you're painting. Maybe I will also start with the sketch. I'm adding a wavy line, which is a wave. Now I'm adding a line on the top, which is my horizon line. This is just a reference line. You can modify the shape later. That is totally okay. This is just for us to understand the limit of the colors. Now I'm going to start by applying a coat of water onto this entire area at the bottom. Follow that horizon line to make the bottom area wet. Apply a clean even coat of water. I'm just extending this so that it just evenly right. Now, we can start adding the paint. To add the paint, I'm going to use some medium-sized round brush. This one is a Size number 8 round brush. Now I'm going to start by a medium tone of cerulean blue. I'm picking a medium tone and I'm applying that along the horizon line. You can use any other blue that you have got. It doesn't need to be cerulean blue. Next I'm going to add some turquoise blue and I'm going to wash out the paint with the same brush. I'm picking some turquoise blue and I'm adding that right next to cerulean blue and I'm blending them. We are not at all looking for a clean, smooth, even-planned, so it can be rough and messy. We'll be adding more textures and more patterns onto this background. Even if you put a lot of effort and if you create a clean blend, that's not going to be visible. Next, I'm going to pick some cobalt green, and I'm going to add that onto the remaining area. You can just follow the outline you have added there and fill that entire area in cobalt green. Got any intense stone, don't add a lot of water. The color has to be really prominent. Simply fill that entire area. I love cobalt green, it is one of my favorite color. I love to use it for night skies as well as for tropical beaches. It's a beautiful color. I have added paint onto that entire area. Now we can start creating more texture. First I'm picking some cerulean blue, and I'm adding that onto the wet background in a very random way. Next I'm picking some turquoise blue and I'm doing the same thing. This step can be really random and it can be a bit messy and rough. You don't need to make it a clean blend, simply dropping that different tone of values of blue alter that background. Now I'm going to pick some sap green next. Again, go with a medium tone. Don't add a lot of water. Now, apply that onto the area where you have cobalt green. When you mix these two colors together, it will create a beautiful color, which is perfect for tropical beaches. Now maybe you can add some turquoise blue as well. Our task was to keep on adding different tone of values of blue and green onto this wet background and creating a beautiful texture for the sea. I think I have caught a beautiful texture here. You can already see different tone of values of blues and greens. I think we can just leave it for trying and can start painting the sand. I'm cleaning my brush, dabbing it on a paper towel. I'm going to pick yellow ocher and I'm going to apply that onto the entire bottom part. My paper has dried completely. The sketchbook is really old. It is nearly four years old. I have never used it. For some reason, whenever I apply paint onto the paper, it just dries off very quickly. On the other hand, the paper that I'm going to use for the class project, this one is from arches. It stays wet for a much more longer time, even though it is not as thick as the other one. Our next task was to paint the sand, but it is okay even if your background has dried, there is nothing to worry about it. You can just keep filling this entire area in yellow ocher. Anyway, where these two colors are meeting, we're going to add a wave. There is no need to worry if the background has dried when you are done painting the sea. Now let's keep applying yellow ocher onto this entire area. Now onto this wet background, I'm going to drop in some brown, a medium tone of brown, and also a slightly darker tone. It is going to be exactly the same way how we create a texture in the sea. But this time the colors are different, that's the only difference. We have applied yellow ocher onto the background. Now I'm going to pick some brown and I'm going to add that onto the wet background. Just drop that in. If your paint is too watery, you can dab it on a paper towel and then keep adding more paint. We're just trying to create some texture in the background. It doesn't need to look perfect and it doesn't need to be evenly blended. That is brown. Now, I'm going to create a darker tone by adding a little of Payne's green into brown. You can use burnt umber acids, or you can just mix and create your own darker brown. Now using that color, I'm going to add some texture on the background. I think that looks fine. Now I'm going to wash the paint from my brush and I'm dabbing that on a paper towel. and using a clean, damp brush. I'm just matching these colors to make it look smarter. I don't want them to be too prominent. That is done, that will be base layer. Now when this dries, we need to add those textures. We need to add those by dry patterns onto the scene and onto the sand, we need to create some brown patterns as well so that is the next task. That is dry. I use a blow dryer to speed up the process. We can start with a wave, and after we're done with that, we can paint the sand. I made a mess here. It hasn't dried completely anyway I have fixed it. Now to add the way I'm going to use white watercolor, you can either use white watercolor or white gouache. If you have white gouache, I would recommend going with white gouache. When I was doing this class project, I couldn't really find my white gouache too. I used white watercolor. I'm going to use the same for the technique as well. I have taken out some paint onto my palette. Now using the smallest size brush, first I'm going to define the wave. It's something similar to the one we did here. Remember those white patterns we created? But this time it is going to be a little more prominent. This one was a little soft tan septum. But today we want to make the wave really prominent. Anyway, I'm going to use my smallest brush to add a wave. This one is a fixed number two round brush. and first I'm going to add a wave. If your pencil sketch is visible, you can follow that line or you can add an inner glow VV line like this. That is the first task. It doesn't need to be perfect lines simply add that in at the top, putting a lot. We have added the line. Now, I'm going to dab my brush on a paper towel. and I'm going to create some random try patterns onto this wave we have added here. This has to be onto the top side. The bottom area has to be a clean line. In case if you accidentally add any pain towards the bottom side, that's totally okay. You can just modify the shape of your wave and include pattern. Keep adding some drive-by patterns. Keep in mind not to add a lot of water to your paint. If your paint is too watery, you won't get that prominent white patterns. You have to go with a slightly opaque and thick paint. Pick that paint on your brush. If you feel like it is watery, dab it on a paper towel or a cotton cloth, and keep adding these patterns onto that entail. We have added that view. Now using some white water flow, I'm going to add one or two waves in the background as well. This one doesn't need to be too prominent. You can simply add a dry white line. That's the first way. I will add one more. Maybe right underneath that, I will add my second one. These two waves are really far, so you don't need to put a lot of effort. Simply add a dry line. Now let's come back to me to wave the one at the bottom. I'm missing some more white paint and I'm adding some lines as well onto the same area. Just some random lines. See that it doesn't need to have any particular size or thickness or she simply excellent that into the sea to bring in more texture. Just add them in. This is very much similar to the beach painting we did earlier. Once you have added those dry patterns, added some lines as well. Now once you're done with that, There's one more thing to do on the wave. We are going to give a better definition to the wave so pick some opaque white paint. Go with an opaque paint, don't add a lot of water. Now add a thick line along the wave. I mean in the bottom part of the wave. The simple step is going to make a huge difference in your painting. Once you have added those dry patterns, you skeptical paint, I mean an opaque paint and defined that wave by adding a thicker line. See that? It is looking a lot better now, it feels three-dimensional. It will be a lot more defined when we add the shadow, but before that, we need to add some texture onto the sand. You can see those dry patterns. This is again, some dry patterns using a medium tone of brown. I'm going to pick some brown. and I'm going to ask them dry patterns onto this anterior. Pick your paint, dab it on paper towel to remove the excess amount of water. Using that dry brush, keep adding some patterns. This is just to make it look like there are some human movement there and there are some footsteps and some texture on the sand. This will make it look more realistic. We don't need a lot of pattern, just a few here and there is all we need. Simply keep on adding some small patterns. It can be just some thoughts and some lines or anything but don't make it too prominent. The moment if we like your paint is watery, tablet or paper towel. and then there'll be the same step. You see that? Remember not to add a lot. We just need a few patterns here and there. Don't make it too busy. I think that looks fine. Now I'm going to go to the last step, which is adding the shadow of the wave for that, I will need a lighter tone of the same color. I'm just adding a few drops of water and I'm turning that into a lighter tone. Now using that color, I'm going to add the shadow. Just be sure not to go with the darker tone. That's the terminal value. Now I'm going to add a broken line underneath the wave. Again, just add that line at some places. It doesn't need to be a continuous line. First, I'm adding that over here. Now let's leave that tone and add it over here. Again, leaving the tone and adding on the flat side. In a similar way, finish up that ending line. Just be sure not to go with a continuous line. You can add your shadow in a broken play. You can see how defined it is looking right now. It is looking on lard culture San Antonio. and also it looks very three-dimensional. I'm really happy with the textual and the wave. It's a really easy technique and it can create a car, just be to, but this technique, anyway, that's a more active color palette and the techniques for Day 23. Now it's time to give it a try. 67. A Day at the Beach - PART 1: My colors and my paper is already here. Now I'm going to start by applying a piece of masking tape, a little above the center of the paper, just to define the sky and the sea. I'm just applying that. Obviously, the top portion is going to be the sky and the bottom is going to be the sea. For the sky, I will be using two colors, which is cerulean blue and violet. If you don't have cerulean blue you can use any other blue. I'll be applying this color onto the background. Then using violet, I'll be adding some clouds. The sense of it on wet sky. I'm starting by applying a coat of water onto the entire sky. Don't add a lot of water, we just need a shiny coat. That is evenly wet. Now to apply the paint, I'm using my round brush. This one is a Size number 8 round brush, and I'm picking a medium tone of cerulean blue. You can go with any blue, it doesn't need to be cerulean blue. You can see it's a medium tone. I have applied that almost to the center of the sky, and I'm leaving that there. Now I'm again applying that from the bottom. On the top and the bottom, I have applied a medium tone, and at the center, I have made it lighter. I'm going to apply the clouds right at the center. Now I'm washing out the paint from my brush. Using a clean brush, I'm just making that blend a little smoother. Clean your brush, dab it on a paper towel, and just run that damp brush at the center to make it a smoother blend. That's a base layer, now I'm going to start applying the clouds for which I'm going to use a little of violet. I'm using the same brush that I was using earlier. This one is a Size number 8 round brush. Now I have taken a medium tone of violet. The paint is not too watery. Using that color, I'm applying some clouds at the center where I had that lighter tone. You can add in your clouds however you want to. Just be sure to go with the paint, which is not too watery. Now I'm adding some at the bottom and maybe few on the top. Right now I'm using a medium tone. If you want to make your sky look more dramatic, you can pick a darker tone, and add some more clouds on the top. I have used similar tonal value throughout. Maybe we can use a darker tone, and add few more clouds. First, I'm going to clean this up, then we can think of adding some more clouds. Right now I'm running my damp brush on top of the clouds to make them look more smoother. It's a simple sky. If you want to make it more dramatic, you can add more clouds using a darker tone. Maybe you can introduce some indigo as well. Anyway, I'm picking some paint, a slightly darker tone of violet. First I'm just fixing this area, along the horizon line. Now using the same color, I'm going to add few more clouds. Just a few onto the same media using a darker tone, to add a little drama. I think that looks fine. I don't want to add a lot and make it too busy. That's my sky. Now we can leave this for drying. The sky has dried completely. Now I'm going to peel off the masking tape. Our next task is to add the sketch. I didn't add the sketch earlier. I'll just wipe out this paint from the bottom so that it doesn't flow back into our painting. Now, let's add the sketch. The sketch is really simple, we just need to add some rocks onto the background. I'm starting from the left side. Over here, I'm planning to add a bigger one. That's the size and that's the shape. Now next to this, I'm adding another one. Now behind this one, I'm going to add a smaller rock. I have gone with different sizes. Now I'm adding another one on the sea. You can see all of them are different shapes and different sizes. Their varying size and shape will add a lot of realistic character to your painting. Don't add them in a similar size and shape. Along the horizon line as well, we'll be adding a small mountain, of which we don't need to add right now we can do that when we're painting. The sketch is ready, now let's start applying paint onto the sea. Now we're going to paint the sandy area and sea together, which means you will have to be a little quick and consistent when you're applying paint onto the background, so that it won't dry off. We already had a look at the colors, so keep them ready before you start. First, I'm going to apply a coat of water onto the entire bottom area. I'm going to pick my one-inch wash brush, and I'm applying a clean even coat of water onto this entire area. Be careful when you're applying water closer to the horizon line, don't add any water onto the sky. Maybe you can leave a tiny cap, so that you won't accidentally add any water. I have applied an even coat of water onto the entire background. Now to apply the paint, I'm switching to my round brush. I'm going to use a medium sized round brush. This one is a Size number 8 round brush. First I'm picking some cerulean blue, add some medium tone. I'm applying that on the top, closer to the horizon line. I'm starting off with this color. Next I will pick some turquoise blue. Try to go for a clean straight line at the horizon. Now, let's add our second color, which is turquoise blue. You don't need to clean your brush, you can pick your color with the same brush without washing. This is the one I'm going to use. I have all the other colors on my palette, I missed turquoise blue. Now let's pick some turquoise blue, a medium tone, and apply that right next to cerulean blue. That is really dark. Let's add some water and make it slightly lighter. It is okay if you add any paint onto those rocks, you will be using a darker value for them, so that's totally fine. That is cerulean blue and turquoise blue. Now I'm going to clean my brush, and I'm switching to cobalt green. Now we can apply this right next to turquoise blue. Go with an intense tone. Don't add a lot of water. Now let's create that shoreline. That's the way how I'm adding the shore. Now I'm going to fill this entire area in cobalt green. You can see how I have left some area at the bottom. We try the same thing in the technique section. It doesn't need to be a clean triple line. Just leave it as it is. Now we're going to drop in more paint onto the sea to create more textures. Right now, it is just a flat wash. It doesn't have any texture. Let's keep adding that. We only try this in the technique section. Now in a similar way, I'm going to drop in some sap green, some cerulean blue, and some turquoise blue onto this background before it dries to create some texture. I'm starting with sap green. I'm picking some sap green. I'm adding that onto this wet background, in a very random way. Now I'm picking some cobalt green, and I'm adding that as well. See that? You simply need to keep on dropping your paint onto that background, to create more texture. It can be in any order, you don't need to follow any particular pattern. First you can drop in some sap green, then you can pick some cobalt green, and maybe some turquoise blue and some cerulean blue. Just keep on dropping them, until you feel like you have got a beautiful texture. I want a wide variety of greens and blues in the sea. Now I'm picking some turquoise blue, and I'm adding that as well. Now maybe some cerulean blue. There is no real order, or there is no real rule for this. You can keep on adding your paint however you want to. On the top, as we have used more of darker tones. I think it's a good idea to use darker tones on the top, and towards the bottom we can use more of sap green. When you add sap green on top of cobalt green, it looks really nice. It turns into a beautiful color. That's how it has turned out. I think I have dropped in enough of medium tones and deeper tones. But you can see here those patterns are looking a little messy, we need to make them smoother. I'm wiping off the paint on a paper towel. Now I'm going to run that brush on these patterns to make them look smoother. My brush is dry right now, so I'm just using that paint in the background. I'm just pushing and pulling that into each other, to make it look softer. I'm not picking any new paint. That's the background. I'm happy with it. We have carved enough of textures and different tone of values. Next, let's paint the sandy part. First, I'm going to apply yellow ocher onto the entire area. See that? Go with a medium tone. Now, apply that onto this entire area you have here. You can make it a little lighter, so pick some water and make it lighter as you're approaching the sea. Now onto this background, you'll be adding in more deeper tones, just the same way how we painted the sea. Right now we have only used yellow ocher. Now after this, I'm going to drop in some brown. Just in a random way, keep dropping in some brown. At some places you can use a medium tone, and at some places it can be slightly darker. Don't worry about how it is looking right now. Simply drop in your paint. We are trying to create some texture here, just the same way how we created that sea. Where these two colors are meeting, you might end up creating a muddy green. That's totally fine. We'll be adding a wave, so that area will be covered in the wave. Keep dropping in your paint. But right now I'm painting a slightly darker tone brown. I'm adding that also onto this wet background. I'm just adding some dark and some random patches. This is how it has turned out, we can see it is absolutely messy, so our next task is to make it look better. For that, I'm dabbing my brush on a paper towel. With that slightly dry brush, I'm just matching this color to each other to make it look softer, exactly the same way how we painted the sea. Looks better. Now in case you want to drop in more deeper tones, you could do that right now. I think I can add some more darker tone and some medium tone of brown. It is actually a very simple step. First you can add a new deeper tone and medium tone. Then clean your brush, dab it on a paper towel, and simply run that dry brush on top of these patterns to make it smoother. That is it. That's our sea and the sand. Now we can leave this for drying. That has dried completely. You can see how beautiful the colors have turned out. I'm really happy with those tonal values and those texture of the sea. Now our next task is to add a mountain along the horizon line. Once we're done with that, we can start painting the rest of the rocks. For this one, I'm going to use a color which is more of a bluish green, which is nothing but a mix of sap green and cerulean blue. To paint a mountain, I'm going to use my Size number 6 round brush. Now let me make some sap green and cerulean blue together, to create a bluish green. Make sure your background has dried completely before you add a new mountain. Just add a little of blue. It can be any blue or sap green, to create a bluish green or a greenish blue. Now using that color, let's add a small mountain along the horizon line. I'm adding this only on the left side. Go with a similar size so that we can create a depth in our painting. Don't make it too huge. That is the mountain. Now we'll have to wait for this to dry. After that, we can start adding the rest of the rocks. 68. A Day at the Beach - PART 2: That has dried completely. Our next task was to bring the rocks then we need to add the waves and the final textures. Let's start with the rock. For that, I'm using sap green, brown, and a bit of Payne's gray. I'm using sap green first. I'm using a pretty intense tone. I haven't added a lot of water. Now I'm applying that on the top. As I'm coming down, I will be taking up the tough brown as well to create a more earthy feel. This is completely optional. If you want to go with just green and paints gray, that is totally okay. All we need is some green tones and some brown tones on the rock. Now, towards the bottom, I will make it more darker. Maybe I will add some more brownish tones here then I would switch to Payne's gray. Now I will add that towards the bottom. Toward the bottom, we need a darker tone, and on the top we need more of medium tones. We're going to paint all the rocks in a similar way. Start with a medium tone of green or yellow-brown then two at the bottom, make it more darker by adding some Payne's gray into it. The base layer has to be slightly darker. We'll be adding some highlights using a light green on to this. That is when these rocks will turn to look more realistic and more beautiful. Right now it will look like a huge mass. That's okay. Just trust the process and keep adding your paint onto all the rocks you have added. Now, I'm going to go with the second one. You don't need to wait for this to dry. You can directly apply paint onto the second one. You can see the paint I'm using. It is not too watery and it is a really bright on a sap green. I'm applying that on the top. Now towards the bottom, I'm adding some Payne's gray to make it darker. For this, I'm not using brown. I will just use some sap green and Payne's gray. So that's the second one. Now in a similar way, let's paint the rest of them. There is nothing much complicated here. You can simply apply your colors onto those rocks. The only thing to keep in mind is to have darker tone to the bottom and more of medium tones on the top. Now let's bring the other two as well. We have one over here, right next to this one and another one right at the center. I have added some brown. Now I'm picking some sap green and I'm finishing off that shape. In a similar way, I will paint the other one as well. This sketch is not really visible. I'm going to add that here. You can either go the similar size and shape that I'm adding here or we can go to the different shape of your choice. Add that in. I'm adding a tiny one as well just to make it a little more interesting. Those are the rocks. Now, I'm going to wash all the paint from my brush. I'm switching to white watercolor. Our next task is to add the waves and the texture on the sea. By the time we add the white textures, these rocks will dry and we can add the final details onto this one as well. We can either use white watercolor or white gouache just has to be discussing the technique section. I'm going to use some white watercolor. Let me squeeze out some paint onto my palette. Now you will need any of your smaller-size brush or a medium-sized brush. The brush, I'm going to use a Size number 2. Just add a few drops of water into your white watercolor or white gouache. Don't add a lot of water. We want the color to be slightly opaque and thick. Otherwise, the patterns won't be prominent. Now let's add a zigzag VV line right where these two colors are meeting. If you're not too confident in adding this line with your brush directly, you can use a pencil and you can add that in then you can follow the same line with your brush. That is a line I have added. It is just a freehand curvy line. Don't put a lot of pressure. You'll be able to do it. It's not that complicated. As I said earlier, you can start with the pencil sketch and then follow that outline with your brush. Now, I'm going to add some white patterns underneath the rocks as well. I will just fix this line. It is looking too delicate here. I'm picking some more paint and I'm making it more prominent. Now that that's straight here, we can add the remaining details onto the background then we can come back to this. Because I had the habitats matching the color with my hands, so it is always better to start from the top towards the bottom. Anyway, I'm going to add some dry patterns of light underneath these rocks. They don't need to be too prominent. Now I'm adding a wave. Now, another wave on the top. Next, I'm going to add some white patterns underneath this rock here. First, let's add that opaque paint. It does need to be a continuous line going in a broken way. Just create some white textures and patterns on the water. Now, I'm going to add some more to this corner here. So once you have done that, we can start adding some dry brush patterns, which means you have to grab a piece of paper towel and then dab your brush to remove the excess amount of water. Now using that dry brush, you can keep adding some patterns. Be sure to go the dry paint, make sure it is not a watery paint, and keep adding these dry patterns onto these areas where we have added the waves. We're just trying to create some texture in the sea, otherwise it will look quite blank and flat. These textures are really important to make it look more realistic. Adding that wave then keep adding some dry brush patterns onto the top side. Adding this looks fine. These are quite far from us, so you don't need to make it too prominent. Now in a similar way, I'm going to add some dry patterns after the wave as well. Pick some paint on your brush then dab it on a paper towel to make sure it is dry, and keep adding those dry patterns along the entire line. This might take some time because we have quite a lot of area to add those white patterns, but it isn't that difficult. It's exactly the same way how we tried in the technique section. Keep going and keep adding little stripe patterns along this entire line. You just need to follow that line and keep adding that dry patterns. It might look a bit weird when you're starting out, but that's okay. By the end, when you finish that entire line and when we add the shadow, it is going to look really beautiful. Trust the process and keep going. Keep adding those dry patterns. You can see the way how I'm progressing. In a similar way, let's finish the entire line. It doesn't need to look perfect. It can be rough and messy. That is totally okay. We are trying to create some texture here. Literally there is no perfection needed for this step. You can simply keep on adding that dry patterns. Along with that, you can also keep adding some lines, just extend them into the water. See that? Similarly, keep adding some dry patterns as well as some lines using a smaller brush. We have some more area left at the bottom. Let me quickly finish that as well. This is where I have raised I think it is looking quite pretty already. I have some more area left at the bottom. I'm picking some more white paint and I'm extending this line. We have only tried two or three seascape paintings, and it is exactly the same technique we used there as well to create a whale. You just need to have some dry paint on your brush and you can simply keep on dropping and scratching that brush on your paper to create these white texture. It is very simple. You just have to give it a try. If you're new to watercolor, you can try that on a scrap piece of paper, and then you can add that onto your main painting. Now, I'm going to add some lines as well, along with these dry patterns to make it look more beautiful. Simply add some lines. Again it doesn't need to have any particular size or thickness or shape. Just keep on adding them right next to the wave. Dry brush technique is one of my most favorite technique in watercolor. I allow this technique. I use it in mountains to create that snow, and also on sea to create a beautiful effect for the wave. It's a wonderful technique which you can use in your future paintings as well. Anyway, bad task is done. Next, I want to make the wave a little more prominent for that I'm picking more paint, a much more opaque paint and I'm clearing the shape. Just run your brush and give it a proper shape at the end, see that. Go with a really opaque paint and make it more prominent. This is then you clean the shape of your wave. You can modify that how well you want to, but be sure to go to an opaque paint. Don't add a lot of water and also use the smaller size brush and keep running your brush along the outline and make it really prominent. Once we are done with this, we'll also be adding some shadow underneath a wave to make it look more realistic. That shadow will add a more three-dimensional feeling to it and it will make a real difference. We tried this in the technique section, so I'm very sure you guys are aware of it. That is done, but I still have some paint left on my brush. I don't want to waste it. I'm just adding some more dry patterns onto the water. A little over here and also next to the stroke. That seems fine. I don't want to ruin it. I have a habit of going overboard with the details and spoiling this and looking paintings. I don't want to do that to this painting so I'm going to call it done. Anyway, I think it is looking quite decent. Now we have two more areas to add the texture. First is the rocks and the second one is the sand. I think I will start with the rock for that I'm picking some leaf green. It can be any lighter green. I have only added few drops of water. Now using that dry paint, I'm adding some patterns onto the rock. Be sure to go with the paint with this kind of dry, don't add a lot of water. Now just add some random dry patterns onto the rocks to create a texture. At the similar way how we painted those waves. These are also dry patterns, but using a different color. We don't need to have any particular order or size or shape. You can simply add them. If you don't have leaf green you can mix a little sap green to lemon yellow and also a little of white to make it look opaque. Using that color, you can simply add your dry patterns or simply use any other lighter green have got. There are many light greens available in the market that has made green from White Nights then there is Caribbean green. I'm very sure there are many more which I'm not aware of. Here just use any light green and keep adding these dry patterns. You can see how gorgeous it is looking. Earlier it was looking like a huge mass but now with those textures, it is looking really gorgeous. I'm really happy with it. Just go around and add in all those patterns to make it super interesting. This is a very simple technique, but you can use in your future painting. I think there is no other easier technique to create realistic rocks like this. I really hope you guys like this technique. Anyway, that part is done. Now the final task is to add some texture onto the sand. Now that is also about adding some dry patterns. But for the sand, we don't need these many textures. We just need some minimum texture to add that as well. I'm using my smallest size brush. I think we can add the shadow first before we add the patterns. I'm picking a little of Payne's gray. Now, mixing that with brown to create a burnt umber color. You can see it is quite light. It does not at all dark. Now using that color, I'm going to add a tiny shadow. You can see the tonal value. It is quite light. Go with the similar tonal value don't make it too dark, add if there is a broken line, don't add if there is a continuous line. You can already see the difference. Looks like I missed the top part. Let me add some of the lines over here as well. That is done. The immediate thing to keep in mind is the tonal value. Go with a similar tonal value, don't make it too dark. Anyway, this is how it has turned out. Now the last task is to add the details onto the sand. Again, we're going to add some try patterns. For that I'm using a medium tone of brown first, then I will pick a darker tone. You can see all the other beautiful textures we have created. Let's do the same for the sand as well. Let's make that also more beautiful. So I'm picking some brown. Again, I'm using my smaller size brush and I'm dabbing my brush on a paper towel to make the paint dry. Now let's start adding the patterns using that dry paint. For the sand, we don't need too many textures like we did for the sea as for last rocks. First I'm going to start from that topmost corner. Over here, maybe we can add some more. But towards the bottom, I'm not going to add a lot so just pick some dried paint on your brush. It can be a medium tone of brown as well as a darker tone. Make sure to go the dry paint and keep adding some smaller dry patterns wherever you want to. See that. In a similar way, keep adding them. We are trying to create some footsteps and some marks on the sand, so be sure to put a smaller brush and also a dry paint. Maybe we can add few delicate lines. Again, using a dry paint, it shouldn't be too prominent and too bold. Keep adding them until you feel like you have gotten texture on the sand. I think can already see a difference here. Don't get carried away and add a lot try not to add a lot of them. Less is more. It is not like the scene. We don't need a lot of patterns on the sand. I hope it is clear. I think I will add some more at the bottom. Then I'm going to call it done. I'm quite happy with the texture already, and I don't want to make it too busy and also am a little afraid, if I go overboard with the details and doing my painting because I'm completely happy with the outcome. I think it's good to call it done before I draw in it. Anyway, there's one last thing I want to do for that I'm picking on medium tone of cerulean blue and I'm adding a tiny mountain here right about that deeper tone. I just felt like the right side is looking quite lonely. so I added a small mountain. Anyway that our painting for the day. Now it's time to peel off the masking tape an adorable, gorgeous painting. Honestly, I'm so happy with the texture of the scene. I really love the bottom area that have cobalt green and sap green. That it is my favorite. Anyway, let's peel off the masking tape and have a closer look at our painting. I'm hoping you guys had a wonderful time painting this gorgeous beach. I really hope you guys enjoy the techniques too. Here's our painting for the day. I had a great time painting this beautiful beach. I hope you guys enjoyed it too. Anyway thanks a lot for joining me today. I'll be back soon with our next dreamy landscape. 69. DAY 24 - Purple Mountains : Hello, my dear friends. Welcome to Day 24. Our painting for the day is a simple yet gorgeous purple mountains. It's an easy painting. We have tried a similar painting earlier, but for that, we have only used one single color, which was Payne's gray. Let me show you that painting so that you'll be more clear about the approach and the techniques that we're going to use. Here is it and you can see they are similar. It is just that for the first one, we have only used Payne's gray and we used different tonal values of Payne's gray to create those depth. For the second one, we're going to take the same approach and the same technique, but we're going to put some extra colors onto that, that's the only difference. If you remember, the only difficult task was the drying time in between as we have multiple layers of mountain. You have to wait for each of them to dry before you go the next layer. For this painting, we had seven different layers. That was a lot of drying time. Similarly, for the painting that we're going to do today, also has 1, 2, 3, 4, 5 different layers, but that is something which we cannot avoid so keep in mind about the drying time. If you want to use a blow dryer, that's totally okay. Blow dryer or a heat tool can really speed up the process and you'll be able to finish your painting much faster. Anyway now, I'm going to take you through the color palette. You can see here, it's a combination of purple and violet. We'll be using different tonal values of purple and violet for the mountains. Now, I'm going to show you how you can create those really tones of violet and purple. First, I will quickly squeeze out all the colors onto my palette. I have cleaned my palette, it was in a horrible condition That is brilliant orange. We'll be using that color for the sky, we'll be starting with that color. The second color is permanent rose. That's what we're going to use at the center of the sky. Now, towards the bottom, I'll be using a purple tone so to create the purple, I'll be mixing some permanent rose with violet. We can see that in some time. Those are the three colors I'll be using for the sky. For these clouds as well, I'll be using a purple tone, which is a mix of violet and permanent rose. These are the colors you will need for the sky. Now, there are other colors available in the market. These ones are from Shannon. I have other two violets. One is called bright violet and the other one is mineral violet. If you have similar colors like this, you can use them directly, you don't need to mix and create your own purple. I just wanted to show you there are multiple options available in the market if you're not aware of it but we can easily create them by mixing the colors that we have with us. These are the colors you will need for the sky. To change our violet into a bluish violet, I'll be mixing a little of blue. I'm squeezing out some cerulean blue as well. This is completely optional, you don't need to mix some blue into your violet you can use it as it is. When I was doing the painting, I just felt like modifying the color a little, which to be honest, it is not that necessary. Anyway, let's try out some color-mixing recipes and see which looks the best. First, I'm starting with brilliant orange. I'll be using a medium tone for the sky, it's not a darker tone. That's the first color I'll be using for the sky. I'll be starting with orange. If you don't have brilliant orange, you can use vermilion or any other orange. Secondly, I'll be adding some permanent rose right next to orange. We'll apply color water onto the sky then you will start with the medium tone of orange then some rose. If you don't have permanent rose, just go with crimson or carmine, or quinacridone rose, or any other rose. Now, the third color is violet. Assuming most of you have violet, in case if you don't have it, there is nothing to worry. You can mix and create your own violet quite easily. For all these mountains, I'm going to use different tones of violet. For this one here, I'll be adding a little of blue to violet, that's the reason why I have some blue on my palette. Anyway, first, I will create the purple. I'm just adding some permanent rose to violet to create a purple shade. In case if you're mixing and creating your own violet, add more rose into your mix than blue. This one is more or less similar to this bright violet. That's the reason why I said earlier, there is no need to buy every color available, you can easily mix and create them. For the sky, we'll be using a little more pinkish version of the same color. I'm adding a little more permanent rose into the same. That's the color I'll be using for the sky, I mean, towards the bottom. For the sky, we'll start with orange, then some permanent rose, and a bit of pinkish purple. Depending on the brand of the watercolor that you're using and the way you're mixing them, your orange, your rose, and your purple will look slightly different from mine but that is totally okay. Mix them in your own way and just remember to use medium tones for the sky. That's the only thing we're concerned about. Same goes for the mountain as well. If you're mixing and creating your own purple or violet, according to the amount of paint you're adding, your color will be a little different. I have quite lot of violet in my collection and most of them look different from each other. Some of them are on the pinkish side and some of them are on the blueish side. Those things are totally okay, just go with the color that are with you have with you and paint confidently. Those things are not going to change your painting. Maybe you will end up having the most beautiful tones of violet and purple in your painting so it's all a learning experience, it's all a discovery. Anyway, for the color that I created right now, I added a little of cerulean blue into violet. That's the color you see there. The violet I'm using is from White Nights and cerulean blue is from Shinhan. That summarize the color palette you need for today's painting. It's simple color palette. We only need three colors for this entire painting. Just by mixing violet and permanent rose, we created a wide variety of purples and violets here. They all are unique and they all are beautiful. Depending on the amount of paint you're adding in your mix, and depending on the brand, the colors will look slightly different but as I said, that is completely okay. There is nothing to worry about it. For the last layer here, this darker one, initially I thought of using some Payne's gray, but when I started, it was looking too dark then I thought of going with the purple tone. The color you see there is a dark purple, it's a mix of violet and rose. You can either use Payne's gray as it is like we did for the other mountain painting, or you can just create a darker tone of violet or purple and use that for your final layer. They're just trying to bring a contrast here so we start with the medium tone and as we're coming down, we'll make it more darker and darker. That's all about the color palette You guys already know how to do this painting so we don't need to try the techniques section. Now, I think we can straightaway start with our painting. 70. Purple Mountains: We had a quick look at the color palette and the techniques. Our very first task is to add the pencil sketch. It's a single sketch, we just need to add those different layer of mountain. I think it will be easier for you to look at the finished painting and add the sketch. When you're adding this sketch, just be sure not to add darker lines, go with light pencil sketch. We're looking at the image you add in your sketch. We have the sketch ready, and I hope you guys have the colors ready as well. If you don't have them, keep them ready. As we discussed earlier, I'll we be using orange, then rose, and purple tone for the sky. That's going to be the base colors. Then onto that, I'll be adding some clouds. We are just about to start, but before that, I want to mention when you're applying water onto the sky, try to leave the mountain as it is, don't add any water onto the mountain. When you're applying water onto your background and when you're getting closer to the mountain, be a little careful. I'm going to start by applying coat of water onto the anterior sky. I'm using a one-inch brush and I'm picking some clean water and I'm applying a gentle even coat. Don't add a lot of water, we just need a shiny coat. That is evenly wet. Now to apply the paint, I'm using my medium-sized tone brush. I'm just making sure it is clean. That's the brush I'm using. First time starting with orange. For this guy, I'm going to use mostly medium and lighter tones. I don't want to use two prominent colors for the sky, so I'm picking some orange. I'm starting with a lighter tone, and as I'm coming down, I will make it slightly brighter, but it is still a medium tone, it is not too bright. Now I'm going to switch to my second color. I'm going to wash out the paint. I'm going with some permanent rose, again, a medium tone. Now I'm going to add that try next to orange. That looks too bright, I don't want the color to be that bright. We don't need a clean blend here, you can simply drop in your colors onto red background. Now, I'm going to wash the paint from my brush again and I'm going with my third color, which is purple. Now, to create the purple, I'm going to mix a little of permanent rose with violet. You can either create your purple this way or you can use a mix of blue and crimson or rose. In your mix, you should be having more rose and less blue if you're using blue and rose. I have mixed and created the color. Now I'm applying that at the bottom. Now I'm running my brush along the outline of the mountain and I'm filling up that entire area. Carefully run your brush, don't add any paint onto the mountain. That's our base layer. Now out of those, to make it look more interesting, we need to start adding the clouds. I'm really happy with the colors. For the change, I thought I'm using medium and lighter tones today, usually I love using brighter colors. Anyway, let's start adding the clouds. For that, I'm again using a purple tone. The same way how I did earlier, I'm mixing some permanent rose with violet to create a purple tone, the standard color slightly darker than earlier. I have taken out paint on my brush. I'm going to add some clouds where I have permanent rose and purple. This is the area I'm focusing on, I won't be adding a lot of clouds on the top where I have orange. Use a slightly brighter tone of purple and keep adding your clouds. It shouldn't be too bright, it just needs to be a bit brighter than the color you have used in the background just so that it will be visible. Don't use a watery paint. If you feel like your paint is watery, dab it on a paper towel and keep repeating the same step. I think that looks fine. I'm not really sure if I want to add more clouds or not, because I want a very peaceful and calm feel for this painting, I don't want to make it too busy. Maybe we can add some smaller ones. In case if you want to make it more dramatic, you can add more clouds. I'm not planning to add more, maybe a little more on the side. Adding that looks fine, about color done. I didn't really plan this, but actually I got some lighter value here and I'm loving it. I think it is adding a lot of beauty to the sky and it is making the sky look more natural. Anyway that's the sky. Now, I'm going to leave this for drying. This guy has dried completely, now we can start painting the first mountain. For the first one, I'm going to use a medium tone of violet. I already have some violet on my palette. It's a medium tone, it shouldn't be too dark and it shouldn't be too light as well. I'm taking the paint on my brush. I will just show a swatch of that color. That's the color I'm going to use for the first mountain. See that? It's a medium tone. Now let's start applying that onto the mountain. Use any of your medium-sized brush and apply the paint along the outline you have added there. Carefully, apply that. Now as you're coming down, it can make the color slightly lighter. First, carefully apply that paint along the shape of the mountain. You can see the color I'm using, it is not too light. If needed, you can make it lighter, that's totally okay, but don't make it darker. I have some more area left on the right side. I'm carefully applying paint over there as well. Now, I will pick some clean water and it will make it lighter. We just apply some water and make it lighter as you're progressing down. Now, I'm going to pick some more water. I'm just cleaning up the paint on my brush and I'm picking some more water and I'm making this area entirely lighter. I think this is the better way because when we add the next mountain, this will have a better transition. Let's follow that outline and then let's bring it down. Pick some clean water and take it down. Actually, when I started, I thought of applying paint along the outline and just leaving it there, but that might not be a good idea, this is the better way. You can just bring that paint down by adding some water and making it lighter. That's our first layer. Now we'll have to wait for this to dry. You can either use a blow dryer to speed up the process or you can take a break and come back when this has dried completely. The only problem with these mountains, they have different layer is the drying time between. Other than that, it's really easy. We're just playing with different tonal values and different layers. In a way that is an unavoidable step, so we have to leave it for drying or we can speed up the process by using a blow dryer. The first layer has dried out beautifully, now we can go with the second one. For this one as well, I'm using a similar tonal value violet. This one is a small mountain, they only have a little area seen on the left side. Before you go to the next layer, make sure your background has dried completely, that is really, really important. Just give it a touch and see it has dried completely. Now I'm going to add the second mountain. We already have the outline there, just follow the outline and adding a paint. It's a similar tonal value that we used earlier. Apply that along the outline. We have this mountain only till here, which means I have to wash out the paint from my brush. Using clean water, I need to fill up the remaining area. I'm picking some clean water and I'm making it lighter. Now I'm going to continue that on to the other mountain we have on the right side. We have added a huge mountain on the right. I'm applying that lighter tone along this outline so this way we'll have a better transition. Otherwise, when you apply paint onto the next layer, you might see some patches or some shapes in the background. That's the reason why I'm adding this lighter tone onto that entire sheet. Just don't stop at that particular sheet, pick some clean water and bring it down. I have added that till here. We can just spread this out. Because we used a lighter tone above, you can see the difference, you can see those different shapes here. I'm just applying some more paint here to make it even. I think it is looking quite good. This is the area I was talking about. You can see that lighter value is right behind this mountain, which is making that shape really prominent. This needs to be done for all the layers, start with a medium tone or a lighter tone, and as you're coming down, pick some clean water and make it lighter. Now we can leave this for drying. That was our second layer and that has dried completely. Now we can go with our next layer. For this layer, I want the color to be a little different, so I'm adding a little off solid blue into violet. That's the color I'm going to use for the next one. This one is a bigger mountain. Just a little bit of cerulean blue and I'm adding that into violet to turn that into a more bluish violet. That's the color. It's a beautiful color. Now I'm making it a medium tone. I don't want that to be too dark. Once you have made sure your background has completely dried, you can apply the paint along the outline. Carefully apply the paint along the outline you have added. I'm not going to continue this mountain till the other end. I'm just going to stop at here. I'll apply some more paint. For the rest, I will pick some clean water and I will make it lighter. I'm giving it a proper shape. Maybe we can apply some more paint onto the side. That looks fine. Now I'm going to pick some clean water using my bigger brush. Because this one has a bigger area and I think a bigger brush will be more helpful. I have my size in-between ground ratio. Using that brush, I'm going to pick some water and I'm making this entire area lighter. You can see how beautiful the painting is turning out. We'll just apply some paint and make it lighter as you're coming down. This time I used more of a bluish violet. I simply added some cerulean blue into violet. That's the color I'm using here. Now, I'm going to pick some more water and I'm making this entire area lighter again. I'm taking that until the end of my paper. That's our third layer. I'm really happy with the colors and those different tonal values. Now it's time to leave this for drying. That is how it has turned out. I'm really happy with the colors, especially the sky. Now we have other layer here. I'm just making sure that that one has dried otherwise I will end up spoiling my painting. I will just use a blow dryer. I can see here it is still little wet. I don't want to take a chance. Honestly. I'm not a huge fan of using blow dryer. For some reason, I feel like they make my colors look a bit dull. I don't know if that's true or not. That's what I felt. If it's not necessary, I always try to avoid using a blow dryer. For the next layer, I'm going to use a color with a slightly darker than the color I used earlier. It's a mix of violet and a bit of cerulean improvable. That's the color. It is quite dark. Now using this color, I'm going to add my next layer. This time the mountain doesn't have a clean flowy shape. We're going to add some teeny-tiny shapes on the top to make it look like there are some trees over there. Because the last two layers will be much more closer to us and the details will be visible. So in order to create that depth, we need to add more details onto the last two layers. Using the tip of my brush, I'm going to add some teeny-tiny shapes. These are not too detailed. It's a very simple detailing. So keep adding some teeny-tiny shapes on the top using the tip of your brush. We already have an outline there, so just follow that. Keep adding those teeny-tiny shapes on the top. Then you can fill up the remaining eight at the bottom. The color I'm using it is quiet dark, it is not too light. You can go with a similar tonal value and finish up that entire line. This time and are planning to make the color lighter. I'm just applying that solid color onto the entire area. Such a beautiful color. Now, I'm going to continue that towards the right side. I'm just wondering, should I make this higher or lower? Maybe we can make it a little higher on the side, adding hats and purple on that corner of my palette. This looks more like a purple. Anyway, I'm pretty happy with the blend. Anyway, I need some more paint. I'm just taking the paint that is left on my palette. I'm going to finish off this entire layer. I don't have any violet left on my palette, but I have some rose here. I'm just mixing that with blue to create a similar color. I'm thinking of making this area higher. For some reason. I feel there's a lot of whiter space in the background. I'm just modifying the shape. Luckily the background hasn't dried here. Now I'm going to finish up this entire area. I have some more area left at the bottom. I'm picking more paint and I'm finishing up the shape. I'm planning to add one more layer, which is going to be a much more darker tone. Maybe I will use Payne's gray for that. Anyway, this is done. We can leave this for drying and come back when this has dried completely and go with the final layer. That has dried too. Now we can go the final layer. As I said earlier, I'm getting so much more darker tone. Right now we have different tonal values of purple and violet. But for the next one, I'm thinking to go with Payne's gray. It's going to be in a similar way, how we added the previous layer. We're going to add those teeny-tiny sheets on the top. Then we're going to fill that in a solid color. I'm picking some Payne's gray and I'm going to add the shape first. Using the tip of your brush keep adding those teeny-tiny patterns. I think Payne's gray is looking too loud. I want to taste the color. I'm just mixing some cerulean blue with that leftover permanent rose to create a darker purple. I'm going to continue with the remaining shape and that color. It is really dark purple. It can either go the purple tone or a violet tone. I don't have any valid on my palette. I don't want to squeeze out any new paint. That's the reason why I'm using purple. But as we have purple and violet, both the colors in the background, you can use any of those colors. That's one I'm using. It's just a mix of cerulean blue and a lot of permanent rose. Now using that color, I'm going to continue the remaining shape. When I started this painting, when I added the sketch, I was planning to stop the painting with the previous layer. But then I felt there is a lot of space at the bottom. Also I felt it would be great to bring a contrast to this painting by introducing a really dark tone. So depending on the space you have left at the bottom, you can reduce the size of this layer. It can be much more lower. It doesn't need to be this big. Or maybe you can stop that at the center. You don't need to take it across the paper. So I have some more area left here. I'm going to quickly finish that That is done. I really love those different tonal values and whose layers. It turned out really beautiful. It's a really simple painting. It is just a matter of using that different tonal values and adding those different layers. But the only difficult thing would be that drying time in-between. But that is unavoidable. We can't do anything about it. Maybe you can use a blow dryer or it can take multiple breaks in-between. Anyway, that's our painting for the day. Previously we tried a similar painting with a single color. But today we tried different tonal values of purple and violet. That's how it has turned out. Now, I'm going to pill over the masking tape. I'll show you a closer look at this painting. That's all painting for the day. I'm quite happy with the way that turned out. It's a simple process as a simple technique. But you can see that depth and those gorgeous colors we have got here. I really hope you guys enjoyed it too. Thanks a lot for joining me today. I will be back here soon with our next creamy landscape. 71. DAY 25 - Dreamy Opera Sky : [MUSIC] Hello, hello. Welcome to day 25. Our painting for the day is a really dreamy, really gorgeous sunset. Yesterday we tried these purple mountains. The color palette for today's painting is exactly the same, but the colors are looking entirely opposite in this painting, they are looking very intense and vibrant. In today's painting, we'll see how you can create such an intense and vibrant result using watercolor. The major trick for today's painting is that we'll be applying coat of white watercolor onto the entire background. Don't use gouache, we will just need some white watercolor. We'll be turning that into watery consistency, and just like how you make your background wet using plain water, we'll be applying some white watercolor onto the indigo sky. Then we will add other colors onto the sky. We can try a sample sky before we go with our class project. We have tried a similar technique when we tried this painting. Remember, we have applied a coat of white watercolor onto the sky and lake and then we added the colors on top of it to turn them into our pastel tones. That's exactly what we're going to try in today's painting as well, but the colors are different. That is the only difference, but the technique is the same. Currently in the market, there are so many pastel colors readily available. You will find so many colors like these ones. These are all pastel colors, which means they're made out of a pigment plus white watercolor. I will just show you the pigment number for one of these. We can see PW6 over there, inside the pigments. PW6 is the pigment number of white, which means the gray is made of a black pigment and a white pigment. Same goes for all the colors I have here. They all have some white pigment in it and that is exactly what makes those colors pastel. For this one as well, you can see the pigment number. Along with that there's PW6 which is again white. Instead of using these ready-made pastel colors, I'm going to apply coat of white watercolor, onto the entire background and I'm going to turn the colors which I have with me into pastel color. That's what we're going to try in today's painting. Anyway, first, I'm going to quickly take you through the color palette then we can try out that technique. The first color you will need is violet. This one is from White Nights, you can use any violet you have got, or you can mix and create your own violet. Now the second color is opera pink, which is not a common color, you can see that bright pink here, that is opera pink. I have opera pink from various brands. You can see here the first one is from Sennelier, second one is Art Philosophy. Then I have ShinHan and Daniel Smith. All of them look slightly different from each other. All of them are bright pink, but the most brightest one is the one from ShinHan and that is what I'm going to use for today's painting. You can use opera pink from any brand. If you don't have it, that is totally okay, you can skip using that color. That is our second color. I'm not a huge fan of this color, it is really bright and prominent. But sometimes it is nice to use to add a striking contrast in our painting. That is the color, you can see how bright and vibrant it is. Now, I'm going to sparse that out. As I said earlier, if you don't have opera pink there is nothing to worry. Only if you like this color, you can buy one and add to your collection. Otherwise, you can just keep this and use the rest of the colors for the sky. That's our second color. I will be using two more colors for the sky. The next one is permanent rose. If you don't have permanent rose, you can use crimson or carmine. That's our third color. For the sky, I will start with violet, then I will add some opera rose, then some permanent rose and towards the bottom, I'll be using some orange. The orange I'm going to use is brilliant orange. You can use any orange or vermillion. These are the four colors I'll be using for the sky, as well as for the lake. For the mountains, I'll be mixing and creating a purple, by adding some permanent rose into violet. Those are the colors you will need for today's painting. Now let's quickly try the background before we go with our class project so that you have a better idea on how to approach the painting. First, I'm going to squeeze out a bit or white watercolor onto my pallet. Don't use gouache, we just need white watercolor. Squeeze out some white watercolor onto your palette and add some water to turn that into a watery consistency. Now, to apply that paint onto the background, I'm using my size number 2 brush. Using this brush, I'm going to apply white watercolor onto the entire background. This is just like how you apply water onto your paper, while you're using wet on wet technique. Just add some water into white watercolor, turn that into watery consistency and apply a generous amount of white watercolor onto the entire background. You can use a bigger brush so that the paint will reach everywhere. Once you have applied a coat of white watercolor, we can start applying the paint onto the background. Now first time starting with violet, just like how you can see on the picture here, I'm not cleaning my brush. Using the same brush, I'm picking some violet and I'm going to apply that onto the top of my sky. I'm not really trying to replicate the same sky that I have painted for the class project, I'm just trying to apply the color onto the background in a similar order. Then let's see how that is turning out. You can see that pastel violet already. Now I'm cleaning my brush and I'm going with my second color. Maybe I can use a medium-size brush, the other one is too big. I'm applying some opera rose onto the sky. Next, I'm going to pick some permanent rose and I'm going to add that onto the sky, right next to opera rose. I'm picking a vibrant tone and I'm adding that. The next color is orange. Right next to opera pink, I'm going to add some orange. Pick a vibrant and intense tone of orange and add that onto the sky. When I tried this painting, I didn't have any reference image. The only thing I was sure about is the colors I want to use and I simply applied those colors onto the background and it turned out really beautiful. Just have an idea about the colors that you want to use and you can apply that onto your background how you want to. Now I'm adding some permanent rose at the bottom. I have added all the colors onto the sky. Now we can start applying more darker tones to make it look more dramatic. I'm going with the same order. First, I'm picking some violet, a more darker tone. I'm going to apply that onto the top of my sky. Add that onto the top and add some clouds. When you have applied white watercolor onto your background, your background will stay wet for a longer time, compared to when you have just applied water. Also the colors will be more creamy and smoother. It is much more easy to blend and smudge the colors when you have white watercolor. [NOISE] I have added some clouds using violet onto the area where I have pink. Now I'm picking that opera pink and I'm adding some clouds and some streaks onto the sky using opera pink. As I said earlier, I'm not trying to replicate the same sky that I painted earlier. Even if I try, it won't look the same, so I'm just adding the colors however I'm feeling like. Next, I'm picking some permanent rose and I'm again adding some clouds. Once you have added the colors onto your background, dab that on a paper towel to remove the excess amount of paint. Using that slightly dry brush keep smudging the color to make it look more softer. Now I'm adding some more clouds at the bottom. Keep repeating the same step until you feel like you have got a beautiful sky. The only thing to keep in mind is the order of the colors. Don't use violet next to orange, those two colors when mixed together will create a muddy color. That is the only thing you need to keep in mind. Other than that there is nothing to be really concerned about. You can add in your paint however you want to. Once you applied your colors onto the background, you can keep adding some clouds to make it look more dramatic. Now I'm picking some of violet. I want this area to be really dark. I'm adding some more clouds on the top. You can already see how gorgeous the colors are looking. Now when you add white watercolor onto the background, the property of the colors change a lot. It is not like watercolor, it will act more like oil colors. You can see how I'm spreading the color. It is so much easier. You just have to try it out to understand what I'm talking about. Just try it out if you have never ever tried this technique. It is so good and you will love this technique. Now I'm picking some more rose and I'm adding more clouds. I'm adding some at the bottom, also on the top. The basic idea is to keep on adding more and more colors onto the background and if you just need to build that intensity and make it more dramatic. I'm adding some more clouds using violet. I feel like there's a lot of pink on the sky. Just to compensate that, I'm adding some clouds over here. Now I'm planning to add some violet at the bottom so that I can finish the lake hassle, then maybe we can try adding those mountains. I'm picking some violet. This area is still wet. I'm adding that over here. I'm just blending that with the rose I have here. You could add some violet at the bottom. I'm just trying to add the lake to give it a more complete look. Now I'm dabbing my brush and I'm just trying to blend that into the rose. Using the same color, I will simply add some lines as well, to give it a better transition. That is it. I'm not planning to add more details onto it. Considering it as a practice, I think it looks quite good. That is sky and the lake. When the colors dry, it will turn a bit more darker. There is one thing I have noticed when I have used white watercolor in the background, it won't get dull. In fact, it will get more brighter when it dries. I used a blow dryer and this is how it has turned out, you can see the colors are looking much more prominent and brighter right now. That is why I said earlier, when it dries the colors will turn more prominent and more bright. That is something which is very rare with watercolor. Usually when watercolor dries, it will tend to fade a little. But when you use white watercolor in the background, it is quite the opposite. Anyway, let's quickly add the mountain and wrap up this session so that we can start with our main class project. I have taken out some rose and violet. Now I'm mixing them together to create a darker purple. You can either use Payne's gray as it is, or you can create a darker purple by the colors you have with you. Just add equal amount of crimson and blue, or violet and crimson, or any similar colors. That's the color I'm going to use. It's a really darker shade of purple. We just need some darker tone. It can be a darker purple or a darker violet, or Payne's gray. Now using that color, I'm going to add the mountain. I'm just assuming my horizon line is here. I just wanted to show you how we can add the mountain and the reflection. First, add a small mountain. This one is quite far from us, so go with a small mountain, don't make it too huge. Right now we have painted the entire background together. That's why this is still a little wet, but when we're painting our main class project, we'll be first painting the sky. Then when that has dried, we will paint the lake. I have added the mountain. Now I'm washing out the paint from my brush. Now pick a little of paint, very little and using that color, just smudge the bottom line. Only on the top I want a prominent line for the mountain. At the bottom I want that to have a blurry feel. Either using a damp brush, or you can pick a little of paint, just smudge the color at the bottom and make it a blurry line. That is done. This is exactly what we're going to try in our class project as well. You can see the mountain and at the bottom we have a blurry line that makes it really beautiful. That summarizes the color palette and the techniques you need to know for today's painting. Before we start with our painting I just want to tell you just keep the colors ready, have an idea about how to use them. You don't need to follow the exact same pattern, or an exact same stroke. Add them however you want to and paint it in your own way. Keep the colors ready and join me in the next video, let's give it a try. [MUSIC] 72. Dreamy Opera Sky: We already had a thorough look at the color palette as well as the techniques. Now, I'm going to start by applying a piece of masking tape, a little below the center of the paper. Three fourths of our painting is going to be the sky, and one fourth is going to be the lake. Okay. Just use a piece of masking tape and apply that somewhere to three fourth of your paper. Okay. Now we can start painting the sky. As we discussed in the technique section, I'm going to apply code of white watercolor onto the entire sky, then I'll be applying my colors on top of it to make them look more like a pastel colors. You can either follow that method or you can simply apply for the water and apply your colors onto that wet background. I'm guessing you guys have chosen the method that you want to go with. Now, which will be the method you're going to go with? You can use the same colors and follow the same technique. It is just that your result will be slightly different if you choose to go with just water. I know if you're a traditional watercolor artist, you might not prefer using white water color for the background. But there are these colors available in the market, basic colors, which is actually made from a pigment plus white watercolor. We discussed about this in the technique section. There is nothing bad in using white vertical in the background. You can see the pigment number here. All of it has some white watercolor in it. That is exactly what we're going to do here as well. But instead of adding whites into separate colors, we're going to apply that onto the background. There is nothing bad in that. I'm just trying my best to convince you. Anyway, there is nothing bad in using just water. Just decide on which method you want to go with. I'm going to squeeze out some white watercolor onto my palette, and I'm going to start applying that my to entire sky. I'm using a bigger brush so that I can apply paint onto a large area quite quickly. This one is the Size number 12 round brush, and I'm applying a generous amount of white watercolor onto the entire sky. Just add some water into white watercolor, turn that into watery consistency, and apply that onto the entire sky. Just like how we apply plain water. You will have milky background. Now onto this will be applying our colors just like how we tried in the technique section. I'm guessing you all have the colors ready on your palate. Once we have applied white onto the entire background, we're going to apply paint onto that straightaway. Alright, so I have applied white water color onto the anterior background, now using the same brush, I'm going to start adding the paint. I'm not going to wash out the paint from my brush, so I have some white watercolor on my brush. I will squeeze out the colors. I think I have opera rose missing. The rest of the colors I can see on my palette. Violet, permanent rose, opera, and some brilliant orange. I'm starting off with some violet with the same brush, I'm picking some violet. First we're going to apply all the colors onto the background. I'm starting off with violet and I'm applying that onto the top of my sky. The color already turned into a paste with violet, so that is because we have whitewater color in the background. I have simply applied some violet onto my sky in a very random way. Now I'm going to clean my brush and I'm going with my second color. I'm dabbing my brush on a paper towel. There's a lot of water. Now I'm picking some permanent rose and I'm adding that onto my sky. Right now, I'm not really worried about how my sky is going to look. I'm just dropping the paint onto that wet white background. Later we can clean them up. That is permanent rose. Now I'm picking some opera pink, and I'm adding that as well onto the sky. As I'm coming towards the bottom, I'm going to pick some orange. I'm adding some more orange that is not really visible. Now along the horizon line, I want the color to be a bit more intense, so I'm picking some permanent rose, a really vibrant tone and I'm adding that along the horizon line. I have applied colors onto the entire background. Now we can start making this more interesting. I want the sky to be super dreamy and super traumatic. I'm going to drop in different colors onto this anterior background using a medium size fresh. First I'm picking some brilliant orange and I'm making the color a little more brighter. I don't have any reference image or I don't have any inmates in my mind. I'm just adding the paint however, I'm feeling like. I just know which colors I want to use for the sky. That's only thing I'm sure about. Now I'm picking some opera rose and I'm adding that onto the sky to make it more vibrant. Now maybe we can pick some permanent rose and make it brighter again. Here you can keep applying colors however you want to. I just love this light area, the center. Now I'm picking some rose and I'm adding some clouds over here. I was telling you can apply your colors however you want to. Just keep in mind the order. Start with violet and maybe you can go in the same order, but you can apply your paint however you want to. You can go the different shape and you can add different cloud. Those things are totally her choice. Over here I'm just pushing and pulling violet and rose into each other. I think we can add some more clouds. Don't add orange next to violet. They will end up creating a muddy color. It is better to use white on the top. Now I'm picking some violet and I'm adding some clouds on the top. I want the top area to be a little more darker. I'm just adding some darker clouds here using violet. I'm not planning to add much clouds at the bottom. I'm already happy with the blend and the colors. I'll just add some clouds on the top, and also there I have permanent roles. As we have applied white vertical in the background. The background will stay wet for a longer time compared to when you have just applied water. The colors will be more creamy and smoother. It's a wonderful experience to work with watercolor this way. It doesn't feel like you're working with watercolors. It feels like they are oil. Anyway now I'm going to wash off my paint and I'm cleaning my brush. Now with a clean, damp brush, I'm just pushing and pulling the color to each other to make it look smoother. Go in this direction, crisscross lines. Just gently push and pull them until you feel like the clouds have become smoother. Be very gentle. Don't put a lot of pressure. Using the tip of your brush just keep gliding that paint into each other. The top part is looking so soft already. In a similar way, I'm going to do the other clouds as well. I'm currently running my brush on top of the color that I have added until they have become smoother. You really don't need to follow the exact same color pattern or the exact same strokes. You can add new paint however you want to, so just understand the color palette, and have an idea in mind how you want to apply your colors. Then just keep applying the colors onto the background inside the process. I'm quite happy with the way that's turned out. Now, I want to add some rose clouds as well. I'm picking this permanent rose. Maybe we should be using a much more brighter tone. This one is not visible. Picking some more paint. I'm adding some more intense clouds, onto these in-between area. If you're back on the starting to dry, you don't need to add this ones. You can just stop it there. Only if you're back on the silhouette, you can add more clouds, otherwise you can just call it done. I can add some more. My background is still wet. It's a unique and gorgeous technique, so far I haven't seen any other artist trying this technique so I should call it my own invention. While I'm adding the next set of clouds using rules, I will tell a story of how this discovery happened. Sometime back I found a beautiful reference image of a pixel sky and I wanted to try that, but I didn't have enough of colors. I had few pastel colors, but then I didn't have that real colors, from the reference image. I thought of mixing and creating my own colors, then that was a huge task, I had to add white color into each and every color that I'm using. Then I thought, why not just add in some white vertical onto the anterior background, so the colors I'm adding onto the background will instantly turn into pastel color, I had no idea how that is going to turn out, but I thought I'd just give it a try and see what is going to happen. I tried it and I was blown away with the result. Ever since this is my favorite technique to paint baseless sky. I really love that creamy and thick paint. It doesn't look like vertical at all. Anyway, that's how my sky has turned out. I'm pretty happy with the colors, and the blend and the wars intensity. Maybe I can add some clouds over here. I have some paint on my brush. I think it's a purple atom. I'm picking some rules of opera rose and I'm making this a little softer. I don't want any prominent clouds at the bottom, I'm pretty happy with the color. I don't want to spoil it. If you want to add more clouds, you can do that, but only if your background is still wet if it's starting to dry, don't add any clouds. I'm really happy with that pair of pink, orange, and add darker rose at the bottom. Yeah, that's a sky, now, I'm going to leave this for drying. The sky has dried and the colors are looking really vibrant and intense. Now we can start painting the lake. First let's peel off the masking tape, gently remove that at an angle. Now for the lake as well, I'm going to start by applying coat of white watercolor. I don't have any paint left on my palette. First I'm going to take out some white watercolor onto my palette. Now for the lake as well, I'll be using the same colors. I will start with rose, then some orange, then some rose again and some violet towards the bottom. First let me take out some white watercolor and it may apply that onto the background. The lake doesn't need to be as smooth and soft as the sky. We can have some lines and some waves on the water. First I'll be applying coat of white watercolor. When you're applying white watercolor along the horizon line, just be sure the sky has dried completely, don't make them smudge into each other. Go to slightly watery consistency of white watercolor and apply that onto the entire lake. I'm not going to clean my brush using the same brush, I'm going to put my first color. I think I will start with orange. First I'm picking some orange and leaving some gap along the horizon line. I'm adding orange. Towards the top, we need to add some permanent rose. That is orange. Now I'm going to pick some rose and I'm adding that onto the top. Be careful when you're applying paint over here. Try to go with a straight line. Just fill up that area carefully. Now we can keep applying more paint towards the bottom. For the lake I'm applying to use more of rose and violet. I just want to retain a little of orange at the center, so I'm picking more rose and I'm adding that from either side towards the center. This way we're adding some lines on the water that will automatically make it look more realistic. Now as I'm coming down, I'm going to pick much more intense value of rose, and I'm going to add that onto the background. I'm switching to a medium-size brush for a better control. Now I'm picking a much more intense tone of rose and I'm applying that at the bottom. Now towards the bottom most area, I'm going to add some violet. We have some rose, orange on the lake. Now the last color we need is violet. Let's pick some violet with the same brush and let's apply that towards the bottom. Now let's fill this area. We have added all the colors onto the background. Now using the same brush, I'm going to add some lines onto the water to make it look more realistic. Right now we have just apply the paint. It doesn't look like a lake. I'm going to pick some more violet. First, I will make the bottom-most area a little more brighter. Then using the same brush, I'm adding just some random lines onto the water. When you're adding these lines, try to leave a gap in between. Don't add them too close to each other. Over here, you can see that beautiful rose in the background. That is why I said leave some gap in-between when you're adding the lines. Now, I think we can switch to rose and add some lines towards the top. We have a good amount of line to the bottom. Using the same brush, I'm picking some rose, and I'm adding some lines on either side. Because I didn't clean my brush, that color is looking a little darker. I'm picking some clean rose and I'm adding some more lines. I'm just adding them from either side towards the center. You can see this background color. Don't add a lot of lines, we want that background color to be visible. Now I'm dabbing my brush on a paper towel and I'm adding some more softer lines towards the top. You can see the way how I'm adding them. They're not too prominent. I'm just picking the paint from the background itself. I'm not taking any new paint. That's the bottom part. Maybe we can add few lines on the top as well. First, I will clean my brush because there is some violet on my brush. Let me clean it. Now I'm picking up a little bit of rose. I'm adding that on either side, maybe a little towards horizon line. I'm going to add a mountain over here. I want my painting to be dramatic as well as dreamy and soft at the same time. That is why I'm using really soft and subtle colors. If you want the colors to be really strong and intense, that is totally okay. You can go in that way and add more deeper tones. I'm just going to add some more lines. I think with that, we're done with the lake. It is so easy to blend and match this colors because we have white watercolor in the background. It makes our life so much easier. Anyway, back to lake. Now there's one last thing I want to do before I wrap up the painting. We're deciding those teeny tiny mountains along the horizon line. Right now our painting looks really incomplete, so let's define the horizon line. For that, I'm using a smaller size brush, this one is a Size number 6 round brush. I'm picking some rose and I'm mixing that with violet to create a darker value of purple. The sky has dried completely, but the lake is still wet and this is the right time to add your mountain, so pick a darker tone of purple or any other color that you prefer. It could be Payne's gray as well. Now adding a small mountain. You can add them however you want to. I'm planning to add two longer mountains on either side and a shorter one at the center. That's the first one. You can add them in any shape that you prefer, it doesn't need to be the similar way. As the lake is still wet when you're adding them, they may smudge into the lake a little bit. That is completely fine, we're going to smudge them into the lake later. First let's add these mountains. I have added them. Now I'm going to clean my brush and I'm dabbing that on a paper towel. It's a clean damp brush. Now I'm being a little of the same color that I used earlier. Using that I'm smudging the bottom area. I want to create that infinity field here. I don't want that bottom line to be visible. See that, don't pick a lot of paint, just a tiny bit is all we need. You can see the difference between this one and the other two mountains. This one is looking really beautiful. Now in a similar way, I'm going to smudge this one as well. On the top, we have a clear and clean outline. At the bottom we are smudging it. That's the second one. Now we have one more on the right side. We need to smudge that one as well in a similar way. For these mountains, I'm not planning to show any prominent reflection. I'm just smudging the paint at the bottom and I'm making the end softer. That is all I'm going to do. That is set. With that, we are done with our painting for the day. Here's how it has turned out. I'm really happy with the blend and the intensity of the colors. I hope you guys enjoyed it too. Now it's time to peel up the masking tape. As we have used white watercolor in the background, there are chances the background might be still a little wet. Give it enough time to dry so that it won't rip off your paper while peeling off the masking tape. Once you are sure the background has dried completely, peel off your masking tape at an angle. Be very gentle. Carefully peel it off. I have one more side left. Looks like I have got a clean border. For some reason whenever I get a clean border like this, it makes me so happy. Anyways, here's our super dreamy sunset for the day. I hope you all loved it. If you are yet to try, do give it a try. I'm very sure you're going to love this color combination and the technique. I cannot tell you how much I love these colors. They are looking so vibrant and beautiful. Give it a try and let me know your thoughts. Thanks a lot for joining me today. I'll be back here soon with our next dreamy landscape. 73. DAY 26 - Green Lake: Hello, my dear friends. Welcome to Day 26. Our painting for the day is a gorgeous green lake. This one is actually one of my favorite from the entire collection. I really love the mood of this painting. This painting makes me feel like going for a vacation right now. Anyway, that is not possible. Let's start by looking at the color palette. I will start with the color that I'm going to use for the sky, which most of you might have guessed already and that is cerulean blue, my favorite color to use for sky. For the sky, we're going with a simple gradient wash. I'll be starting with a medium tone. Then as I'm coming down, I will make it lighter. That's the first color we need. I say obviously you can go with any other color of your choice. It doesn't need to be cerulean blue. That is our first color. The next color you will need is indigo. You can see we have different layer of mountains here. For the first one, the one in the background, it's a blue shade. That is a mixer of cerulean blue and indigo. You can either use your indigo acetals or we can use Prussian blue. You just need a medium tone of that. Again, it's going to be a gradient wash, we'll start with a medium tone. Then we will make that lighter as we're coming down. First we will, spat out indigo. The indigo I'm using here is from Sennelier. Then I will mix a little of indigo with cerulean blue. I will show you how that color is going to look like. Now, I'm going to mix cerulean blue and indigo. It is not a lot different. In case if you want to use indigo acetals, you could use that. But you can see the color here. It is more of a cooler blue. It is not that dark. I'm just picking some indigo and mixing that with cerulean blue. That is the color. This one falls somewhere in-between indigo and cerulean blue. That's the color, and this falls right in-between these two colors. It is not as dark as indigo and as bright as cerulean blue. I'll be using the same color for both the mountains. For the first one, I'll be using a lighter tone. For this one, it's a medium tone. Then towards the bottom you can see the color I have used, that is sap green. For the other mountain we have on the left side, there also you can see sap green. That is our next color. Allow sap green for this mountain here, I will also be using some brown to create an earthy tone. That is my next color. It is not really important. If you don't want to use brown, you can skip that. You can simply use the remaining colors. That's the next color. If you don't have brown, you can use burnt sienna. I just wanted to create some earthy tones towards the bottom. That's the reason why I have used some brown. These are the colors you will need for the mountains in the background. Now we have another layer of landscape here for which I'm using more of darker and brighter tones. For this group of trees I'll be using using three colors, for the medium tone I'll be using sap green. Then for the darker tone, I'll be using some Payne's gray and for the lighter tone, I'll be using light green. You can see that deeper tone and the shadows towards the bottom, that is Payne's gray. Then towards the center, I'll be using some sap green, and on top of it to add some highlights, I'll also be using some leaf green. Our next color is leaf green, you can see that lighter green on the top. Leaf green is not a common color. If you don't have this color, that's totally okay. You can use any of the light green you have got or you can just create a light green by adding some sap green into lemon yellow. Just don't worry if you don't have this color, we'll be just using that to add some highlights. That is our next color. That summarize the color you will need for the background mountains, as well as the landscape. Now, coming to the lake, the major color is missing, which is turquoise blue and cobalt green. Underneath the landscape, as well as underneath the board, to create that deeper tones and shadows, I'll be using some cerulean blue. Then right next to that to create a more beautiful shade, I'll be using some turquoise blue. Then the major color is cobalt green which you can see clearly from the painting. That is a beauty of this painting. If you don't have cobalt green, just add some white into turquoise blue and turn that into a pixel color. You can use that for your lake. Now there's another color mixing that we'll be doing for this painting, which is a simple mixture of turquoise blue and sap green. You can see that color here to create that reflection and some texture on the water. I'll be using that color. It's a beautiful greenish blue. Pick some sap green, mix that with turquoise blue. That's the color, it's a beautiful color that you can use for lakes, especially these fresh green water lakes. That's the color. I think in this one, I used more of green. It is just a mixture of turquoise blue and sap green. I think I will add some more turquoise blue into the same color. I will show you the difference. There is nothing to worry about the proportion of the color. You can either go with equal parts of turquoise blue and sap green, or you can increase turquoise blue a little bit and make it more bluish. Either ways you're going to end up having a beautiful color, which is perfect for the green lake. That's a color we'll be using to add those textures and reflection. Now the last color you'll need for this painting is pyrrole red. It can be any red, even crimson. Actually, I wanted to bring a contrast in this painting. Initially, I thought of using plaque or maybe Payne's gray for the boat for that inside part, but then I thought it is nice to bring a different color to add a beautiful contrast to this painting. That is when I decided to go with red. That's our final color. But yeah, pyrrole red is not a common color, it is a very bright and brilliant red. If you don't have this, that is totally okay. You can go with any similar options. There are quinacridone red, there is permanent red, there are so many other red options. Or I can go with vermilion or crimson. If you don't have any kind of red, you can see the color here. It is a really intense red. I have seen many artist using this color to sign their paintings because it is too striking and too intense. Anyway, that summarize the colors you will need for today's painting. Now there's one more thing that I want to mention before we start. For the board we need to preserve the paper white. I'll be applying a piece of masking tape just like the way I do normally. But if you don't want to use masking tape, you can apply masking fluid. Add new sketch, apply masking fluid, then leave it for a few hours so that it will dry. Then you can start painting. You can go with any method that you normally follow. I think we're good to go. We don't have much of complicated techniques today, everything is really simple. Basically, we will be doing some gradient washes, some flat washes, and we'll be adding some textures. I know I'm making it sound really simple, but that's the reality. It is really simple. The only thing I would suggest you to focus on is the shape of the board. Try to get the proportion right, don't make it too big. You can go to similar size. That's the only thing I would suggest you to put some attention. If you're ready to give it a try, join me in the next section. 74. Green Lake - PART 2: For the boat, we're going to try a white and red color combination. Red for the inside part and white for the outer shape. The white color is like a lighter indigo, which is extremely light. Add a few drops of water not few, quite lot of water, and turn your indigo into a lighter tone. It can be indigo or either Payne's gray. It has to be an extremely lighter shade. That's what I'm concerned about. Now, along the top line of the boat I'm just adding some dry lines using a lighter tone of indigo. Similarly, I'm adding them from the side as well. Now, I'm again picking some lighter tone. I'm adding that onto this shape here. It's a trapezoid shape. This one is a little darker than the color I used earlier. I'm trying to create some shadows here so go to similar tonal value and fill the shape. That's the first step. You can add few more lines if you want to. But try to rate in most of the paper white, because that is what gives that white color to the boat. Now, using the same color, I'm going to add these planks here. Again, just some simple lines onto them. We have two planks. On to that, just add few lines. Now, maybe we can add a darker line here, not too dark it's a medium tone so that's the base shape. Now, we'll have to wait for this to dry. Then we can paint the inside part, which is going to be in red. All right, so that is done. Now, to paint the boat, the inside part, as I said earlier, I'm going to do pyrrole red. If you don't have pyrrole red you can go with any red or crimson or vermilion. This is the color I'm using. It's a bright red from ShinHan. We don't need a lot of paint just a teeny bit is all we need. I'm the taking all the paint onto my palette. You can see it's a tiny bit. Now, using my smaller-sized brush, this one is size to round brush. You can go to any similar size or a medium size brush. I'm picking a bright tone of red. I'm going to carefully apply that onto the first section here. You can leave a tiny gap on the top. Leave a teeny-tiny gap and then apply red onto the remaining area. If you couldn't leave that white space, that's totally okay. You can go with the white gouache paint or even a white gel pen. You can add that outline at the end. If you couldn't do that, there is nothing to worry. That's totally okay. Now, I'm going to fill this entire shape in that bright red. It's a small shape, so be really careful. If you want to try out a different color for your boat, that is totally okay. You can go with the darker tone of Payne's gray or maybe you can go with a blue or a green shade. It can be a bright orange or even a bright yellow. Just go with any color of your choice. Anyway, I have applied red onto that entire section. Now, I'm going to pick a darker tone. It's a darker brown. I'm just mixing some brown with Payne's gray. Using that color, I'm adding some deeper tones on the top line. I'm just trying to create some shadow here. Just onto the top, onto that background drop in some deeper tone. The background is still wet, so the color you are applying will slightly spread into the background. So don't go with the watery paint. Go with the paint which is not too watery, so that the spread can be limited. We need that deeper tone only on the top. The rest has to be that brighter red or which will be the color that you're using. This is why I said to go with the smaller size brush so that you can carefully apply that darker tone. Now I'm just tapping my brush on a paper towel and with my dry paint, I'm just adding some lines onto the boat. This one has dried it right now. We can add some dry lines to make it look more natural. Right now it doesn't have any texture so that is what we're adding right now. We just need to fill patterns here and there. The major portion has to be your paper white so that white has to be really visible. Don't add a lot of patterns. Now, in a similar way, I'm going to paint the other two sections. You can either start with a darker tone, then apply red onto the remaining area. Or you can apply red onto the entire section then add some deeper tone on the top. Just like we did earlier, you need to leave a tiny gap on the top to show that outline of the boat. I hope you guys got the idea. Now, let's quickly fill these two sections. All right this is how the dust turned out. Now, using that dry paint, I'm adding one or two lines onto the boat. Again, it's a dry line. I'm not making it too prominent. I'm just trying to give it some more texture. Now, I'm going back with that darker tone. It can be Payne's Gray acetals. Or it can go with burnt amber. Or you can mix and create a darker brown by mixing some Payne's Gray to brown or burnt sienna. First I'm going to add a small shape here using that color. This is to cut out. It is more a rectangular shape, so using a darker tone just add a small rectangular piece onto this section here. You can add that at the center. Go with the similar size, don't make it too huge. This is trying to create a cutout here. Now, using the same paint, I'm just going to define the shape a little more. So first I have added a dry line at this section here. Now, on the top as well, I'm adding on the dry line. Just be sure the lines I'm adding right now, they are not too prominent. I'm going with dry paint. I'm just adding a simple line. It doesn't need to be too thick and it doesn't need to be pooled. Go the very center line. You can use any of your smallest size brush or a brush with a pointed tip and add a very subtle and delicate line along the outline of your boat. We're just trying to define the shape. You can see how delicate it is. Go in a similar way, don't make it to hold. I'm continuing that till the end. That's done. Now, I'm switching back to a medium tone of indigo. I feel like there is something missing on the board. I'm just trying to show some shadows here using a medium tone of indigo. Only on to the right, I'm just adding some paint. It's a dry paint, it is not too prominent. That is done. Now, the next task is to add the reflection of the boat. We need to add some reflection underneath the boat, as well as underneath the landscape. I'm going to use the same color that we used earlier. If you remember, that was a mix of turquoise blue and sap green. I'm using more turquoise blue in the mix. That is turquoise blue. Now I'm picking some sap green. That's a bluish-green. It's a slightly darker tone. I'm using a smaller size brush. I'm starting to add the reflection. There is nothing much, I'm just adding some lines underneath the board and just some basis exact line. See that? I'm adding similar ones on the other side as well. Right underneath the boat add similar way, these exact lines. Some of them we can spread out a little bit. I think the color can be a little more darker. I'm just adding a little bit of indigo into the same color. Right now, it is not too prominent. Now using that darker tone, I'm again adding some zigzag line underneath the boat. There are some simple zigzag line. You can see them. It doesn't have any particular shape or any particular pattern. All we need is some darker tone underneath the boat. You can add them however you want to. See that? You can see how beautiful the boat is turning out when we added those reflection. We created a contrast and that reflection made the boat more prominent and I think to also give it a more three-dimensional feel. Pick some darker value of that bluish green and use a smaller size brush and simply keep adding some lines. As I said, you can extend some of them to make it look more natural. I think that looks fine. I don't want to add a lot. I don't want to make it too busy by adding a lot of reflection. I want a calm and peaceful sleek. Now in a similar way, I'm going to add some reflection underneath the landscape as well. I think this one looks pretty good the way it is. Let's leave that for now and let's add some reflection underneath the landscape. Over here, I'm just adding some lines. This one doesn't need to be curvy or it doesn't need to be a zigzag line. Just add some random lines of different length underneath the landscape. They don't need to be too thick. You can go the similar thickness. Simply keep on adding some lines to give some texture onto the lake. We have already added some deeper value here, so we don't need to add a lot of lines. Just few lines are all we need. Now I'm going to deep my same brush in some water and I'm making this color lighter, the same color I use right now. I'm using that color, I'm adding some more lines onto this corner here. For this side, we have used lighter tones in the background. Don't use deeper value for the reflection. Go with medium to lighter tone and again, add some lines, and that's it. I think it looks pretty nice. Onto the bottom, I'm not going to add any more lines. I'm pretty happy with those textures and that background color. That's it. We'll be done with the lake and the boat. Now the very last step is to add the details onto the mountain. Right now, all of them are looking quiet, plane and empty. We need to add some texture onto that. That is our final task. First, I'm starting with a mountain in the background, the blue one. I'm going to add some snow on to that, for which I want some white watercolor. It can be the white watercolor or white gouache. We're just going to add some dry patterns onto the mountain to make it look snowy. Squeeze a little bit of white watercolor or white gouache onto your palette. You also need a paper towel to make your paint dry or a cotton cloth. Pick some paint using any of your smallest size brush and then tap that on a paper towel to make the paint dry. We are going to add some dry patterns onto the mountain. When you look at your mountain, you will find these sloppy areas on your mountain. I have quite a few small ridges on my mountain. Now, onto all these areas, I'm going to add some dry white paint in a sloping way. I'm going to be pick all those areas and I'm just going to add some dry white paint. I think I did the same in one of our other painting. I think the blue lake, if I remember right. That was something similar to this. Along these areas, I'm just adding some white dry paint. It is just some sloping line using some dry white paint. It doesn't need to be too prominent. We're just trying to make it look like there's some snow in that background. This one is really far from us, so let's not add too much detail. Even though they are very small and simple details, I think can see the difference between these two sides. When a similar way, I'm going to add some lines onto the other side as well. Maybe we can extend some of the lines a little more. That looks nice. You can extend some other lines like this to make it a little more prominent. In a similar way, I'm going to add some lines onto the other side as well. Onto all those small ridges you have in your mountain, you can add these dry white lines just to give it a snowy character. I think that looks really pretty. This a very simple technique that I use to paint snowy mountains in the background. I think this is a technique that will never go wrong. You just need to use a medium to a lighter tone for your mountain. Then add some snow patterns onto this, white patterns onto this, which will eventually look like snow. I'm already happy with it, but I still feel like adding some more lines. Let me add few more. I'm hoping I won't go overboard. That looks a bit weird. Let me smudge that. This always happens with me. I always add lot of details, even if I'm feeling happy with the result. That is an extremely bad habit, especially when you're working with watercolor. The thing is, when you work with watercolor if you make a mistake, you can't go back. But with gouache or acrylic or oil, you always apply another layer on top of it and fix it. But with watercolor, that is really impossible. Anyways, now let's add texture onto the other two mountains. Again, I'm going to add some dry patterns, but this time I'm using a medium tone of indigo. I'm adding two drops of water and I'm turning that into a medium tone. Now I'm dabbing that on a paper towel, and using that paint, I'm going to add some dry patterns onto the mountain. Again in a similar way. For this mountain as well, I have the sloping area. Under those areas, I'm just adding some dry lines. The standard color is different. That's the only thing. The rest is all the same. You can add in your patterns how you want to. You can see the color I'm using, it is barely visible. Go with the similar tonal value, don't make it too dark and too prominent. That seems a bit prominent. I'm just matching that to make it look softer. Be sure to go the similar tonal value and they don't need a lot. You can just add some sloping lines, dry lines, and just create some texture. I'm randomly adding some dry lines onto the mountain, mostly sloping lines. I'm really happy with this section here. Maybe I can add few more onto the top. That seems a bit darker. I'm just merging that to make it a lighter shade. I think that seems fine. Now we have one more mountain on the left side for which I'm going to use a little more darker tone. Because for the background we have used a much more darker tone. We need to add deeper tone for the texture as well, otherwise it won't be visible. Right now I have picked some indigo and much more darker tone. Now using that, I'm adding some dry patterns onto the mountain, especially onto the top. Even though these textures are barely visible, they are really important. Otherwise, your mountain will look quiet, clean and empty. Your mountain will look lifeless if you don't add them. They give it a more natural and realistic feel. It is really important to add these patterns. Now there's one last thing I want to do, for wash and switching back to white. It is nothing. I'm just adding some white lines onto the lake. Go with the smallest size brush or a brush with a pointed tip. Or I can use a white gel pen. Now chose to add some simple lines onto the water using some white paint. They don't need to be too prominent. Just add few delicate lines. Also we don't need a lot, just few here and there. You can clearly see the way how I have added those lines. They are barely visible and I'm not adding a lot, they are too thick as well. That is something to keep in mind when you're adding these lines. Add them in a similar way. Don't make your lake too busy. That is it. With that, we're done with our whole for the day. Here is how it has turned out. I'm really, really happy with it. I hope you guys enjoyed it too. Now, I'm going to peel off the masking tape. I'm really happy with the lake. I think it is looking really soft, peaceful and calm. Maybe it's the beauty of the color and also the mountains. Those different tonal values and the texture have come out really nice. You can really feel the depth here, underneath the boat. I think it's overall a great painting. Anyway, here is a closer look. See those texture. Lovely, right? Even the book. Anyways, that is our painting for today. I hope you all had a lovely time painting with me. Thanks a lot for joining me today. I'll be back soon with our next dreamy landscape. 75. Green Lake - PART 1: We had a look at the color palette and unnecessary techniques. Now, I'm going to start by adding the pencil sketch. First, I will add the horizontal line, but just a little above the center of the paper. Now, we need to add a mountain in the background and another one in the foreground. So this one is going to be a snowy mountain. Now I have another one in the foreground. This one is going to be a green fountain. Now, in a similar way, I'm going to add another one on the left side. So starting from this corner, I'm taking the line down. So all these details are going to be in the background. Now, I'm going to add another layer, which is going to be in the foreground. So that's a small layer of landscape. The mountains in the background are going to be more of a medium tone, and lighter tone. But this one that I added right now, it is going to be in a much more intense cream. Next, I'm going to add a boat somewhere over here. I'm adding a finished painting here. I think it will be much more easier if you look at the painting and add this kit. Let's quickly add in the boat. That's the sketch. Now, we need to preserve the paper white over here. For that amazing my normal technique, I'm going to use a small piece of masking tape, and I'm going to trace out the shape of the port, then I will cut it and paste it back. We can either use masking fluid or we can use the same method. If you feel like using masking fluid is much better, that's totally okay. So you can use any method. I just want you guys to press the paper white over there. That's the only thing I'm concerned about. I'll trace the shape and have taken out the masking tape. Now, using a scissors, I'm going to cut this shape and I will paste that back. That is ready. Now, I'm going to paste that back, fix it properly, and secure that area. We show there is no gaps in between. If there is gaps, the paint can sip in through and it wouldn't get that plain white all there. So just run your fingers multiple times just to be sure there is no gap in between the masking tape. Now we are ready to start painting. So for this sky, I'm going to use civilian blue. It is a very simple sky. I'm just going with the gradient wash. On the top, I will use a medium tone. Then as I'm coming down, I will make the color lighter. It's going to be a better one for sky. So first, I'm going to apply a clean cold water onto the entire sky. You can actually go with wet on dry technique. It's a simple sky and we don't have a lot of space. So even better on dry it will work perfectly. I'm applying a clean even coat of water. Now, for the next, we can either use your flat brush or a round brush. I'm using a round brush, just making sure it is clean. This one is a Size number 8 brush. Now I'm picking a medium tone off suddenly in blue. It's not too dark, it is just a medium tone. Now I'm applying that on the top of my sky. See that? That's the color I'm using. Now as I'm coming down, I'm going to pick some water and I'm making it lighter. So keep making it lighter until you reach the horizon line. This sky and this cleaning that a little bit. So the sky is done. Now let that dry. Meanwhile, we can start with the lake. As we discussed already, I will be using some cerulean blue, some turquoise blues and cobalt green, and a bit of sap green for the lake. I already have the colors here. I think I need to take out some turquoise blue as well as sap green. I don't have those two colors on my palette. So first time I'm going to take out some turquoise blue. This one is from white nights. Now I need some sap green as well, which is mostly to add the reflection. So that is my sap green from ShinHan. It's a gorgeous color. I just love the sap green. Honestly, I have never seen any of the sap green just as beautiful as this one. In a way, I had the colors ready. Now the first step is to apply a coat of water onto the entire lake. You can apply that on top of the boat. We have applied the masking tape and we have secured that area. So we can simply apply water on top of it. There is nothing to worry. So that background is entirely wet. Now we can start adding the colors onto this. Be sure not to add a lot of water. We just need a shiny coat of water. Now we can start adding all the colors onto this. For that, I'm using my medium-sized brush. I'm starting off with cerulean blue, a slightly brighter tone. It's a bit darker than a medium tone. I'm starting to apply that from this area right below the landscape we have here. Now, I'm going to apply a little underneath the boat as well. Just some random lines. Now I'm cleaning my brush, and I'm picking a little bit of turquoise blue, and I'm adding that asphalt mostly on the top area. Now, let's pick some cobalt green and add that onto this corner. So onto this top most corner, I'm adding cobalt green. I want taco blue over here. Now for the rest of the area, I'm going to apply cobalt green. I'm just going to fill that up simply. Then onto this, we can add some sap green to create more reflection and more details onto this corner here, remember to use cobalt green. Don't use turquoise blue or serene blue over there. That is something you have to be careful about. Now I'm picking more cobalt green and I'm filling this entire area. Go to brighter tone, don't add a lot of water. This color is the main feature of this painting. Let that cobalt green be really visible. So I have just applied that paint onto the background. Now I'm picking some sap green and I'm mixing that with a little luck turquoise blue to create a beautiful bluish green. I'm adding that onto this area, just like how we did earlier. Right underneath the landscape, as well as at the boat, you can add some lines using that color. That's just a simple mix of sap green and turquoise blue. You can see how beautiful that color is. This color I'm using to add this reflection. We're adding new deeper tones and medium tones, only at that landscape, as well as the boat. They're not going to add these deeper tones anywhere else. For the rest, we're going to concentrate on that cobalt green. Just add some over here, right underneath the boat. Also underneath the landscape we have here. First, simply add some lines using that color you have created with nothing to very simply add them. I'm going to add few more lines. I'm still retaining that cobalt green on the top and just adding some underneath the boat as far less underneath the landscape. Now at being some cobalt green using another brush. With that paint, I'm smudging these lines to make it look more software and smarter. So the first step is just simply add some lines onto that wet background using that bluish green color. Then you can make it smoother by running a brush where you have cobalt green. That is our desktop right now. Now, we need to add few more lines towards the bottom to give it some more texture. Using the same paint, I'm adding some random lines towards the bottom. I'm not picking a lot of paint. These are not two prominent. You can see the color. Just add some simple lines. Just to give it some texture. I'm still using that bluish green that I created. It's a gorgeous color, too useful, clean lakes. I'm not happy with the texture. I think I can add some more lines. I'm picking that greenish blue and I'm adding few more lines onto the background. Now, I'm going to pick some cobalt green. First I'm filling this area. There are some paint missing. Now you think about cobalt green. I'm just matching these colors to make them look smoother. I don't want these lines to be too prominent. I want a subtle texture. I think that looks fine. Now I'm going to pick a slightly darker tone of the same color and using that color I'm going to make this a little more prominent. Underneath the boat, as well as underneath the landscape, and adding some deeper tones. This is just to give some emphasis to that reflection. Underneath the boat you can just add a thicker line. But under the landscape, you can add some small shapes and small patches. Just some random shapes. We're going to make it look better. For now, just add them using that darker tone. Now I'm picking my other brush that I have, cobalt green. Using that brush, I'm just making them smudge into each other. I'm simply running my brush back and forth to give it a more smoother and cleaner look. At a lot of water with some opaque paint and simply keep running your brush back and forth. You can see how beautiful it is looking. Now using the same brush, I'm going to add some lines in the background right onto this corner. By receptor lines I'm not making that two prominent. That looks nice and pretty happy with it. Until you're happy with your result, you can keep doing the same thing. You can keep adding more lines than using some cobalt green. You can smudge that into the background. That is done, that is our lake. Now, we have to wait for this to dry. Actually, we don't need to wait, we can start with our first mountain. The sky has dried completely, so let's not waste any time, we can start with the first snowy mountain, which is the one in the background. Now, in case if you're worried you will touch the background and you will smudge the paint, in that case you can leave this for drying. Otherwise, you can start with the first mountain. Now, before you start, just make sure your sky has dried completely. You can only add your mountain once it has dried completely, otherwise you will have to wait for some more time. Now, to paint the mountain, I want a bluish color, so I'm picking a little of cerulean blue and I'm mixing that with a little of indigo. I want the color to be somewhere between cerulean blue and indigo. I don't want that to be too dark and too light. Now using that color, I'm going to add the outline of the mountain. You can see the color here, it's a beautiful blue. Maybe you can use your indigo as it is, it is not really needed to mix these colors. Now I'm picking some water and I'm making it lighter as I'm coming down. On the top, I want a medium tone. Then towards the bottom, I want it to be really lighter, just the same way how we painted the sky. Now just spread that into the background. You don't really need to add that to the horizon line. On the top, start with a medium tone, then pick some water and make it lighter as you're coming down. Now we have to wait for this to dry before we go to the next mountains. Everything has dried completely and I'm really happy with the colors. The lake is looking so beautiful. It's a beauty of cobalt green. Now we can start painting the second layer of mountain. But before that, I'm too curious to remove the masking tape just to see whether I have got it clean right over there, so let's do that. I'm gently peeling off that masking tape. I'm hoping I have got clean paper right there. Yes, that's a clean paper white. This masking tape did a great job, see that? It pastel all the paper white. Now I can happily paint the mountain. First, I'm going to paint the one on the right side, this one, then after that we have two more layers, so let's start with this one. I'm picking the same color that I created earlier. It's a mix of cerulean blue and indigo, but this time I'm adding more indigo into the mix, so it is going to be a slightly darker color than the one I used earlier. Now using that color, I'm going to add the mountain, just the outline on the top. Maybe we can make it slightly darker, otherwise this one and the one in the background will look the same. You can see the color here. For the sun as well, it is not really necessary to mix the color. You can use indigo as it is. Next, I'm picking some sap green and I'm adding that onto the mountain. You can use a medium tone and add that right next to the blue. Now I'm picking some clean water and I'm making it lighter towards the bottom. We started out with a darker blue, it could be indigo as it is, then pick some medium tone of sap green and towards the bottom, make it lighter. You can clean the shape and you can add more paint if you want to. I'm just making the shape clean. Then I will drop in some darker indigo onto the same background, to give it some texture. Right now it is just a plain background. We can slowly introduce some texture onto this. For that, I'm painting a slightly darker tone of indigo. We can drop in that onto the same background. It's a simple step, there is nothing to worry. First, add in your background color, it can be a medium tone of indigo on the top and a medium tone of sap green at the bottom. Then make it lighter as you're approaching the horizon line. Then onto that bed background, simply dropping some darker tone of indigo. There is no particular pattern or shape that you need to follow. Pick a darker tone, slightly darker than the color we used earlier and dropping that onto the wet background, they will start spreading into the background a little bit, creating a beautiful texture. That is how it has turned out. We have one mountain in the background and another one in the foreground. Now let those dry. After that, we have one more on the left and then we have a major landscape in the foreground. Let's take a small break and come back when this has dried completely. That has dried. Now I feel like I should have gone with a slightly darker tone, because the colors are looking so dull when it dried. Never mind. Let's compensate that with the other mountain. For that, we can use a brighter tone. We're assuming that this mountain is a little more closer to us compared to the other one, which means we have to go for a brighter tone. I want this one to have a little more of the character, so I'm starting off with some brown. I'm picking a medium to lighter tone of brown and I'm adding that at the bottom. For this one, I'm starting from the bottom and I will go towards the top, so carefully apply that along the bottom line. It doesn't need to be too dark, go with a similar tonal value. It can be lighter or medium, but don't make it darker. Next, I'm picking some sap green, again a medium tone and I'm applying that right above brown. At the bottom, I want a little of muddy, earthy color, then towards the top, I'm making it more greener. Now, towards the top, I'm adding some indigo. First, I will use a medium tone, then I will make it slightly darker. Only at the bottom I'm using that medium tone of brown. Now I'm picking a little more darker tone of indigo and I'm adding that onto the top. At the bottom, I'm using mostly lighter tones and medium tones. I'm making the color slightly darker on the top. This is just the base layer. Now, onto those we need to drop in some deeper tones and we need to create some texture. First, let's add that shape. Now, once you have the shape, you can pick some brown and some indigo and you can keep adding some texture onto this background. First, let's start with brown. I'm using a medium tone right now. I'm just adding some random patterns and some texture onto the wet background. I'm gently dropping that color, there is nothing complicated here, it is exactly the same way how we did earlier. This time, the colors are a little darker than earlier, that's the only difference. Now I'm adding some brown onto this, so picking a medium tone. I'm just adding some dots and some small shapes. They will spread into the background and will create a beautiful texture. Now I'm picking some indigo and I'm doing the same on the top, so just dropping some medium to darker tones onto that background, let is spread into the background and it creates some texture. That's how it has turned out, we have added three different layer of mountains. We kept on increasing the amount of detail as we're coming closer to the foreground. Also, you can see here we kept increasing the tonal value. For the one in the background, we used a lighter tone. Then for the next mountain we used medium tone and for the one we painted right now, it is more of medium and darker tones. Now, we have to leave this for drying. That one has dried. Now it's time to paint this one here, for which we are going to use sap green, light green and also some Payne's gray to add the deeper tones. I already have the colors on my palette. First, I'm starting off with some indigo, it can be the indigo or Payne's gray, we just need some darker tones at the bottom. Pick any of your smaller to medium-sized brush and carefully apply that along the bottom line. Just add that over here. We just need a clean line at the bottom. Onto the top, you can add in your paint how you want to. Just add some paint in a very random way like this. Now I'm going to switch to sap green. Don't add a lot of water, go with the dark and intense tone of sap green and apply that right next to that darker tone you had applied and just keep spreading them. We're trying to create some texture here, it does need to be clean blend. Just keep rubbing your brush and add some texture. See that? Just keep applying the paint, don't add a lot of water, you need an intense tone. Once we're done applying sap green, in a similar way I will apply some leaf green on the top, to create some highlights. Right now it is very dark and intense, so just to add some lighter tone and some highlights onto this, we'll add some lighter green as well, so I'm picking some leaf green and I'm adding that onto the top. I'm just using the tip of my brush and I'm just adding some teeny-tiny dots and some random shapes. This is just to make it look like it's a bunch of trees, so we can go in any order, we just need some darker tone at the bottom and lighter tone on the top. Now I'm picking from sap green again to add some more leafy pattern here. See that? I have applied paint onto this area. In a similar way I'm going to apply paint onto the other side as well, then I will slowly start adding more deeper tones onto this. First, apply that paint onto that entire area you have added there. As I said, it doesn't need to be a clean blend, you can go in any order. We just need some darker tones at the bottom and some medium tones and some lighter tones on the top. It's a very simple method. It doesn't need to be perfect, we're not looking for perfection. You can see how gorgeous it is looking when we added those deeper tones in-between. In a similar way, you can keep dropping in some deeper tones and lighter tones to create some texture. Now, I'm picking some Payne's gray, a darker tone and I'm just adding that onto this background. See that? Using the tip of your brush, simply keep on adding some teeny-tiny patterns, just to create some texture. This one's really far from us, so you don't need to put a lot of important detail in it. We just need some brand and textures and patterns here. You can see how it is coming up, it is looking really nice. The only thing to keep in mind is not to add a lot of water into your paint. Go with the darker tone. Now, I'm picking some more sap green and I'm just merging that paint to make it look a little better, I think I have a lot different patterns here. Maybe we can drop in some leaf green as well. I'm just pressing the tip of my brush, I'm not really looking at where I'm applying them. Because we need different tonal values of green here, it can be any way, there is no particular order or method that you need to follow. Just keep on adding them until you feel like you have got a very dense and thick forest kind of a feel there. I'm quite happy with the way it is turning out. I can really feel that density here. Maybe we can drop in some more patterns using light green. That aside, we started out with a lighter tone, then we kept on building the tonal values and the intensity and this is where we have reached. Now, the major task left is to paint the boat, so let's do that. 76. DAY 27 - Winter Cabin: [MUSIC] Hello, my dear friends. Welcome to Day 27. Our painting for the day is a winter cabin and beautiful Northern Lights. There isn't a lot of details, we just have a small cabin. The rest is just the sky and [inaudible] ground. Here is a closer look. You can see that little cabin and those textures on the ground and then the gorgeous sky. The process involved in this painting is really beautiful and I'm very sure you guys are going to enjoy it. Anyway now, I'm going to take you to the color palette. The first color you will need is indigo for the ground as well as for the sky, we'll be using indigo. You can see that medium tones in the ground and the darker tones on the sky. That is indigo. That is our first color. The indigo I'm going to use here is from the brand [inaudible] . You can use any indigo you've got. This one is a bluish indigo. That's our first color. This is the one I'm using. Now, the second color you will need is turquoise blue. I'm trying to use three colors for the sky, a darker tone, a medium tone, and a lighter tone. The darker tone is indigo and the medium tone is turquoise blue, and the lighter tone is cobalt green. That is our second color. The third color is cobalt green. The turquoise blue that I'm going to use this from the brand White Matte. You can use any turquoise blue you have got and this one is cobalt green. It is from a Korean brand called ShinHan. Those are the three colors I'm going to use for the Northern Lights. As a beautiful color combination as I said, I have lighter tone, a medium tone, and a darker tone. Never use similar colors for your Northern Lights, always try to use a lighter tone and a darker tone, because that will create a contrast and will make your Northern Lights look more beautiful. Now, coming to the next set of colors, for the ground, along with indigo, you will also need some yellowish orange or yellow. You can see that color here. We'll be using that color to create the reflection of the light. The one I'm going to use for this painting is permanent yellow-orange. You can use any yellowish orange or yellow as it is. That's the color I'm using. It is permanent yellow-orange again from ShinHan. The next colors you will need is brown and Payne's gray. If you don't have brown, you can use burnt sienna. We'll be using this color for the cabin, which you can already see there. Now, to add in the deeper tones we'll be using some Payne's gray. For the cabin, you will need three colors, a yellowish orange or yellow or a lighter orange, then brown or burnt sienna, and Payne's gray. I will show you the cabin again. Here is a closer look. You can see that orange color at the center where we have the windows. Then around that, I'll be using some brown. Then again to add the deeper tones, I'll be adding some Payne's gray. For the ground as well, you can see those dry patterns here. That is also using Payne's gray. We'll just add some dry patterns onto the ground to add some texture. That summarized the colors you will need for today's painting. Now I will quickly show you a blend of the colors we're going to use for the sky. It's a very pretty color palette which goes really well together. First I'm starting off with cobalt green. Right now I'm just blocking them. But for the sky, we'll be adding them in a swirly curly way to make it look like northern lights. Now I'm picking some turquoise blue and I'm adding that right next to cobalt green. Now on the top, I'm going to go with indigo which is our darkest tone. This is a very easy and very convenient color palette for Northern Lights. It will never go wrong. It won't create a muddy color combination. These colors can be applied in any order. There is nothing to worry about this color palette. It's a very safe and easy color palette. Right now I have just applied a block of colors. I'm just blending them. But your sky will totally depend on the way you're applying the paint. You can see on the painting here, I have applied that colors in a swirly way. To make the sky really unique and really interesting, apply your colors in a swirly curly way. This will make your sky look more dramatic and interesting. That's the colors we're going to use. I just wanted to show you how gorgeous these colors work. Now we're about to start our project so we can try out the sky in a much more interesting way. The major idea is to create that contrast so you can see that swirly line. On that, I have introduced some darker tones to create a contrast. Quickly grab all the colors and keep them ready and join me in the next section. Let's give it a try. [MUSIC] 77. Winter Cabin - PART 1: Let's begin. First, I'm going to add a pencil sketch. First, we need to add a sloping line, which is the snowy ground. Then onto that, lead need to add a small cabin. First, add an inclined line like this. It can be sloping towards one side. Now towards the right, I'm going to add a small cabin. To make it easier for you all, I'm attaching the finished painting here so that you can take a look and add it in your sketch. This one is a really small and assembled cabin. If you want to go for a bigger one or a different shape, you could do that. It doesn't need to be the same. That's as high, so I'm going with it is pretty small. Now we need to add the roof and something does. Well, let's add the sketch. The sketch is ready. Now we can start painting. I hope you guys have the colors ready on your pallet. It's an auto light and we're going to drop in the paint onto the wet background. But before that, we need to do something, which is masking the cabin. You can either use a masking tape or masking fluid. We need to pre-seal that paper over there. You can either use a piece of masking tape. This one is a very irregular shape. A masking tape will work. Otherwise, you can use masking fluid, just apply that onto the entire shape. It's a small and simple shape. You can easily cut that masking tape or you can apply your masking fluid. You wouldn't need a hut because the size is quite small. Now I'm tracing that shape or the masking tape and it will cut that using scissors and I will paste it back. I have applied masking tape and have secured my cabin. Now we can start painting the sky without any worries. First, I'm starting with the ground. I have my one-inch brush over here. I'm picking some clean water and I'm applying that onto the entire ground. Be sure not to add any water onto the sky. Carefully follow that line and with the bottom media wet. We just need a shiny coat of water, don't add a lot of water. My background is wet. Now after this, I'm going to drop in a medium tone of indigo. Also before you begin, take cartilage love yellowish orange or yellow. We need to add that yellow light on the snowy ground, which has to be done along while we are adding indigo. Keep the colors ready. I think the background might have been dried, so I'm just applying coat of water again. Now I can start applying the paint. For that, I'm picking a medium-sized round brush and I'm going with a medium tone of indigo. Before you start, just make sure your brush is clean. Otherwise, you will end up adding other colors onto the background. I'm going to start with a medium to of indigo, which is not too watery. Once you have taken the paint, you can dab it on a paper towel. Then using that brush, you can simply keep on adding some lines onto the wet background, leaving some gap in between. The moment if you like your paint is too watery, dab it on a paper towel. Now I'm adding a few more lines on the top using a lighter tone. See that? It is really important leave that wide cabin in between don't fill up the entire area. Now we can drop in a bit more darker tone only at the bottom. I'm picking some more indigo, a little bit. Now I'm adding some lines onto the bottom most column. I'll also fill in between, again, make sure your paint is not too watery. Maybe we can add some more to either corners. Right at the center where we have the cabin, we're going to add some yellowish orange. Don't add any paint over there, just leave that area as it is. Other than that, you can keep on building the colors. It's a night scene. The ground will be a little darker. In between, you can introduce some darker tones like this. Again, make sure to leave some wide gap in between. Don't fill up the entire background. If there is a lot of gap in between, you can add some more lines. I have applied indigo onto the background. Now I'm cleaning my brush and I'm dabbing that on a paper towel. I'm using a clean damp brush, I'm just spreading the color to make it look a little smoother. I'm adding a little more indigo onto this corner here. That looks fine. Now I'm going to keep this brush away and I'm going to pick my smallest size brush and I'm picking some yellowish orange. I'm using a medium tone and I'm adding that right underneath the cabin. When I applied indigo, I didn't add any paint over here, that looks really dark. I'm picking some water and I'm smashing that into the background. We need a lighter to medium turn-off yellowish orange or yellow. We're just trying to create the reflection of the light on the ground so go with the similar tonal value. Don't make it too deep. Now simply add few lines using that color. Don't make it so much with indigo, they may create a muddy cream. Be really careful when you're adding a paint. Don't go with the paint which is too watery. Just add your lines like this using a yellowish orange or yellow as it is. I'm adding a few more. That is our base layer. Now we can leave this for drying The ground has dried. Now it's time to paint the sky. For that, am applying a clean coat of water onto the entire sky first. We're using a wet-on-wet technique here. Gently apply a coat of water. Be careful when you apply water closer to the ground. Try your best not to add any water onto the ground. You can apply water on top of the cabin. We have secured that using masking tape. That's not a problem. Maybe you can leave a tiny gap closer to the ground. Now to apply the paint, I'm going to use my medium size brush. This one is a Size number 8 round brush. See that? That's the one. Now I'm starting all with cobalt green. I'm going with an intense tone of cobalt green. I'm not adding a lot of water. Such a gorgeous color. I love to use this color for northern lights. Now using this color, I'm going to add a simple curvy line. See that? It's irregular line. You can add your line how well you want to. Just add that onto the wet background. I'm picking some more paint making it more intense. Depending on how you want the sky to be, you can keep adding more paint. If you want more cobalt green in your sky, you can add more of cobalt green. If you'd like to use more indigo or more turquoise blue, you can apply your colors in that way. Now using the same brush, I'm picking some turquoise blue, which is my medium tone. I'm applying that right next to cobalt green. We can add some in-between as well. Right now don't worry about blending them. Just apply the wet paint onto the wet background before the background dries. Now I'm adding that onto the other side as well. Let's add that in a curvy way. I'm just filling this area. Similarly, I will fill the other areas as well. You can see right now, I'm not at all worried about getting a clean blend or making them perfect. I'm just dropping in that wet paint onto the wet background. First I need to apply paint onto the entire background. Then we can make them a clean blend. Also when you're applying turquoise blue or which will be the color that you're using, don't cover the entire cobalt green. We need that lighter tones in the background. Try to read in some of them. I have two fully lines here. Now, I'm adding some more intense turquoise blue onto these areas just to create a contrast. A little over the bottom as well. Right now we have applied cobalt green and turquoise blue. Now it's time to introduce our third color, which is indigo, and that is our darker tone. Now adding that onto these corners. See that? Now onto this side as well. A little towards the bottom. You can see how this guy instantly got a glow when we added turquoise blue. That is because of that contrast. Earlier we didn't have the contrast because the colors that we're using were lighter tones and medium tones. Now I'm going to wash all the paint from my brush. Before the background dries, we need to make it a clean blend. Not a clean blend, we just need to give it a better look. Right now what we have is some different patches of paint. We have to make it look better. We have to make it look like northern light. Before I start making the colors look more softer, I'm going to pick a little more turquoise blue. I'm just adding few more lines. Actually, I'm just pushing the paint down to make those lines a little more longer. Anyway, that's done. Now I'm going to keep this brush aside and I'm switching to my flat brush. I'm going to use a half-inch flat brush. First, I'm making sure it is clean. Dab it on the paper towel and make sure there's no paint strains on it. My brush is clean. Now I'm picking some cobalt green. I'm not adding a lot of water. It is pretty intense. Pick some paint and just run your brush in a curvy, swirly way to make it look better. Onto all these areas where we have cobalt green, just run your brush in a curvy way. This will make your sky look more softer. Keep doing that until you feel you have got a better blend. If your background is still wet, this can be done quite easily using a flat brush. You can see how easily I made them look more softer and smoother. Now I'm picking some more paint, cobalt green, and I'm adding that onto these areas to make it a bit more intense. Similarly, if you want to drop in more indigo or turquoise blue, you could do that as well. Maybe I think we can make the indigo line more deeper to add a little more contrast. Let me finish this and I'm going to switch to indigo. Onto these areas where we had applied earlier. I'm going to add some more to make it more intense to make that contrast more prominent. First you need to apply the colors onto your background how well you wish to. You can add them in a curvy way, or a swirly way. That's totally your choice. First, apply paint onto the entire background. Then while it is still wet, pick your flat brush and run them in a curly way to make it look smoother. The key here is to make your background stay wet for a longer time. If you're using a good-quality watercolor paper, which is 100 percent cotton, that is quite easy. If you're using a cellulose paper or any paper that is not 100 percent cotton, it might start to dry. In that case, you will have to be really quick and consistent when you're applying the paint. Add all your paint and blend them before the background tries. Anyway with that, the sky is done. Now we'll have to leave this for drying. After that, we can start splattering the stars. That's done. The sky has dried completely. It is still looking really pretty. It hasn't faded much. Anyway, now we can start splattering the stars for which I'm going to use some white watercolor. You can either use white watercolor or white gouache. I'm using one of my old brush to splatter the stars. Now I'm adding a few drops of water and I'm turning that into right consistency. It shouldn't be too watery and it shouldn't be too thick as well. If you are not too sure about the consistency dab your brush on a paper towel and try splattering on scrap piece of paper. Once you are sure the size is correct you can add them onto your main painting. I took paint on one brush now using another brush and tapping on it and I'm creating these stars. I'm concentrating mostly on the area where I have indigo. On the lighter area, it won't be that visible. Let's add more tabs on the area where we have darker and medium tones. You can see the size. They are quite small. Go with the similar size. If your paint is too watery, you will end up creating big splatters. It wouldn't be this tiny. If you're not too sure about the consultancy maybe can dab your brush on a paper towel and then you can start adding the stars. You can clearly see the stars on this area. They are more visible. The others are not that invisible. Anyway, that's my sky. I have added plenty of stars. I'm quite happy with the sky and the stars. Now, we have to leave this for drying. 78. Winter Cabin - PART 2: Those colors has dried completely. Now, I'm going to gently peel off that masking tape. I'm too curious to know whether I prefer this paper white. Yes. I have got a clean whitespace there. Wait for your bathroom to dry completely before you peel off your masking tape. Otherwise you might end up adding some paint stain onto the cabin. Anyway, first I'm picking some permanent yellow-orange, and I'm adding that right there I have these windows. Pick a brighter tone and add that onto the windows. The cabin is quite small so I would recommend to go with the smallest-sized brush or a medium-sized brush. First add that onto the window. Now around that I'm going to introduce some brown. It can be brown or burnt sienna. Now around the window keep adding that. Be sure to follow that outline. Don't make the cabin too big. Carefully apply the paint following the outline. Simply fill that up. Begin by adding some yellow or yellowish orange at the center, and I have the windows then around that introduce some brown or burnt sienna and fill that entire area. Once we're done with that using a clean damp brush we can smudge the paint to make it look better. I have a plain brown. Now, I'm going to clean my brush and I'm going to pick a little lavish yellowish orange, very little. Anything that paint I'm just matching this to make it a little softer. Just one step being at the center. Now before this dries there's one more thing we have to do. We need to introduce some more darker tones around the outline. For that I'm picking a darker tone of brown. I'm picking a little of Payne's gray mixing that with brown to make it a darker tone, and I'm adding that onto these corners. We can add a little onto the top line and also onto the right side of this wall. It is trying to create the shadows, so just add some deeper tones onto the top as well as onto the right side. That's the first wall, we have one more wall on the other side. We need to paint that as well, which is also going to be in a similar way. On that wall also we have a small window. Right there we have the window, we will apply a little of yellowish orange. Then around that we will start introducing brown and deeper tones. Before you start painting the second wall you have to make sure the other one has dried completely. Only if that has dried you can paint the second wall, in a similar way I'm going to paint the second wall. I'm starting with the yellowish orange, just the same way how we did earlier. Then around that we can introduce some brown and some Payne's gray. On this side the window is not at the center. It is somewhere towards the left side, so I'm making the right side more darker. On this side I'm trying to show there are more deeper tones and shadows. Until half of the wall, I'm adding a deeper tone. On the other side they're trying to make it look like the light is hitting on that wall and this side is on a darker side and we have more shadows on it. Now I'm just matching this area. So that's our second wall. I think it turned out pretty nice. You can really see that light and shadow here. We need to add some more details onto the cabin to make it look more complete. Right now we have just painted the base layer, but before that we'll have to wait for that to dry. Meanwhile we can start adding the remaining details onto the ground. We need to add some dry patterns. That's our next task. We got a piece of paper towel or a cotton cloth, and you're going to use Payne's gray to add the deeper tones. Pick the paint, dab it on a paper towel, and make sure your paint is dry. Now using that dry paint keep adding some patterns one to the ground. Don't make it too prominent. Simply add them in a very random way. There is no particular order or pattern, you can simply add them onto the ground. These patterns will give it a more finished feel, so don't keep adding them. If you're not too sure about the consistency of the paint, you can try creating these dry patterns on a scrap piece of paper. Then once you're sure you can add them onto your main painting. You can see the way how I'm adding them, I'm just randomly adding them onto the background. But the patterns are not too prominent. That's the main thing you have to keep in mind. If you're still not sure about adding these patterns, if you're scared of adding them, the best way is to go with a medium tone, add two drops of water, and turn your painting to a medium tone. Then dab it on a paper towel. You have that dry version of medium tone of Payne's gray. This way they will never be prominent. Even if you add a lot of patterns by mistake, they will never be prominent because using a medium tone not a darker tone, then maybe in-between you can add some darker patterns as well. I'm nearly done with the right side. In a similar way I need to add a few patterns with the bottom, as well as onto the left side. I'm just simply tracking my brush. I have some dry paint. The paint is not at all watery, so there is nothing to worry. You can simply keep on adding some patterns. The only thing to keep in mind is to use a dry paint, don't make it too watery. Once you have taken the paint you can dab it on a paper towel. Just to confirm it is really dry and keep adding them until you feel like you have got enough of patterns on the ground. So the ground is done, I have added enough of patterns. Now, I'm going to go back at the cabin. We need to add the remaining details. We need to paint the roof and also we need to add some details onto the walls. Right now we only have the base layer painted. That is our final task, with that we'll be done with our painting for the day. Now for the roof as well I'm going to start with a yellowish orange. I will be adding that towards the bottom side. Then towards the outer side I will add some darker tone. Pick some Pomonella orange or any other yellowish orange or yellow, or even some lighter orange. Add that towards the bottom. You see that? Now let's pick some brown and add that towards the top. We're doing this also in a similar way how we painted the wall. We are trying to create that reflection of light on the roof as well by adding that yellowish orange. Only at the bottom you can add a yellowish orange. Then towards the outer side you can introduce more deeper tones. First I'm going to fill the remaining area in brown, then I'll also be adding some Payne's gray just to show the shadows. First let's start with a lighter tone which can be yellowish orange or yellow. Then around that introduce some brown. I have filled up that entire shape. Now I'm going to pick some Payne's gray and I'm adding that to this corner. Maybe we can retain the lighter tones on the other side just like how we did for the wall and only towards this corner we can introduce that deeper tones. That is done. can see how we're rating the lighter tone on the side and deeper tone on the other side. Now, we'd have to wait for this to dry before we go the remaining details. To add the remaining details, I'm going to use the smallest size brush. This one is a size of a two-round brush. We need to add some delicate lines onto the walls to make it look like there's a wooden cabin. Go with any of your smallest-sized brush or a brush with a pointed tip. First time starting off with the roof, just be sure it has dried completely. Now I'm picking a darker tone of brown and I'm done making the roof line. Using that darker tone, I'm just adding a thick line on the top. By thick line I mean not too thick. You have to go with the similar thickness. You see that? This is the thickness you should be adding for your roof, don't make it too bold, our cabin is a tiny cabin, so you have to keep in mind the proportion and add a similar line for your roof. Continue that to the other end. We're just trying to define the roof. You see that? That's all for this task. Now we need to add the remaining details onto the wall. First I will add an outline for the wall as well as for the window. They have to be really thin and delicate. Don't go with a thicker line. The brush I'm using here has a really nice pointed tip and I can add very delicate lines. Go to any of your brush that has a pointed tip or any of your detailing brush. Add a delicate line like this for the windows. That's the first one. We have another one on the right side. Similar to this I'm going to add an outline for the other window as well. Once we're done with this we need to add some horizontal lines onto the wall to make it look like a wooden cabin. That is our last task. That is done. Now using the same brush, I'm going to add some horizontal lines onto both the walls. It can be either horizontal or vertical. For this you can use a medium tone of brown, don't go with Payne's gray. Again, add some delicate lines. As I said earlier, our cabin is super tiny so you have to keep in mind the proportion and the size. If we go for bolder and thick lines, your cabin will go out of proportion. So you have to go for a similar thickness when you're adding those lines. I'm done with the first wall, I have one more on the other side. In a similar way I'm going to add lines on the other wall as well. With that, we're done with our painting for the day. I'm pretty happy with it. It's a simple painting, there is no much details. If you want to make it more interesting, maybe you can add some pine trees. But I'm quite happy with it. Sometimes less is more. I'm just going to keep this way. Anyway now I'm going to peel off the masking tape that I can show you a closer look of the painting. Here's our window cabin. You can see those details. I'm really happy with the way that turned out. I hope you all enjoyed it too. Thanks a lot for joining me, I'll be back as soon with our next dreamy landscape. 79. DAY 28 - Birch Trees: [MUSIC] Hello. Welcome to Day 28. Our painting for the day is a [inaudible] northern lights with some birch trees. You can see those gorgeous textures and the stunning colors they have used for the sky. It's an easy painting. You will learn to create all these textures and those stunning details. We have tried a similar color combination earlier. 80. Birch Trees - PART 1: All right, so I have my paper ready here. As I mentioned in the technique section, you will have to fix your paper onto a board. This was the backing board of my paper pad and my toddler has done a beautiful artwork on the other side. I have applied a piece of wallpaper onto this, and that's the board I'm going to use. It can be any kind of board. It is just that we need to secure our paper onto the board. We will need to turn it around for the colors to blend into each other. If you fix your paper onto a table, you wont it to be able to tilt it. So that's the main reason why you should be fixing your paper onto a board, just to get a better and naturally blend. Now I'm going to apply a piece of masking tape almost three-fourths of my paper. The top portion is going to be the sky, and the bottom part is going to be our snowy ground. Before we start, there's one more thing that we will need to do, which is adding the sketch of the trees. After that, we will need to mask them either using masking fluid or masking tape. It's going to be a huge tree. I'm planning to add two trees. Actually, we don't need to add the sketch. We can directly apply the masking tape and add the sketch on top of that. I think that's a better plan. So let me grab my masking tape and I'm going to apply that onto my paper. Then I will add my sketch on top of the masking tape. This way we can reduce a little time. We don't need to add the sketch and then add that onto the masking tape, we can do that together. Now, I'm going to add another piece of masking tape towards the right side. You can add a new tree however you want to. You don't need to follow the exact same location. It can be either towards the left or maybe towards the right. And also, if you want to add three trees, that is also totally okay. I'm planning to add two. I have added my first tree. Now I'm adding the second one in a little different direction. This one is little straight and the other one is a bit inclined. I have added the masking tape, now I'm adding the sketch on top of this. What I'm doing is I'm reducing the thickness on the top. At the bottom, I want that base to be really thick, and on the top I want this to be a little thinner. Just add an irregular line depending on the thickness you want for your tree. If you want to go with that thickness of the masking tape, that is totally okay. You don't need to add any sketch and cut that out, you can directly cover the thickness of your masking tape for the tree. I have added a line only on one side. Now using a scissors, I'm going to cut that off. Then I will paste this back onto my paper. Similarly, I will do the other one as well. As I mentioned earlier, I'm going with two trees. If you want to add three or if want to go with just one single tree that is totally okay. Depending on the thickness you want for your tree, cut out your masking tape, or you can use masking fluid and fill that entire shape in masking fluid. We want to preserve the paper white. These are birch trees and will be retaining most of the paper white. We'll be just adding some lighter tones of Payne's gray and also some stripe patterns. That's the reason why we have to preserve the paper white. There was something underneath that tape. Now it is fixed. Similarly, I need to cut the other one as well. I have applied masking tape and I have secure the people white, where we have the trees. You can run your fingers multiple times just to be sure there's no gaps in-between. The masking tape I used here is a half-inch masking tape. Initially, I had plans to apply the masking tape as it is, I mean, the half-inch masking tape, then when I apply it, it seems a bit thicker for me. That's when I decided to cut a little bit off from that half-inch masking tape. This is the size I'm going with. But if you want to go with your half-inch masking tape, that is totally okay. Or if you have a different washy tape or some other tape which is similar to this thickness, you can use that directly. Anyway, now let's start applying paint onto the sky, which is the most interesting part of this painting. We already discussed about the colors, so I hope you have them ready. I don't have the colors. First I'm starting off with this green. It's a beautiful green. It is Phthalo Green Light from Sennelier, which is the major color for our sky. I'm squeezing out a bit of that color. Now the next color is a combination of Payne's gray and indigo. Now let's squeeze some more. For today's sky, we're playing with two colors; a brighter tone and a darker tone. The brighter tone is green and the darker tone is a combination of Payne's gray and indigo. I have the colors ready on my palette. Now the first step is to apply a clean coat of water onto the entire sky. For that I'm picking my one-inch wash brush and I'm applying an even coat of water onto the entire sky. Today you can be a bit generous with the amount of water. We need quite a lot of water on the background so that the colors can float and spread into each other. Apply a generous amount of water onto the entire sky. You can run your brush on top of the masking tape, as well, where you have the trees. We have secured them properly. It is good to keep a paper towel next to you, because this one is a really interesting technique, but a messy technique as well. Just keep a paper towel next to you, just in case if there is some accidents. Anyways, now we can start applying the paint. For that, I'm using my medium-sized round brush. This one is the Size number 8 round brush, and I'm starting off with green; a really intense tone. I'm adding a few drops of water and I'm turning that into a thicker watery consistency. It is not too loose. It is really thick and it is really vibrant. See that? Now I'm going to drop in that wet paint onto the wet background. You can see that card just green. Now I'm going to apply that onto my paper. First I'm adding some simple lines using this green. That's the first one. Now I'm adding another one over here. It can be slightly curvy and wavy. Now a little on the bottom. I have three sections of green. Now onto these in-between spaces, I will be dropping in my second color, which is the darker tone mix of Payne's gray and indigo. That's our next task. Let's wash all the paint from this brush. Let's make some indigo and Payne's gray. If you want to, you can either use Indigo as it is or Payne's gray. If you mix these colors together, you will get a bluish-green, a darker one. I feel these colors really gorgeous and it goes well with this green. Anyway, now, I'm going to apply that onto these in-between spaces. Go with a darker tone and just fill those pieces. That's how I have applied the paint. Looks really weird. Try it. No mind. I'm going to keep my brush away and I'm going to lift this board and I'm going to start tilting and turning it around and I'm making them blend into each other. You can see the way the paint is floating. As I said, it's a messy process so if you want to keep something over here from your table, that would be really great. Especially if you're working on a white table or an antique table it would be really creatively some plastic sheet so that the paint won't stain it. Just be extra cautious to keep away all your expensive belongings. Now, I'm going to tilt it around. We can see how beautifully the colors are floating into each other. As you can see here is a messy technique, but it is a beautiful technique to paint Northern Lights. The natural blend etiquette that is unmatchable. You won't get the same with your brush. You can see that paint floating down. I'm just going to wipe off the excess amount of paint from the bottom. This is why I said to keep a paper towel next to you when you are doing this painting. Now, let's keep tilting the paper, let the colors float into each other, and create a beautiful and natural blend. Your sky will totally depend on the way you have applied your colors and the way you're tilting your paper. Don't control the way this floating. Let it be really natural. Once we have done floating, we'll be doing some tweaks with our brush. For now, let's spread and flow in its own way. So this is how the sky is looking right now. I'm trying to add some more deeper tones onto this corner. I'm adding that darker color again. Onto this corner as well, maybe a little towards the bottom. If you want to drop in more paint, you could do that right now by loopback on the silhouette. If you want to extend that line, you could do that as well. Now, I'm picking another brush. It's a clean brush. First, I'm picking the paint from this corner here. There's some blue floating down. I'm just helping these a little bit. I'm just spreading that into the background. All right, now I think I can start tilting it again. The colors are looking quite good right now. There is a lot of wet paint on my paper. See that? It is still floating down. Now, just the same we have did earlier, keep tilting your paper until you have got a beautiful blend. In between, you can use a brush and held that a bit if the paint is stuck at one place. So the major factor here is making your background stay wet for a longer time and also using a paint which is a little watery. Once you have the perfect combination of these two factors, your colors will start spreading into each other in a very natural and beautiful way and you will be able to create the perfect Northern lines. Now I'm just cleaning my brush. There's a lot of blue stuck at the center. I want some green over there. Maybe I will just apply some green at this area here. I don't want any blue here. I want that green to continue to the bottom. There's a lot of blue floating down. I think it is just taking on here on my green. I want that neon green. I'm just pushing away some paint from here and I'm tapping that on a paper towel. I'm going to introduce some green again onto this area as well as over here. I just want that green to continue. I want a swirly line of green. I think it looks so much better now. Anyway, I'm going to tilt it around for one more time. There are still some wet paint on my paper. Let it all settle. Keep tilting and turning around your paper in every direction to get the most perfect blend and if you feel like you need to drop in more paint, you could do that only if your background is still wet. Otherwise, don't trouble it. Just leave it the way it is. Anyway, that's my sky and I'm pretty happy with the colors and the blend. I don't want to tilt it again. I don't want the colors to spread more. I'm going to leave my painting flat on my table and also before I leave this for drying, I'm going to wipe off this paint from the bottom. They might float back into my painting and will create those dirty blades on the corner which I'm not a fan of. I'm just wiping off the excess paint from the bottom. Looks like there's a lot of paint inside the masking tape. I can really feel them when I'm wiping off the paint. So obviously, I'm not going to get a clean border for this painting. I'm pretty happy with the sky. That is all what matters. Now, just in case if you feel like your paint is still wet but it's not floating, you can help that with a clean brush. Pick any of your brush, a clean brush, and just help the paint to spread only in case your background is still wet otherwise, don't touch it. Leave it the way it is and leave it for drying. Over here I can see some paint with a stack. Using a clean brush I'm just pulling that, so just pushing through that to get a better blend. Maybe you can drop in some more paint as well only if your background is still wet. So I'm just adding some darker paint onto these corners to create a better contrast. Anyway, that is how the sky has turned out. Now, I'm going to clean my brushes and I'm going to keep them away. Now, we'll have to wait for the sky to dry completely as we have added heavy layers of paint, it might take some time for that to dry completely. You can use a blow dryer only the paint has settled and is not too watery. In case if your background is still watery, that hot and strong air will push away the paint and will create some ugly paths in your sky. So use a blow dryer only if the paint has settled and if it's not too watery. Otherwise, the whole effort that you have taken till now, will go wasted. This has happened to me multiple times, that's the reason why I alerted you. I don't want that to happen to your painting. So if you can leave your painting to dry naturally, that's what I would recommend. If you can, if there is no rush, give it enough time and let it dry on its own, and let it dry completely. Here we are. This is how our sky has turned out. Our next task is to splatter the stars for which you can either use white gouache or white watercolor. White gouache is what I would recommend because it is more opaque compared to white watercolor. Now, we're going to splatter them onto the sky, especially onto the area where we have darker tones. I'm really happy with this neon green here. But if you add the stars on it, it won't be really visible, so we're going to concentrate on the area where we have darker tones, and we're adding the stars. Let's start. Now, just in case if you don't have white gouache, just go with white watercolor. That is completely okay, but be sure not to add a lot of water. We want a thicker and opaque consistency. Now, using a small brush, I'm picking some paint. I'm not adding a lot of water. I'm only adding few drops just so that I can pick the paint. I have taken the paint on the smallest size brush, and I'm dabbing that on a paper towel just to be sure the paint is not too watery. Now I'm using another brush, a bigger one. Now I'm tapping on this, and I'm creating the stars. This is the method I normally follow. It never went wrong with me. I always used to get that small and tiny stars. So far it has never gone wrong. But if you're a fan of toothbrush technique, you can use that technique to add the stars, or which will be the normal technique that you use. We just need some stars on the sky, that is all what matters. You can go with any technique that you prefer. I'm adding some more stars, especially on to this corner. This is also a messy technique, so if you want to keep something away from the table, do that right away. Especially if you're wearing a watch, or if you have your mobile phone or something nearby, keep them away. Otherwise, everything will look starry, so let's just keep them away. Now, using the same brush, I'm going to add some bigger stars, the smaller ones are looking quite fine. I'm just picking some random places, and using the same brush, I'm adding few bigger stars. Just add them in a very random way. You can add them wherever you want to. Maybe you can add them on to the darker area to make it look more prominent. We just add them in wherever you want to, and with that step, we'll be done with our sky. The next step is to paint the tree as well as the ground, so let's finish this. The sky is done. Now, I'm going to peel off the masking tape. I'm hoping I was able to pursue the paper right. This one looks fine. There is a little paint on the right side, but is still okay. That is where I'm planning to add the deeper tones. Now, let's take the second one. That also seems fine, but there's a lot of paint under the masking tape. There's a lot of green paint here, and some blue on the top. I'm very sure there's a lot of paint under the masking tape. Lets remove this one as well and see whether it has worked. That seems fine. There is no paint on the ground luckily, which is what I was worried about. Before I start painting the ground, I'm just wiping away all the paint from the border. I don't want the green to get into my ground, because for the snowy ground, we're going to write in most of the paper white. We don't want any other colors on the ground. Carefully wipe off the paint from the border if there is any. Actually, I'm wondering if it's a good idea to peel off the masking tape, the one I have applied along the border, and put new one. Actually, I should do that because I can see those paint along the border. Let me quickly peel this off and apply a new masking tape. Otherwise, I might accidentally smudge the colors into the ground or into the sky, under my drawing, my painting. Let me do this. I have removed the masking tape, but there's a lot of paint on my board. I'm just cleaning that, and I'm going to apply new masking tape to secure the paper. If yours is clean, there's nothing to worry, you can just watch me do this extra task. I'm the queen, I'm doing extra task. But see on the top, I didn't get a clean border. So far, for most of the painting, I have got a clean boarder, but this one is the total opposite. Never mind. I'm pretty happy with the sky, so no complaints. Maybe I can apply some white gouache and hide them. Let's see when we finish the painting, if that is necessary, we can do that. I have secured my paper again. Now we can start painting the snowy ground. There's a little of green on the ground, which I will hide later using some stones. For now, this is okay. But before I begin, I'm just extending the train a little into the ground. This is where we will have our stones. That's ready. Now, for the snowy ground, I'm going to use indigo. I'm using a medium tone of indigo, and I'm going to apply that onto the ground. Where I have the trees, I'm going to use a lighter tone, and onto to outer areas, I'm going to go with a medium tone. First let's make it wet, apply a clean, even cold water. To apply the water, I'm using my half-inch flat brush. Carefully apply that to enter your ground. Instead of indigo, I'm actually planning to use a color that we created earlier for the sky, which was a mix of Payne's gray and indigo. That seems fine. It's perfect for a night sky. We can either use this color, or I can go with indigo as it is. As I said, towards the bottom most corner, I'm going to use some medium to darker tone, but towards the tree I'm making it lighter. Just dropping that paint onto the wet background. Be sure not to add any paint onto the sky. You can see the way how I have retained that vital space next to the tree, and have used more of medium tones around it. Adding your paint in a similar way. Try not to add much of paint onto the tree. If you can paint in the white, that is great. I think that looks pretty fine. The color is looking really nice. There are some paint missing over here, I'm just feeling that up. That seems perfect. That's a base layer. You can see how we're rating the whiter space here, and we have medium tones around it. Maybe we can drop in a little more onto the outer corners. I'm actually very happy with this color. I think it looks really nice. Especially when we are painting a night sky, we don't need to use indigo as it is. This darker indigo will make it more like a night sky. Anyway, that's the background. Now, we have to wait for this to dry before we add the next details. 81. Birch Trees - PART 2: All right, so that has dried completely, now we can start painting the trees. For the trees, first we need to apply clean coat of water. For that, I'm using my size Number 8 round brush. You can use any of your smaller size or medium-size brush. Now I'm picking some clean water, and I'm applying that onto the tree, so onto white space we have here, apply clean coat of water. Don't add a lot. We just need a shiny coat of water. So gently apply that following the shape of your tree. Don't add any water onto the sky. Just cover it with very little water. Now let's pick a medium tone of Payne's gray. Not too light, not too dark. Now, I'm going to assume that we have the light hitting on the left side, so I'm going to apply that medium tone on the right side. You can see the color. It is not too light and it's not too dark as well. Apply that onto the right side. Now dab it with a charn of paper towel and just merge that into the background. Just make it lighter. We just need to get rid of that strong areas so give it a smoother look. You can clean that outline as well. Using that clean brush, just spread that into the background, giving it a more smoother and softer feel. It doesn't lead to a perfect blend. This is just the base layer, and we will be adding some texture onto this when it dries, so don't put a lot of effort in making it a clean blend. We just need some lighter value on the left, and some medium value on the right. That is all what we need. I think we can make the side a bit more prominent that the borders are not so visible. So I'm adding some more paint, following the outline of the tree. Then, I'm dabbing my brush and making it smoother. Just spread back into the background to give it a more softer and smoother feel but it doesn't need to be a clean blend. I hope the idea is clear. Now, in a similar way, we have to paint the other one as well. First, I'm picking some clean water, and I'm adding that onto the tree. Then, in a similar way, I will apply a medium tone. Then I will smudge that into the background. [MUSIC] So that one is also done. Now, I'm going to pick a bit more darker tone of Payne's gray, and I'm going to add few more darker patches and patterns onto the tree. You can see the colors a bit more darker than the one we used earlier. Now, simply add some patches and some patterns onto the tree. We're just trying to create some texture here. They don't need to have any particular shape or particular size. Don't make it too huge. That's the only thing you need to keep in mind. Now we just randomly add some patterns using a medium tone as well as the darker tone. You can see the way how I'm adding it. They are literally some random ugly patches. This one is done. In a similar way, I'm going to add some patterns onto the other one as well. So this can be done either on a wet background or you can do that on a dried background as well. However, we're just adding some patterns. We need to create some texture on the tree to make it look more realistic. We'll just drop in some patterns using a medium tone, as well as some darker tone. Leave some gap in-between. Don't add a lot of them. We don't need a lot. The majority of the area has to be that whitish color. Just add a few in between. So the base layer is done. Now we'll have to wait for this to dry before we add the remaining details. We do have some dry patterns, to make it look more realistic, as well as some branches. So let's leave that for drying. [MUSIC] So that has dried but I did a blunder. I added a shadow for the tree, which I'm not at all happy with so I'm planning to hide that with some stones. We can see how that goes. Don't add those shadows. It was a blunder from my side. I will be covering that entire area by adding some stones. So you can just ignore the shadow here, and you can follow the stones when I'm adding them. Anyway, right now, I'm going to add more texture on the tree. For that, I'm going to use a smaller size brush. This one is a Size number 6 round brush, and I'm picking a darker tone of Payne's gray. So we're going to add some dry patterns. Go with the darker tone, and if your paint is too watery, dab it on a paper towel. Now, keep adding some teeny tiny patterns onto the tree using a dried paint. So dab it on a paper towel, and gently add few patterns onto the tree using a darker tone. We already have medium tone on the tree, so right now, it's time to add darker tones. Again, don't add a lot. Leave enough of gap in-between. Just add few like this. So the major area has to be that whitish color. Don't add a lot and fill up the entire tree. It is just that we don't want to make it too busy. Keep adding some random patterns like this using a dry paint. You can see the patterns I'm adding, it doesn't have any particular shape or size. I'm just scrubbing my dry brush on the paper to create some random patterns. I'm adding some more at the bottom. At some places, you can just add a tiny dot or maybe a little line. I'm nearly done. I just have a little area left at the bottom. In a similar way, I'm adding some dry patterns onto the bottom of my tree. I know the bottom part looks a bit weird, but that's okay. We can cover that area by adding some stones later, so just ignore that for now. We can make it better. Anyway, that's my first dream. Now, in a similar way, I'm going to add some dry patterns onto the second one as well. Just remember not to add a lot. We don't want to make it too busy. Using some dry paint, keep adding some random patterns. At some places, it can be a small line or a dot, and at some places, you can just add some dry patterns. You can see how gorgeous our tree is looking, when we added those darker patterns. It looks more complete now. Earlier, it felt like there was something missing. Now we're just starting to look more complete. So you can add them mostly onto the sides, and you can add some at the center as well. I mean onto the face of the tree. This one is almost done. I have some area left on the top. So we're done with both the trees. The next step is to add the branches. For that as well, you need to use the smallest size brush or a brush with a pointed tip. Now, starting from the sides, I'm adding some branches using a really dark tone of Payne's gray. So you can pick any of these patterns you have applied and start adding your branches from there, or you will have to add a small pattern using a darker tone, and then start your branch from there. Right now, I'm picking this spot here, and I'm adding my branches from that spot I added earlier. Now, from the side. This is a very little detail, but it will make your tree look more realistic. So you can add your branch from any of these patterns you have added. You can see the way how I'm adding it. Now I'm going to add one on the other side from this pattern here, so from that pattern, adding a branch, however you'll want to. It can be either dropping down or it can be either going towards the top. It can be however you want to. See that? Again, adding that onto that batch. At the bottom, I added a small dot using that darker tone. So that's how our tree has turned out. It is looking pretty nice. Now, I'm again picking a darker tone off the same color. What I'm using is Payne's gray, and I'm going to add some trees in the background. First-time starting off with the shape. Then onto that, I'll add some teeny tiny lines using my tip of my brush. See that? Keep pressing the tip of your brush, and keep adding some lines on the top to make it look like they are trees. I'm making them shorter towards the center, and I'm making them higher towards either end. In a similar way, I'm going to add more lines and I'm going to fill this empty horizon line. This one is a very simple technique and you can create a gorgeous trees in the background using this simple technique. All you need to do is just keep adding some lines close to each other, and fill that entire area. It is great if we can use the smallest size brush or a medium-sized brush, or any brush that has got a pointed tip, and keep adding some long lines. We just need to see that lines on the top. The bottom can be a solid color. Now I'm going to fill this entire area. You can see towards the center, I have made them shorter. It is not exactly at the center. It is slightly towards the left side. You can either follow the same way or you can make it exactly at the center. That is totally your choice. The right side is looking pretty nice. Now, in a similar way, I'm adding some lines on the left side as well, but on this side, I'm not adding a lot. I will leave some gap at the center. So I'm just adding a little on the side. [MUSIC] So that is done. You can see the horizon line. It is looking more defined right now. Earlier, it was looking quite planned. The anti pending starting to look more complete, it is getting alive. I figured it was quite flat. In a way, our next task is to make the crown better. I know right now what is in my hands. My idea is to add some stones on the ground as well as some type patterns. But before that, maybe we can add some patterns onto the tree using brown. This step is completely optional. I just felt like adding some brown patterns onto the tree, so I'm picking a medium tone of brown, and I'm dabbing my brush on a paper towel. I'm going to add some dry patterns. Maybe I might need some more brown. If you don't have brown, you can use burnt sienna. Now, go the medium tone, add two drops of water, and then dab your brush on a paper towel to make it a dry. Now, I'm going to add some patterns onto the right side, where we have the medium tones. Nevada randomly, I'm adding pure dry patterns using a medium tone of brown. I'm adding them only onto the right side. The tree is looking pretty nice already, so if you don't want to add this pattern, that is totally okay. I just felt like adding some brown patterns to make it look more realistic. so let me quickly add this and finish up the trees, then we can start with the snowy crowd. [MUSIC] So that is done. I feel like it made the tree look more realistic. I'm happy with it. Anyway, I'm going to add some more patterns towards the bottom, I mean the area closer to the ground as well as to the roots. I'm just adding some more patterns using a medium tone of brown. I think that looks really nice. Now, if you want to, you can add some patterns closer to the branches asphalt, driveway they're starting. That looks fine. Now we can start with the snowy ground. As I said earlier, my major intention is to hide that shadow so I'm going to add plenty of tone stripe, where I have added the shadow. So I'm starting off with the dark tone of brown. It's a mix of Payne's gray and brown, more like burnt umber. First, I'm going to add some shape of stones using that dark tone of pound. So my idea is to hide the roots as well as that shadow. First, I will just add the shapes, then I can fill them up. I have added three. Now I'm dabbing my brush on a paper towel. I'm using a dry paint, I'm filling that shape, links some tiny gap in between to make it look like there's some snow on it. So don't just fill that entirely, leave some gap in between with the color of your paper. You can add as many rocks as you want. There is no limit. In my case, my idea is to fill that anterior shadow, so I'll be adding more onto that area. So I have added few right now. Obviously, to cover that anterior shadow, I will need to add more. So first, I'm going to add them in the background. Then I will come to the foreground. I will add more bigger ones in the foreground. Keep adding your shape, leaving some gap in-between. It's an easy technique, just give it a try. All in you to do is, first, add in the sheet, then fill that up using a dry paint. While you're filling that up, leave some gap in between, which will eventually look like a snowy rock. I'm adding the next rock right underneath this tree to cover that root part, and in a similar way, I'm going to add few more. So you can either use Payne's gray acidosis or it can go to darker tone of brown. Now I'm adding some teeny tiny ones using Payne's gray just to give it a more natural feel. Different sizes and different shapes, the suite will look more natural. Don't add them in a similar way. You guys haven't added the shadow so you can add your rocks however you want to and the variable you want to. You don't need to follow the exact same locations that I'm adding them. You don't need to add these mini if you don't want to. Because you don't need to hide your shadow. Only I have that task. I'm just making this one a bit bigger to hide that bottom part. I still have a lot to add. The shadow is still there. But for now, I'm just dabbing my brush on a paper towel, and using the same brush, I'm adding some dry patterns. Aren't I need all the rocks that have added here. I'm quite confident that I can make this better. I'm not going into panic mode and continuing to add more rocks and more shadows. So I have added some dry patterns onto all the rocks I have added here, and also some onto the ground. So right now, I'm using a darker tone of brown. It's a mix of pink, gray, and brown, and I'm randomly adding some dry patterns, underneath the rock, as well as on the ground, just to give it some texture. Right now, it is quite plain and empty. We need to create some texture here, to make it look more realistic, so we just add some dry patterns onto the ground, either using Payne's gray or using a darker tone of brown, like the one I'm using here. So this looks pretty nice, but we still have the shadow, which means I will have to add some bigger rocks. I will need to add more shadows. First, I'm going to add some patterns in the background. This area is looking quite empty. Using a medium tone of brown, I'm adding some patterns, just some lines using a dry paint. Now, I'm starting to add those bigger rocks. I'm adding the first one onto this corner. You can see the way I'm adding the paint. I'm using some dry paint, and while I'm adding the paint, I'm leaving some gap in-between. See that? So in-between that darker tone of brown and paint screen, you can see some lighter tone of indigo in-between. So that is what makes it look like it is snowy. Now, in a similar way, I'm adding on the rock here, leaving some gap in-between. I think it is starting to look more beautiful. Now, for the rock I'm adding right now, I'm not leaving any gap. I just wanted to show you it is okay if you couldn't leave any gap in-between, you can still make it snowy. I will show you that later. Let me add the remaining rocks. So I'm adding one onto this corner. For you, guys, you don't have the shadow, so you don't need to add this many. But it is nice to add some extra rocks. I think it is really making the painting look more beautiful and more realistic. So if you want to, you can add them in, otherwise, you can just add few wherever you want to and finish off your painting. So right now, using the same color, I'm adding some dry patterns on the ground. Just some random ones. I'm really happy with how it is turning out. I think those rocks are looking really beautiful. Actually, I had no plans of adding these rocks, I was just planning to add the shadow and finish off the painting. But for some reason, I was not at all happy with the shadow. It was looking quite weird, and that's when I decided to fix the painting by adding these rocks, and I think that was a good decision. Good that I didn't give up. Anyways, now I'm taking a darker tone of Payne's gray, and I'm altering the shapes a little, and also adding some darker tones onto these rocks I have added here. Now, using Payne's gray, you can add some super tiny rocks as well. Some teeny tiny ones. This will make it look more realistic. That looks fine. I'm really happy with it. Maybe we can bond on the background. One on the side as well. I really like adding these tiny rocks, so I'm adding few more. Maybe one on the side, asphalt. A teeny tiny one. So that looks nice. I just cannot talk. I'm keeping on adding more and more. I don't know whether I will fill this entire area in these tiny rocks, or maybe it's time to call it done, maybe one here as well. The last one. Now, there's one last thing I want to do before I wrap it up. So I'm cleaning my brush thoroughly. We'll have to switch to either white gouache or white watercolor. Remember, when we added these rocks, I told you we can add the snow later. So that is what I'm going to do right now. I have some white paint on my palette. It has dried up, but I'm adding a few drops of water. I am trying to reactivate that paint. Now, I'm dabbing my brush on a paper towel to make it dry, and using that paint, I'm adding some dry patterns onto rocks. See that? We can see the difference between the right and the left. They both are looking same. So I'm not using a paint that is 100 percent opaque, it is a medium value, but I'm using a dry paint. So you can add few drops of water. You can add few extra chops and turn that into a medium tone. Then pick that paint on your brush, dab it on a paper towel, and then add these patterns. So it doesn't need to be too prominent. That's the key here. So that's our painting for the day. I'm 200 percent happy with this painting. Honestly, I was actually about to discard this painting, and start everything all over again, then I added that shadow. But then, I felt like giving it affects hand. It worked wonderfully. I'm really happy with the painting. So I think that mistake was a blessing. That's a major reason why this painting turned out this beautiful. But I'm sad that hadn't got a clean border. Never mind, It's a gorgeous painting. So I just have to ignore the fact that I didn't get a clean border. You can see those rocks, so pretty. I'm really happy with this snowy texture. You can either leave your paper white or you can just add some patterns. I know the tree is looking so gorgeous and also the color combination. So altogether, it's a wonderful painting. I hope you all enjoyed it. Thanks a lot for joining me today, I'll be back here soon with our next dreamy landscape. [MUSIC] 82. DAY 29 - Sunset by the Beach: Hello, welcome to Day 29. Our project for the day is a dreamy sunset by the beach. It is one of my most favorite from the entire collection. I love this color combination and the end here if you love this painting. Here's a closer look of the painting. You can see those gorgeous textures and that beautiful color combination. Let's quickly have a look at that color palette and we can start with the painting right away. The first color you will need is turquoise blue. The one I'm going to use here is from the brand white nights. That's the blue I'm going to use. For the sky. as well as for the sea will be using this color. This is the one. I absolutely love this color. I think we can get that by looking at the tube itself. Anyway, that's hopeless color. You can use any other two guys, blue have caught. Now the second color I have here is brilliant orange. First-time, going to scratch out orange and permanent rows separately but for the sky, we're going to use a mix of orange entrails. That one is orange. Now, I'm going to scratch at a permanent rose. If you don't have a permanent rose, you can also use crimson or carmine or any other similar rules. I have added a swatch of these two colors separately. Now, I'm going to mix equal parts of these colors and I will show you the color. These are the two colors I'm going to use. One is brilliant orange and the other one is permanent rose and you can see that color here. It is more like a peach color. If you don't want to create a mix of these two colors, you can either use orange acetone or permanent rose acetone, along with turquoise blue. Now, I will take a bit of permanent rose and I'm mixing that with orange and I will show you the color. That's a glow I'm going to use for the sky, along with turquoise blue. But this is not really necessary. I just wanted a unique color for the sky. That's the reason why I decided to mix these two colors. Now, I will mix this color again by adding more rules than orange. Let's see how the colors are looking like. This one is more of a reddish color. The other one was more peachy shade. Depending on the amount of colors you have used in your mix, the color will be slightly different. Now coming to the color you will need for the clouds, it is actually a mix up turquoise, blue, and permanent rose. I'm going to use a purplish color for the clouds. I already have some turquoise blue here. I'm mixing some rules for that. That's a clue I'll be using for the clouds. We can make this color in any other way. We just need a purple color for the clouds. It'll be using a brighter tone for the top and a lighter tone for the bottom. That is 1x color. Now coming to the sea. Along with that beach color and turquoise blue, we will also need some integral to add the deeper tones, especially towards the bottom and also underneath the rocks. Closer to the horizon line will be applying that mix of orange and rose. As we're coming towards the bottom, we'll use some turquoise blue and for the bottom-most area will be adding some integral to introduce the deeper tones. That is our next color. The indigo, our missing key is from Sennelier. This one has a more of a bluish integral. Now finally, you will need two more colors, which is brown and Payne's gray. We'll be using those colors for the rocks. It's actually a combination of three colors. We'll be using some orange on the top. Then towards the bottom, we'll be adding some brown and onto that, we'll be introducing some texture and some deeper tones using Payne's gray. If you don't have brown we can use burnt sienna. Now coming to the last color but just Payne's gray. If you don't have Payne's gray, you can use black or any similar color. That summarizes the color palette you will need for today's painting. Now, as I said earlier, you can either use a mix of orange and rose. The orange can be vermillion or any other orange. If you don't have permanent rose, you can use crimson or carmine. Decide on whether you want to go for a mix of these two colors or you want to use them separately so that's sunrise, the color palette. The paint is quite simple. You guys already know how to handle that on wet technique, how to do a variegated wash, and how to add clouds. Those are the techniques we'll be using for the sky. It is just that the colors will be different from the ones we were using earlier. Now coming to the sea, it is again the same technique. We are just using the colors in the opposite direction, which we use for the sky. Then to finish off the painting, we'll be adding some color, just rocks, but some brilliant textures. Then we will add some leaves and some white texture onto the see to make it look even more beautiful. It's a beautiful painting with some beautiful detailing. Now I think it's time to give it a try. 83. Sunset by the Beach - PART 1: I'm going to start by adding the pencil sketch. First, I'm adding the horizon line, which is a little above the center of the paper. Next, I'm going to add the rocks. I'm going to add some smaller ones closer to the horizon line and some bigger rocks towards the bottom. I'm attaching an image here of the finished painting, and you can either follow the same way or you can add them however you want to. You can modify the shape later when we are painting. But for now, just indicate the location. The sketch is ready. If you want to add more rocks, you could do that, and you can add them wherever you want to. Now we can start painting. Before I start, I'm going to apply a piece of masking tape along the horizon line. I want a clean horizon line. I'm not planning to add any details along the horizon line. I'm just taking out a piece of masking tape and I'm applying that along the line I have added here. I want a straight and clean horizon line. That is ready. Now for the sky, I'll be using a combination of turquoise blue and a mix of permanent rose and brilliant orange. You can either go with a mix of these two colors or you can use orange as it is. I have the colors ready on my palette. Now, I'm going to start by applying a clean coat of water onto the entire sky. We just need a shiny coat of water. Don't add a lot. The sky is evenly wet. Now to apply the paint onto the sky, I'm going use my Size number 8 round brush. You can go with any of your medium-size brush and start with the darker tone of turquoise blue. We're going to use an intense tone of turquoise blue along the top part of the sky. And as we're coming down, we'll make the color lighter. You can see the color I'm using, it is quite bright and intense. Now I'm going to wash out the paint from my brush. And I'm switching to my second color, which is a mixture of role and orange. First, I will make this area lighter. That seems fine. We can make it lighter again. That's the first color. Now I'm washing off the paint from my brush again, making sure that it's clean. Now, let's make some permanent rose with brilliant orange to create a color just pinkish orange. You can either use orange as it is or you can use permanent rose as it is, or we can go with the mixture of these two colors. I'm adding that at the horizon line. Now I'm picking some clean water and I'm making it lighter as I'm getting closer to turquoise blue. That's the base layer. To make it even more interesting, I'm going to pick an intense tone of the same color I created earlier, and I'm adding that along the horizon line. I want this area to be really bright and intense. That's the base layer. I think I can add some orange as well, so I'm picking some orange and I'm adding that onto the sky. Now I'm blending that into the background. I just want the sky to be really intense. Now using a clean brush, I'm just making this area smoother, where these two colors are meeting. Now we can start adding the clouds. For that, I'm picking some turquoise blue and I'm mixing that with a little of permanent rose to create a purple tone. It doesn't need to be a darker purple. Go with a medium tone. I'm mixing turquoise blue with permanent rose. Now using that color, I'm going to add some clouds onto the sky while it is still wet. First, I'm starting with this area where I have these two colors meeting. This one is more of a turquoise color. It is not that purplish. This one is more of a bluish. Anyway, not that bad. I thought this color will create a muddy mix, but it didn't. It's fine. Now I'm adding some clouds onto the left side as well. Maybe we can pick some more permanent rose and mix that with this color to make it more purplish. This looks nice. Now using this color, I'm going to add some more clouds, especially onto the area that I have orange and that pinkish color. The color that you're using for the clouds can be more of purplish or maybe a violet color. Adding both of them will work. Anyway, I have added enough of clouds. Now, I'm going to dab my brush on a paper towel. Using a dry brush, I'm smudging the color to make it look smoother. Just dab it on a paper towel and make sure that it's not watery. Just push and pull the color to make that clouds look more softer and smoother. Don't put a lot of pressure. Be very gentle. In case you want to, you can add more clouds as well, if your background is still wet. I'm quite happy with the bottom area. Maybe I can add few clouds onto the top. I'm mixing some more turquoise blue with permanent rose to create a darker purple. Now using that color, I'm going to add some clouds on the top. On the top, we can use a brighter and intense tone like this when you're adding the clouds. But towards the bottom, be sure to go with medium and lighter tones. That's the sky. I'm quite happy with the color combination and the clouds. If you want to make your sky look more dramatic, you can add more clouds, especially onto the top. I'm happy with the blend and the colors. I don't want to add more clouds. That's my sky. Now, I'm going to leave this for drying. The sky has dried completely. Now we can start painting the sea, for which I'm going to use the same colors. I'll be using the same colors as a mirror image. I'll be starting off with this color here, and as I'm coming down, I'll be using some turquoise blue. Towards the bottom-most area, I will introduce some indigo to add some darker tones and shadows. I already have all the colors ready on my palette, so first I'm going to peel off this masking tape. I got a clean horizon line. I was really looking forward to this. Anyways, now let's start painting the scene. For this one as well, I'm using wet on wet technique, which means you will have to apply a clean coat of water onto the end of the bottom area. You don't need to skip that rocks, you can apply water on top of that as well. Pick any of your wider brush and apply a clean coat of water onto the anterior background. When you're getting closer to the horizon line, we'll do careful. Don't add any water to the sky accidentally. As you're applying water towards the bottom, if you can try to lead the shape of the rocks, it doesn't need to be in a perfect way, just leave a rough shape because we'll be using darker tones of blue towards the bottom. If you can roughly leave the shape of the rock when you're applying water. My back on this evenly wet. Now using my medium-sized brush, I'm going to apply paint onto the background. It's a mix of permanent rose and orange. I'm starting off with a medium tone. I'm applying that carefully along the horizon line. Maybe we can make it a bit more brighter. Over here, I'm not really worried about the rocks because it's a lighter to medium tone. When we're adding the rocks, it will be still visible so there's nothing to worry. I think we can make the color a bit more intense towards the horizon line. I'm picking from orange, mixing that with permanent rose. I'm creating an intense torsion and the same color. I'm adding that along the horizon line. I'm adding this only closer to the horizon line. The rest is still going to be in a medium tone. Dropping that intense tone on the top. This will make sky really beautiful. Now I'm cleaning my brush and using some clean water, I'm making this area lighter. Now for the rest, we can go with turquoise blue. I'm cleaning my brush again and I'm picking a medium tone first, adding that over here, right next to that lighter tone, a little onto the right as well. Go to medium tone of turquoise blue. Add that only towards the right side. Now, let's keep making it more intense as we're coming towards the bottom. You can also see here the way I'm leaving that rocks, I'm just roughly leaving the sheep. It doesn't need to be exactly the same. Leave your rocks in a similar way. Now as you're coming towards the bottom, make your turquoise blue more and more dark and intense. I absolutely loved working with this color combination. I think it is looking really magical and dreamy, especially the area closer to the horizon line because we haven't used that intense color. It is making it really dreamy. Anyway, I'm going to fill this anterior area in a taco to sky blue. You can see that track in between. It is not in a proper shape, but that's okay. Just leave a rough shape like this. We have applied paint onto the anterior background but it is not looking that soft and smooth. That's on the next task. I will just apply some paint onto this corner here. Now I'm cleaning my brush and I'm dabbing my brush on a paper towel. There is still a lot of paint on it. Now using a clean brush, I'm going to make this area smoother. Just run your clean damp brush. Maybe you can pick a little off paint, a lighter tone, and just push and pull that paint into each other. Along with that you can also add some lines on to the background using a lighter or medium-tone. Don't make it too dark. Gently add some lines onto the wet background before it dries. It doesn't need to be too prominent. They're just trying to create some texture and some waves here that looks really light. I think I can pick a medium tone of integral. I'm dabbing my brush on a paper towel just so that the paint is not too watery. Now using that color, I'm going to add few more lines onto the wet background, especially onto the area closer to the horizon line. I'm not adding much on the orange part. I'm adding them where I have these two colors together. At some places, I'm making the color a bit bolder. Not allowed one or two or three places. This is where I'm going to add the rocks later. The sketch I added earlier, it is not at all possible. I will add them onto these areas. Now I'm adding some more lines towards the bottom. Next, we need to introduce the deeper tones towards the bottom, especially on the area where we have the rocks but before that, I'm just washing all the paint from my brush and I'm dabbing my brush when a paper towel and using a clean brush, I'm just dragging these lines to make it look softer and smoother. I don't want them to be too prominent. I think that looks fine for now. It will look much more softer when it dries. For now, let's leave it like that. Next, I'm going to pick a taco tone off turquoise blue. I'm adding that at the bottom. We haven't added a darker tone yet. I'm missing a taco tone off turquoise blue and I'm adding that towards the bottom as well as underneath the rocks. Maybe a little over here as well, there's a lot of orange here. Let's add few lines using a medium to enough turquoise blue. Maybe we can add a little onto the right side as well. That looks fine. Now it's time to add more deeper values at the bottom. First, I'm going to add two more turquoise blue at the bottom, a taco tone and onto these columns has full. Now we can go with integral. I'm picking a darker tone and I'm adding that onto the bottom-most area. I want this area to be really dark compared to the other areas to create a beautiful transition and contrast. Just add them underneath the drugs as well as at the bottom. You just need to add up decline. They will spread into the background automatically and they'll create a beautiful blend. You don't need to put a lot of effort. Just add that taco tone. Maybe we can add some order this area as well. I'm adding three lines here. This is exactly where I'm going to add rocks to. Just add two or three lines according to the number of rocks you want to add onto your painting. On the top, the color is not that bad. The line to adding wouldn't put a lot into the background. That's the background. I think we have got enough off deeper tones at the bottom as well as underneath the rocks. I'm really happy with the colors. I cannot tell you how much I love this color combination. I hope you guys are happy with your painting too. Now when this dries, we need to paint the rocks and after that we need to add some texture on the water asphalt. I'm really happy with that area along the horizon line, I feel this has really flowing and that colors really going well, that's turquoise, blue and indigo. Now let this dry completely and after that, we can pin the rocks. 84. Sunset by the Beach - PART 2: The entire background has dried completely, and you can see how soft and smooth it has become. When it was wet it was looking a bit intense and strong, but right now the colors are very soft and smooth. Our next task was to paint the rocks for which you will need three colors: a intense tone, a medium tone, and a darker tone. For the intense and the lighter tone, I'm using orange. I have some brilliant orange left here. I'm going to use that same paint. You can use any orange or vermilion then you will need some brown and also some Payne's gray to add the deeper tones. I already have orange and Payne's gray on my palette, I will need some more brown because we have plenty of rocks to paint. To paint the rocks, I'm going to use my Size number 6 round brush. You can use any of your medium or a smaller size brush. First, I'm picking some brown Maybe we can add a little of Payne's gray to it to make it a darker tone. First, I'm going to paint the ones closer to the horizon line for which I'm not going to add a lot of details. Using a darker tone of brown, I'm going to simply add in these rocks. You can add three, or four, or five of them, so just add them right about that darker tone you added earlier. That's the first one. I'm going to add a second one towards the right side. This one has to be really small. It was really far from us and we're not going to add any details onto it, so simply add them using a darker tone of brown and don't make them too big. Go with this in less size. Over here I'm adding a super tiny rock, and next to that I'm adding another one. I already have the shadow, so right about that I'm adding a rock. That is done. If you want to add more you could do that especially on the area where you have shadow. That part is done. Before I start painting the ones at the bottom, I'm going to add one closer to the horizon line so that I'm picking a medium tone of brown and I'm adding one over here onto this corner. Accidentally I have added some blue lines over here, so I thought of adding a rock right about that. This is optional only if you want to add a rock onto the horizon line, you can add that or you can leave a clean horizon line. That is done. We can go with a bigger rocks at the bottom. The ones at the bottom is much more closer to us, those are the foreground details. We need to play with different tonal values and we need to add some more details and texture onto this. I have two brushes with me, but the first one I'm picking some brown and I'm adding that onto the rocks especially onto the bottom. Towards the top, I'm going to use some orange. I will start with this one here. I'm just adding some brown, a bright, and intense tone at the bottom. I have another brush with me. Using that, I'm going to pick some orange. You can use any orange or even vermilion. Apply that onto a top part of your rock and fill up that entire shape. That's the first one and similarly I'm filling this one. We have a brighter tone of orange on the top and a darker tone of brown at the bottom, but we need to add some more deeper tones, some textures using a much more darker tone. For that I'm mixing some brown with Payne's gray, and I'm creating a much more darker tone. Using that color onto the wet background, I'm just adding some lines and some patterns just to give it some texture. You can add some at the bottom and also onto the surface of the rock. Similarly, I'm going to add some darker tones onto the other one as well, so first I'm adding some deeper tone at the bottom. I'm now adding a few lines onto the surface. Those are our first two rocks. In a similar way we can't paint the rest of them, so technically we need some medium and brighter tones on the top by just trying to make it look like the sunlight is hitting on the rocks, and towards the bottom we need to add more deeper tones. That's the basic idea. We can start painting the rest. These patterns that we are applying doesn't need to have any particular shape, or size, or any order. You just need to add those deeper tones to create some texture. They can be added however you want to. I'm picking more brown and I'm going with this one here. First, I'm adding some brown onto the surface. Onto the top I need to add some orange, but before that I'm going to add in some Payne's gray at the bottom part to introduce those shadows on the bottoms. Towards the bottom most area, I'm adding some deeper tones right away. I'm going to pick some orange and I'm adding that onto the top and I'm finishing off the shape. Similarly, let's paint the other ones then we can slowly start introducing more texture using a darker tone. Onto the top area I'm adding some orange, same onto the other one as well. Actually, you can paint all of them in one go. It is not complicated. We just need to drop in that background color, then onto that you can drop in some deeper tones. They can be just some random texture. It doesn't need to look perfect, we're just trying to create some texture here so it can be absolutely rough and messy. I'm picking some Payne's gray and I'm adding that towards the bottom part. I already have some brown on my brush, so the color is looking more like a burnt amber. Before I paint the other one I will just wait for this one to dry, otherwise the colors mix merge into each other and I won't get a clean shape. I'll just wait for this one to dry. I'm just introducing some more Payne's gray onto this corner to make it more darker and we can drop in some lines onto this one as well. You can add as many textures as you want until you feel like you're happy with the result. Let's paint this one here. I'm starting out with Payne's gray at the bottom. Now, I'm picking some brown. Using brown, I'm going to finish up the rest of the shape. This one is a small rock. I'm going to go back with the barn I left earlier, so I'm picking more brown and I'm going to fill that shape then towards the bottom and also towards the corners I will introduce some Payne's gray. I think the rocks are adding a lot of beauty to the painting. The entire thing looks super gorgeous altogether. I hope you guys are enjoying the process. I'm filling a darker tone of brown and I'm filling up the shape at the bottom. I will try to regain most of that lighter tone I have on the top, that orange and brownish tones. Only at the bottom I will introduce some darker tone. I'm just adding that shape along the outline of the rock and I'm filling that area, then to make it look better we can introduce some texture using the same color. I'm just adding some lines using the same brush. I'm just pushing and pulling the color to each other to give it a better transition. The basic idea is to have some orange and medium tone of brown on the top; the top surface, then towards the bottom we can introduce some darker tones and finally you can add some texture also using a darker tone and that's it. By the time you do one or two rocks, you will get the hang of it and the technique will come to you really easy. Once you have got the idea, you really don't need to look at the screen every minute. You can just paint that. First I'm adding that deeper tone onto all the rocks I have left here towards the bottom then I will add some brown and then I will add some orange on to the top. Let's do this. So that's the last one. Now I'm picking some orange, and I'm finishing off the shade. What we're done right now with the base layer. Now under this, we need to introduce some more texture using a darker tone to make it look complete. This one has an easy step, you can add all that extra in one cool. I'm starting off by picking some paint green, the paint is not too watery. Now, using bad paint, I'm just adding some lines and some random texture onto the rock. So we're just trying to create some texture here. You can add them how you want to. It doesn't need to be perfect. It doesn't need to be smooth and flowing, it is just some random texture. Add some at the bottom and also onto the surface of a rock. This tip needs to be done only if you feel like there is no texture on a rock. If you already have added enough of the patterns at the bottom, you can completely skip this step. For me, most of the rocks already have some texture. I'm actually concentrating only on the bigger ones here. I think the rest are looking quite fine. So onto this one, I'm just adding some lines and some texture. I'm just grabbing my brush to create some dry texture there. Similarly, I will add some texture on the one at the bottom as full. I think the rest are looking fine, I'm not going to touch them. With that, we're done with the rocks, I'm really happy with the way this turned out, especially the color combination and the anterior fill up this painting. Now we can leave those for trying This is where we have reached. Now our last step is to add some white texture onto the scene, and for that, I'm going to use some white gouache. If you have white gouache, I would recommend using that, otherwise, you can use white watercolor. Squeeze out some paint onto your palette. We're going to add some waves and some texture onto the water to make it look more realistic. Now, just in case you don't want to add those white textures, that is totally okay. You can just use some darker tone of indigo and add some lines on the water to add some texture. So you can either choose to do that or I can add some white texture, like the way I'm going to do. To add a white texture, I'm going to use my smallest size brush, this massive size two round brush. Now I'm going to pick some white gouache. My idea is to add some lines and some texture onto the water right underneath the rock to create some texture. I'm starting with this area. For this step, it is better to use a smaller brush or a brush with the pointer tip, the line has to be really thin and delicate. Now keep adding some wavy lines on the water, right underneath these rocks. You can just follow the shape of the rocks, have added and add your lines and similarly, it doesn't need to be exactly the same. Just keep running your brush underneath a rock and add some wavy lines. Let's keep adding these lines until we get a perfect texture of the paint I'm using right now, but it's quite dry. The lines are not all visible. So I'm adding a few more drops of water, this looks fine. Now, using this color, I'm going to continue adding more lines onto the water. First, you can start from the bottom part of the rock and add some wavy curvy lines underneath the rock. Be sure about the thickness, they have to be really thin and delicate, don't add bolder lines. Now, in a similar way, I'm adding some lines underneath this one. You can see the lines I'm adding, they're quite thin. So go for a thinner brush or a brush with a pointed tip, keep adding this kind of wavy and Colby lines on the water. I have added a few lines and this is how it is looking right now. You can see the thickness of the line that is really important. Don't add bold and thick lines to make them too prominent. Let's keep adding them. We need to add some water at the bottom and also fill onto the right corner First, you can add some lines underneath the rock following the shape. Then next to that you can add some dry line as well, to create some more texture. Now I'm adding a few lines underneath this one here. You can see the lines I'm adding, they're not totally prominent. So you can stop at any point when you feel like you have got enough texture on your water, you don't need to continue just because I'm doing it. Actually, I'm already happy with the result, I want to add a lot of patterns and make it too busy. Right now it is looking pretty nice. So if you want to add more, you could do that, otherwise, you can just stop there. I'm planning to add a few more underneath this rock, and also towards the bottom. I'm adding some try white patterns, underneath this rock here, especially onto this corner. I'm just dragging my brush, and I'm adding some dry white patterns. As I mentioned earlier, don't add a lot and make it too busy. The background color has to be visible, just add a few more patterns to create some texture, and that part is done. Now I'm adding a few more lines at the bottom, especially onto this bottom left corner. First I will add some lines underneath a rock and also onto this corner here. Maybe we can add a few more lines just to show some waves on the water. So all this needs to be done using dry paint. Don't make them too prominent. Now, I'm going to quickly add a few more lines, and I'm going to call it done. When you look at your painting, you will feel whether you need to add more over there. You need to stop it there. So get up from your seat, take a step back and have a look at your painting. Only if you feel like there's a need to add some more texture and some more waves onto your water. You can do that. Otherwise, you don't need to add them unnecessarily. So I'm nearly done with my painting, I feel like I have added enough lines and texture onto the sea. I don't want to overwork, kind of done doing it. I think it is best to call it done. Here we are, that's our painting for the day. Now, I'm going to peel off the masking tape. Always be your masking tape when your painting has dried completely, and gently pull that off at an angle. Here's have a dreamy censored for the day. I'm really happy with the color combination in the rock from the texture. I think it has come out really nice, it's a beautiful color combination. If we had to try to give it a try, I'm very sure you're going to love it. All right, thanks a lot for joining me today. I'll be back soon with our next dreamy landscape. 85. DAY 30 - Warm Evening: Hello my dearest friends, welcome to Day 30. Here is the warm and gorgeous sunset that we're painting today. It's a beautiful sunset and I absolutely love the way this one has turned out. First, let's take a look at the color palette. You can see that yellow here along the horizon line, that is Naples yellow. Naples yellow is not a common yellow, this one is a pale and dull yellow. The reason why it has a pastel feel is because it has some white pigment in it, so that's the reason why it is looking more like a dull and pastel yellow. If you don't have this color, there is no problem, you can use any yellow you have got or you can add some white into any of the yellow that you're using to turn that into pastel yellow. That's our first color. Now the second color is orange. The one I'm using here is brilliant orange. You can use any orange of your choice. You can also use vermilion, that's the color you see here. Then onto the top, the red you see, it's not red, it's actually permanent rose. I have mixed that with a bit of orange to create that gorgeous red. Those are the three colors I'll be using for the sky for the base layer. Instead of rose, you can use red as it is to add that red color on the top. The reason why I'm using rose is because I need a purple tone for the lake, as well as to add the clouds onto the sky. So for that, I'll be mixing some rose with violet to create that purple tone. That's the reason why I thought of using rose so that I can skip using one color. Also when you mix rose with a bit of orange, you will get a beautiful red. Maybe you can skip using red and just go with rose or crimson or you can use red as it is for the sky, especially on the top, to create that bolder shade. Then you can create a purple tone in any way that you normally do. It can be either using blue and crimson or maybe you can make some rose and violet, like the way I'm doing here. That's a color I'll be using towards the bottom, and also for the clouds. Those are the colors you will need for the sky as well as for the lake. Now, you will also need some brown and some Payne's gray to add the wooden deck and also to paint the landscape along the horizon line. If you don't have brown, you can use burnt sienna. We'll be using this color mostly for the deck. We'll be using a medium tone for the base layer. Then onto that, we'll be adding some deeper tones using Payne's gray. If you don't have Payne's gray, just go with black or maybe you can use indigo. Those are the colors you'll need for today's painting. It's a pretty simple color palette, and you will end up creating a gorgeous sunset. We don't need to try out any techniques in prior. You already know how to handle wet on wet technique. It's a wet on wet technique that we'll be using for the sky as well as for the lake. We'll be adding some clouds using purple once we have added all the colors onto the background. Then coming to the deck, we already have tried two paintings with the deck. If you guys remember these two paintings here, we already tried a gorgeous deck for these two. This one was more detailed, we added a lot of beautiful texture. We have another one here using Payne's gray. For this one, we're not adding a lot of details, but if you want to, you can add some more texture and details onto the deck to make it look more beautiful and realistic. We'll be adding a base color, then on to that we'll be simply adding some lines. It's going to be pretty simple. There is no much complicated techniques involved today. The only thing is to make your background stay wet for a longer time. If you're using a good-quality watercolor paper, that part is quite easy. Without wasting any more time, let's paint the last one from the series. 86. Warm Evening - PART 1: I have my paper ready here. Now before we start, we need to add the pencil sketch. I'm adding the horizon line, a little about the center of the paper. That's my horizon line. Now I need to add a deck. It is simple deck. The sketch is not that complicated. To make it easier, I'm attaching the finished painting here, so that it can have a look, can add in your sketch. The sketch is ready. Now I'm adding a line here and another horizontal line just to show the thickness of the deck. Maybe we can reduce the height of this wooden post, so that it doesn't overlap with the thickness. The sketch is ready. Now, once your painting we will be added some texture and some lines onto the wooden deck. Just some horizontal lines onto the entire deck to make it look more realistic and natural. That can be done when you're painting, you don't need to add them right now. Now, before we start, there's one more thing that we need to do. We need to apply a masking tape along the edges of the deck so that we can frizzle the edges. My plan is to apply masking tape along the entire sheet, only along the outline of the deck so then we can paint the sky and the lake quite easily without worrying about the deck. Otherwise, we might accidentally add some paint onto the deck when we're painting the lake. To preserve the clean edges, I'm going to apply a masking tape along the entire outline of the deck. I'm nearly done. I just have one side left here. Now, I'm going to take out the scissors and I'm going to cut these edges. I will preserve the entire outline. Now I'm going to apply another piece of masking tape along the horizon line. The top portion is going to be the sky and the bottom part is the lake. Now we can start painting the sky. We already discussed about the colors you will need. The major color you will need is Naples yellow. If you don't have Naples yellow, you can use any other yellow you have got, or you can just add a little of white watercolor to any of the yellow you're using, to give it a more pale and pastel look. I have taken out all the colors on my palette. I have Naples yellow, permanent rose, brilliant orange, violet, brown, and Payne's gray. Now using my one-inch brush [inaudible] , I'm going to apply clean coat of water onto the entire sky. Don't add a lot of water. We just need a shiny coat. This sky is evenly wet. Now we can start applying the paint. For that, I'm going to use my medium-sized round brush. This one is my size number 8 round brush. I'm just making sure it's clean and I'm starting out with a bright tone of Naples yellow. I'm going to apply yellow towards the horizon line then towards the top, I will introduce more of orange and red. That's Naples yellow. You can see it's a pastel and pale yellow. If you're using any other yellow, your sky will be a bit more brighter, but that's okay. This is the color, you can see there's some white in that. In the pigment number, you can see there are two pigments. It is the white pigment that gives Naples yellow a pale and pastel look. Anyway, now, I'm picking my second color which is orange. This one is brilliant orange. Now I'm going to apply that right next to Naples yellow. I think to make the color a bit more interesting, we can add some Naples yellow into it to give it a more pastel look. That looks nice. Now, I'm going to apply that color right next to Naples yellow. Right now I'm not really worried about blending them. I will apply all the colors onto the sky. Next I'm picking some rose, I'm mixing that with orange, to give it a more reddish feel. See that? Now, let's try mixing this color with a bit of Naples yellow and see how that's going to look like. That's a courageous pestle orange. Now I'm applying that onto the top left corner. We have applied paint onto the entire background right now. We have some yellow and orange at the bottom and some brighter tone of orange and red towards the top. Now I'm picking some more yellow and I'm just making this area softer by adding some clouds. That's how this sky has turned out. This is just the base layer. We'll be adding some clouds and some deeper tones onto this to make it more interesting. I just wanted to bring in some pastel fell to the sky. That's reason why I'm mixing Naples yellow with orange and rose, but that isn't necessary. You can add in your paint how you want to. We just need some yellow at the bottom, a mid tone of orange at the center, add a brighter tone on the top. Now before the background dries, I'm going to drop in some deeper tone of rose onto the top. I'm mixing that with orange again to make it look more like a red color and I'm adding that onto the top right corner, maybe a little towards the center, add in some clouds using the same color. You can add as many clouds as you want, especially on the top where you have orange and red. The only thing I would recommend is not to disturb the area that you have yellow. Let's not make the yellow part too busy. Now to add the remaining clouds, I'm going to create a purple by mixing a bit of permanent rose with violet. In the mix, you should be using more rose and less violet to create a reddish purple. Now I'm tapping my [inaudible] paper towel to make it less watery. Using that color, I'm going to add some clouds onto the sky before it dries. I'm adding some onto the area where I have orange and I will add few on the top. Just quickly drop that in before the background dries. I'm adding few at the bottom. Towards the bottom, I don't want the clouds to be too prominent. I want them to be a bit soft and septum. Here when I'm adding the clouds, I'll be using a lighter to medium tone. I'm not using a darker tone. Now, I'm going to clean my brush and I'm dabbing my brush on a paper towel. Using a clean, damp brush, I'm just merging the color to make it look softer and smoother. Maybe we can add some more clouds over here. Depending on the way you have applied paint onto the sky, you can add new clouds how you want to. The only thing is use more of darker and indent tones on the top. Now you have that red and orange and towards the bottom use more of lighter and medium tones. That's the only thing you need to keep in mind. Other than that, there's nothing to be concerned here. Keep adding your clouds until you're happy with the result. Now, I'm using a clean damp brush. I'm running that on top of the clouds I have added here to give it a more softer and smoother feel. This is something that I do normally when I'm done adding the clouds, I used to run a clean damp brush on top of them to give it a more softer and smoother look. You need to do this while the background is still wet and it can prevent the paint from spreading a lot. Also be sure not to put a lot of pressure and distort the background layer. Be very gentle when you're doing this. This one is nearly done. Now before I rub it off, I'm thinking to add some more clouds on the top using a much more brighter tone. Looks like the background has almost dry, so I'm canceling the plan of adding more clouds and I'm just going to go with this one. Anyway, I'm pretty happy with the sky, the colors, and the clouds. No complaints. Now, I'm going to leave this for drying. The sky has dried completely and this is how it is looking right now. The colors are as pretty as before. Now, we need to add some details along the horizon line. After that, we can peel off the masking tape, for that I'm picking some brown, I'll be using a medium tone on brown and also a darker tone. First I'm picking some brown and I'm adding some teeny tiny lines and some shapes along the horizon line, just to give it a feel that there are some plants and some bunch of trees over here. Just add a tiny shape like this. Now slowly we can start adding multiple tones onto this, especially onto the top. Using the same brush, I'm picking a little of Payne's gray, and I'm adding that onto the top of the shape I have added here, just some teeny tiny patterns. On the top, we need to have a darker tone, and towards the bottom we need a medium to lighter tone. Similarly, I'm going to add some little trees and plants onto the horizon line. At some places, you can make it higher to give it a more natural and realistic feel. Don't add them in the same way. This one is a very simple detail. We just need some darker tone on the top and a medium tone at the bottom. Just follow that masking tape you have applied there and add your paint until your masking tape. Also be sure to go with the similar size. Don't make it too huge. That is the first set. Now similarly, I'm going to add another set at the center. As for layers onto the left, I'm making this one a bit higher than the other one to create some interest in the painting. But the technique is the same. Darker tone on the top, medium tone at the bottom. Let's do this. All right, so that is done. Now before we go to the next step, we have to wait for this to dry. That is dried. Now before I start painting, I'm going to apply a piece of masking tape onto this wooden post here. Earlier I missed this one. I'm going to ignore the other two we have in the background because over there we'll be using more of lighter values, we will be using some yellow and some orange. But towards the bottom, we'll be making the color more darker. Later, if we don't preserve the paper white over here, we won't be able to get a clean color here. That's the reason why I'm preserving this one. That is done. Now, we can start applying the paint. For this, I'm going to use the wet-on-wet technique. First, I will peel off the masking tape. The background is ready. Now I'm going to apply a clean coat of water onto the entire lake. Then onto the wet background, I'm going to drop in the same colors that I use for the sky. I will start with yellow, then as I'm coming down, I will use more orange and red and purple. So I applied masking tape on these two wooden posts just because over here we'll be using more of darker tones and on the top it will be more of lighter and medium tones. So I hope that is clear. Now, I'm going to use my one-inch round brush and I'm picking some clean water and I'm applying that onto the background. So apply a gentle even coat. Don't add a lot of water close to the horizon line. Be a little careful when you're adding water over here. Looks like the background is evenly wet. Now we can start adding the paint. To apply the paint, I'm going to use my medium-sized round brush. First, I'm just cleaning it and I'm picking some Naples yellow, the same yellow that I used for the sky, it's a pale and dull yellow, and I'm adding that closer to the horizon line. This time the colors have to be in a mirror image of what we use for the sky. So we have to start with the yellow at the bottom. Then as we're coming down, we'll need to use more of orange and red and purple. Using the same brush, I'm picking some orange so that the color will be able to pale and bristle. Now using the same brush, I'm picking some rose. Adding that right next to orange. Now picking rose as it is to make it more dark and intense. Let's add that color next. Now, towards the bottom, I want a purple tone. So I'm picking more rose and adding that with violet to create a purple tone. A similar color that we used to add the clouds. Now for the remaining area, I'm going to add that color. So that's a base layer. Now, I'm going to add some clouds onto the, now I'm picking that orange color again and I'm running my brush back and forth to give it a more clean blend. That's a base layer. Now, onto this, we need to start adding the reflection of the clouds. That is what makes it more realistic and natural. Right now it is quite plain and empty. So clean your brush and pick a medium tone of purple. Let's add some clouds onto the orange and yellow part. We're trying to make it look like it is a reflection of the sky. So add your clouds at a similar place where you have them in your sky. Right about this, I have some clouds in the sky and I'm trying to create similar ones on the water as well. Now let's add few randomly. I think that looks fine. In case you want to add more, you could do that. But don't add a lot to make your lake look busy. Also when you're adding them, try to replicate similar places where you have them in your sky. I'm adding some more over here because if you look at the sky, I have lots and lots of clouds here. I'm just trying to replicate that. Now, we can add a little towards the right as well. I think it really looks like a reflection. I got them at the same places. I'm pretty happy with the top part. Now, I need to introduce some deeper tones over here. But I don't have new rose on my palette. I used most of it to create that purple. So I'm squeezing out a bit of rose. This one is a permanent rose and I'm adding that with a bit of orange. I'm adding few deeper tones over here and blending that with purple. I think it's just a color compensation. That purple is going very well with the yellow and orange color. Anyways, that's a lake. Now before we leave this for drying, we need another reflection of the landscape. For that, I'm picking a medium tone of brown. First I will start with brown, then maybe we can introduce some darker tone. Using that color, I'm adding the reflection here. While I'm adding the reflection, I'm leaving a tiny gap in-between. Go with similar shape and similar size and add them in. The background is still slightly wet, so make use of the time so that it will have a blurry feel, and it will really feel like a reflection. Okay, start with a medium tone of brown and add that into your shape. Then towards that outer side, maybe you can introduce a slightly darker tone. When you're adding this, be sure to go with similar size and shape of the landscape you have added above. Don't make it entirely different. Now I'm picking a darker tone and I'm adding that onto this corner. Similarly, I will introduce a bit more darker tone onto the bottom side of the reflection just to make it a bit more interesting. All right, that is done. It is looking really beautiful. I'm quite happy with the landscape and the reflection. Now the next task is to introduce some deeper tones underneath the deck. But before that, I'm just washing up the paint from my brush and I'm running a clean, damp brush on top of these patterns here, just to give it a smoother look. It's the same step that I did for my sky. So this is a clean, damp brush. It is not at all watery. When you run your brush gently on top of these patterns, it will give it a more softer and smoother feel. That is done. Now we need to introduce some darker tone underneath the deck. For that, I'm picking a darker tone of purple. I'm just adding a thicker line underneath the deck. The background has almost started to try. So I have to be really careful and I have to be really fast. Otherwise, it won't look like a reflection. So I'm using a darker tone of purple and I'm adding that underneath the deck just to introduce some deeper value and all shadows. I think this looks fine. Now I need to add a thicker line underneath the post as well, that wooden post, to show the reflection. If your purple is not dark enough, you can add a little of Payne's gray and add some lines underneath the deck. It doesn't need to have any proper shape or in a proper pattern. Now let's add the reflection of the wooden post. So using the same paint, I'm adding a thicker line, a gentle line. The color I'm using here is not too dark and the background is still a little watery. Just add a thick line right underneath that wooden post using a medium tone of purple. Don't make it too dark and too prominent. I'm very much happy with the color combination and the reflection and everything about this painting. It is coming out exactly the way I imagined it to be. I'm just extending this one a bit more and that's it. We're done with the lake and the reflection. Know we can leave it to dry and after that we can paint the deck.. 87. Warm Evening - PART 2: That has dried completely. I'm very much happy with the colors. They are still looking very vibrant and pretty. Now, our next task was to peel off the masking tape so that we can start painting the deck. Gently peel off the masking tape only if you feel like the background has dried completely. Otherwise, wait for few more minutes and let it dry completely. Be very gentle when you're peeling off the masking tape. If the background is still wet, there are chances it might above your paper. Wait for few more minutes if it is still wet. I have managed to preserve all the paper right here. It's looking very clean. Now we can start painting the base layer for which I'm going to use a medium tone of brown. I'm going to apply that onto the entire background layer. Then gradually onto wet-wet layer, we can start introducing more texture. I'm going with a medium tone of brown. It can be brown or burnt sienna. Go with a medium tone and apply that onto the entire shape. Don't rush, carefully follow that shape and apply a medium tone of brown or burnt sienna onto that entire deck. That's a base layer. Now onto those we need to introduce some deeper tones and some texture to make it look like wood, right now it's quite plane and blank. It doesn't look like wood, so we need to introduce some texture for that. First I'm going to pick a little more darker value of brown and I'm going to introduce that onto this wet background. Gradually, I will pick a more darker value, I'll be mixing some brown with Payne's gray to make it look like burnt umber color. Using that color as well, I'll be adding more deeper tones onto that background. You just need to add some small dots and small lines onto the wet background. Let it spread into the background and create some texture. Don't add a lot, just add few here and there. You can see the color I'm using. It is not too dark. It is still a medium tone. Don't make it too prominent. Add them in a similar way. These patterns that you're adding doesn't need to have any particular shape or size or order. You can add them however you want to. The only thing is you need to add them while the background is too wet. Otherwise they'll be really prominent. Apply the base layer then onto that wet background, keep adding some deeper tones using burnt umber or a similar color. Right now, I'm adding some thick and bold lines onto the wet background using a darker brown. It's a medium tone. Now I'm going to pick some Payne's gray and I'm adding some lines and some dots to introduce some more texture. Again, don't add a lot, add them in a very random way. Don't make your background look too busy. We just need a few here and there. Keep adding more patterns and texture until you're happy with the result. I will just merge these patterns I have applied here and I will wait this for drying. I feel like I have got enough texture here. I don't want to add more. That's a base layer. Now, we can leave this for drying. This is how it has turned out. The background layer has dried completely and you can see those texture and those patterns. Our next task is to add some horizontal lines onto the background. We need to add those horizontal lines onto the entire deck. For that, I'm going to use my Size number 2 round brush. You have to go with any of your smaller size brush or a brush with a pointed tip. But before I do that, there's one thing I want to do. I'm taking out a piece of masking tape and I'm going to apply that onto this wooden post here so that we don't need to break the line in-between, then we're adding those horizontal line. We just apply a piece of masking tape onto that wooden post and secure it. That is done. Now, I'm going to switch back to my smaller size brush. I'm mixing some brown with Payne's gray to create a darker tone. Using that color, I'm going to simply add some horizontal lines onto the entire deck. I'm starting from the top. These lines has to be really thin and delicate. Don't make it too bold. Be sure to go with the smaller size brush or any of your brush with the pointed tip. Now let's simply add some horizontal lines. Try to add the lines in similar way, make them equal spacing. You can see the color I'm using here it's a mix of Payne's gray and brown. Now I'm going to add my second line. You can see the thickness. They are quite thin. I'm running my brush on top of the masking tape. This way you don't need to cut your line in-between. If you're not applying a masking tape, you will need to break your line in-between when you're reaching the wooden post. This way, you can add them continuously. You don't need to worry about breaking them. Now in a similar way, I'm going to add lines onto the entire deck. They are just some simple horizontal line. Just be careful about the spacing. Try to go for a similar spacing. Other than that, there's nothing to be concerned here. Go ahead and add them in. The top part is done, now I have the bottom section left. You can see the lines I'm adding. They are very simple, delicate lines, and they are not totally straight. That's okay. We can just add them in. Just be careful about the thickness. Now I have space for two more lines. The third, I'm done with the deck, now we have the wooden posts left. That's our final task. We can paint them right away. First, I'm going to peel off the masking tape. We can start with the ones in the background. First, I'm going to wash off the paint on my brush and I'm starting off with a medium tone of brown. Go with the pretty intense color. Now let's add that onto these ones here. Just carefully apply that along the outline. There's just a medium tone of brown. Now onto the right side, I'm going to introduce some darker tone. I've one more here. I will add paint onto that also. Then we can start introducing the darker tone together. That's just a medium tone of brown. Now, using the same brush, I'm going to pick some darker tone. I already have some darker tone here. It's a mix of Payne's gray and brown. Now I'm just adding some lines onto the right side. On the left, I'm reaching that brown. Only on to the right, I'm just adding some lines. Similarly, I'm adding a few lines under this one as well. Start with a medium tone of brown. Apply that onto the entire shape. Then onto the left or right, start introducing your darker tone. Now let's go the next one. I have cleaned my brush and I'm starting with a medium tone of brown again. I'm going to fill that onto this entire shape we have here. Carefully follow the outline and fill up that entire shape. Now, just the same way we did earlier, we'll be introducing some deeper tone onto the right side. First, let's carefully fill that shape. We have two more left, we'll be using the same method for those one as well. That's the base layer. Now using the same brush and picking some Payne's gray. I'm randomly adding some lines onto the right side to introduce the deeper tones and shadows. There are just some simple lines. Add them onto the wet background. That's the base layer. Now in a similar way, I'm going to paint the other two post as well. We have painted two wooden posts now we have one more left at the bottom. Before I paint the last one, I'm going to paint that thickness of the deck. For that, I'm picking a darker tone. I already have some darker tone of brown here. Into that, I'm adding a little more Payne's gray to make it a little more darker. Now onto this thickness, I'm adding that color. Just to add a solid wash off that darker tone. Just trying to show the thickness of the deck. Simply fill that entire shape, be careful. Don't make it too bold. Go with the smallest size brush or a brush with a pointed tip. Carefully for that entire rectangular shape, which is the thickness, you can see how beautiful the painting is starting to look. Now, I'm going to finish this off. After that in a similar way, how we painted the other wooden post, I will paint the last one as well. Let's start off with a medium tone of brown. Then onto that, I will introduce some darker tone. I will just add some lines to sink that darker tone. Let me quickly finish this. I have added brown onto the entire shape. Now I'm adding some lines using a darker tone onto the right side. That's really simple step. You just need to start with a medium tone then add a new deeper value of either one of the side. That is done. Now we'll have to wait for this to dry so that we can add the final details. Now we're going to add the final details. Once the base layer has dried, you can go with a little more darker tone of brown or you can use Payne's gray as it is. Just add some thin lines onto this wooden post to introduce some more texture. They're just some random lines, go with a darker tone so that they'll be visible. Now simply add some lines onto all of these wooden post. That's our last task. With that, we are done with our painting for the day. I'm absolutely happy with the way this painting has turned out. The color combination and the end do you fill up this painting was really dreamy. Now it's time to peel off the masking tape. Peel it off at an angle. Be very gentle and carefully peel off your masking tape so that it won't revoke your paper. Here's our painting for the day. We can see how beautifully it has turned out. I absolutely enjoyed painting this warm sunset. I hope you-all had a great time too. Thanks a lot for joining and happy painting.