30 Days of Gouache : A Journey of Painting Landscapes in Color

1. Welcome to the Journey of Colors: Colors aren't just use on a canvas. They are emotions, stories, and the soul of art. When words fail, colors and art begin. They are the language of the imagination. Art isn't just about what you see. It's about the feelings that colors ignite within you. In every shade, there's a story, and in every artwork, there's a heartbeat waiting to be felt. Colors don't just fill the space. They fill our senses, transforming art into a living expression. Hello, everyone. Welcome back to my new skill chere class. I'm a Macht Tapaia, a child accountant, and an artist, as well as a creative business entrepreneur. I work majorly with pot coolers and Quash and occasionally also explore acrylics. I also love working with journalist supplies, creating in DII phone cases, handmade frames, handmade cars, as well as other DII craft projects. If you want to know more about me and my creative journey, you can follow me on Instagram under the handle, creating from the heart, where I share all of my creative designs as well as my creative journey every day. Welcome to the 30 day ash landscape challenge. In this class, real time into the world of ache painting, focusing on the beauty of landscapes. Whether you're new to Gach or a seasoned artist, this 30 day challenge will take you through the landscapes that inspire materials that matter and the techniques that elevate your craft and creativity with each brush tokes creating in beautiful landscape masterpieces each day. These 30 days will not just be a painting run for you, rather, you would be exploring the beauty of nature through the lens of ash, where every landscape tells a story and every day brings a new artistic adventure for you. Don't worry if you do not know much about Guash, since I will be guiding you through all the materials that you would require to begin and join us into this challenge. I will guide you through each of the materials that I would be using the alternatives and the best possible things that you can use through the day challenge and join us into this creative challenge and paint along with us. If you're someone who's looking in to begin in your journey with quash, or if you already work with this medium and want to set into a daily practice, then come join me into this 30 day quash challenge where we'll be creating in 30 captivating landscape through the coming 30 days, exploring in different color combinations, as well as different themes for each of the landscape. By the end of the 30 day challenge, you will have 30 beautiful masterpieces of your own to flont and show off, which will be created by your own brass strokes one day at a time. So without a further ado, grab your brushes, pick your palette, and let's create 30 stunning landscapes together, file mastering, gash techniques, and building your own artistic confidence. Hope to see you join me into the next lesson and dive into the class. 2. Materials you will be needing: So before moving ahead into the class project for day one, let's have a look into the materials that you would be needing through this 30 day challenge. The first one being the paper for painting on. I'm going to be using in this handmade sketchbook, which is from my own store hand binded using 400 GSM cold press paper. Now, you can use any paper, which is ITA 250 GSM and above. If it is 100% cotton, it helps you with leering. But even if it's not 100% cotton for Gache, it is okay. You don't need a cotton paper when it comes to Gach. Here, you can see the thickness of this paper, since it's 400 GSM, it's quite thick. Reason I'm using a 400 GSM paper here is because I'm going to be working on both sides of the book to create paintings each day. So, ideally, this paper is thick enough. It will not buckle up even when I paint in on both sides like these. So I'll show you how it looks even after painting on both sides. The paper hasn't buckled up, it's stiff enough and straight. So that is the reason I have gone ahead with a 400 TSM paper. Can use any paper, which is IDA to 50 GSM apo. It can be 50% cotton, 100% cotton or a cellulose paper, but I recommend using a cotton paper because it helps with not buckling up off the paper. So that's about the sketchbook. So here I have used this handbound. You can use paper. This sketchbook is approximately 6 " square size. You can use a paper, any size that you wish to go ahead with, a landscape portrait, and adjust the painting according to your dimensions. So that's about the paper or the sketchbook that I will be using throughout the 30 day challenge. Now, next is this palette for mixing in my paints. I'm going to use this handmade ceramic palette, and I'm just going to mix in colors as in when required. At times, I may directly mix in colors onto the paper itself. We'll discuss each of it while we move into the class projects each day. Next coming up is the brushes that you need for this class. Now, here's what my brush stand looks like at the moment. But don't worry. You do not need all of these brushes. I have all my brushes stored here, the natural hair brushes, synthetic hair for watercolor, acrylic squash, for all mediums that I use in. Now, for this class, I'm majorly going to be using in these synthetic brushes. You basically will need one medium sized flat brush, a round brush, a detailer brush, and if possible, a fill bird brush. So these are basically the brushes that you would need. Now, if they can be of any brand. I recommend one thing that try using in synthetic hair brushes for gouache. It helps better with blending and moving ahead. So I'm actually going to use this Brustro brand taklon brush set and the velvet touch series, as well as some of the miniature brushes. So I have a medium sized flat brush, a filbert brush, small, and big size, and some round brushes, and some retailer brushes. So this is, about the brushes that I'll be using in. Now, majorly, it's going to be from this synthetic brush stand only. I won't recommend using natural hair brushes for gouache because they've not worked that well as well how the synthetic brushes work when coming to medium called ache. Now, one thing that I want to talk about is try having a detailer brush in your set so that it will help you in getting in the fine details in your painting easily. I'm going to use in this Brusto miniature brush set. Now, this is the rigor brush. I have this entire set with me. I will keep on using brushes from this miniature set as in when needed. But you can just have a mini detailer brush with you, that will do the job for all of your paintings. Next, you need a jar of clean water for cleaning your brushes or wetting in your paints, getting in the right consistency for blending as well. So that's about you can even keep in two jars if you need to. Next, you need either tissue papers or a rough cloth for cleaning your brushes, staving of excess paints, creating in textures. Next, I'm going to use in these clips because since I'm working on a sketchbook, I will have to clip on my papers so that they do not, you know, keep on moving. Apart from that, you need a masking tape for getting in those clean white edges for each of the painting. You can use even a simple white carpenter masking tape. You need not have such fancy tape at your disposal. Now the main thing is the paints that we'll be using. So I'm going to use in this 112 color set from the brand Mia Hemi. Now I'm going to discuss in detail about these paints in the next lesson showing you every detail about this paint set that I'll be using its consistency, its properties, how perfect it is for quash paintings. So that is about the materials that you need for this class. Let's move on to the next lesson now. 3. What my color palette looks like: Now, before we dive into the class project for day one, let's have a look at this color palette that I'm using for this class. It's the 11 to color set. Now, I know this color set is huge. It has so many colors, which not all of you may have in your basic palette. Don't buddy through each class project. I will keep guiding you to make the color mixes for the colors that I'm using or use the alternate shades, which will suit best with the painting that we're going ahead. Have a look at the colors that go in my palette here. You will see the shades of brown, moving on to blues, and then moving on to all the shades of green, including light greens, dark greens. Then moving on to the shades of yellow. Moving on to the shades of these pastel green, pastel yellows, and then moving on to the shades of oranges, sunset colors, and then some skin tones moving on to some pink, red, dark orange. And lastly, moving on to lilac, pastel pink, pastel purple, and those light shades. So that's everything in my palette. Gauche paint is similar to watercolor, but it is opaque and a versatile medium. It is often described as an opaque watercolor. When mixed with a little and the right amount of water, it gives you a i print rich and opaque finish to the final painting. Gauche can also be used as watercolor if diluted with water, but will not look very vi print because it turns out to liquidy, and you can see the paper underneath just as in watercolors, we do. Ash is thick and rise quickly. However, even if the paint dries, it is easier to re wet the paint, unlike acrylic by just spraying or adding in little drops of water. Using distilled water instead of tap water, and using ah spray can help in preventing moles from forming to a larger extent. This spray is a savior to keep your paints free from moles. This set comes in a portable box, and each color has a pop up space to remove these twin jelly cups outside and use in easily. So now if you see, if I want to remove in these two colors here, I can simply pop it from the bottom. And here I have the colors out and easy to use if I do not want to keep the entire palette around. Same way, each of the cups out here can be removed and used in separately, giving in the perfect ease of use. Gash pains are thick and they dry out quickly whether kept open or on palette. But these paints can easily be reactivated by adding in few drops of water, and they still give you the opaque finish out here and maintain its consistency. So it's quite easy to revet these pains avoiding wastage of pains, even if tried out on the palette. Now here you can see how beautifully even the rewetted pains give you the opaque finish. Coming to the leering with Gach with Gach, leering is quite easy as even the taker toones can be laid down on the lighter color. Like here, I'm just layering simple green onto the lighter shades. But did you know even lighter shades can be layered when it comes to Gach because of its opaque consistency. Now, I'll go ahead with some black color and add in some leaves, and we'll see how even the green will be visible on the black. Plus overlaying with ash is quite easy, but you just need to be sure that the base layer has to be tried completely before you go ahead with the next layer so that you get the perfect finish and the colors do not mix up. Also, you need to be a little gentle on hands when going ahead with overlaying so that the base layer is not activated because again, these are water based paints, so they get easily reactivated. So you can see now the greens are also visible on the plaque. Since this is an opaque medium, it's easy to correct mistakes once it dries out, giving the perfect finish to your painting, So here's a closer look once again on this entire palette from the brand Mahmi. I'm going to be using in this entire palette throughout the 30 day challenge, using in different color combinations and color tones through each of the landscape. Now, since my palette has all the required shades possible, I will not have to go ahead with any color mixing through my class projects. But don't worry, I'll keep guiding you through the color mixing options and color shades for each class. So now let's dive in into the class project for d one. 4. Technique 1 - Basics of Goauche: If you're an absolute bigner with Quach, then come let's discuss some basic techniques and properties about Quach before we move into the class projects. First one, being the consistency. Gah pines generally have good consistencies similar to watercolors, but are thicker and have more opaque texture. Now, consistency may vary across brands as well, depending on different colors also within the same brands, as well as in the form that they are in. It's very important that you test the consistency of your gauche paints before using them. You can adjust the consistency by adding water to them to thin them out if you need a thinner consistency of the paint. And in case if you want to thicken up the medium, then you need to add some thickening medium to it accordingly, so as to thicken the consistency of your paints. So here in the first one. I added little water. For the second one, I added more water, and you can see it turns transparent like water colors, and the underneath white paper is visible. Now, if you directly pick up the paint without blending in with water and try to drag in. You can see you get some dry brush kind of a detail, and it's very difficult to lay the color in an equal proportion as well as to blend them with other colors. So while playing along with Gauche, it's very important to have the right consistency, not too thin, not too thick. If it will be too thick, you will not be able to spread and blend it easily. If it will be too diluted with water, then you will not get the opaque consistency of ash paints. It would rather act as watercolors, giving you the transparent look as well as the underneath paper being visible. So the first one is the perfect consistency where your paints spreads easily comfortably and just glides through the paper. The second one is a little transparent, as you can see the underneath white paper becomes visible. And for the third one, it's too thick to spread and blend easily. So it's important to just get the right consistency while working with gauche. So test your pains and understand how your gauche pains reacts. Now, after you've understood the consistency of paints, the next important one is going to be blending of your gauche colors. There are various techniques to blend. It can be layering, it could be just using a dry or a damp brush, or it could be a, you know, feathering technique or using in the white paint. So there are different ways. Now we'll just go through a few of these and understand where and how you can use these different methods depending on the choice of colors that you're playing along with. So what I will quickly do is before applying the paint, I will further divide this section into two equal parts, so that I can show you the difference while blending with just a normal damp brush, how the colors react, as well as blending in with white quash, how the blending happens, and how you achieve a transition from lighter to darker tones or darker tones to lighter tones. And without using the white paint, how you have a transitional color in between, So I've just divided this space into another equal half. Now, in the first half, I'm going to begin with this same pink color at the top. Now, for blending this, I'm going to pick up yellow color, and I want to blend the yellow and pink together. So in the half space, I have added in the pink tones. Now, in the remaining half at the bottom, I'm going to go with a medium tone of the yellow color. Now, when this pink and yellow mix in together, without the help of white quash, just using in a damp or dry brush, you will notice a little orangish color forming in between while these two colors blend in together. This is the transitional color that you get in between, without using in the white quash, and you have a transition from pink to orange to yellow, without actually using in an orange color. Now, with the same colors, let's try blending in with white gash and see how you get a gradient effect of both the tones. So at the top, beginning in with the pink color. In between, I will leave a little space for adding in white later on for blending. And at the bottom most, I'm again going to go ahead and add in the yellow color. This is also kind of the feathering technique where you apply the colors, and then you blend them to each other using in simple strokes, and then they create delicate transaction and soft edges. Now in the center, I'm adding in the white paint and blending it. Now in this case, you will see there is no orange color formed. Rather, you get a transition from dark pink to light pink to light yellow, and then to the dark yellow at the bottom. So when you use in white, you get transitional color you get gradients of the colors that you're using, whereas, without using white, you will see a transition color happening in between, which forms because of the planning of two tones together. Now let's go ahead and understand the same blending with two different set of colors. In the first case, the transitional color was in harmony with the two colors that you were having in creating in a beautiful transition. But now in case where the colors do not blend with each other easily or where they, you know, create a tone which is not a pleasant or a transitional tone, then how these colors react. So what we are going to do is, we are going to blend in the blue and the yellow together for this time. Now, blue and yellow mixed together forms in a green color. So when you blend the blue and the yellow without the help of white quash, you'll notice a green transitional color forming in between. So let's first blend it and check it out. So I'm beginning to add the yellow from the bottom and moving topwards. You will see in between while blending these two, you automatically get a transitional color, which is the green color. And it does not look pleasant, blending in with the blue and the yellow. You can see it creates a very unpleasant tone in between. Now, with the same set of colors, when you blend in with the help of white ah, you'll see the gradients of blue and yellow without forming in the green tone, which creates a pleasant transition between the colors, as well as a soft blending, creating in delicate transitions as well as soft edges. So now this time, I'm going to lay the yellow at the bottom and use white in between for blending. Now when you use white in this situation as well and blending, you will see we do not get any green tones. Rather, we get a lighter blue and a lighter yellow gradient in between, and then the colors go onto the darker tones of each tone at the top and bottom. So this kind of blending with the help of white is very beneficial when the transition color in between is not a pleasant color and does not go in harmony with the colors that you're trying to blend in. Where else where the colors are going well in harmony with each other like the pink and yellow, where an orange tone is formed, and it's a pleasant transition from pink to orange to yellow. You can go ahead with the blending without white quash. It depends from class project to project or with the choices of colors, which blending technique you need to use. The same technique can be used for three color, four color mixing as well. 5. Technique 2 - Adding Clouds: Discuss two to three different basic techniques, which will be very helpful for you to begin adding in your journey with landscape painting, creating in simple cloud details. So the first one, I'm using in a round brush. It's a size two round brush, which has a pointed tip. I'm using the colors which are already on my palette so that we do not base them. For the first one, I'm just adding in some half s strokes as you can see. I'm just adding them closer together. You can see just using in the tip of the brush. I'm adding little curvy strokes closer to each other, creating some cloud shapes, giving in the stroke details into the sky, creating in the cloud effect. Now, same way, you can add in multiple colors as well closer to each other. Along with the violet, now I'm even adding pink strokes with the similar pattern together and blending them as well. Now, when adding in these strokes, only thing that you need to keep in mind is the shape that you add them in. Like you need to begin forming in the shape of the cloud as well that you want to look or want it to come into your painting. So this is the first very basic and simple way to add in simple cloud effects into your paintings. You can even blend these a little if you want soft edges, then using a dam rush, you can blend it into the background. Same way, we can even use larger strokes to create simple cloud effect in a few paintings. We'll be doing this method as well, wherein we'll be adding in very bigger strokes. Other ways here you can see I'm leaving very minimal gap, and I'm just using the same stroke, but very close and stuck together. So again, it's the same strokes, but very close to each other. Now, using this val mop brush, you can give in soft edges. Now, in case if you do not have this brush, as I told you, you can simply use your smallest finger to dab it into the background or use a smaller size round brush to soften up the edges and blend it into the background. So this is the very basic kind of clouds using simple curvy strokes closer to each other or a little far creating in the shape that you wish to. And then these larger strokes that I was talking about, where it's curvy strokes, but very large creating in further cloud details as well. So this was the first kind and the second kind. Now the third one being creating in the fluffy cloud effect. For that, you can use two kind of brushes. One is a round brush, or one is a round blender brush. Now, in case if you do not have the blender brush, I will be showing both using the blender brush and with the round brush as well. So first, let's begin with the blender brush, how you can create in those fluffy cloud effect. So using this round blender brush, I'm just picking up the color. Now, I'm not going to add in much water, and I'm just going to begin dabbing this brush into the shape that I want to achieve for my clouds. So you can see at the top, I'm trying to create in that fluffy effect into the cloud so that we get in that fluffy cloud shape. So you need to begin adding it in the shapes that you want your clouds to look. Here, also, you can use lighter color and blend in along. Now, again, vile blending here also, you need to keep in mind if you need to use white paint for colors which do not go well with each other and if you do not need white in between. Like the pink and violet go well with each other, but still I'm adding little lighter highlights. But if you were blending orange with the violet color, you would have needed white because orange and violet together may form in a very unpleasant, muddy tone. Now, same way, let's use this round brush and create in some fluffy clouds. I'm going to pick up the same paint. Now here, you need to begin creating in the outline of the shape cloud that you need in. And then you can see I'm using my brush in a very diagonal manner and kind of dragging it and dabbing it, creating that texture into the cloud. And you can see almost similar effect that you get that you have achieved with the round blender brush. So again, it's not always important to have in all the kind of brushes. You need to learn the alternate use of the brushes that's already available with you to create in similar effect. But just here, you can see that the blending takes a little longer time. You need to go ahead and keep running in round circular motions to blend the colors. So at the top, it was more of tabbing, here, it was running your brush more in round circular motions to blend the colors to create the shape of the clouds. So this is about the clouds basic techniques, and these are the basic kind of clouds that we'll be using in each of our painting, but they will create such beautiful textures and effects into your landscape. So we'll be learning all of these more in depth painting each class project together. 6. Technique 3 - Pine Trees: Now that we discuss the clouds, the blending, let's move on to the next basic element that we'll be using a lot. That's the pine trees. I'll discuss a few basic shapes and simple techniques to create in the pine trees. Now, I've just picked up a little bit of the black color. I'm using the size two round brush, which has a pointed tip. Now, for the first thing, you'll begin in with a very thin stem for the pine tree. The top will be very thin. As you move towards the bottom, you can thicken it up a bit like this. Now, for pine trees, there are different ways. You can add in completely full foliage pine trees, some scarce pine trees or a blend of both. Now, first one is a medium foliage pine tree that I'm adding in here. So you can see from the top towards the bottom. I'm slowly increasing the length of the foliage. It's basically forming a triangular shape. Now again, let's add in one more. I begin with the thin stem at the bottom, and then at the bottom, I just thicken up it up. Now again, I'm adding in the foliage. Now, this time, you can see I'm adding very simple small branches coming out from the main pine tree. This is a very scarce kind of a pine tree that we are adding in. The first one was a medium folage. The second one was a simple just scars branch effect. But in both, you can notice the triangular shape that gets formed after you begin adding in the foliage or the branches. The basic motive is that you need to maintain a triangular shape for these pine trees from the top towards the bottom, so the top will always be thinner and moving downwards, you'll keep on increasing the length of the foliage. Now, The other thing is you can add the foliage either moving downwards or moving towards the top or a blend of both, or keeping it just, you know, a little diagonal in either ways. Now, this one here, you can see I'm just moving my brush, left and right, dragging it in a little dry brush pattern. This is a fully filled up tree. You can see the foliage is so thick here as compared to the previous two trees that we added, and it is a very simple one that I've added in, wherein the foliage is almost, you know, in the same manner. Now, in this one here, you can see I'm moving the foliage towards the top side. So my brush strokes are moving from bottom to top, creating in that effect into the pine tree. You will notice how your brush moves creates a difference into the pine tree in its appearance as well. So depending on the kind of pine tree that you want to add in, you need to move your brushtrokes also accordingly. So in this two year, you can see wherein the strokes were simply a little diagonal, and in the second one moving towards the top wass. So I'll just show you the foliage separately. You just pull out one branch. And from that, again, you keep on pulling out some more branches. Now again, in the direction that you want to take in from top to bottom or bottom to top, accordingly, you will pull out the foliage. And in this way, you will keep on creating in the details. Now again, the other way is just moving your brush left to right that we already discussed. In this, you can see how the foliage is forming, just a little diagonal tilt that you've given a little angular effect. You just keep moving your brush left to right, but you need to see that towards the top, it will be smaller and moving downwards, you will increase the length of the foliage. So that's about basic pine trees, the scars one, the medium foliage one and the completely filled one plus the strokes at the top and bottom. Now, in between, you can even use simple strokes as fillers. Now, here, you can see when you want to add in small pine trees, you just begin with a stem, and just go criss cross creating in that simple foliage effect. You need not worry about adding in the detailed foliage for these small pine trees. So this is another simple one just to fill in the spaces in between. Another way to give in little filler effect in between your pine trees is with simple strokes like these. You just begin adding in pulling out these piky kind of strokes, but they will vary in length throughout. I will show you a few clust projects where we've used a mix of these different pine trees together to create the entire silo hit effect into the painting. So you can see I'm just pulling out simple strokes. Towards the bottom, it's completely filled in with the black color. And towards the top, you just keep on pulling out simple strokes like these. These will act in as of the pine trees are too far from your view. That is the reason creating in this cluster effect altogether. Now, another one, you're just going to use in simple branches and very little branch effect coming out from lease in between to act in as some of the filler, and, you know, just as the pine tree branch that is visible or the main stem that is visible. Other way, you can even use in little bush effect in between your pine trees to just given little filler effect. So you create a small bush area like this, and at the top, you just try to give in little details of the pine trees by just pulling out little stems and giving in little foliage effect like this. So you can see simple method. Again, here, foliage is also very simple, just criss cross. So these are the different pine trees, different ways, and easy method to create pine trees adding into your painting. You can use a mix of them, whichever suits you or whichever you are convenient with. 7. Technique 4 - Bushes & Foilage: Now moving on to the basic techniques for the next elements that's going to be our green leaves, bushes, and grass details. I'm going to discuss some very basic techniques, which will be helpful for you to begin your journey into creating. I'm going to use this spoiled round brush. The bristles of these are actually spoiled because of acrylic paints. So when I dip it into paint directly without water, you'll see the bristles separate from each other, helping me given this dry brush technique detail easily for creating in the background layer for my bushes, grasses, or leaves, and filling in the spaces quickly. With leaving in very little details to be added later on. So just using this damp brush, you can see how I've created the background layer for the leaves. I did not dip my brush into water. I directly picked it up with some wet paint, which was also not too wet. Now, using a smaller size round brush. I will just go ahead with little detail leaves on top of this to give it a mixed effect. So for detail leaf, I'm just going to dab the tip of my brush into leaf strokes. You can use various tones of greens, as well as browns as well to reflect the colors of nature here. I'm just going ahead, dabbing the tip of my brush and pressing the belly of the brush, creating in simple leaf strokes. I will just show you the leaf strokes here separately that we are using. So you can see just dabbing the tip, pressing the belly, lifting according to the size that you need for the leaves. Now again, you're on top of it. I'm adding in little detail leaves. So this is the first very basic kind of details that you can add into your landscape paintings, creating in simple background bush effect, and then adding little detail leaves on top of the dry brush layer that we've added. You can even have a mix of both a little try brush and a little of the detailed one. We're even going to use the simple one stroke leaf. You begin with a thin stroke, press the belly of the brush, and lift it up once you're satisfied with the length of the leaves. It's very easy to create these leaves and bunch together into your field paintings, giving in the realistic effect. You begin with the tape, press the belly. Again, go ahead with to the stem creating in that fine detail. Now, onto this, you can even add an overlayering on top of these leaves. I'll just pick up a little darker green tone now. And once this is completely dried, on top of it, you can go ahead with a darker color to create overlapping of these leaves, creating a more natural effect. You can see how I'm going with the same stroke, beginning in with a thin stem, pressing the belly of my brush, and then lifting it up, giving it a leaf shape. As far as I'm satisfied with the length and the width of the leaves. If you want bigger and thicker leaves, you need to press the belly of your brush more. Accordingly, you need to use a bigger size brush. And if you need these small texture leaves, you need to go ahead with a smaller one. So again, here, you can see I've added little darker strokes on the previous punch as well. With every layer, you need to wait for the first layer to dry Now, next for creating in a bunch of leaf together, we'll first begin with a big stem. And from that, we'll keep pulling out further smaller stems like these. And then onto these, you can keep on adding smaller and bigger leaves, trying to create an entire bunch of leaves together. Again, here, you can see I'm going with very simple dabbing technique to create in the leaf detail. You can go ahead with some detail leaves, some ding technique, as well as little dry brush here as well. If you want to create a blend of different kind of elements into one. Now, next, is the bush details. For that, again, we're just going to go ahead with a very simple technique. You begin by creating the top area of the bush by just dabbing in the tip of your brush. Again, when you begin creating this, you're going to make sure that you keep on wearing the heights of these dabbing details and not keep them of the same length. And then at the bottom space, you'll fill it up completely just with the green tones simply giving in that bottom filled up look. Now, again, onto this as well, you can go ahead with the layering technique and give up darker tints as well. But for that, you need to wait for the first layer to try. Only then go ahead with the layering. If you want a blended and soft look, then you can go ahead wet on wet. But if you want a detailed look, you need to wait for it to dry. Till then, here are some simple grass strokes that we're going to use, going ahead with random strokes moving in left right directions, a little diagonal, a little tilted. Onto top of this as well, again, you can go ahead with different tones of greens, browns, black, trying to depict different colors of natures into your field. O In the same way, you can even go ahead with some bigger strokes like these, depending on the type of painting that you're going ahead with, whether you need smaller strokes or bigger strokes. Now my bottom bush space is tried onto that. Let's go ahead with the overlaying of a darker tint. So I'm using the black color here. You can use greens, browns, black, as you wish, depending on the painting that you're doing. So now, overlayering, I'll make sure that the background layer is also visible. So accordingly, the length of this overlayering will be a little less as compared to the background greens. So you can see simply the same technique at the top dabbing in and at the bottom filling it completely with the black color. So these are some very basic leaf, bush and grass and leaves detail that you need to know to begin with your landscape honey. The other details one, we'll keep discussing as we dive into each class project. For now, this much basic about the leaves and grass strokes is enough to begin with. 8. Technique 5 - Other Elements: Now, let's move on to the last section of the techniques before we dive into the class project for day one. Another simple silohate for you to understand is adding in palm trees. Now, since we are painting very many landscapes this time, we are not going to go ahead with a lot of detailed silo heates. We are going to go ahead with quick silo Hates, which fit well into our mini paintings, giving in a very detailed look. First one being the palm tree here. You can see I begin with a stem, thinner at the top, thicker at the bottom. And from that, I just pull out these simple branch strokes in left triton top direction, giving in that effect of the palm tree. Now, say in case, if you want to add in just one palm tree, but a detailed one, then you need to pull out multiple branches. And from that, you need to keep on pulling smaller stem or palm leaf details like these. You can see it's a time consuming chop, as well as. It is, you know, quite a prominent when you add it into a bigger painting, going ahead with such kind of detailed trees into a miniature painting can take you time, plus you need to work with very miniature brushes so that the details stain proportion with your painting. So this is about the palm trees, simple ones that we are going to be using. You want you can use a mix of both. We've discussed both of these. Now the next technique is going to be about little dry brush strokes that we are going to use. Now, for the dry brush, there are two important things. Your paper has to be dried. Secondly, your brush need not have excess pigment or water. You need to keep your brush at a diagonal angle and keep on pulling out these strokes. You can see have very limited pigment on my brush. Now say if I pick up little pigment, and I do not dab it completely, just giving it a little gentle dab. And if I begin in just with a lot of pressure. You will begin to see getting in more of the color patches. Instead of getting in the dry bras stroke. So for getting in the dry bras stroke, it's important that you keep your brush at a little angle, as well as make sure that, you know, you do not have excess pigment or water. So that's the basic. You need to make sure your brush does not have excess pigment or water. Only then you'll be able to achieve these simple dry bras strokes. Now the next detail is about adding simple waves. So the first one here, you can see I'm just giving simple strokes. Now, closer to the horizon line, these waves will be smaller. But as you move away from the horizon line, you can keep on increasing the length of these waves as these becomes closer to you. You can see I'm just adding them criss cross closer to each other, creating in some movement into the water. Now, in between, you can even use some thicker strokes to depict a little, you know, crashing effect or heavy flow of water, or giving in some shadow and crashing effect to the waves. So here, you can see I'm beginning in with a thin stroke, pressing the belly of my brush, and again, adding it in a thin pattern here. Now, to this, you can even add shadows, as well as along with it, you can blend it with the simple strokes of the top layer that we've used. So for adding in little shadows, you can see at the bottom, I'm adding that lighter tint or a darker tint, you can add. Now, in between these waves, as I told you, you can use these thicker wave effect as we've seen into the painting already. So this is how you're going to go ahead with waves. Along with that, you can even go ahead with simple longer strokes to create in the waves detail into the paintings. So for that as well, I'll just quickly show you some bigger waves detail here. With these bigger waves, you can see it's a little more of the dry bra stroke as well, giving in little texture and forming effect to the water. That's about the waves very simple. We are not going to go with much detail waves. It's going to be these simple waves into each of the class projects that we'll be doing the seascape paintings. Now next, I'm just creating in a block of pink paint here and we'll wait for it to. Onto this, we'll quickly see two basic techniques that's about creating in the glowing stars or glowing spaces for the moons and adding in moons in different shapes. Now, this pink space is completely dried. On top of it, I'm going to go ahead with little white tint. I'm just going to drop a drop of white paint, and I'm just going to use a damp brush and blend it into the background. You can see we've got a dull white circle out there. Same way, I'm just going to go ahead, create a few more, dropping in a little bit of a white paint. I'll clean bruh, use a damp brush with very les water, so dab off the excess water as well. And now using this damp brush, just rotate it onto the edges, creating in a dull white layer. This acts as the background glowing spaces for your stars and moon into the night skies. Once this layer of dull white patch dries out, on top of it just in the center, we're going to add in the further white patch, creating in that glowing effect. So just a small.in the center. You can see it's giving in that glowing effect onto the edge. Now, if in one layer, you do not get in that glowing background effect, or if you want to increase the space, you can again go ahead and add and blend this as well and create the dull layer. Now, for the moon, same way you can create that glowing space and add in moons in different crescent shapes, full moon shapes, or any other make shape that you wish to go ahead with. So I'm going to use this simple left and right crescent moon and the full moon effect, along with the background glowing space technique that we've discussed here. Now say to this patch, I'm not satisfied with the background glowing space. So I'm just again blending these into the background, creating in a further bigger glowing space like this. And now once this dries out, again to the center of this, we'll add in that simple white moon effect. You need to make sure that these spaces are completely dried. It's a dull white color and not a bold white. Now, just to the center of this, we are going to add in a small white round circle. You can use this technique for creating in glowing stars into your night skies, as well as glowing background spaces for the moon. We are going to be majorly using this technique while adding our moons into the sky so that we have a moon light shining from behind of the moon details that we add in. So here's a quick recap onto all the techniques that we discussed, the consistency blending some basic silhouettes of clouds, pine trees, grass, palm trees, dry brush technique, simple waves, and the glowing spaces for the moon and the stars. So this is about the basics that you need to know about Quash for beginning in with her class projects. I'll see you guys into the day one class project now. 9. Day 1 - Sunset: So let's begin with the class project for Dave one. I already have my paper taped down, and we'll begin in with a very simple pencil scare. I'm just marking out two simple lines. The bottom space is going to be the beach area. And this second line space, the center area, will be the little water body area that we'll be painting, and the top is going to be the sky. Alright, so we'll first begin in with the sky, and then we're going to add in a few palm trees. I'm just adding very rough sketch for the palm trees here. We'll add them in detail directly with the panes. So let's begin in with the colors now and begin adding them one by one. Firstly, picking in with the sunset sky. So the sunset sky is going to be of the violet orange pink tones this time. So I'm first picking up a dark violet color. Now, you may have this basic violet color. Or else you can mix in blue and pink to get in a violet toll. Now, first, I'm just, you know, getting it in the right consistency on the palette. Now, as you know, my paper is a cold press paper, but still it has a little of the rough green texture. You will see at times it may be a little more tedious for me to blend it because of the texture of the paper and gage being thick pains. It may take time to spread it. But in case if you're using a smooth paper, it will be very easy to glide. So it's absolutely on you how you want to choose your paper, whether a smooth green rough grain coal press. I love the texture that comes in after the painting is done with this rough grain texture. That is the reason I've gone ahead with this rough grain paper. Now I've picked up a very light lilac color next close to the violet color. Now, in case if you do not have this lilac color, you can simply add in white to your violet to get a similar tone. You can even add a little of the pink to get in this pinkish violet tone together. Now, for the third color, I've gone ahead with a further lighter tone of the violet. So again, if you do not have this light tone, you can again add in more white to the previous mix and get in this very light tone. You will see this color is almost equal to a white color with just a little hint of the violet in A. So basically, since I have this 112 color cote set, I have all the lighter darker tones of the violet available, so I do not need to mix white again and again. Now, next, I've picked up a yellowish orange tone at the bottom closer to the horizon line. You can mix in your yellow and orange and get this yellowish orange color or you can even use in cadmium yellow color to get in a similar effect. So first, I'm just adding in perfectly at the horizon line, giving in that perfect line. Now, since I already had a very pastel color lastly near the yellow orange tone, you will see I do not get any muddy tones while blending. Otherwise, if you mix in violet and orange, you may get in muddy tones. So you need to be careful about these small things because blending needs to be right. Otherwise, if it will give in muddy and unpleasant tones, it will not give in that effect to your landscape painting. We are ready with our sky a very simple sky for Dave one. Now we'll begin adding in the sea area. So this time the sea also is going to be pretty simple one. I'm just going ahead with the simple, you know, medium tone of the lilac color here. Now, again, if this is not the darkest tone of the violet color that I'm using, just a little hint of white you can add it and get in this similar tone. Now, I've picked up a little hint of the yellowish orange color on my brush and just going to add a little hint into the violet color here, just trying to show in little effect of the sky colors falling here into the sea area, creating in the perfect reflection. I'm just marking the right horizon line so that we have in that straight look to our horizon line. Now, I've picked up a yellow orange color again, and I'm just giving in a little blurry effect to the horizon line. So I'm just running the same color again on the meeting point of the sky and the sea. We'll give a little distinction later on with the waves effect, but first trying to create in this blurry effect here, by just planing in again with the yellow orange color, the violet tones. Now, at the bottom, it's going to be a simple dark beach area for the sunset view. So there I'm going to directly add in black color. So I'm going to pick up black and just add in there, and then we'll add little details on the beach as well this time. Now, before moving to the beat space, I'm going to add in little cloud effects into the sky. So I've shifted into my mop brush, as I told you, you can use in Filbert brush round brush for blending all of these as well. I'm first adding in the paints, and then I'll blend it with the base layer colors as well. So I'm just going to keep a rough cloth handy so that I can keep dab my brush. Every time you blend in with the base layer, make sure that you clean your brush and then in. Now, I've picked up a little of the dark violet tone as well and adding in little darker effect onto the right side here. Again, I clean my brush and now using just a damp brush and blending it with the base layer. You can see I'm going very light handedly. That is the reason even the yellow orange mixed in with pillet is not giving in muddy tones. After every little blend, I'm cleaning my brush and again using a fresh damp brush to blend in so that the colors that are lifted while blending on the brush are clean again and do not get laid over onto the other spaces. Oh. Now, I'm going to pick up a little of the bold orange color. In the base layer, we used yellowish orange color. And now just using the bold orange color. I'm adding in little sunset highlight on the horizon line. So again, you will see as soon as I add in the orange color, the sea area gets a perfect horizon line distinction and creates in that distinct look from the sky as well. Now, pigging in with the black color. I'm going to fill in this entire white space that is left with the black color completely. Now, when you're going ahead with this black layer, make sure that you do not dilute your black color a lot. We need a bold layer here. We're going to add in very simple human figures as well into this one. It's going to be pretty quick and easy to add in those figures as well. The pos filling in this entire space with the black color completely. And now I'm going to go ahead with the rest of the details. First, at the top, I'll give in a very curvy and, you know, unfinished line. We do not need a very straight looking line. So I'm just giving in random curves out here, filling in with the black. Now, using the same black color and a smaller size brush, I'll begin adding in the palm trees. First one, I'll add on the left. Now, in the technique section, I've already discussed how you can add in detailed palm trees as well as how you can add in simple palm trees. I go to go ahead with quick and easy palm trees here. I'm just going to go ahead with simple details. So I pulled out very small foliages. And now from that, I'm quickly pulling out much more smaller foliages again, and you can see how quickly we can add in. Closer to the center point, you can see I've added in two round to act in as the coconut hanging onto these palm trees as well. So simple black dots or black circles that you can create and to add in those details. The one I've added here, now two to three palm trees, I'll be adding on the right side. So I'll quickly go ahead with the black color and begin adding in. Now, be a little careful if your basically a black color is still wet because if you lay your hands out there, You know, the colors may lifted on your hand and may get laid onto your painting. So you need to be a little careful while working wet if any space of your painting is wet. The first I'm marking out the palm trees that I'll be adding in on the right side, and then I'll begin with the foliage on the right side as well. It's going to be pretty quick and easy to add these in. Now, you can see on the right side, I've added the palm trees much closer to each other. So obviously, the foliage will also be overlapping each other. So I'm just randomly beginning in with the foliage. They will all be mixed merged and overlapping each other. And you know, one palm tree foliage covered up with the second one as well. So that is the reason I've added the palm trees closer together on the right side here. And now the fage also will be overlapping each other. Now, you will see that because of the overlapping thing, you will be unable to decide as to which foliage is coming in from which of the palm tree. But it's okay. That is the beauty of nature. You may have observed a lot of palm trees clustered together, and then you can, if you look it out from the far view, you may not be able to recognize which foliage is falling out from which of the tree. So the same view we are trying to create in here. Now quickly, I'm just going to add in simple human figures here. So just adding in small line and just trying to add in two further small lines and a small circle at the top, trying to show in a simple human figure. Now, of course, these are far from our view, and just in Silo, that is the reason we do not have to worry about detail. Now I'm even going to add in one bench out here on the beach space. So you can see very simple way to add in human figures. So just a simple block first, then two smaller lines from the bottom of the block, and then a circle at the top of the block to make it the face of the human figure. So you begin with the body, adding two simple legs as two small lines, and then a circle at the top to act in as the head. You can see very simple silo hate miniature very far off view that we've created here. We are almost at the end of this painting. Now before we just remove in the masking tape. I'm just going to add in simple waves effect. For that, I'm using in a medium tone of the violet color, not too dark than the bas layer of the sea and not too light as well. And I'm just going to add in simple lines. Make sure that the color is just one tone darker. So this color that I added was a little d. So I further diluted it with a lighter tone. And I'm just adding in simple waves. I have discussed these waves as well in the technique section. If you refer the last technique section, you will know the basics of adding in these waves. So I'm just adding in simple waves out here. Chilly, we should have added in the waves before adding in the palm trees so that the black colt does not get smirked. But I just missed out on the part of adding in the waves earlier. So that is the reason I'm adding in now, just a little tricky, but easy to add in. So just simple lines that I'm adding in to act in as the waves. Then adding in the simple waves as well. Now quickly using in the white as, I'm going to add in a small crescent moon out here in the center. Again, be careful at the spaces where your painting is still wet, how you lay your hands. For the waves, make sure that you use a very dark color, use one tone der whatever base color of the sea that you have so that it gives in that perfect sunset, you know, blurry view of the sea that we want to a in here. Come down adding the moon as well, make sure for the moon, your white ash is in a thick consistency. Now, let's begin removing in the masking tape, remove your masking tape very carefully and pull it against the paper. Otherwise, it may lift up the paints from the edges, and you may ruin up your painting as well because the paper may also begin to tear off. T have that removing in the masking tape. Now at the bottom, you can see a little of the black color that has sat out. For that, you can just use white ash or tet relics, or you can even use a correction pin and just hide those pieces, and given that crisp white finish, So here's a closer look at our painting from Day one. You can see I've corrected that little black part that had smashed at the bottom with the help of a correction pen, giving in that perfect crisp white line. I hope you guys enjoyed painting this painting with me for day one. I'll see you guys into the Day two class project. 10. Day 2 - Simple Field : Hello, everyone. Welcome back to Class Project for Day two. Let's begin with a very basic pencil sketch. We're going to go with a simple field painting, having a beautiful day bright view. So I'm first marking out the horizon line. It's a little below the center line as you can see, so the bottom is going to be a field area. And at the top, we're going to have in the sky. And on top of the horizon line, we'll just have an extended bush area off the field. Alright, so this is the basic pencil sketch that we've marked out. Now, let's begin with the sky first. So for this sky, first I'm picking up a beautiful, you know, bluish violet color. So you can mix in a little bit of your salient blue with violet and a little of white to get this pistil bluish violet tone. I'm beginning with this color at the top first, and then I'll move on to blues and pinks. So I'm done adding in this light tone at the top. We are going ahead with her day view, not an evening view this time. Now, next, I'm picking up a beautiful pastel blue kind of a color. So for a pastel blue color, you can simply mix in white along with your blue, whichever shade of blue you want to go ahead with. But you can see this is almost, you know, close to a white tone of blue that we are using a very light, bright color. Now, next, I'm going to move on to pink. Now I'm going ahead with the pastel pink, which is already in my palette. Now, if in case you do not have a pastel pink, you can simply mix in carmine or a rose color or a quin akinin rose or any pink tone with a little bit of white and get a pastel pink color. In case if you want to make it a little more pastel pink, you can even add a little hint of yellow to it. You'll get a beautiful past peachih pink tone. So I'm done with a base layer of the sky. Now, let's begin adding in the details into the sky. So I'm going ahead with this dark violet color. Now I already have the paints from the previous class project on my palette. I have not cleaned my palette. Now Gah is a water based medium, so you can easily re wet these paints and reuse them again. So I'm going ahead with one tone darker than the base layer violet that we have added. And I'm going to add in a lot of cloud dramatic details this time. So I'm going ahead with the clouds first. Now, for the Clouds, I'm going to shift into my mop brush, and I'm going to go ahead with a very dry kind of a detail. I have cleaned my brush, dabbed off all the excess water. Picking up little pigment and beginning to add in simple cloud strokes. So in case if you feel that there is excess, you know, pigment on your brush, also, make sure to dab it so that you do not have, you know, a lot of patchy effect. I'm going ahead with ale dry kind of a detail this time. I'm first adding in. You can see I've hold my brush a little far from the bristle so that I can get in these loose strokes. We're going to blend these with the other tones as well. Don't worry, when the entire sky will come together, you'll be able to see the pretty view this has. Now, next, I'm going to pick up a little medium tone of the blue color. Again, this is one layer darker than the base layer blue. And with the same more brush, I'm just using the tip of the brush and adding in simple cloud details. Now, as discussed in the technique section of the Clouds part, you can even use in a filbert brush or a round brush for adding in all of these details. It's not necessary to have the exact same brush. It's more about understanding the technique and ways of using the available tools with you to achieve in similar details. Now, you can see very lightly I'm adding in cloud details with the blue color as well. Now, over the pink as well, I'm just going ahead with loose details of a very light tone of the blue and just blending in a little with the help of a damp brush. So we are done with the sky pretty simple. You can see how beautiful it is turned out with simple stroke, simple color combination. Now let's add in the base layer of the field. For that, I'm first going to pick up the yellow ocher color and add in here. Now, again, as I told you on day one, my paper is a little rough green despite being cold pressed. So because of that, it takes me a little extra time to blend in because of the greens of the paper, which does not, you know, make the paints run smoothly. But as I told you, the after result of it is pretty beautiful. That is the reason I like the texture and love working with this texture. So I've added in light green also now. Now moving on to a sap green color. Now again, you don't need the same shades. You can go ahead with simple yellow c and a light green and a dark green. Now, of course, the colors will vary accordingly as they are available in your palette, so you can simply alter the colors as per your availability. They need not be the exact same shades as mine. It's more about understanding the concept and understanding the technique rather than having in the exact same shades of the defined colors. Now, at the bottom, I'm just going to pick up a little black and blend in with the green, giving in a very dark effect. At the bottom, we're going to add in loose grass strokes as well and give in little floral details as well. At the top also here, just adding in a little darker and blending in well. So we're almost ready with the base layer of our field. On top of this, we'll add in the details once it dries out completely. Now I'm mixing in my sap green with a little hint of black, creating in a further more darker green color, and I'm going to begin adding in the bush that we're going to add in that is going to be a little at the top of the horizon line. Now, for this, I'm going to add in different tones. So I've added such a dark tone of green. Now picking up a little lighter tone and blending in with the darker tone going ahead. And as I go further, I'll again pick up taker one and add it at the bottom space and blend all of these colors well with each other. Now, on top of it, I'm just going ahead with the tip of my brush, giving in little details. You can see I'm just using a very smaller size brush. This is size, one round brush that I'm using. It has a pointed tip, and using the green color at the top, I'm just adding simple strokes to define and given more detailed view to the bush that we are adding in. So just using the tip and creating in simple leaf strokes at the top. Now at the bottom here, I'm going to blend this space into the bottom field space. So just taking it a little more towards the right side. Now at the bottom, using in a bigger size brush. I've just used the damp brush and blending it into the pace layer, merging the bush area, as well as the field space, giving it a beautiful blended view so that it does not look as if it's separated or out of the view. You can see just using a dam bruh, blending the bottom edge of that bush with the field colors, how easily we could blend in and get in the effect. Now make sure that that light green space that we have in the field is visible as it can be seen in my painting because it gives in that light effect of the daylight onto the field as well. Now at the top here on the left side of the horizon line, I'm just going to go ahead add in a very tiny mountain range, or you can go ahead with tiny bush detail. I'll go ahead with tiny bush and not a mountain range. But you can see it's very tiny and just a very small detail, and I'm just going to take it till the green space that we have added on the right side. So just from behind the bush, blended this space and created in very fine details on the left side, as you can see. For the left side, I've majorly used in the dark color. It's almost equal to a black color that I've used in on the left side and got it just till the center point where the green line was ending in. That is it. We are done with the details on the horizon line. Now, next, let's go ahead, add in the details into the field. So first, you need to be sure that your field is completely dried. I'm just lending the bottom black again. Till then, let's discuss further about the field. Now next, for adding in the grass details in the field, you can either use a green color or a lighter green color as well. I'm going to go ahead with a very light green color. You can see my green is going to be very light. I'm going to use a mix of light and dark green strokes both. So first, I'm picking up the light screen color, and I'm just going to go ahead add in simple grass strokes. It's not going to cover the entire field. It will just be reaching half of the field space. So you can see the strokes that I'm using are very fine and small, as well as the details that I'm adding are of a very light green color, perfectly visible even on the dark black tone at the base layer. So this property of quash that we had discussed, you can see how well it works. Even the lighter tones are visible on the darker color because of the opacity of the pines that they hold. When it comes to watercolor, you will not get this opacity, hence the lighter tones will not be visible on the darker colors when it comes to watercolor. With acrylics, the same thing applies because they are opaque medium. So of course, the lighter tones will be visible on the taker ones. So I've just added randomly a few grass strokes with a very light green color. I mixed in a little white as well to my green to get this beautiful light tone of the green, which is perfectly visible on the taker tins. Now to this, we are going to add in very simple wild flower details with the lilac color of the sky that we have in. I'm just going ahead with a little more stroke randomly here and there, creating in more depth into the field. So now I'm going ahead with a little violet tint at first. Then I'll shift in to a much more lighter color than this, and then a further lighter tint. So that way, we'll get the perfect wildflower detail having in different color variations of the violet color. To this color that I have on my palette, I'm going to keep on adding white and creating in lighter tints. Now, very randomly, you can see, I'm just having the tip of my brush to give in simple wild flower details, no detail flow, no technique to follow. Now somewhere at places, I'm just going to dab in the tip of my brush and create a cluster of these wild flowers together. At the bottom here as well, I'm just going to go ahead and dab in these paints. You can see how beautiful everything is turning out to be very simple techniques, very easy details, and it creates so much depth into your painting, giving in that realistic view. Now, to this same violet color, I'm adding in a little bit of the white to create one tone lighter than the base lier violet flowers that we've already added. Now, my palette already has the lighter tones as well. But since I already have the violet on my palette, I'm adding in white so that I do not waste the color. Now I'm going to go ahead with this lighter color detail. Now, some of them will be overlapping the darker ones, and some of them will be apart from the darker ones that we've added. That way, you will get the perfect wild flow look into our field that we're trying to paint here. Now, going ahead with a further lighter tint for the next layer, and you can see how beautiful everything is turning out. Go ahead with, you know, three to four color variations of the violet color that will give in the realistic view to your feel. Make sure some of them are overlapping each other, and some of them are distinctly so that you have all different colors of file flowers, as well as a cluster of all different color ille flowers together as well. Now, I'm going to randomly create a cluster of this lighter color and dab them closer to each other. Now, next, I'm just going to pick up a darker green color, adding some darker green strokes and some, you know, bush details in through the field as well. We're almost through the class project just another minute or two, and we'll be ready to peel off the masking tape and see a final painting. So now with the darker green, I'm just adding in simple details into the field, just giving in some darker green strokes, randomly on the lighter green and pulling out some bush details as well. So I'm not going ahead with much darker green details. You can see just as highlighting strokes that I've added in randomly. This last stroke here seems a little, you know, imbalanced. So I'm just going to go ahead and correct it quickly with the help of the lighter green tin and just add in some lighter green highlights as well on top of it. Now, again, just giving in some lighter green highlights, and then we're almost through this class project. I'll just give in one bush detail, big one on the right side, reaching till the bush of the horizon line that we've added in. So just some simple strokes here, as you can see, pulling it till the top space, giving in that longer bush detail, overlapping onto the bush area. So that is it. You can see just on the right side, those light details moving on the dark color, giving in the perfect view. Let's remove in the masking tape and see a final painting. Make sure to peel off the masking tape against the paper so that you do not tear off your edges and do not lift up the colors. Also make sure that your edges are completely dried before you lift up the colors. Otherwise, it may again tear off the page. So I'm done removing in the masking tape. Now, here's a close view of our painting from Day two, a beautiful daytime field with simple wild flower details. I hope you Kays enjoyed painting this beautiful painting with me for day two. I will see you Kays into the Day three class project. Make sure to upload your class projects if you paint along with me. Hope to see them soon into the class project section. 11. Day 3 - Clear Blue Sky: Hello, everyone. Welcome back to Day three of the 30 days of ash challenge. Let's begin with the basic pencil sketch. I'm just going to mark out the horizon line, and that's the only pencil sketch that you need in for today's class project. Let's begin with the sky first. It's going to be a pretty sunny view kind of sky, a clear blue sky that we'll be painting with a lot of cloud details that we'll go ahead with. So first, I'm picking up this sky blue color. Now, in case if you do not have this, you can simply mix in white with your cillin blue and you'll get a similar looking tone. I'm first going to begin with this bold sky blue color at the top. Now, next, I'm going to shift into a royal blue color. Now again, if you do not have a royal blue color, you can just add a very small hint of the ultramarine blue to your white and get a similar tone. I'm going to blend both of these colors. Then at the bottom, I'm further going to lighten up the sky color creating in a bright sunny sky with the help of a further lighter tone. Now, again, as I told you, my palette already has ample amount of blue tones, including the lightest pastel shades, as well as the darkest blue needed. So I may directly pick them up from my palette, but you can always mix lighter tones with the help of white. So here, I've added white directly because my brush already has blue. So when I keep plending, the blue from my blush will keep on adding into the white and create in that light view. Now, closer to the horizon line, keep the color light only because we'll be adding in cloud details with a very light gray hint and blue color. So we want the cloud strokes to stand out. So I'm just adding in very little highlight of the blue on the white. You can see it's a very light tone that we've created here. So now I have to wait for my past layer of the sky to dry. Until then, I'm just going to go ahead and paint in a simple field. On the horizon line, we're going to have in a lot of pine tree details, creating in highlights this time on the pine tree. So the highlight of this class is basically the cloud details, as well as the highlights that we create on the pine trees to given that effect of the sunny light. Now, first, I've picked up the yellow co color in the center, and now I will shift on to the greens. And just like the previous class project, as I told you, you can use whichever greens are available in your palette. You can always create lighter and darker tones of greens with the help of black, white, brown and blue and yellow as well. So if you do not have a lighter yellow, you can either mix white or yellow to your regular green color and get in a similar looking lighter green tone. And in case if you do not have a darker green color, you can add black or brown to your basic green and get in darker tones. So I've added a very big patch of the yellow cer color, majorly in the center as you can see. And now from the edges, I'm going to pick up the dark green color and blend in with this yellow cer color. So you can see from the edges, I've pulled out the green color. Now at this point, if you see the blending seems very rough and uneven, we are going to go ahead, blend this. So basically, majorly in the center space is what I want the yellow occ glowing space trying to show in the sunlight falling in there. So just going ahead with simple strokes in the Now, for the picking up one more darker tint of the green color, adding in from the edges. Now, you will see that this darker green is applied in lesser space as compared to the previous green layer that we applied. So automatically, you will have three color tones visible in your field space, one being the yellow occur, one being the green that we went ahead with and one is this darkest streen color. So that is eight. Now let's go ahead, add in the cloud details into the sky. Now my sky is dried, so I'm going ahead with the details. In case if your sky is not dried, then wait for it to dry out completely, then move ahead further. Now, for the clouds, I'm going to go ahead with the mop brush. I am picking up a very light gray tint from my palette. Now, in case if you do not have it, you can simply mix in white, a little hint of blue, and a very little tint of the black color. Black has to be just a pinpoint color, and you will get this grayish color into your palette. And using this graysh color, I'm going to begin adding in the first layer of the clouds. Using the mop brush, I'm just going ahead, using in the tip, adding in the half s strokes that we discussed in the technique section. I'm adding them closer to each other. On top of this, I'm going to give in details with the white again as well. All right. Now, again, if you feel that the color is dark, you can add in a little white to it and lighten up the color further. So I'm just lightening it up with the help of a little bit of white and adding in further strokes. So you can see we've created such a big huge bunch of the gray cloud. Now I'm picking up a little bit of the white, mixed it with a little hint of blue and going ahead with a little overlaying onto these gray clouds. At places where I feel that the color was too dark, I'm just going ahead with white on top of it. You can see it automatically lightens up the color, as well as gives in ale blended view with the base layer because you know the base was almost a white color with a little hint of the blue that we had added. So I've just blended a little of the darker hints with the help of white, and you can see how it has turned out. Now, again, going ahead with pure white at the top on the dark blue color and adding in details. Now, you can see I'm going with rough edge like a dry brush kind of a stop for the cloud with the white and not blending in it with the blue color base layer. Just adding in a little more highlight of the whites onto these gray spaces as well. At the top, I just went ahead with the white in a little dry bras stroke giving in those details. Now, I've picked up a little of the base layer blue color that we used at the top, mixed in with a little hint of the white, and I'm going to add in some blue strokes in between these gray strokes as well, so as to give in the background sky effect visible in between these clouds as well. Now we're almost the sky as well. Now, the detail left to be add is going to be the pine trees at the horizon line. So you can see how easily swift ane two to 3 minutes, you could create such easy clouds into your painting, as well as, you know, with the help of overlay, you can always correct your mistakes with ache and get in the details right. Now, let's shift into a black color and a smaller size brush for adding in the pine trees. So I'm going to begin adding in the pine trees in different heights and different methods. The simple methods also that we've discussed, So first, using in the green color. I'm adding one pine tree here on the left. On top of it, I'm going to add in highlights with the black color later on. So just going ahead with the base lier here. So in the background, you have that little green view visible. So what I'm going to do is, I'm first going to add in little details with tones of green, some lighter greens and some darker greens. Then going to shift into the black color. And then using in the yellow ocher color. I'm going to create a little highlighting spots at a few places onto this detail that we add at the horizon line. As we move ahead further, I will keep discussing and sharing all of it with you. Now, next, I'm going to shift into a dark green color. And first, I'm going to create in the entire bottom space, fill it completely with this dark green color quickly. And then on top of this, I will keep adding in the detailed pine tree wherever I wish to at certain spaces. I'm just going to pull out those strokes that we discussed in the technique section of the pine trees to give in as the filling element, filling in the spaces quickly. This is not a black color that I've used. It's a very dark, bold green color that I've added, and just at the bottom given in a little hint of the black. Now I'm going to go ahead on top of this and keep giving in the details of the pine trees. I've defined the horizon line well, giving in the perfect crisp line. Now I'm going to begin pulling out strokes from here. Now, again, you can see since my paper and my book is movable and tateable, it becomes so easy to just rotate, so as to get in the details fine and right and easy to adjust as per my hand movements. Now on top of it, let's begin pulling out the pine trees. First, I'm just going to pull out simple strokes that we have discussed, and then in between these, at certain spots, I will keep adding in the detailed pine tree. Now, you can see I'm wearing the heights of these throughout, not keeping them of the same height. Now in between here, I'm adding in a detailed pine tree, just pulled out a long stroke and given the detail of the foliage for the pine tree. We are going to add more of it. Don't worry. It was just one that I added while adding in these strokes as well. Now, on top of this green as well, I'm just going ahead with the black color, adding in an overlayer. Automatically, you will have little green highlights in the background visible and on top of it, you have the black main pine tree visible. Yes. Now, quickly, in the remaining spaces going to go ahead with the last few pine trees that we have to add in. I'm using a size one pointed tip brush, so I'm able to add in these fine details with this one brush itself. Now, after this, we'll be left to add in the highlights with the yellow cer color that I want to create onto a few of the pine trees. Before that, I'll quickly add in a few more pine trees. So I've picked up the yellow cor color. Now I'm going to add in the highlight onto this pine tree. So just little spots on the pine tree that I'm adding in, you can see, just using the yellow ocher color and dabbing in. Now onto some of these strokes as well, just adding in overlaying of the yellow cer color. The important thing here while doing this is to make sure that your black layer is tried, and your yellow co color is bold enough. Only then it will be visible on the black color. If your color will be too transparent, it will not be visible on the black color, as black is a dark tone. So it's very important when you want an opaque finish. You need to make sure that your colors are opaque and in the right consistency for overeering. Now randomly, I'm adding in a few more pine trees. So you can see how beautiful effect the highlights of the yellow cer color creates. It just gives in that glowing spaces and the sunlight falling onto the pine trees as well, giving in more depth to your painting. Now I have again added one more tree with a light green color on top of it. I'm going to give in little darker strokes again. So you'll have that little light green hints visible in this one pine tree as well. This is how I have varied my pine trees this time with a little hints of green on the left of the pine trees, and towards the right, you will majorly see more of the highlights of the yellow color falling in, creating in that sunlight effect, going ah. So very simple details, very simple highlights, but you can see the effect of these. Now, using the green, I'm just giving little at the base layer where we had used in the black color to give in that greenish effect. So just dabbing in little green, nding it with the base layer black that we used a little at the bottom. So we are almost through the class project. I love how this class project turned out in just under 15 minutes. Now, let's remove in the masking tape and see our final painting. Make sure that your edges are completely dried before you begin peeling off the masking tape and always peel off the masking tape from, you know, against the paper so that it does not tear off your edges. So here's our final painting, a closer view painting from D three. The highlights of the yellow cer and the light green on the pine trees is creating in the perfect effect into this painting. I hope you guys enjoy painting this beautiful debut with me today. I will see you guys soon into the Day four class project. 12. Day 4 - Street Lights : Hello, everyone. Welcome back to Day four off the 30 days of ash. Let's begin in with the sky directly. There is no pencil sketch for this class. We are directly going to paint a beautiful bold sky with some street light details into this. So I'm first beginning in with a very dark blue color. It's almost like an indico color. You do not have a dark blue, you can simply just mix in a little hint of black to your blue and get a darkish blue color. So I haven't used the indigo color at the top. This is a very dark blue in my palette. On top of this, I'm going to use a little hint of the indico to darken up at the top space. Now moving downwards, I'm going to keep lightening up the color. So I'm picking up a light blue tone now. So if you do not have a light blue, you can simply mix in a little hint of the yellow to your sorry, white to your blue and get a light blue color. So this is a beautiful sky blue kind of color that I have in here. Now blended both of these colors well. Now picking up white at the bottom. So automatically, the blue from the top will glide a little into the white, and I will have that very light blue tone here. So you can see I've automatically got a very light blue effect because of the blue that gets lifted on the brush and then gets blended in with the white color that we added in. Now, next, let's go ahead and pick up the dark blue color for the top space. Now you can either use black or you can go ahead with an indico color. Now since I already have the blue color. Have added a little hint of black first, and now I'm just going to blend it with the blue at the top. So you will see automatically the indigo color getting formed in there. So just a little dark highlight at the top that we need, trying to show in that night sky coming in. Now, let's go ahead with the rest of the sky at the bottom, where we are going to have in the shades of sunset, which are going to be yellow, orange and pink tones. Now, I had last added white there, so I have blended the yellow with the white. That is the reason I used white and not a very light blue shade there because when I blend yellow and blue, you get a green color, but because of the white, you can see automatically we do not have any greens formed in there. Now, I've picked up a beautiful, more bold yellow color, a bright yellow color. And now at the bottom, lastly, I'm going to go ahead again with a little hint of the blue only. So just a little blue. But again, while blending in here, be careful that you'd not form in greens. In case if you feel the greens are coming in, use white for blending the yellow and the blues together. But since my blue is a little pastil blue, I know I will not be getting in major green out there. So that is the reason I've gone ahead and blended in very carefully. So we are done with the past lier of ky. Now we need to go ahead and paint in the clouds into ky. For that, I'm going to go ahead first with this mop brush. Now, in the technique section I have already discussed. You can even use a round brush if you do not have a mop brush. Now, first, I've picked up a pastil pink color, and I'm going to begin adding in some highlights onto the blue tone. Now I'm going with a little dry brush kind of texture this time. So I've not tipped my brush into water. I have not added much water to the paint. Now automatically, because of the pink you can see and the basier blue, it's automatically giving in a violet tint. That is because blue and pink mixed together gives you a violet color. Now, just moving ahead, adding in a lot of cloud details. So you will see basically we are going to get in a lot of cloud details into the sky because our entire painting is focused onto these clouds and the sello heads that we'll be adding in. Now, see, there is color that gets lifted every time you begin applying in. So after a small space, make sure to clean your brush and then pick up fresh color. Otherwise, the color that gets lifted will keep on applying on the rest of the spaces, and you will not get the bold effect of the colors that you need in. So in my case, you can see the dark blue color was lifted on my brush. And with the pink, it would have got applied as a darker tint only. And I would not get this light effect coming in. Now, I will pick up the further lighter pink color and just blend in a little here and create little highlighting space on the top right space here. So I'm first just adding in little of the highlight, and now I'm just going to drag it from the edge and try to show it blended in with the base a little. Now for the next set of clouds, I'm going to pick up a little of the violet color. To this, I'm going to add in a little hint of the black color. A very little tiny drop that you need to add in. So I'm just picking the color that's already on my palette. So you'll automatically get a grayish violet color. Now, using this in a little diluted consistency, I'm going to begin adding in the next set of clouds of this color onto the yellow tones. Alright, now, make sure again, your brush is clean, damp and dry because we're going to go with a little dry kind of strokes. If you will have excess pigment or your brush will have a lot of water, the colors will spread out a lot, and you will not be able to achieve in the shapes that you need. So for that, you need to maintain in the consistency of your brush and the paints both. So just going ahead with simple strokes, you can see, I'm just using the tip of my brush and dabbing randomly at places, just going with random shapes and structures, giving in that depth of cloud detail. So with the same pilot color, I'm adding in most of the clouds at the bottom space. We're going to further add in more clouds. Now, you may be wondering we have not gone ahead with a lot of clouds on the entire left side because it's going to be majorly covered up with a lot of leaves of black and green color coming ahead further. So I'm majorly focusing with the clouds on the right and the c space where they're actually going to be visible. Now I'm just going to go ahead with little of these bluish grayish blue sorry, the grayish violet clouds at the top as bell. Now, let's go ahead, add in a little here on the left side. Very little, as I told you, the entire left space will majorly get covered up with the silhot that we'll be adding in. Now, next, using in a little of the bold orange color. I'm going to add in little highlights into the sky creating in a beautiful sunset view. So at the top, we have the dark sats trying to show the night view coming in. So along with that, trying to show the setting sun view as well. Now, make sure you use a clean brush. Go with a very gentle, soft hand. Do not apply a lot of pressure. Go very light handedly and just drop in little orange highlights in between the clouds, trying to show in that sunset effect coming in. If you need, you can use a little yellow to blend these if you feel that, you know, the colors are not blending in easily out for you. On the blues and the violets go more carefully with the orange. Otherwise, they may create in muddy tones. So now using a little of the yellowish orange color, you can see I'm just creating more highlights on the orange so that it looks a little blended again. A little light color highlight that I'm adding again here basically. So that is it for our entire sky. Now next, what we are going to go ahead with is our silo hate. We've gone ahead with simple clouds here. I know at this point it may look a little messy, but as soon as you add in the silo hate to this entire sky, you will get to know how beautiful everything turns out. So for that first, I'm going to use this silt brush. Now, I have discussed this technique also in the technique section, wherein you can quickly add in the bush detail as a filler element first, and then to this, we'll keep adding in more of the detailed look. So again, here you can see I'm going ahead with a very bold black color. My brush is damp and dry. The color also does not have a lot of water. So you can see it's coming in the tribra stroke, giving in that foliage detail. So we're going to have little foliage on the bottom right side and majorly onto the entire left side that we are going to give in the foliage detail. Now, next using in my smallest size round brush. I'm going ahead, adding in the detailed leaf detail to this bush that we added first on the left side. So I'm using my size one round brush, and you can see just with the tip I'm dabbing in and giving in simple leaf detail, creating in that detailed look on the outside of this entire fold space that we've created. So these are simple tips and tricks that you can use to give in detailed look to your painting. Now I'm going to randomly pull out some branches as well and some smaller branches from the bigger branches and add in little leaf details as well as leave in some hanging raw branches as well. Now, you can see just simple details on top of that bush, gives in so much more detailed view. If you would have not added in that, you know, dry brush technique with the black first, it would be very difficult to achieve this realistic look, as well as fill in the entire space with detailed foliage. So it's always easy to give in that background detail first and then go ahead with detailed look on the top because it covers up half of your space and also gives you that realistic view, creating in that blurry effect in the background. Now, on the left side, I'm going to go ahead with a leafy kind of a detail. So there we're not going to be dabbing in any of the, you know, foliage detail. I'm just going to go ahead, keep adding in leaves. So first, I've picked up the black color, and with that, I'm going to go ahead and keep adding leaves randomly. Now, of course, the placement and the movement of the leaves can be different for each one. So it may be different, but, you know, it's a simple technique that I'm using, just pigging in with a pointed edge, dabbing the belly of my brush, and again giving it a lift and using in that pointed tape. So my brush has a pointed tip. This is the size five round brush, but since it has a pointed tip, it's helping me add in all of the details just with one brush without altering in between brushes. Also, with the brush itself, you can learn to control the length of the leaves or the width of the leaves that you want to add in. Now, on top of this, we are going to go ahead with green leaves as well. So as discussed, gouache, being an opaque medium, even the lighter color will be visible on the darker tone. So even the green tones will be visible on this dark black color as well. So first, I'm just adding in leaves with this color, and then we'll add in a few with the green tone. And then lastly, we'll be left to add in the street light details into this painting. Now randomly, I've pulled out some branches and added in the leaf details, and then randomly I've pulled out some smaller leaves as well. All with one brush. Now next, let's wait for this to try and then add in the green leaves. Now, my black layer is completely dried, and I'm going to begin adding in the green leaves. For that, I'm picking up the sap green color. You can go ahead with any green of your choice that's available in your palette. And on top of it, I'm just going to go ahead with leaves like these. Now, one thing that you need to be sure is that your green color is in the right consistency. It shouldn't have a lot of water. Otherwise, it will not give in that opaque look. Also, your black layer needs to be completely dried. Otherwise, you will begin lifting up the black color, and the black and the green will begin to blend into each other instead of giving you distinctive views. So now you can see even the green is visible on the black because of the opacity of this medium called ash. Now, very randomly, somewhere I'm going ahead with green leaves simply, and somewhere I'm going ahead with overlapping of the green leaves. And at places I'm just pulling out simple branches using in the tip of my brush. Now, next, I'm just going to pick up a little of the yellow occur color, and I'm just going to add in a little highlight here and there randomly. So I'm just going to mix it with a little hint of the black, not much. I'm just going to create one or two highlighting leaves out here. Already trying to show in that sunset effect falling onto these leaves. And, you know, because of that, that little yellow highlight falling onto the leaves. So that is it for the details on the left side as well. Now let's begin adding in the last leg of details. That's the street light effect. For that first, I'm going to pick up a little of the black color, add in two lines to act in as the wire for holding in those street lines. So I've shifted into my pointed tip size one bruh. Make sure you use a fine brush to add in this detail. And I'm just going to pull out two of these street light lines. All right. Now, make sure that you pull out a thin line using in a smaller size brush. Go in very carefully so that you do not mess up with these details. Now let's begin adding in the street light detail. For that, first, I'm going to pick up this gray color. You need to mix in a very little hint of black to your white to get in this grayish color. First, I'm just going to mark the outline of the lamps that we are going to add in. And then to the center of this, we are going to use in the shades of yellow, orange and white and given the light detail. So I've just marked out the outside using in the gray tones. Now, first, picking up yellow color, to add in as the base layer first. So into the center of this, I'm just adding in the yellow color. You can see the entire space has got covered up. Now on top of it, I've gone ahead with white. Automatically, when the white is blending with the basely are yellow, there is a very light yellow tint that gets formed giving in that perfect light effect that we need in here. Now, until the white settles in, I'm going to use in the black color and connect the top line along with these bulbs hanging that we're showing in. So I'm just going to create in a plug like scene here trying to show in the handle through which it is all connected together. Now, on the outline, you can see I'm just giving very fine black outline to given that three D effect to these bulbs that we're adding, trying to show in that street light. You can see I've not given in the outline to the entire space, just a little on the top and a little on the bottom to given that dimension effect. Now, my white is completely dried, and on top of it, I'm just going to pick up little of the yellowish orange color and create little more highlight of the light effect here. Now, it's going to be very little, not much in detail. So I've dropped in the orange color on the outside edges. Now using in white and using the smaller size brush again, I'm just going to blend these into the white space at the bottom. So automatically only on the edges, you will see the orange highlights coming in. If you want, you can use a damp brush or you can pick up a little of the white and blend in. Now, using in the black, I'm just defining the edge wherever needed, giving in that detailed three D effect to the light that we've added in. Now, again, I've picked up a bold orange color, just adding a little highlight at the top. And again, on the top in the center that I'm adding, a little orange highlight, trying to show in that bulb warmth effect coming in. Again, you can blend these with the help of white and the bas lier. So just a little more dark orange highlight at the top. So we went ahead with four layers for creating in the bulb, first, a basier yellow, then baser white, then a little yellowish orange color, and then the orangeish dark tint giving in that highlighting effect. And then using in the black, defining the edges of these bulb that we've created to give that three D effect so that it looks distinctly from the sky layer yellow that we already have. So let's remove in the masking tape and see a final painting. You can see now the sky looks complete with the silo it that we've added and gives in so much beautiful view to the entire simple landscape that we've gone ahead with. So here's a final painting for Day four. You can see the highlights of the green and the yellow ck on the leaves and the beautiful street lights that we've given in. Thank you so much for joining me into this class and make sure to upload in your class projects if you're painting along. And if you like this class, make sure to drop a review so that it can help me reach maximum students. Thank you so much once again for joining in. 13. Day 5 - Pastel Seascape: Hello, everyone. Welcome back to day five of the 30 days of ash. Today, we are going to go ahead and paint in a beautiful pastil sea scape. So just pinning in with the pencil sketch, marking up the horizon line for the sky and the sea distinction. Alright, so the top is going to be the sky, and the bottom will be the sea. On top of the sky, we are going to have in simple mountain range. Alright, so the horizon line is a little below the center line as you can see. So for the pastel colors, it's going to be blue with the blends of yellow and pink. So first, we'll begin painting in the sky. The sea is going to be a reflection of the sky. And we'll add in a simple sunset view as well to this pastel landscape that we're painting. So I first picked up a pastel blue color, which is already in my palette. It's a grayish pastel blue. Now, you can create a similar color. You can use your cerealin blue, white, and a little pinch of black. The black has to be just the minute dot to give in that grayish effect to your blue. The white will be of the major ratio, and then a little hint of the cerealin blue, giving in this grayish blue color that you need in. Next, blending in the pastal pink color with this grayish blue color. Now, as I told you, my paper is a rough green paper, so it takes me a little time at, you know, blending at times. But as I told you, I love how the outcome comes in after the entire painting, because of the texture of the paper, the effect that the entire painting has. So, absolutely, if you're using a soft green paper, it would be easy for you to blend in. Now, using the same grayish blue color, blending in at the horizon line again with the pink color. So the mountain space, I've kept it empty. A little if the color goes in, it's okay, because the mountain is going to be of the taker color as compared to sky color. Now, with the same colors, I'm going to go ahead and paint in a sea as well, which is going to be of the same grayish blue and the pastil pink color that we've added. Now, here, I'll define the horizon line well so that we do not run into the mountain range. Even if we do run the mountain at the horizon line will be of a dark color, which will cover up everything. But still trying to be careful is better rather than having a mess later on. So after the grayish blue, again, went ahead with the pink color. And at the bottom again, I'm just going to add in a little of the grayish blue color if needed, or you can directly add the grayish blue later on while adding in the waves as well. I'm just going to add in a little highlight and keep in right now itself. So same way you can see it's looking exactly a reflection of the sky that we've painted, the same color, same blending happening in here. Now, next, I'm going to go ahead with the yellow color and begin creating in the cloud detail highlight into our sky. So I'm going to begin using in a beautiful, bright yellow color. Now, you can go ahead and use in a yellowish orange color as well, and create in these highlights. So using this filbert brush, I'm just dropping in the cloud details, creating in little highlights with this yellowish orange color. I'm just using in the tip of the brush. Again, adding in these clouds, also, I've discussed in the technique section, you can use a filbard brush, round brush or a mop brush, whichever is available with you. Each kind of brush will do the same work that you need. Just you technique of using in the brush is a little different because of the bristles of the brush that matter. Now, using in a little of the paste yellow color with this yellowish orange color that we've added and adding in more highlights. When you add in the yellow highlights onto the top of the blue color, go very light handedly, because if the blue color of the baser will get activated, you may get in greenish tones, which is not what we need here. Now again, lifting in a little bit of the pastel pink color and going to blend in with the yellows and try to give in that soft blended effect into the sky. If you want, you can skip this step and let your sky have that bold, sharp edges. But I like a little blended look with my bas lier majorly, so I'm just going to use in the basier pink and blend these a little. Now, using in the base layer bluish gray color, I'm going to add in little dark highlights on top of the, you know, bluish color that we have in. So just one color tone dark. Now, for that dark tone, again, you can add in a little more of the blue and black to the same mix that you used in. Now, in the same way using the same yellowish orange color, I'm going to create a little highlighting part into the water area as well because a sea is a reflection of the sky as we discussed. So just blending in a little with the pink, giving in those little yellow highlights, very little, not much because it's not, you know, an exact same thing. It's just the reflection that we're trying to show in. So wherever in the sky, you have the yellow space at those spaces in the sea, you add in the reflection for the sky cloud falling into the sea area as well. Now, for the mountain range, I'm going ahead with a gray color. Now, I already have a dark gray in my palette. You can simply mix in black, white, and a little hint of the blue to get a gray tint. Make sure you're not using the pain screen or the black color here for the first range of mountain. Go ahead with a gray tint only. So I've added the top line of the mountain with this dark gray color. Now I'm going to lighten this up further, so I'm just going to pick up a little hint of white or the blue color that we used in the sky, and I'm going to blend it with this gray further so that it automatically creates a lighter tint. You can see how even I created my darker gray into a lighter gray with the help of the pastal blue color, which is a mix of the blue and the white only. So just created in the first range of the mountain here, giving in that perfect background effect. So my first layer of mountain is completely dried, and now I'm going to go ahead with the black color and add in little brush detail on the horizon line. So just using in the tip of my brush, I'm first defining the top space. I'm just dabbing in using my tip and creating in the detailed look at the top. And then we are going to fill in the entire bottom space completely with the black color. If you want, you can even use a green color here and not a black color. But I'm going ahead with a mix of the black first. If needed, I'll add in little highlights with the green later on. So you can see I've added in a little hint of the green also now moving towards the right side. And I just created the entire top space first, and now I'm adding in the complete dark bold color till the horizon line, giving in the filling effect. And towards the right side, you can see I covered up the entire mountain range of the background that we created. And towards the left side, I'm going to go with a very small height to these details that we're adding so that the background mountain range is visible here. Now, as I told you, if you want, you can only go ahead with the black color here for this bush detail on the horizon line or a mix of the green and the black altering between colors creating and highlighting effects. Now I'm filling with the black color at the bottom again, so you can see I've used a mix of green and black, and now you can see the difference in the green and the black as soon as I've blended it with the black. I'm going to define the horizon line well. It's not a straight line I know. Now, just defining my horizon line first with the black color completely. So at the top, you can see I have the green effect, giving in that bush detail on the horizon line, background mountain range of the gray color. And now using in the black color, defining it, blending in with the green that we've created. Now, you can see since my paper is on a sketchbook, my sketch book can be moved and easily adjusted according to my hand movement, giving me the freedom to add in details according to the convenient of my hand movements. Now, again, picked up a little of the green and blending in the black that I added in with the green so that it has that perfect effect. I recommend using green a little bit, if possible, in case if you do not, you know, want to give it a flat lope, the green adds in that greenery effect to your painting, giving in, you know, a lively effect. Now, using the dark bluish gray color, I'm adding in little wave effect. Now, these waves also, we've discussed in the technique section already. That is the last technique section, if you visit. I've discussed how you can add in simple waves. Now this blue color has to be just one layer. Now, I already have this one tone darker color in my palette because you know my palette has 112 colors, so it has a of possibilities of one single tone as well. But in case, if you want to create it, you can just alter the ratio of the blue black and white and get lighter and darker tones. For lighter tones, increase the ratio of white and blue, and for darker tones, increase the ratio of blue and black, accordingly as per the tones that you need. Now, onto the yellow, I'm going in very light handedly giving in light effects. And on the outsides, over the blue, you can see I'm going ahead with darker effects. Into the entire sea, I'm just going to quickly go ahead, add in a little of these sea details. And then we'll go ahead with the next leg of details into this painting. Now, as I'm moving towards the bottom space, you can see I'm increasing the depth of these waves. I'm adding in thicker waves. Be trying to show in that these waves are much closer to our view, that is the reason visible much more in a thicker consistency as compared to the waves that are closer to the horizon line, because the horizon line is far from our view. So that's the perspective view that goes in here while adding in the waves. You can see how Cris cross and random that I'm going ahead here to give in so depth and detail to the simple sea that we're adding with simple techniques. Now next, I have picked up a very beautiful pastel green color, and I'm just going to add in little highlights on the horizon line. You're giving in little lighter bush effect just closer to the horizon line. And you can see I'm blending it with the past layer black color so that it has that blurry effect again because, again, this is also far from our view. So you can see simply, I'm just picked up the pastal green color on my brush, and I'm dabbing it on the black color and blending it at the base layer so that it has that blended effect again. Almost onto the entire horizon line, I've just added in little highlighting effect, giving in that little more depth to the greenery area that we have on the horizon line. Now, using in white, I'm going to add in a moon into our painting. For that, closer to the horizon line, I'm going to show it basically a rising moon kind of a scene. So that right now the moon will be much closer to the mountain range. In the center, I'm just going to drop in a basier white color and create in the bas lier for the moon. On top of it, I'm going to add in little highlights further. Now, using in the blacks and the greens, I'm just going to add in simple leaf detail coming in from the bottom here. Trying to show in that basically, this entire greenery spot is not in our view, just a little leaves that are overlapping RC area coming in into the view. So I've just gone ahead with a simple branch and using in the simple leaf technique that I've discussed with you. I'm adding in a bunch of leaf here. Now, here also, I'm going to keep altering between the green and the black color. You can use either only black or only green, but again, having in color variations with the greens and black will help you in giving it more realistic view. So I'm just going to randomly use in different tones of greens in black. Again, you can use whichever tones of greens available in your palette. They need not be exactly the same as mine. They can vary, but you can always create altering colors. So in case, if you want to create lighter green tones, you can help in with yellow and white to create green tones with your basic green color. If you want to create darker tones, try altering between brown, black, and blues in different ratios to get in different green tones. So it's of course, going to be a trial and error if you want to learn creating in your own colors color mixes, basically, But in case if you want to use direct different tones, then it's easier job. But in case if you want to try out color mixes, I've given you the possibilities that you can create by altering the ratios for lighter and darker tones with the basier green color that you have. So now again, here, I've gone ahead overlapping with the greens and the blacks. You can see randomly that I've gone ahead at the bottom left side here. Now, in between, I'm just pulling out simple strokes as well, trying to show in that little grass effect here as well in between the leaves that we've added in. So simple strokes just that I'm pulling out in a simple manner. I'll just go ahead with some more details out here with some darker and lighter tints wherever I feel the need to. And then we are almost through the class project. We just need to add in little highlight to our moon and the reflection of the moon into sea. And that is eight, then we'll be ready with our class another minute or two to finish it up. So I just took randomly one branch, more top, almost closer to the horizon line, giving in some more details. And at the bottom, I have given in more of the tabbing effect filling in the space with the taker tone, trying to show in that entire patch area that we're trying to have in here. Now, using a little pink effect that we used in the sky, the pastel pink color. I'm just going to drop in into the white that we have added, giving in that pink moon effect to our moon. Very simply just added in little pink highlight, and now I'm blending it in with the white that we added. First, add in the basier white so that you get in that opaque layer for the pink. Now, using a little darker pink hint, I'm going to further add in the reflection to this into the sea as well. Very little exactly where you have the moon there, you're just going to drop in little lines to show in as the reflection of the moon as well into the sea area. I'm done adding in the reflection now using this hint. I'm just going to give in a very fine outline to the moon trying to show in that, three D dimension effect of the glowing moon. Just at the bottom, given in that effect and blending it in with the lighter pink tones. So that is it, I'm ready with my class project. Let's remove in the masking tape and see a final painting. You can see that darker line that we added to the moon at the bottom gives in so much realistic and a three D effect to our moon. Make sure you peel off the masking tape once your edges are completely dried and always peel off your masking tape against the paper so that you do not tear off the edges and ruin your painting. Now, I will even keep sharing tips and tricks with you that you can use to, you know, correct your mistakes in the coming class projects. So here's a final painting for Day five, a beautiful pastel sunset, as well as a beautiful sea reflection with a beautiful pink moon detail that we've painted. I hope you guys enjoyed painting this beautiful pastel painting with me today. I will see you guys soon into the Day six class project. Till then, make sure to upload in your class projects and do proper review if you like this class. Thank you so much for joining me. 14. Day 6 - The City View: Hello, everyone. Welcome back to Day six of the 30 day ah color challenge. Let's begin with a very basic pencil sketch. We're going to be painting a beautiful evening sunset sky by a, you know, sky walk scene. So just going to mark out a very light pencil sketch. Basically, the bottom space is going to be, where we're going to add in a footpath view, and the top is going to be the sky. And along the footpath way, we're going to have in the grills of the footpath, as well as little of the bush details that we'll be adding. So I'm roughly marking out these lines for a grill off the footpath. Now, these lines will majorly be reflected as just the shadow of the you know, sky color is falling on this. That is the reflection of the sky falling onto these lines. So I have just given a rough pencil sketch for you to understand the perspective. When we begin painting, or of this will get covered up, and then we'll have to highlight these paces with the paints directly. So let's begin in with the sky. Now, the sky, as I told you, is going to be a bold evening sky. So I'm going to begin in with the shades of blue. And then move on to a sunset color view. So at the top, it's going to be very dark. So I've picked up a crucian blue color. Very dark. In case if you do not have, you can simply mix in a little hint of black or gray to your cerealn blue and get a dark blue color like this. I'm going ahead with a bold consistency as you can see at the top of the sky. Now, next, I'm going to use a bluish gray color. Now my palette already has a bluish ready gray color. In case if you do not have it, you can simply just add in a little hint of black and white to your ceralin blue and get a similar tone. So it's not always necessary to have all of these colors. You can always create mix and match and form in your own shades with the help of the basic colors that you have in. It's all about trying in different ratios and trying to see what suits the best as per your required color tone. Always need to adjust the whites or the blacks to get in the right hues that you need or the tints that you need, creating in the perfect light effect. Now, next, I have picked up this beautiful orangish peach color. Now for this, also, you can simply mix in white and a little hint of pink to your basic orange color, or a little hint of red and orange to your basic white and get a similar looking peach tone. Now, when you blend this with the blue color, be careful. Do not blend it too hard. Otherwise, you will see a lot of muddy tones because of the orange and the blue blending in together. So I'm using a little bit of white at the blending point and correcting that little muddy color that was getting formed. So you see with ah, how easy it is to correct your mistakes quickly and get in the right effect again. Now, next, I'm going to pick up the yellow color. This is a bold, beautiful, bright yellow color and adding it closer to the horizon line completely. So closer to the horizon line or the bush area that we have, we have caught in the beautiful sunset colors. And at the top, we have the night sky coming in. That's how we are done with our sky o, just going to add in a little more details into a sky. A Now, till my sky dries completely. Let's go ahead with the paste layer at the bottom space. So that space is going to be filled in completely with the black color. So I'm going to go ahead, first, fill this space with the black color. Then on top of eight, we are going to give in little city view details as well, along with a little of the bush detail. Now this pencil sketch will get completely hidden because of the black color you can see. But remember how we have gone ahead with the perspective for the footpath grills. Later on, we'll add in the sky colors as a shadow reflection falling onto these grill lines and create in that three D effect. Go ahead, you will get to know what I'm talking about the reflection part. Now, first, picking up the black color in a bold consistency and filling in the entire space at the bottom here. Now, make sure you do not add in a lot of water to your black. It has to be bold and opaque. Otherwise, it will not give you this beautiful opaque view and the underneath white paper may be visible. So I've just gone ahead, fill in this entire space. Now at the top, I'm going to give in some building details, some house details, some street lights, and a little of the bush detail at the top closer to the yellow color. For that, I'm shifting into my smaller size pointed brush so that I can get in the details right. So first, I'm beginning in with a little bit of the bush. You can see for the bush, at the top, I'm just tapping the tip of my brush, and at the bottom, I'm just filling in the space. Now in between, I'm just going to go in with some random strokes like these to act in as the grass strokes. All of this we've discussed in the technique section where I've discussed in the bush details with you in detail, talking about what techniques you can use to fill in these simple details. Now, very randomly, I'm creating in some silo hate for some city scape view. Now, again, these silo hate may vary for you as well. You can go ahead and add in any different kind of building view that you want to add in or a different kind of city view that you want to add in. It's not compulsory to h in the exact same city view like mine or having the same effect like mine of the silo hate that we're going ahead with. I always tell you it's more important to understand the technique that we're going ahead with rather than going ahead with the same exact thing just copy paste without understanding the technique. Now, on the left side here, I've just added in a very small balcony kind of a view with some grills there as well. Now I'm going to quickly fill in the rest of the space, then add in some street light details as well. All of those are just going to be in black, silo hate, no colors, nothing. So the rest of the spaces, I've almost filled it up with the bushes as you can see. All right, now, let's go ahead with further details into this. Make sure you're using the black color in a bold consistency, as well as you're using the right size of brush because you can see if we go ahead with a very bigger size of a brush. You will not get in these fine details. Now, in the center here, the block that I created on top of it, I'm just giving in little building details, creating in blocks of different heights and, you know, house kind of that triangular shape as well. So simple lines, giving in that simple city scape view. Now I'm going to add in one or two street lights as well. Again, those are also going to be very tiny and with the black color itself. So I added one street light detail. Now randomly adding in some wireline details. Very simple details. You can see I'm going with random details. And as I told you, you can also go ahead with random details. They need not be exactly the same or even the placement need not be the same, it can just from person to person painting to painting. Adding in one more simple detail here, you can see very simple details that I've gone ahead with. Now, we need to wait for this black path to dry, and then only we can add in that grill detail of the footpath that we want to go ahead with tang in to show the reflection. One thing that I'm a little unsatisfied is with my sky, so I'm going to quickly pick up a very light peach color. I'm going to blend this space here again. So I'm just adding in the color here. That that little muddy space, which is formed on the left side also gets disappeared. So just simply added in the color, blended it well. You can see with ash, even after the colors have dried, you can simply blend them and get them again in the right consistency. And you can see I could hide the dark muddy tone that was formed because of the blue and the orange pigment. Now, let's wait for this to dry and then move ahead further. Now, using the peaches orange color that we used in the sky, I'm going to begin adding in the details for the grill. So make sure that your black space is almost tried. Now, you remember the diagonal lines that we had given in with the pencil sketch. So I'm going to mark those three diagonal lines with this peach color. Now, I'm just going to go very light handedly. Now my paper is a little rough green, as you know, so it may be a little difficult for me when I go in light handedly. But I'll just go ahead with over laying and try to get in the right texture. Now, even if my lines turn thick, I can later on correct it with the help of the black color again, giving in wherever I want to give a head then, you know, covering space again. Same way, I'm going to go ahead with two more of the lines. Remember, they are a little diagonal in view that we have to go ahead with. I'm going ahead very slowly and carefully so that I go ahead in the straight line. Again, as I told you, even if the lines are not straight, you will be able to correct them with the help of black color because the base layer is black color. You can see as soon as you add in these lines, they automatically begin to create that three D effect of the grill that we want to achieve. We are going to go ahead with simple techniques like these to create simple effects into our painting, giving in that lively view to your landscape painting. Now, going ahead with the last line that is in the center here and adding in the detail. I'll try adding in one more line, but this is not going with the diagonal view. I'll quickly cover this line that I added halfway through with the black color again and hide it. You can see with ash, it is so easy to just cover up these lines quickly and get the thin view that you want to. Now, the bottom and the top line, which have turned out a th than needed, I will cover these up with black again and get them in the right consistency. Now, in the c, the two poles that we're going to add in, those also we'll add and create in the three D effect moving further. Now, I'm just adding in one more line at the top, and I will just try to, you know, get in the perfect view for the grill that we want. So now let me explain why we added in four lines. The bottom thick line is actually the footpath pathway that is there for the walking space, and the top three lines are the grill that we have added. So now we are going to pick up the black color and just connect these lines together, adding in the center pole. As soon as you add in this center pole black line, you will see your entire footpath grill begins to have that three effect, giving in that realistic view of the footpath pathway that you're trying to add. Now, quickly, using in the black color, I will just define these lines in a thin manner. So wherever I feel that these orange lines have turned a little thick, I will just quickly overlay and correct it with the black color and give it that perfect thin effect of the grill here. Now, in case, even if your lines have turned out thick, I would recommend you to again go ahead, use the black color and add a very thin line underneath this orange color. Because as soon as you add in this thin line underneath the orange color, you will see that it gives in a realistic three D effect, giving in those shadow effect falling onto this black space of the sky. Now, lastly, I'm just going to quickly add in a small moon into the top of the sky using in the white color. And on top of it, I will just give in little blue details as well. Now you can see the grill despite the base layer was black color. Still, when you add in that thin black line with the orange just underneath that orange color, it gives in a more three D effect, trying to show that at the top of the grill, you have the reflection of the sky colors. So make sure after adding in that orange line, you again go ahead with one bold layer of the black color underneath the orange line, which gives in that three D effect to your grill of the painting. Now, with the blue, just adding in little highlights onto the moon, and we are ready with our class project for day six. Let's remove in the masking tape. I will just add in little more white highlight to the moon on top of the blue, and then let's remove in the masking tape. Now, make sure you remove in the masking tape once your edges are completely dry and always pull off the masking tape against the paper so that you do not tear off the edges nor lift up the colors from the edges. So here's a final painting for Day six. You can see the black line underneath the orange is visible and gives in that realistic effect. I'm emphasizing on that part, so make sure you add in that three D effect. I hope you guys enjoyed painting this beautiful sunset view with me today. I will see you guys soon into the Day seven claus project. 15. Day 7 - Stormy Seascape: Everyone. Welcome back to day seven of the 30 day course challenge. Let's begin with a very basic pencil sketch. We are going to be painting in a stormy kind of a seascape today. So I've just marked out the horizon line, so the top will be the sky, and the bottom will be the sea and the beach area that we'll be painting. Now, we are going to be painting a very stormy kind of a sky this time and a very, you know, a simple, stormy kind of sky reflection falling onto the sea and the beach area. So this bottom will be the beach area that we'll be painting. It's going to be very different techniques than what you may have explored until now into the class projects. So let's go ahead and begin. It's going to be of very, you know, violet and blue tones that we are going to go ahead with to show in that evening storm kind of a view. So I'll begin with the violet color first. So I've picked up a very pastel kind of, you know, bluish violet color here. Now, this is equal to a royal blue color also you can call in. So if you do not have a similar tone, you can simply pick up a little of your violet or the purple color, a little hint of blue and white and get a similar tone. Now at the top, I'm adding in a little bit of the blue color. This is a beautiful sky blue color that I'm adding in. You can simply mix in cereal in blue and white and use it here. So I've added that at the top and blended both of these here. Now, next I'm going ahead with one more tone, lighter violet color or a lilac color. You can call in. Now, for this color, you can simply add in more white to your violet mix and create in a very light lilac color tin. If you want, you can even add a little hint of pink along with the violet color that will give you a more beautiful lilac tone. Now I have picked up a pastal pink color and adding it here closer to the horizon line. Now for this color, you can simply add in white to your scarlet or a rose tone. Any pink that you have in your palette, you can simply add in a little hint of white and create this pastal pink color and add it closer to the horizon line. Now on top of this pastil pink, it's majorly going to be the stormy cloud effect that we'll be painting in. So that is the reason I've added in that pink at the bottom so that it becomes easier to blend in. Now let's begin adding in the details of the storm effect that we need. So I've picked up a grayish blue color with a little hint of the violet that it has, and using my round mop brush, I'm beginning to move in in circular motions and creating in that cloud effect closer to the horizon line here. You can see I'm just turning my brush in circular motions, creating in that effect. I discussed this with you in the technique section of the Clouds as well, that you can even use your simple round brush or a fill bird brush to add in the same detail. Just that, you need to keep moving your brush in round circular motions to get in those details of the clouds. Now, at the top as well, I'm adding in little detail with this cloud. Now at the bottom, you may feel that, you know, it's looking very unfinished. So we are going to be adding in different colors there out, creating in that stormy effect. At the top, I'm just planning it into the sky, adding in little more details. Very simple, very simple strokes, just using in the simple color for now at the top. At the bottom, let's go ahead with some lighter tones and create in more depth into this stormy cloud that we needed. Now, again, for lighter tones, you can go on adding in white into your palette. Now, I have picked up a further light violet violet color. Now, again, since my palette already has so many lighter tones, I don't need to keep on mixing them, but you can always go ahead, mix in white or black to get in the different tints and tones for your color variations. Now, I'm picking up randomly a little of the dark tint, light tint and keeping them blending into each other, creating in that fluffy effect into this Tommy sky. So now again, I have picked up a little of the lighter tint and going to blend it with this darker tint here on the left that we have already added. At space where you feel you need a little darker hint again, you can simply pick up the darker color and keep blending. The point here while blending in and creating in this stormy effect is that your brush needs to be a little clean so that you can get in the effect right. And also, you need to go in very carefully so that you do not overlay all of the lighter tones with the darker tones directly. You need to create a balance so that each of the color variations is visible perfectly. Now, I'm picking up a little bit of the light pink color and going to add in little effect here in the center. Again, I'm just going to use a damp brush and blend this in and create in that lighter effect and blend in with the violet clouds that we've added in at the top, creating in a soft edge to these clouds as well that we've added at the top space. Now, at the bottommost pace of the sky, closer to the horizon line, I will again go ahead with this darker tint and fill in and blend in. So you can see at the top, we had the darker effect on the clouds. Then we move to a lighter tint, blended them. And then again, closer to the horizon line. I've gone ahead with this darker tin. So you can see the stormy effect that we're trying to create in. As soon as we'll add in the details of the sea, all of these will begin to look more in sync with each other and given that beautiful effect. Now, the s will be a reflection of the sky colors. That is the same blue violet pink tones that we have used. Alright? Now, I'm just using a little more darker hint here and giving in that little more cloudy effect. So that giving in that fluffiness as well and showing in more cloud breakage into our sky. Now, let's go ahead with the sea. For the sea, I'm going to use this gray blue tone that we have been using in for the sky clouds that we have used in. And using this, I will create in the base layer first. Now, this time, the beach area, also, we are going to paint in in a very different way and blend in in with the sea space. Alright, now, picking up a little bit of the lilac color as well and just blending in randomly. This is just the base layer that we are creating in of the sea, and then we'll go ahead with more details. Mm So I'm done adding in the base layer. Now I'm going to pick up the same pink that we have in the sky in the center that we use, the light pastil pink color, and I'm going to add in highlight of that into the s as well at the same spot where we have it in the sky. So in the center space, adding in the reflection. So as I told you, the s is going to be a reflection of the sky colors only. Now, when you add in the pink, go in a little light handedly so that it does not blend in completely with the blue, rather it gives you that bold effect as well. Now I picked up a little of a darker tint as well that we used in the first layer. Again, blending it all in. Now, on the edges, if you need to blend, again, you can use in the Baslaer blue and the lilac color to blend the pink into the base layer off the sea and have those beautiful edges on the edge as well. Now, again, with a lighter pink, just giving in little effect. Now I know all of this may seem such a mess for you right now, but believe me, when you go ahead further, keep on adding in the layer and the details, all of eight will begin to make sense. Also, if a little of the color placement goes here and there for any of you, it's perfectly okay, because when you go ahead, add in the waves detail, all of these will begin to make sense. So now next, I have picked up a little bit of a grayish color, not a black taint. It's a very dark gray color that I've picked up and adding it in the beach space, marking out the outline. Now the beach and the sea is going to have a very soft, blurry effect. So I have to blend in and given that blurry effect at the meeting point of the beach and the sea. So using in the patier colors, we'll blend these and create in that blurry effect as well. That is, I'll try to take the blue color overlapping onto this gray, giving in that water coming onto the beach area and that blending effect into both of these spaces. So I've picked up the blue color, added a line. Now I'm going to clean my brush, and using the dam brush. I'm just going to pull out strokes towards the sea space and given that stroke effect and try to show in that blended and that blurry look. You can see with the first layer itself, we've gotten that blurry effect. I'll still go ahead, given a little more crisp detail to this blurry effect of the beach that we need in. This is just the base layer Now, again, here the important is your brush needs to be clean. You need to get in that perfect crisp effect to get in that view of the blurriness of the sea and the beach blending in. Now, from the sea space, I have picked up the lilac color, and I'm going to overlap it onto the beach area, given those strokes so that we can define in that beach line that we had given in with the pencil sketch that comes in more in a prominent view. So again, I'm just pulling this thick layer now from the edge. You can see and giving in that detailed view blending in. So now here, while overlaying, you can see I'm defining the curves of the beach area as well with this lilac color, giving in that detailed view. Now, on to the horizon line, I'm going to give in little more dark cloud detail. So I've just picked up a very dark tint of the grayish blue color, and I'm going to just add in a small fine line and give in little cloud details at the top, blending in with the violet colors. So very little effect, giving in with that blending effect, because here we are going to add in little light details as well on the horizon line, trying to show in that life out there on the horizon line. Now, using in one tone darker bluish violet color. I'm just going to keep on adding little wave details. Now, in the center diagonally, I'm going to give in that little crashing wave effect. To that, also, I will give in a soft blended view. First, at the top right side of the sa, I'm just adding in simple waves. I've used the dark same blue color that we used in the pasiler. If you always want, you can keep on adding a little hint of the black and the baser color to create darker tints. And for lighter tints, you can add in white. Now, as I told you from the left to the right bottom, I'm creating in this beautiful crashing view effect. Now I've added in simple strokes first. Now to this, I'm going to add in some flowing water kind of a view. And then I'm going to blend these a little into the base layer and given that soft effect. So now I'm just pulling out strokes towards the bottom side, giving in that crashing effect. Already trying to show in the flow of the water, moving towards the beach area. You can see same blue color that I'm using. You can mix in can blue with a little hint of black and a little hint of the prucian blue color and a little hint of white to given that pastel effect to this color. All right, now, I am going to blend this into the pasteleer again, given that soft blurry effect. So on the top, again, use the past layer and blended it in. Same way at the bottom also, giving it more soft and blurry effect because we have this stormy kind of view for a sky. We don't need bold details anywhere into a painting. Now, at the bottom, here again, blending in with a little of the S wave details, very simple, very crisp. I know it may be a little tedious for you at first to understand these easy techniques also. But when you give it a try, if you want, you can go ahead with one on a rough sheet and then go ahead onto your main project. Now at the top, just adding in a little more of the wave detail. And to these also, I will give it ale blended effect by just using a damp brush and quickly blending it a little into the base layer. So we are almost done with, you know, waves into the sea, that is eight. Now, I'm going to define the horizon line crisp again. So for that, I'm going to use one tone darker gray color. And I will just quickly tilt my paper because my base layer, sorry, my bottom space, that is the sea area is wet, and my sky is dried. So I can lay my hand over the sky space as it is dried and add in this thin line on the horizon line, giving in that distinction. You can see how beautifully the beach has blended with the sea area. Also, the waves, as I told you, I have blended them so much in depth with the base layer itself, and given that blurry effect to the base as well, giving in that, you know, stormy effect coming into the sea as well, giving in that crashing effect to the waves. So that dark line I have blended it with the sky colors with using in the dam rah. I added the line, used the dam rah and blended it into the gray color of the sky that we had added in. O Now, using a little bit of a pastel gray tint. I'm going to add in little cloud effects into the sky here as well. So just going to use the filbert brush and go ahead in round circular motions. So you can see how using a filbert brush also, you can just move your brush in circular motions and add in little effect with this darker tint. Now, I did not add the gray hint while we were adding in the details previously in the first layer of the sky because I wanted the previous colors to dry out, and then we can simply blend it and get in the effects, right. Now, I will just use a little lighter hint and blend these here again wherever needed to create that different variations into the stormy effect that we need. So you will see at the top dark color, then a little light hint, then again, dark, then again, light. So I've gone ahead with so many layers to create so much variations into the storm of the sky that we need. This is how you will need to work with layers to create in the depth into the stormy view. You need to add one layer, wait for it to dry, go ahead with another layer, then create little light dark hints here and there and keep on blending them, creating in that depth into the storm effect of the sky that you need in. Now, using in the white color, I'm going to quickly add in very small light effect on the horizon line, only on the darker color that we have closer to the horizon line. Just very simple dots. So you can see this is trying to show in so much life on the horizon line out there and on, you know, endpoint of the beach that we're trying to show in. Now, same way, I'm just going to add in little more light onto the right most side here on the horizon line. And we are ready with our class project for day seven, a beautiful, stormy view in the sky. You can see the clouds is so rough, so stormy, giving in so many color variations of gray, blue, violet, lilac tones, and then the darker tones on the horizon line, where you have in the light effect. Now I'll just cover up a little light here where I feel the light has gone in excess. So just ding ale bit of that dark gray color again in between the white. And then let's remove in the masking tape and see our final painting. So make sure you remove in your masking tape very carefully against the paper. Now, here you will see I messed up with my masking tape removal because I went ahead too quickly, which tore off my edges of the paper. Now on the right more side, you can see it's most of my edge and created such an ugly view to my painting. But as I told you with ash, it's so to correct in the mistakes. So let's go ahead and correct this area here, and you will see and understand that everything looks as if nothing happened. So I'm going to use the same colors where, you know, which color was placed, I'm going to add in there on the ripped part of the paper and blend them again into the sky and the sea. So I'm using the grays and the blues where they are right now in the sky and going to blend them. So you can see I'm keeping it raw and real and letting you understand with Kash, how you can correct your own mistakes and get in the right details again. So on the rightmost edge here, I used in a little of a gray dark cloud effect, giving in one more dimension to the clouds and just going to blend in with the lighter tint, dabbing in on the top side. Same way here, also, I'm going to quickly add in and correct on the left side as well, and then correct the s area as well on the right side. Now, for the sea area, I'm using the lilac tones that we had used, the darker and the lighter tins and blending them all in, giving in that soft blended effect. So you can see how easily you can correct your error or even the mess up with the masking tape when it comes to medium called. So we've corrected all our flaws. Now, here's a closer look at the painting from day seven, the stormy effect into the sky and the sea and the soft blended look of the waves and the beach area. I'm just going to quickly cover up a little of the light that we've added on the left side because I'm a little unsatisfied with so much of the white effect. So just going to cover up a little quickly. So I'm done with the final correction finally, and we're ready with our painting for Day seven. It was a little challenge because of the mess up that we had. But here's a closer look at our final painting from Day seven, the stormy view of the sky and the sea. I hope you guys enjoy painting this with me, and I will see you guys soon into the next class project. Till then, make sure to drop a review if you like this class. Thank you so much for joining me. 16. Day 8 - On set of Rains: Hello, everyone. Welcome back to day eight of the 30 days of cosh. Today, yet again, we are going to be painting another stormy sky. But this time we'll give it a field view. So let's go ahead with just marking out the field space. So this time, the field area, I will mark out a little diagonal. So from the bottom left moving to the top right. Alright. The top will be the sky. We're going to paint a rainy kind of sky view as if the rain is about to pour in. We'll first begin with a base layer blue color for the sky. Previously, in the last class project, if you see, we had gone ahead with the base layer of the blue and the pink tones and then added in the violet and the gray cloud details. So this time we're going to go ahead with just a base layer blue color. And then on top of it, we're going to go ahead with tonal variations of the blue to create in the cloud and the stormy effect. So now, first, I'm beginning in with a, you know, bluish gray color, which has a very little hint of gray. Not much. It's more towards the blue side. So if you do not have a similar tone, again, you can simply mix in ceilin blue, white and very little pinch of black. It just has to be like 1% to get in that grayish hint to your blue mix. So to the entire sky, I'm just going to give in one flat layer of this color first, and then on top of eight, we'll begin with the cloud details. Make sure you do not add in a lot of water while adding in this. Go ahead with a good opaque layer of this color, because at certain spaces, this color will also be visible in between the cloud details that we'll be adding in. So you can see I've given one flat layer of the entire color here, and this is the paste layer of our sky, a grayish blue color to given that thunder and the, you know, storm effect to our rainy blue sky. Now let's begin adding in the cloud details to this. Now, first, I will begin with one tone darker color than the base layer. So basically, you can just add 1% more white black to your same mix to get one tone darker color. And I'm using the same filbert brush, moving in in circular motions. We're going to create a fluffy cloud effect, giving in that thunder effect with the blue shades that we're going to use. Now, you can see I'm going randomly with this dark tone at spaces. We'll go ahead with one lighter tone as well, moving ahead further. First, with the darker tone at random places, I'm just dropping in some cloud effect, moving my brush in circular motions. So as I told you, you don't always need that mop brush that I use in each class project if you see, I'm trying to use in different brushes, different ways so that if you do not have one particular material, you can still do the same thing with the available material at your end. So I've added the details with the darker color. Now I'm going to move on to a lighter tone. Now, this is going to be like a light blue color that I'm using. So you can simply mix in more white to your cellin blue. I have multiple tones of light blue as well readily available in my palette. Now, in between randomly between the dark tones, I'm just adding in simple cloud highlights with this lighter color. Now, when you add this, you have to be careful about one thing. You need to be very gentle on your hands. If you apply a lot of pressure, the basier colors will get mix in, and you will not get the light effect, rather, you will get one, you know, a blended color effect of the dark and the light of the base layer. So you have to be very gentle on your hands. Plus your colors need to be opaque. So do not add a lot of water or, you know, do not have a lot of water into your brush as well. Now, random leaf or blending, I'm picking up the dark tone as well to blend in the dark and the light tints. So you can see the previous class project, the technique used here is quite different. In the previous class project, we went ahead color by color. In this class project, we are going ahead with one color at a time. Then again with the next color, then again, blending all of them together. So, you know, this time, you already have base layer colors more, and then you add in the lighter tint. Now I'm going to add in very tiny yellow highlight as well into the sky. Just giving in that little sun ray coming in in between. It's going to be very, very minimal. So I'm going to pick up a pastel yellow. Now, in case, if you do not have a pastel yellow, it's a simple mix that you can create lot of white and just a little hint of the yellow. You can see how bright my yellow is, adding in little glowing effect at certain places to give in that little sun effect coming in in between. Last year, added in little of the yellow effect at the bottom closer to the horizon line on the left side. So that is it for our sky. We are ready with our stormy rainy view sky with just that little sunlight coming in between a few of the clouds. Now we'll go ahead with the base layer of the field and then move on to the details further. So for the field, we are going to go ahead with tones of green. Now I'm going to pick up the color first and just add in in the entire space. And at the bottom, I will just darken up this space with a little hint of black or a dark green color. Again, if you do not have the same tones of green, as I told you, you can use any tones of greens that's available in your palette. You can create lighter and darker tone mixes of the green by adjusting it with the help of yellow and white for lighter tones. Brown black and blue for the darker tones of your base green color that is available. Now, for the bottom, I'm just picking up a little bit of the black and blending it all in. You can see just blended everything in, and at the bottom, you have the dark effect, and at the top, you have the light effect. Now, my sky is completely dried, and on the horizon line of the field, I'm going to begin adding in simple pine trees using in the black color. Make sure that your sky is completely dried before you begin adding in these. Now adding in the pine trees, I've already discussed in detail in the technique section, giving you different ways of adding in pine trees, different ways to adding it quicker, some detailed pine trees, some simple pine trees, creating in a blend of everything to give it a natural effect. If you have a closer look at the thunder sky, you can see it's giving in that perfect rainy effect as if the rain is just about to pour in. Now, on the right most side, I'm just giving a small cartage view with the white color. I will add in one more layer of the white to make it bold and a opaque. So I added first layer. It was a little dull. Now, I added the second layer. You can see it's bold and opaque. Just a simple cottage view that I'm going to add in. We'll add the rest of the details into this cottage later on. Just create in this white patch and leave it for now. Now, back to adding in the pine trees here on the horizon line. I'll quickly go ahead at them in different height. I'm not going to take them much taller. I'm just going to keep them very short and subtle, and I'm going to add it completely on the entire horizon line. Then in the field space, we'll be adding in very simple grass details and some yellow wildflower details, which are again going to be simple and quick one. Now, in between, you will see I just go ahead with simple details as well, just giving in simple bush details. On top of it, I'll give in those simple, you know, strokes that we had discussed, just the pointed strokes to fill in the space. You can see I'm going with a very nominal height of the pine trees, not taking them too tall into the sky this time. Now, in between here, again, going ahead with a little of the simple bush detail filling in the space completely. We're almost through adding in the pine trees, and then we'll move on to the grass till then our green layer of the grass will also be dried completely. Now, you can see I go ahead with, you know, the pine tree height across, you know, with every pine tree. No pine tree close to each other is of the same height. They will keep on wearing in height with every next pine tree close to each other. Now overlapping the cottage, also, I've just added in a small pine tree, and in the rest of the space towards the right, I will just give in little bush detail in front of the cottage. So, you see, you do not need to add in a lot of detail to the cottage also, but at the background, it gives in a little beautiful view. Now, randomly in between, I'm just adding in little strokes, trying to vary in the heights, and giving in little more depth to the pine trees. So just simple strokes that I'm pulling out of different length, losing in the pointed tip of my. Now next, using in a light green color. I'm going to begin adding in the grass details into the field. I'm using a very right pastal green color. You can see. I'm going ahead with bigger grass strokes directly completely from the bottom till the horizon line. You want you can go ahead in layers with the grass strokes as well. I'm going ahead with simple layer. And now again, these grass strokes can keep varying for you. You can add them and moving in different directions, or you can keep them moving all in one direction as well. I'm going ahead with simple strokes, some overlapping, some sm, some big, very random details, just going to fill in this entire space with this light green color strokes off the grass. O O. Even on the left side, you can see I'm going ahead with simple strokes to fill in the entire grass details. Somewhere I'm going ahead with bigger strokes from bottom to top. Somewhere I'm going ahead with overlapping. Somewhere I'm going in two layers that is two rows of the grasses overlapping on each other, creating in trying to create in more and more depth. If you want what you can do is you can use multiple variations of the green color to create in these grass details as well. That will give you more realistic view. So you can see I'm going ahead with little different tones of the lighter green because my palette already has a lot of green at the bottom of it. So automatically when it mixes in with the light green, they're creating in different tonal variations of the green. Now, using in a medium yellow color. I'm just pining to give in the wildflower details at the top. So using the yellow, I'm just dabbing it at the top, where we haven't added in the grass details, because at that space, I want to show in an entire cluster of the flowers together. So just going to use the yellow color and keep dabbing in using the tip of my brush, which will give in that beautiful range of the wildflower detail altogether there. Now, some of the wild flower, I'm going to add in overlapping onto the pine trees as well. Now, even on the grass area, I'm just going to begin adding in the same wild flower details. Now, since we are adding in these wild flowers, you will see I'm just going ahead, dabbing in. You don't need to add in any particular shape of the flower or a particular size. You can just go ahead, keep on tab in the color, giving in that beautiful wild flower field detail. You can see how I'm adding some of the wild flowers, overlapping the pine trees, giving in some of the wild flowers, taller, going ahead into the pine tree range as well. Now, as I move towards the bottom side, there I'm not going to fill it completely with the yellow color. There, I'm just going to randomly add in some wild flower details here and there, not going to fill in the entire bottom space so that the grass details are also visible. So you can see at the bottom, I've just added in randomly at certain spots. Now, using in a little bright shade of the yellow, going to add in some wild flow on top of this dull yellow color that we've used. Now the reason in the first layer I used a little dull yellow is because we are having a storm view in the sky. So but of, because of the sky reflection, if you go for a picture Q view, you will see that the field will also be visible in a little dull range. So I'm just adding little highlights with a little bright yellow of the wild flows, just a few here and there randomly. O Now, lastly, I will just sprinkle a little of the tiny, tiny flowers randomly. Now in case, if you're not confident about adding these directly, make sure you cover up your sky first so that you do not drop them into the sky. Wherever my drops have gone in, I'm just blending it in quickly with the blue color into the sky. But in case, if you are not confident, make sure you go ahead very carefully. Alright, So, I'm just adding in that darker color of the cloud and correcting in the mistake that has come in. So you see with Kash, it's so easy to correct in mistakes anywhere any time and get in your details right again. But in case, if you're not that confident, make sure you cover up your sky part so that the sprinkles do not go into that space at all. Now lastly, let's begin adding in some lines into a sky, that's going to be simple violines. For that, I'm going to use in the black color and my pointed tip. You can add these using in a pen as well. On top of the cottage, I'm just added in very simple roof detail with a little gray hint. Now I'm using a dark gray color to add in the violines. I'm not using a pure black tint here. You can use a pure black tint if you wish to, or you can also use in this simple gray tint to add in the lines. Now, I'm just going ahead, going tip of the brush and adding in these lines quickly. So I'm adding in three to four of these, you can see, since I'm using in a gray color. It's getting in the dull effect into the sky, giving it that perfect blended stormy effect view that we are trying to achieve in here. So I've added five of these majorly all, towards the bottom side of the sky only. Now, randomly at places, I'm just sharpening up these lines and just given in little connection details, very simple ones that I'm trying to add in. And that is it, we are ready with our class project for day eight as well. I'm just correcting the line here, which went out of proportion. So you see, again, so easy to correct in the mistakes using in the coach colors. Whereas with watercolors, it would have been a little difficult to correct in the mistakes if, you know, they would have gone out of proportion like this. So let me give you a close view of everything before we remove in the masking tape, very simple detail, simple ways to correct in your errors as well. Now, let's remove in the masking tape and see a final painting. Now, make sure you remove the masking tape against the paper. In the last crass project, you had seen how I had messed up with the masking tape, peeling off my painting as well, but we could easily correct it in easy ways. So I'm just going to quickly, very carefully remove in the masking tape. Again, I guess my left side painting is getting peeled off, but again, I can still correct it. I'll go ahead carefully and remove this part. So here's a closer look at our painting from day eight. I hope you guys enjoyed painting. Another stormy sky with me for this class. I will see you guys soon into the Day nine class project. Till then, make sure to upload your class projects and do proper review if you like this class. I will see you guys soon into the next lesson. 17. Day 9 - Street View: Hello, everyone. Welcome back to Day nine after 30 days of course challenge. Today, we are going to paint a beautiful evening sky with some cotton candy cloud details, very simple ones. But this time, the blending will be a little different. We do not have any pencil sketch. I am directly pining in with a sky blue color. Now you can see this time I'm going ahead diagonally and not in the simple straight manner that we go ahead usually. All right, I've got ahead with the blue color. Now, next, I will leave a little gap and add in the next patch of the blue color. Then using in white, I will blend both of these patches and add in little pink highlights later on. I've gone ahead added in the blue patches first and then we'll go ahead with a little bit of the white. Even on the left top, I'm just adding in a little bit of the blue patch and keeping in here. Now, we are going to pick up the white color and blend all of these out here. I've picked up the white directly, and again, for the white also, you can see I'm going ahead diagonally. Now when you go ahead diagonally, you will see in your sky, you get a flow off the sky and the clouds. When you blend horizontally, the movement and the layout of the sky will look different. And when you blend diagonally, that time also the movement and the layout of the sky will look different. So that is the reason try and go ahead blending in diagonally here. Now, at the top as well, I will just add in little white highlights on the blue creating in little more variations in the blue space out there as well. Now at the bottom, the space that I've left, there we are going to add in little past cotton candy cloud details. There we'll directly go ahead with a base layer pink and begin adding in the details. And then we'll give in a simple street view here for the silot that we'll go ahead with. First, let's quickly go ahead, add in a per pastel pink color. Now for the pastel pink color we've discussed the mix multiple times. You can use any basely or pink that is available and add in white and get a pastel pink color. I'm just blending in this pink with the blue that we've added in into the entire remaining white space at the bottom. So we are done adding in the pink as well. Now let's go ahead, begin adding in the cloud details. So for the cloud, I'm first going to begin in with a grayish blue color for the first set of clouds. It's going to be very light and very limited, not much of it that we'll be going ahead way. Now, I already have a reddy grayish blue in my palette as you know. So again, I've discussed the mix of this also. You can just add in a little hint of black and white to your blue and get a similar looking graysh blue. The black hint has to be very, very, very minute. Now, I'm just randomly first adding in little highlights of the clouds with this grayish blue color. Now, next, I will pick up a little pick of the pastal pink that we added in the paste layer and I'm going to add in little highlight of the pink onto the white space in between the blues here. Now, this pink also, I will add in diagonally and blend in diagonally only. All right, so just adding in little diagonal strokes here and then quickly using a, you can blend it into the base layer white that you have. You can see automatically you get in that little pastal effect into the sky here over the white as well. O Now, using one tone darker pastel pink, I'm going to begin adding in the next set of clouds closer to these. For this, again, you can just add a little less white to your pink as compared to the paste layer, or you can simply add in a little red along with white and pink to get a peachsh pastel tone here. I'm going to add in randomly some yellow color clouds as well, blend them carefully. Now, when closer to the bluish gray color, you blend in the yellow cot carefully so that you do not get in the muddy tones. If you want here, you can use white for blending if you're not confident about blending these colors directly with each other. Now, again, randomly, I'm picking up shades of pastel pink, you can keep on altering the shade of pastel pink by adjusting the proportion of white into your carmine rose or scarlet color. So I've just used in the grayish blue shades of pastel pink and shades of yellow to blend in and create this cotton candy cloud at the bottom here. Then on top of this, once this dries out, we'll give in the silo head detail. I've just added some last dark cloud details on the right side, and that is it. We are ready with our sky. We'll wait for this to try before we begin adding in the silo head detail to our painting. Soy sky is completely dried, and we are going to begin adding in the silo hate detail. First, I'm picking up a dark grayish blue color, and I will add in a simple mountain range onto the right side here. It's a dark grayish blue. You can simply just add in a little hint of black to your crucian blue color and very little hint of the white. Now, along with that, I'm adding in little of the black color and blending in. So you will see we have two total variations, one, the grayish blue, and one blackish blue at the bottom. So this is how I've just simply created in one simple mountain range at the bottom right side. Now, next, for the mountain range on the left side, I'm going to go ahead with a green color. Again, for the green as I told you, you can create in your own greens with the help of the base green color. I'm using a medium sparin tone here, and I will add in the second bush kind of a range onto the left side, overlapping a little off the right side mountain. Filling this space completely with this green color, you can see going ahead carefully, creating in the details for the siloate that we'll be adding in. Now, even into the green at the bottom, I will just blend in with a little hint of the black. So I just added a simple black patch. And using a dam brush, I will blend it with the green. So at the bottom, you will automatically see the darker effect trying to show in that shadow effect at the. All right, so just blended it with the baseer green here. Now, into the street view, I'm just going to use in the brown color. I'm going to use in the Burn Ciena and mix in with a little bit of the dark brown color that I have. And using this brown tone, I'm going to add in the first pole here, which will be the street light that we're going to create to create in the street view. So I'm going to use in brown this time because we have a beautiful pastil sky that we've created. So I'm not going to use in the black color. Now, make sure you go ahead adding in these lines in minute details, do not use a thick brush. I'm using a pointed tip brush, so I'm able to get in the fine lines that I need for my poles. Now onto the second one that I've added, I'm going to create in a very different kind of a pole detail. I'm going ahead with one line closer to this, which will just reach a little towards halfway of this first line that we've added, and I'm going to connect both of these. Al right now again, these details and silo hate may vary for each one of you. They need not be exactly same like mine. You can go ahead with your own reference for the silo hate. I'm just going ahead with a random silo hate reference that I found and adding in the details accordingly. You can first wait and watch the entire kind of details that I'm adding in and then go ahead with your own kind of silo hate that you wish to. Now, into this, I'm going to a simple street light detail. A light just created in the street lamp as well. Very simple details, we are not going to add in much of the colors here, but we'll be creating highlights onto these poles to show the reflection of the clouds falling onto the poles here. Now at the bottom here, just adding in a simple block as well. All right. Now till the time this brown details try out, we're just going to add in simple details with a little darker green color. So just going to create a little bush kind of a patch or a simple tree. You can call in that I'm going to add in. For that I'm using the darker green color. Now, what you can simply do is just add in a little hint of the black to the past green that you've used on the left bottom side. I'm just using one to darker green color. I'm going to add in a simple detail here and simple bush in between the two poles that we've added in. O You can see just along the poles as well, just adding in simple bush detail. Go ahead very carefully so that you do not ruin any of the details that you've already added in. Also make sure that your bas or green and browns are a so that they do not blend in with this that you add in. Now moving towards the blue mountain as well, I will add in simple details with the green. The green will be visible on the blue because of the opacity of the colors. You just need to make sure that you use the colors in a bold consistency so that they have the perfect view as well. It's all about the consistency that gives in the opacity to the ash pains that will make it visible even on the and the lighter tones alternatively how you are. Now let's add in little highlights to the poles that we've added. For the highlights I'm using in yellow color. Now make sure that your browns are completely dried, use a pointed tip brush and go ahead with a bold bright yellow color. Now using this and just using the tip of the brush on the brown pole, I'm just going to add in fine line. This will automatically show as the shadow of the sky colors falling onto the pole, reflecting the light of the sky onto these poles as well. Very fine yellow lines that I'm adding onto the poles that we've created. So onto these pole as well, I'm adding in the yellow line. On the bigger pole on the right, I had added the reflection towards the right. And here on some part, I added the reflection on the left and on the remaining part at the bottom space, I've added it onto the right side only. I'm done adding in the reflection or the shadow effect of the beautiful cotton candy clouds onto these poles. Now, using in a black waterproof pen, I'm just going to add in some bar lines into the sky. You can use in a very fine tip brush and the black color to add in these lines. I'm going to go ahead and just use in this 0.3 n waterproof pen. It's important that you make sure that you use a waterproof pen so that even if you have to correct in any mistake, this ink will not spread out. In case if the pen will not be waterproof, and if you want to correct any mistakes in ash, it will be difficult as the pen will begin to bleed the lines that you add in. All right. Now, I'm just adding in some simple lines. Now you can see the pen is kind of a little tricky at times because of the pains, the nip lifts up the pains and the lines do not come in easily. So you can again run your pen onto a rough paper quickly and then add in the details again. I've roughly marked out the light lines that I need on the left side as well. Now I've quickly just got my pen into the right consistency again. I just scribbled a little onto a rough sheet. Automatically, the ink is come up again and the paints that had come in again, cleared from the tip. Now just correcting these lines and giving them a dark bold color consistency. Very fine lines that we've added, make sure you do not go in with bold lines. Let's remove in the masking tape and see a final painting, make sure you remove the masking tape against the paper. Now this time, we have a new blooper that is a You can see the paints out here on the left side have leaked because maybe the masking tape may have loosened up or they have been excess water while adding in the details on the left. That is why the leakage. But again, let's go ahead and find a trick to correct this. So you can either use white ash or white crylic or you can use this correction pen to correct this as well. This correction pen is kind of an acrylic paint, which is permanent. Now, this is white in color. So I just need to begin pressing in the tip and press the h pen. So automatically, there will be white ink that will keep on coming and will cover up the mistakes. You just need to be sure about one thing that the pins out here on the edge have tied up completely, only then go ahead with correcting of the correction pen. I'm just pressing the pen. Automatically, the white ink is coming out and correcting in the space that I want to. You can see all of the mistakes of the leakage that happened on the left side have got corrected with this correction pen simple technique. Don't worry if you do not have this correction pen, you can use white ache or white clic. White cric more preferably because a again will, you know, activate your paste layer colors that have leaked and may blend in and may create a muddy color. Otherwise, you need to use gash very carefully, light handedly and in the right consistency. With the correction pen, you can see I could simply correct in the mistake and get in the right edge again, the white clean edge that we needed. Now you need to be sure about how you want to go ahead with. There are various ways. So, these are the proof that not every time everything is correct, if you would have seen in the previous painting, the paper got tripped off, in this painting, there was a leakage. But it's about learning how to correct them rather than discarding of the piece completely. Now, I'll just use a little hint of the white quash and give a fine line on the outside again and blend this all in we ll. Here's a closer look at a painting from Day nine. You can see the silo, the shadow details onto the poles, the yellow color giving in that beautiful shadow effect of the sky falling onto these poles and the simple mountain silo heate details that we added at the bottom space. I hope you guys enjoyed painting this and also learned how you can correct your mistakes if the color leaks out onto your white edges. I will see you guys soon into the next class project. 18. Day 10 - Field: Hello, everyone. Welcome back to day ten of the 30 days of course. Today, we are going to go ahead with an evening sky field view. I'm just marking the outline of the field. Now, in the field, we are going to have in three to four patches of the field that we are going to create in. That is, we are going to create, you know, perspective view of the field this time. We'll try to create in the green layers in different perspective views. So we are going to have in basically four kind of green field view. Alright, so I'm just marking out the four patches. Now, again, this may not be closely visible to you. Let me give you a close view. You can see the pencil sketch now, the four field parts that I have marked out. Alright, the top will be the sky, and the bottom will be the green field, which we'll be painting in parts this time. So, first, let's begin with a dark evening night sky view that we are going to be painting in here. For the sky, I'm first picking up the beautiful dark blue prucan color. You can just add in a little hint of black if your prucan blue is not that dark. At the top, I'm beginning in with this dark bold blue, you can see. And then moving ahead further, I will lighten up this blue a little with the grayish blue color. Then a little hint of white, and towards the bottom side, we'll go ahead with little oranges shades to give in that beautiful sunset effect into a sky as well. Now, next, I'm using in the dark grayish blue color here, and I'm going to blend it with the dark plcion blue that we've added in. All right. Now, again, to this, you can simply to your cellin blue. You can just add in a little hint of black to get this second layer of the blue color that we're adding in. And we are just blending in both of the blues together. Now, next, I'm just going to use in, either you can use a very light pastel blue color, or you can use in white here because orange and blue when mixed together gives you muddy tones. So before blending in the orange, we need a very light pastel layer so that the orange does not give in muddy tones. So I'm picking up a very light pastel blue color, which is readily available in my palette. You can use white, and automatically the blue from the top layer will get blended in with the white and give you that light pastel blue effect. Now, next I'm using this yellowish orange color. Now between the yellowish orange and the last line of blue, I'm going to leave in little space. I'm going ahead very carefully along the line of the field area that we've marked out this time. And now I will pick up white and blend in the orange and the blue because I do not want any muddy tones, so I'll go ahead very carefully here while blending. I'm using this peach color, which is equal to a white color and blending in. You can simply use in white also and blend in. As I told you, since my palette has so many beautiful shades. That is the reason I'm going ahead using in the, you know, best possible colors, which will create much better blends or much better transition into the sky. But even if you use white, you will almost get a similar transition because white when blended with orange will give you that peach is tone again. Now, using in a little hint of the burn Ciena color, I will just create little highlights into the sky here and blend them into the base layer. So I'm just going to add in a few lines and blend them into the base layer orange that will automatically just create little darker highlights on the left side here into the sky. Since we are creating in that sunset evening view, you will automatically see that this will just act in as a little highlight into your sky, giving in that vision coming in. So I just blended in. I will just go ahead with a little more of the browns here and blend them again. Very little light lines that I'm adding in using in my smaller size filtered brush, and you can see quickly I'm blending it into the base layer. We don't need bold strokes, just giving in little darker highlights on the left edge here, blending them all in. For blending, you can use in the base layer colors, which will help in blending. So I've picked up a little brown when the brown strokes reach the blue space. I picked up a little of the blue and blended them into the base layer again. Now, last layer of brown adding in these, and this strokes, I will not blend in completely. I will just give them a soft edge a little, trying to show in some dark cloud effect into the sky. So that is it, we are ready with our sky, simple dark brown details that we created on the left and then little cloud highlights with the brown. Now let's begin with the greens. So I first picked up a beautiful dark green color. I'm adding it at the top of the first mountain, sorry, the first field patch that we are creating. So if we're going to create a patchy field detail this time, so the patches will be in four layers. All the four layers will be visible distinctively. So we need to keep on painting each layer one at a time. First into this, at the top, I've given in the dark green detail. Now shifting into a sap green color. I will blend this in. And then I will shift on to a lightest green color and add it at the bottom. Now, each patch has to stand out distinctively and show in that separation point. So each patch will create, you know, the darker space at the top, and then towards the bottom, we'll create in the lighter space so that automatically each patch will be visible distinctly. And somewhere where you have the darker color at the bottom, then you will begin with a lighter color at the top of the next patch. Go ahead, you will understand what I'm talking about. So I've just added in the lighter green color here and blended in. Now, till my first patch dies, I will paint this patch at the bottom here. Again, I'll go ahead with the same technique, darker color and then using in the lighter tints to blend in. So this time I use the darker at the bottom, and now the lighter green at the top. All right. Again, when we'll paint in the second layer, you'll understand why I added in the lighter color at the top here. Because in the second layer, I'm going to add in the lighter green at the top and the darker at the bottom. So again, for this bottom patch, I added the lighter at the top so that it is distinctly visible then the second layer that we'll be adding in. Now, I'm picking up a very light green color and creating in little highlight at the top here on this bottom third patch that we are painting. Now, if you want to create this beautiful pastel green color, you can simply add in a little hint of yellow and white to your green and create in this green color. You can see it is giving in that glowing effect at the top of the patch, giving in that patch field detail perfectly that we need. All right. Now, let's go ahead with the fourth mountain range here at the bottom. Now here, I will use in a little hint of the dark brown color first in the base as well, and then again, quickly blend it with the greens that we have in. So I've just added a very dark brown base. Now I'm picking up the saprne color, and I will begin blending in. You just need to make sure that each patch is visible distinctly from the previous patch that you add in. So you need to keep the two adjacent green colors of each patch different so that they stand out differently. Now I have picked up a beautiful right pastel green color again, and at the top of this patch as well, I will add in the pastel green color. You will see the third patch had the dark color at the line meeting point of the third and the fourth patch. So automatically when I added the light green color at the top of the fourth patch, both the patches are standing out distinctly. So you just need to keep in mind this one thing, that is, both the patches of both patches which are adjacent to each other. The joining line of both patch has to have different colors in each patches. Automatically, that will create in the perfect patch view that you need for your painting. Now, in the fourth patch, I will add in little greens later on once this dries out, till then, I will quickly go ahead with that c patch. For the center patch, I'm first going ahead with the medium green tone in the c and then we'll c in the depths and the lighter depths at the top and bottom. Into the entire patch here, I'm giving in first one basely of green color, and then we'll go ahead and c in the depth. A Now, towards the bottom of this, I'm beginning to add in the darker tones at the top of the second patch, we'll have in the lighter colors. So I'm just beginning to darken at the bottom, using in one to darker color. Now, at the top, I'm going to use in a bright green color and create the lighter patch at the top. So I've just created a little more darker depth in the center of the second patch. Now let's move on to the light pastel green color that we've been using in the other patches as well. Again, as I told you to create in this lighter mix, you can simply add in yellow and white to your green to get in this color. Just blending them all quickly. I know this may be a little tricky for you guys to go ahead and blend in in such small spaces. But with practice, believe me, it will be looking like a very simple task to go ahead with. Now, at the top of this, I'm adding in this lighter green color patch so that it will stand out distinctly from the first layer that we have added in. The whole motto here again is that each patch has to stand out distinctly from the previous patch. So for that variation, you just need to make sure that the colors of the two patches that we are creating. So the colors that are adjacent on the meeting line are not same. One has to have the darker color, and the other has to have a lighter color. I'm just going to go ahead and blend in a little more darker tone into this second layer at the bottom side. At the top of the second patch, we are going to have in the lighter tone at the bottom of the second patch, we are going to have in the darker tones. Because in the third patch, you can see we have the lighter tone at the top. So to stand out distinctly from the second patch, the second patch at the top has to have in the darker tins. Now, to this last patch here, I will again just go ahead and rework the colors because this patch colors is standing out very distinctly from the other patch colors. So I'm going to use in the same greens and just blend them. At the top here, also, we are going to have in the lighter tint, and at the bottom, we're going to have in the tint. Now, let me give you a closer view so that you can see how each patch is standing out distinctly. Again, the key I'm repeating, the line where both the patches meet, the colors there have to be different. So if your first patch bottom ends with a color, your second patch top has to has a lighter color. Now, at the top here of the second, I will just add in a little more lighter green because it is still not standing out distinctly from the first one. So in the first at the top, you can see bottom side of the first patch has the dark color, which is meeting the second layer. So automatically, the second patch at the top has to have a light green color. Now, just in the center of the first one, I will add in little light highlights with ash. It's so easy to work again and blend in the colors and get in the right shades and transition that you need in. You can always keep on reworking. My paper is also 400 GSM paper, so I know even the multiple layers will not buckle up or create any crinkle to my paper. So you can see each of my patch of the field is standing out distinctively. The two adjacent colors of two patches are not the same. If the first patch bottom has a darker color, my bottom layer patch has a lighter color at the top. Automatically each patch is standing out differently in the field. Now, using in the white ah, I'm going to add in a small moon into the sky here. Make sure you're using a smaller size brush for adding in this, and I'm just going to add in a simple moon out here. So that is it, Let's remove in the masking tape and see a final painting. Make sure you remove the masking tape against the paper, and once your edges are completely tried so that you do not tear off the paper or the edges or lift up the colors. So here's a closer look at our painting from date ten, a beautiful night view field painting. You can see how each green patch of the field is standing out distinctively, and I hope you could finally understand the technique that I'm trying to convey out to you here. I hope you guys enjoy painting this. Again, you can create your various shades of dark and light greens and use them here. I will see you guys soon into the next class project. 19. Day 11 - Sunset Seascape: Hello, everyone. Welcome back today 11 of the 30 days of ash color challenge. Let's begin with the basic pencil sketch. We are going to be painting a beautiful seascape today. It's going to be a beautiful sunset seascape that we'll be going ahead with. So I've marked out the horizon line. Now, below the horizon line into the sea space, marking out a rock area. Now, this rock while painting, we will divide it into three to four rocks stuck together, but we will give in those three d dimensions directly with the paints while painting in. So for now, I'm just marking out the rock space. All right. And the area just below the horizon line will be the sea. And at the bottom right side here, diagonally, we are going to have in a beach space. Again, if you remember in the day seven class project, how we had blended the beach area with the water body space. Same way here, also, we'll give in that soft edge, but this time, the difference will be, we'll be giving in the crashing wave foam effect as well. So that will automatically help you create in that soft blend directly. Even on the left, I've added in two rocks out there. So that is it for a pencil sketch for this class project. Let's begin with the painting. If you want, I'll just give you a closer view as well. I will quickly just correct this rock, and then I will begin in with the sky first. Now, as I told you, it's going to be a pretty sunset night view kind of a sky that we're going to go ahead with. So I'll be going ahead with the color tones of gray and yellow. Here's a closer view at the pencil sketch, the rock spaces, the beach area, and the water body, and the horizon line that we've marked out. So we'll begin in with the sky. So as I was discussing for the sky, I'm going to go ahead with tones of gray, orange and yellow. Now, if you do not have gray tones, I have discussed the mix multiple times. You can mix in a little hint of blue, black and white, and get a perfect grayish tone. I'll begin in with a very light tone of the gray. So if you want such a light tone of cray, you just need to add in very little hint of black to add a little hint of brown as well. This will give you this brownish gray color that I'm going ahead with at the top of my sky. Now, by now, you may be knowing that I may sally blend my colors directly on the paper here. So you can see I add the color, then dip my brush into water, because you know my paper has a little rough green. And since the greens, because of the greens and the thickness of the paints, it takes a little while to spread them evenly, so I prefer blending them directly on the paper rather than adding more water on the palette unnecessarily. Next, I'm going to pick up a orangish yellow tone, and I'm going to add it closer to the horizon line. And then in between for blending both of these, I will use in the peach color. Now, I do not worry if you do not have the peach color. You can simply use in the white color to blend in because when the orange and the grayish tone, they will all blend in together. It will give in that peachis tone that you need in. Now, first, I'm adding in orange only in the half space here you can see. Towards the right side, I'm going to add the bright yellow color to give that sunset effect coming in there from behind the mountains. So I'll pick up a very bright yellow color from my palette, add it towards the right side here and blend it with the orange. Oh. I will just pick up a little more of the yellow and again, add in the perfect layer. You can see in between the gray and the orange, I've left that gap to use a very light pastel peach color to blend in. Now, if you do not have the pastel peach color, please go ahead, use in white. It will give you an 98% same effect that I will be getting in here. So you can quickly, because if you see my peach color will be almost a white tone that I'm going to use in.'s such a light color that I will be using. I'm just giving a little more bright effect to the yellow so that I have that perfect sunset effect, and you can see the yellow and the orange are blended together each other. Perfectly, giving in those sunset pipes closer to the horizon line. Now let's pick up this light peachish yellow color and blending. You can see this is almost equal to a white color that I told you. Alright, so you can simply use in white if you want. You need not worry of having in the same tones. Now, because of this pastel color that we use for blending, you will see we do not get any muddy or uneven tones while blending two such odd colors together, being a gray and an orange together. Otherwise, if you would have directly blended them without the help of white or a light pastel tone, you would have gotten a lot of a muddy patch, which would make the sky look very uneven and unpleasant. Now, into the sea base layer, I'm going to go ahead, add in the same gray color that we used into the sky. Now my mountain pencil sketch may get hidden because of this. But by now, you may know where you have to place in your mountains and where your details have to go in. Now, this is again, just the base layer. This will almost get covered up with the details of the waves and the foam effect that we'll be giving in here, and then little of the wave details as well with different color tones. So for now, just adding in a base layer to give in the color block to our water space. Now, for the sand space, I'm going to use in the Burn sienna color and add in at the bottom right side here and blend it with that grayish color. So to my burn Siena, I've added a little bit of the dark brown as well and got in this dark brown tone mix. Now I've not used direct dark brown because that was storing out too dark. So mixed in a little bit with the burn sienna, giving it this blended view, and adding it at the bottom space here. Now, using a damp brush, I will blend this dark grey and this dark brown together. Just running at the meeting point. You can see we got this soft blend, just as we blend the colors in the sky. Same way, you need to go ahead, blend in here. So towards the right here, a little space of the rock of the water was left, so I just added in the gray color here and blended it well all again. Now let's begin adding in the details head further. So I'm going to pick up a little more darker color at the bottom and just given this darker highlight because I had added in the gray color. So it got up a little lightened up. Now let's go ahead further. So for the rocks, I'm going to use a dark brownish tone. I'm not going to use a black tone. So remember to use a brownish tone, that will give you a beautiful rock detail. And since, you know, it's an evening time, it will look like a blackish silohate that we're trying to add in. So you can see I'm just marking the entire block first of the rock that we have in, and then going ahead further, I'll use the burn Ciena color and create the differentiation into the rock space, giving in the lighter spaces, which will separate each rock from the other. So we'll create kind of three rocks closely stuck to each other, and we'll give in that three D effect using in the lighter brown tones. So same way even on the left side, I will first go ahead and ma in these rock spaces. We had added the pencil sketch, so you can follow that if visible or you can add in the rocks in your own space as you wish to. A So at the bottom here as well, I'm just pulling out a little of this rock detail. Okay? Now, when we go ahead, majorly white foam will come in and cover up these spaces and blend all of it together. Now, I'll quickly add in the first base layer for the rocks on the left side as well, two rocks closer to the horizon line. So I've marked the outline in case if you wish to see because the pencil sketch was no longer visible. Now I will quickly fill this in. You can see I'm not using a black color, marking it out again. I'm using a dark brown color from my palett. You can mix in black to your basic brown if you do not have a ready dark brown color. Now let's go ahead, pick up a little of the burn sienna color and add in the highlights. So I will begin, you know, distinguishing three rocks here. So first, I'm just adding in more of the lighter brown, that is the burn Sienna highlight onto this entire rock space. And then I will use the darker color and create in the highlighting. Now, onto each rock, towards the left side, we will keep the Burn sienna color highlight to show the effect of the sunlight from the left falling onto the rock, because of which, on the left, you will have the sunlight effect. And on the left side rocks, we'll have the sunlight effect falling from the right, creating the highlight on the right side of the rock. That is the perspective view of the light that we are considering here. So now onto these rocks, which are on the right side, I have to keep the darker spaces onto the right of the rocks. So I'm distinguishing each rock now, so you can see I created the darker line towards the right side. So you can see now three different rocks stuck together because of the lighter and the darker tone technique that we've used, and the light effect on this side of the rocks is falling on the side because of the light coming in from the left. All right? I will just add in a little more lighter highlights here as well. And we're almost through the class project just details of the waves to go ahead with our skies ready, O rocks are ready. Now comes in adding in the details for the waves. So first, we'll go ahead with the white quash. Onto the rocks, you can see I've created two color variations with the brown tones only. Now using in the white quash, I will begin adding in the details of the waves, so I will first out a foamy line. Now, when I'm adding this, I'm not adding a lot of water to my white quash. I wanted a little dry brush kind of a detail here. So I'm just going ahead with a damp brush and going ahead with a thick consistency of the paint and adding these here. So I've marked the outline for the foamy space. Now I'm going to keep on pulling in the white quash. Now, even in the Ca area, I'm going to give in little foam effect. So I'm giving little dry brush detail with the white quash first. Then on top of this, we'll add in the wave detail, which will balance these white foams and not let it show so. So for now, to go ahead and make it simple, I'm just adding in the dry brush into the entire sa space. All right, not adding an entire white patch. It's dry brush technique that I'm using here and adding a little dry brush texture. Now at the bottom, I'm going to pull out a little dry brush towards the beach side here. You can see trying to show in that foam effect coming on the beach. So adding details slowly and swiftly. We're done with a white part. Now let's go ahead, add in some wave details. For that, I'm going to first use in two to three tones of gray and a little darker blackish gray tone to add in waves in different color variations. So just going ahead with simple waves. We've discussed these technique of adding in the waves in our technique section, where I've shared how you can simply add in detailed waves in easy manner. All right, so just going ahead. Adding in the waves. For the waves, I will just go ahead with two to three color variations, as I told you. Now, when you need to create in the color variations, what you can do is for creating in lighter tones, add in more white for creating in little darker ins, increase the temper ratio of browns and blacks for forming in your gray. So as I told you, now you can see the white drybrush that we had added is almost hidden. Now, you just have little foaming effect here and there. Now, using a little darker gray, I'm adding in some darker crashing wave effect as well into the center area. Closer to the rock space, trying to show those waves crashing the rocks out there, creating in that foaming effect that is visible there in the center with the white there. Now, towards the bottom as well, I will quickly just add in a little of the waves effect. And then we are almost through this class project. We'll just add in a very small mountain range on the horizon line in the center space before we peel off the masking tape. Almost through the details for the waves you can see. Now, lastly, I will just pick up an almost brown blackish gray color actually, and just add in some darker waves randomly here and there to give in more depth. You can see this will not be much, very limited giving in that more detail and TD view of the crashing waves or those thick waves closer together. Now I'm just going to go ahead, add in the details further. So first picking up a little of the yellowish orange color, I will just add little highlights on the rock, just simple lines on the rocks to give in little more sunlight color effect falling on the rocks. At certain places, I will blend it with the basier brown at certain places. I will just let those little lines be visible. Even on the left side here, I'm adding in, but on the left side, I'm blending it with the base layer brown using in the dam brash because I don't want much of the bold effect. So quickly using in the dam brash, you can see, I'm just blending at certain places into the base layer. Now using in the black color on the horizon line, I'm going to quickly add in a very small mountain range. Alright, just going ahead and quickly creating in this swift mountain range in the center of the horizon line. So that is it. We are ready with our class project for day 11. Let's remove in the masking tape and see a final painting. I will just give in a little more clear white detail in the center of the beach area. D brush, Here, I feel that the waves just giving in white effect again before we peel off the masking. So let's remove the masking tape and see our final painting. Make sure your edges are completely dried, and you peel off the masking tape against the papers so that you do not tear off the white clean edge that we need for our painting. Go ahead very carefully while peeling off the masking tape. You can see the waves look so realistic because of that white dry brush technique that we've given in. So here's a closer look at our painting from day 11. The waves detail are my favorite from this painting. I hope you guys enjoy painting this with me. I will see you guys soon with another seascape for day 12, which will be a beautiful pastal pink seascape. Make sure you plod your class projects, and if you like this class, do drop me a review so that it can help me reach maximum students. I will see you guys into the next class project. 20. Day 12 - By the Sea: Hello, everyone. Welcome back to Day 12 off the 30 days of colors with Kash. Let's begin with a basic pencil sketch for our day 12 class project. Now, in this class project, we are going to be painting a beautiful pink sky and, you know, simple water space in between. But this time we'll be going ahead with a lot of reflection and a lot of details into our painting. So I'm just marking out the spaces. Now, I'll give you a closer view of all the details that we're trying to add in. So at the top, we're going to have in the sky. Then we are going to have in two snowy kind of background mountain ranges. Then we are going to have in a layer of pine trees in front of the mountains. Then the sea wherein the reflection of the pine trees will be there, and then a very simple field area at the bottom space. Now, I'll quickly ducken this up for you, so this will be the first mountain range out here, which will have the snow details. Then we'll have in a second mountain range here. All right. Then this third line that I'm marking will be the line for the pine trees that we'll be adding. Now, this area in the bottom center will be the water space, where we'll be adding in the water and the reflection. So mountain, mountain, then we'll move on to the pine trees, then we'll move on to the sea, and then a simple green patchy field detail at the base layer. Alright, so this is how our class project is going to be structured for day 12. So now let's begin with the sky first. So first into the sky, I'm going ahead with a very light grayish blue color. Now, for this color, you can simply add in a lot of white and just a little 1% ratio of black into your cereal blue color to get this pastel grayish blue sky kind of a color. Now, next closer to the blue, I'm going to go ahead with a very light pastel yellow color. Now, for this pastel yellow, you can simply mix in a lot of fit to your normal permanent yellow color that you have in and just add it closer to the blue color. Now, since I'm using all the colors alter in a pastel consistency, so it will be easy for me to blend without having in any uneven or unpleasant tones in between. But in case if you still feel that your blue and yellow mixed together may give you green tones, you can use in a little hint of white in between for blending these two so that you get that smooth transition from the yellow and the blue, and you do not have any green tones in between. But since I'm using pastel tones, you can see blending becomes easy without the use of white as well. Now, picking up a peach color closer to the mountain range that we have in and adding it completely, blending in with the yellow. Now, for the peach color, you can mix in red, orange, a little hint of yellow and white and get a similar tone. Now, you need to adjust the ratios of the colors of yellow, orange and red, and see a little trial and error because you know some of you may have darker red tones, some of you may have a darker yellow tone. So you need to adjust the mix accordingly to get your tone right. On the right side here, blending in with the orange color into the sky. Now, along with the yellow here, I'm just going to use in a little bit of the yellow as well and just blend in. Now, I am not running these colors into the mountain range because the mountain range is going to be a very light tones. So that is the reason you can see this time, I've gone ahead slowly into the sky, marking the outlines perfectly so that we have the right shades for the mountain range coming later on. Now, using a lilac color, I will begin adding in some cloud details into the sky. I'm using my smaller size filbert brush, and I'm just going to keep adding in some s strokes closer to each other and create in some cloud details. For this, you can simply mix in a lot of white to your violet or purple color of your palette and get this. In case if you do not even have a violet color, you can mix in a little hint of blue, pink, and white to get in this, white consistence. The ratio of white will be more to get in this pastel tone of the lilac color. So very carefully, I'm adding in the lilac clouds into the entire sky. Then we'll go ahead with the further details into the sky here. So as I keep telling you, you don't always need the same kind of brush. You can add these same details, even using a round brush if you do not have a filbert brush. If you have a mop brush, you can add those with the mop brush. If you have a round brush, you can add these with a round brush. Now I'm picking up a little pastal pink color to add in the further details. Alright, now, again, if you do not have this, you can simply mix in white along with your crimson, scarlet, rose color, which have a pink shade available in your palette. You need to just adjust the consistency and the proportion of white, depending on the color shade that you need or the color shade of pink that's available in your palette. Now, with this pastal pink color, I'm adding highlights over the lilac clouds that we've added. I'm using the same smaller sized filbert brush and going ahead with the details here. So now, overlaying as well, and you can see somewhere, I've let the lillac clouds also be visible. Very carefully again, not running into the mountain spaces this time because I want the colors at the mountain space to be perfectly visible. Now, again, I will just lift up a little of the lilac color, and at certain places, I will blend a little of the pink with the base layer lilac so that we have some soft blended clouds as well. And then we're almost ready with our sky. Then we'll move on to the next layer of details into our structure painting this time. So just adding some smaller grandom clouds here and there, and that is it. We re with the sky completely. Now, into the first mountain range, using in the very light consistency of the lilac color. I have further lightened up this color with the help of white, and just adding it as the first layer of the first mountain range at the top. Onto this mountain, we are going to show it as a lot of a snow mountain. So we are going to add in a lot of texture details later on. So make sure the first layer you add in in a very light lilac pastil color that is almost equal to a white tone that you can see. Now, for the next mountain range, I'm going ahead with a darker consistency of the lilac color. So I've just added a little hint of white black and purple color to create this. You can go ahead and mix it in the right proportions that you need. So you just need a grayish purple color for the second layer of the mountain here. On the first layer of mountain that we have, that is the lighter mountain, we'll be adding in texture with the darker colors. And on this second layer of mountain, we'll be adding in texture of snow with the lighter colors. What we're going to show is that the first mountain range is completely snow filled, only a little of the mountain, that the darker patches that we'll be adding is visible. And for the second mountain range, we're going to show that the entire mountain is visible with just a little of the snow details with the lighter tones. I've just darkened up a little of the second layer because as I told you, we'll be adding in the lighter highlights on this, trying to showing very small snow collections at spots on this mountain range. Now let's go ahead onto the next layer. So I'm going to pick up green tones and just add in an entire green patch here into this layer just below this mountain range. And then you'll pull out pine tree details from top of this. We'll be adding a similar reflection of this as well into the sea area later on. Now, I'm randomly shifting in between greens that are available in my palette. You can go ahead with the greens that are available in your palett. You need not have the exact same shades of green as mine. So I'm filling this entire space with the green first. Once my top mountain range will dry, I'll begin adding in the pine trees as well for now just giving in the base layer details everywhere. All right. Now, even in the bottom most part of our painting, there also, we are going to have in the green tones. So I will quickly go ahead, add in the green color there as well. There I'm using in the Sap green color and filling in the entire space. Again, here also you can keep on altering between the greens that are available in your palette. I have picked up a little of the light green for the top space at the bottom, added in a little of the sap green color. Again, for greens, as I told you, you can create lighter and darker tones. For lighter tones, you can use yellow and white mix in with your basic green. And for darker tones, you can mix in brown, black, analytle hint of blues. Now, ratio, you will have to adjust, depending on the greens that's available in your palette. Now let's begin with the s area. For the C, I'm going ahead with the peach color that we used in the sky. I'm going to add it in the center space. Now from the edge, where we had the orange in the sky, I added the orange on the right side, and just adding in a little hint onto the left side as well and blending it well with the peach and just adding in the base layer for a s area. Now, you can use a little of the yellow as well. Now, we are going to have in little reflections, as I told you. Now at certain spots, I'm using in the lilac color that we used in the sky. So automatically, you will have a similar kind of sky color reflection in the sea. Now you can first add in the entire base layer with peach, and then add in highlights with the lilac. But I prefer leaving in the white patch and adding in the lilac here itself and blending it with the peach that we have added into the base of the sea. For the sea, we have a sinful blend of the sky colors, as you can see, not an exact reflection of the sky. Just the colors of the sky should be reflected. Now I've picked up one darker tone of the lilac color. My first mountain range is dr, and I'm just going to add in little dry brush texture to create in the snow caped mountain look for the first mountain range. As I told you, for the first mountain, we are going to be using in the darker color to add in the details because we're going to show that a first mountain is completely filled up with snow for only a little of the mountain patches is visible. And for a second mountain range, I'm going to add in the patches with a lighter color to show in very little of the snow onto the mountain range. So I've added the first layer of details on that mountain range. We'll be adding in some darker details. On this first layer of the details dry out. Now I have picked up the lighter color, and I'm going to add in little detail onto the darker mountain here. I'm trying to show an entire snow waterfall kind of a space coming out from this second mountain range. So in the center, I've added in this lighter color patch, trying to show in that snowy water or an entire patch of the snow collected onto this mountain range. Now using in the black color. I'm going to add in little texture onto this mountain range. It's going to be very limited, not much. And then I will just add in the pine tree details as well. So with the black, I'm adding very little details you can see to show in the rock details onto this mountain range as well. Now, for the tri brush technique as well, we've discussed in the technique section, how you should use the paints in the right thick consistency. And also, your brush shouldn't have excess water, nor should your pigment have any excess water collected. Now, onto the first mountain range, I'm going ahead with the darker details. Now, the darker details will be very less because we want the lighter details and the first base layer to be visible. So you will see I've added very less darker details as compared to the lighter details that we added. So that is how you will build details with different tones of color variations to get in the details of the snowcap mountain on your mountain range. Now let's begin adding in the details of the pine tree. So I've just tilted my book because it will just give me an ease of movement. Now, using in a dark green color, I'm beginning to add in simple strokes from the green patch that we've created. Make sure for this that your mountain range is completely dried. Otherwise, the colors from the mountain will begin to get reactivated and may create problem while adding in these details of the pine trees. Now, some of the pine trees, I'm taking them taller a little above the mountain range as well. And then wearing the heights throughout, you know, across the entire space, we'll keep on varying the heights of this mountain range that we'll be adding. So I've just added in a little hint of the black to my green at spots to give in little darker details. Now, in between, you will see I will keep on adding in the detailed pine trees as well. So you can simply go ahead with a mix of the pine trees. This also we've discussed in detail in the technique section, how you can keep on varying the simple strokes as well as keep on adding in some details using in the simple method of adding in the pine trees. Across the entire mountain range, I'm going to go ahead and keep on adding in these details of the pine trees. Somewhere I have varied the green tones as well to show in that nature has different tones, and they are not exactly all of the same tones. So you will see in the pine tree area, also, we have three to four color variations of the greens. Somewhere I've added a little more black to my green. Somewhere I've picked up a little of the Varian green color. Somewhere I'm just going ahead with a little black details as well to give in some depth. So that is how you can vary the details of the pine trees here in the entire space. So I'm almost done with the details of the pine trees. Now, we have to add in reflection to this into the sea area. For that, I'm going to go ahead with a very simple and quick method to add in the reflection. So whenever I wanted to give in more details to my pine trees, I'm done giving in the details. Now, for the reflection, I'm going to quickly add in one dark green layer line onto the line of the sea area at the top. So first, just adding in this thick line of the green color quickly. Now I'm going to use a dry flat brush or a filbert brush, or you can use a fan brush, or you can even use a spoiled brush, which the bristles of which are completely spoiled. I'm using the smaller sized flat brush without any water or pigment, and I'm just dragging these panes towards the bottom side. This will create the background for my reflection. So you can see I'm just pulling out this is giving in the drivers detail and a rough reflection. Now, at certain spaces, we'll have to give in more depth to the reflection. That will be quick because we have the base layer of our reflection ready. So you can see we created in the reflection space very quick and easy. Now I'm going to pick up the base layer peach color and given depth. What I'm going to do is using in the peach color. I will just create little cuts like these in between the greens. So you will see automatically this is giving in so much depth to the reflection, trying to show in that the reflections are perfectly visible. It's not giving in that area visibility as well. So just giving in little cuts onto this green space that we've created. Now, make sure for this your green patch is completely dried, and you go ahead very gently. Otherwise, the green and peach mixed together, will give you a very dull finish. Now, at the bottom, just adding in a little peach again and blending in with these strokes that we've added in. Now, if you see some of our pine trees are very tall, so we need to add in little taller reflection at those places. So just at the places where we have the taller pine trees, I'm going to pull out the reflection a little taller with my pointed tip brush and given little detail. So random places, wherever you feel that the pine trees are taller, you can go ahead and increase the reflection length as well. Now, in the foreground, I'm going ahead with some detailed pine tree. I have picked up the black color. You can go ahead with a dark green tone, so I've mixed in a little sap green as well to my black, and I'm adding in very huge pine trees. I'm still left to add in a little more reflection detail. I will add them later on once they are completely dried so that I don't mess up the peach and the green tones together. So here, I'm just adding in some detailed pine trees. You can see I'm just using in my pointed tip brush. Now, adding in these pine trees, also, I've discussed in the technique section, the different ways how you can add them the techniques of adding them quickly. So I'm just going to add in some quick pine trees here. Adding up another one here onto the left side edge as well. You can see it's a little tilted and slant. Not everything has to be straight and crisp always. Now, I'm just going to add in two to three onto the right side here, and we are almost through a class project for day 12. This was a little detailed class project because of the, you know, detail that we have added this time for the reflection, for the field spaces, the pine trees, the details on the mountain, which took a little time. But still we managed to complete this painting in almost a time schedule of 25 minutes. Now, I'm just going to go ahead, add one more huge pine tree on the right here. Now, this one, you can see I've taken it a taller to the first mountain range almost. Very quickly, you can see I could add these pine trees. I'm using my size one round brush. This has a pointed tip, which makes it possible for me to add in these details. You can even use a detailer brush if you're not having in a pointed tip to your round brushes. I will just go ahead with one more on the right side. Basically on both the left and the right side, we have huge pine trees in the c, we have the reflection details of the pine trees and the mountain range in the sky coming in. Now, next, using in a little bit of the Saprin color. I'm going to add in little bush detail onto this bottom field space that we've created closer to the sea. So at the top, I will just add in the detail first and then blend it with the greens in the bottom space, using in a dam brush. Or you can pick up the baser green color again and blend them. So just going in at the top and then blending it at the bottom space. So I added a little darker depth at the bottom as well. Now I'm just lending all of these using in the damp brush. You can see. Now closer to the pine trees, you can be a little careful, or what you could do is, you could first add in this detail before adding in the pine trees and then add in the pine trees. That may make your task easier, but this was also easy for me. Now let's go ahead and add in the details of the reflection at places before that. Just adding in little darker green patches onto the top area of the field. Simple dry brush detail that I'm adding here to show in more depth into the field. So simple dry brush with a little darker green color than the base layer is what you need to add. So that is it. I've just added little dry brush detail. Now, one last thing before we remove the masking tape, I will just correct the reflection detail. So we added a quick base layer for the reflection. I showed you an easy technique where we just pulled out the base reflection, then we gave in little cuts in between to show in the natural look of the reflection, and not everywhere the entire reflection altogether because somewhere reflections may not be visible. So we gave in the c layer cuts in between. Now using in the green, I'm just going to give in little detailed strokes, wherever I feel the need to correct the reflection. And somewhere at places where I need the reflection to be a little longer. I will just take the strokes a little longer. So here on the left, we have a huge pine tree at the top, so I've just increased the length of the reflection there. So accordingly, where you have the longer ones, you will create the longer reflections there. So let's remove in the masking tape now and see a final painting. Make sure you remove the masking tape against the paper and your edges are completely dried. This is a very detailed painting that we went ahead with for our date 12. I will quickly correct this small patch at the black here, and we are ready with our class project. So here's a closer look at our painting from Day 12. This is absolute favorite of mine from this entire series until now. We've gone ahead with so much details into the mountain range, the reflections, the details into the sky simple sea. I hope you guys enjoyed painting this beautiful painting with me for day 12. I will see you guys soon into the Day 13 class project. Till then, make sure to keep uploading your class projects into the project section, and do proper review so that it can help me reach maximum students. 21. Day 13 - Wild Clouds: Hello, everyone. Welcome back to day 13 of the 30 days of course challenge. Today, we are going to go ahead with a very beautiful pastel pink purple sky and add in simple silhouet. So let's begin with the sky, no pencil sketch, nothing, just direct paints onto art paper. Pause and beginning in with a medium pastel tone of the purple color. You can simply mix in white to your violet or purple, whichever is available in your palette or mix in a little bit of blue pink and white to get a similar tone. You, of course, need to adjust the ratio as per the colour tones available in your palette. So at the top, I've gone ahead with this pastel color, almost half of the sky. Now, next I'm going to shift into a pink color and add it into the rest of the space. And then we'll be going ahead with a bold cloud detail into our sky this time. I'm taking the violet a little more below again and going almost till the, you know, 60%, 70% of my sky filling up with the color. Tanips have picked up a further lighter shade of the purple color. So you can simply add in a little more hint of the white to your violet. And at the bottom most space, I'm going to go with a peachish pink colour. Now, for a peachsh pink color, you can simply mix in a little hint of red, orange and white, or you can even create directly a pastel pink color. So this is kind of a skin tone color that I'm adding here. So you can mix in orange, red and white. Orange and red would be very less as compared to the proportion of white that you'll be adding in. I'm just creating one smooth blend from bottom to top or top to bottom, whichever way you prefer. Now, since my tones were pastel, you can see there is no uneven color because of the purple orange tone mixing to each other, because of the white and the opacity of the paints. Now I'm going to go ahead with a very big cloud detail into the center of the sky this time. So we are going to begin in adding in the cloud first and then simple siloed. So almost the center of the sky will be covered with that pink violet cloud details that we'll be adding. For that, I'm using in my filbert brush. You can use a mop brush, round brush, or even a flat brush or a filbert brush, whichever is available in your palette. In your brush collection, actually. Now, next I'm going ahead with this pink color. It's not too much of a light pink shade first. It's a medium pastel pink tone. It's going to be a huge cloud with different tones of pink and lilac. So you need to keep on adding accordingly and keep on blending. You can go two ways. One is adding in the entire big cloud with the pink color first completely or going ahead and blending in the shades itself, leaving in spaces for other colors to come in. So I'm leaving spaces and first adding in the patches of this pink color, then I'll pick up the other colors and blend in with this pink tone that we are adding in. Now, next, I'll pick up a further lighter tone of the pink. This is going to be a very light pastel pink color. You can see it's almost equal to a white tone with just a little hint of the pink. So now, next, I'm going ahead with this light pastel pink colour. You can see I'm adding it in between the darker tones, blending in. Now, again, make sure you use the paints in an opaque consistency. Be very gentle on your brush so that, you know, the paints from the base layer will not get activated, and you will get the color loop that you need for the tones. Now, next I'm going to pick up a little more darker pink in between and add little more clouds. Now, for these paints, you can just keep on waving with one color. You can select whichever pink you wish to. And you can keep on altering the, you know, tonal variation of the paints with the help of white. And creating in lighter and darker tones so as to having these different tones into our sky. Now, I will just pick up the first layer base pink color for the sky for the clouds that we had begun with, and I'm just going to add in little more blending randomly at places, and we'll be ready with our clouds. Then next, we'll move on to the green colour to begin adding in the sil heat into our painting. So just blending in at spots with the first layer of the pink that I had begun with, and that is it. I'm ready with my cloud for the sky. Now for the silhouette, I'm beginning in with the green color. Before you begin adding in the silhouette, make sure that your sky and the cloud is completely dry. So that when you begin adding in the green paints, they do not reactivate or blend in with the cloud colors. Otherwise, you will not get in these silhouette details, right. At the top, I'm first pgning in with very simple dabbing technique that we discussed for adding in the bushes. And then simply I'm pulling out branches and adding in simple details, creating in leaf details into our painting. Now, randomly in between the greens, I will keep altering with a little hint of black as well to give in some darker details. You can go ahead with either black or pick in a darker green color. So you can see I'm just pulling out branches and adding in details. I'm just going to keep on altering majorly with greens and very little hint of the black in between. And somewhere I will just create little darker greens by adding in little black or brown to my base sap green color that I'm using in. Now, on the leftmost side here, I'm going to go ahead with very big details. So I'm first pulling out the branches. Now, this time, you're not going to add in a lot of foliage. Instead, we are going to have in a lot of, you know, branch detail this time. So that is the reason first using the pointed tip of my brush. I'm adding in the branches that I need, and then I'll move on to adding in the foliage detail. Now, make sure that these branches are very thin, crisp and small. You do not add them in too much of a thick consistency or thicker lines. They will not give in that natural effects to the branches that we need to look here. After we are done adding in all of this foolage and the branch detail, we'll be adding in simple street lights this time. It's going to be very simple and quick that we are going to go ahead way. I'm just pulling out smaller branches, as you can see. Keep on pulling majorly onto the left side, overlapping each other, pulling out further smaller branches from the bigger branches. You can see all of my branches are moving in random different directions. Plus, you can see, I have been altering between black, green and a mix of black and green and creating in the dirt. Now I'm going to begin adding in simple leaf fooliage detail onto these branches. I'm not going to fill all of these spaces, as I told you. The foiliage detail will be quite less because I want a branch look to be visible this time. Very randomly, you can see I'm adding in some foolage detail here and there at certain places, I'm just letting the branches be visible as a whole, not covering them with any filage detail. At certain places, I'm just dabbing the brush and adding in simple leaf detail you can see, just dabbing in the tip of the brush, creating in leaf detail. For the foilage, you can see I'm going with very random techniques. Somewhere I'm dabbing a lot of them closer to each other, somewhere just dabbing in paints closer, creating in a cluster of the foliage. Somewhere I'm giving in leaf detail by pressing in the belly of the brush. So going in with mixed details gives a variety to your painting, as well as gives in that natural effect of nature, because if you see, nothing is same or of the same size, length, breadth, it keeps on varying with branch to branch, even in nature. I'll just go ahead with a little more foliage at the bottom. So I'm going to first add in a few more branches randomly at places. Now, you can see I have kept major cluster of foiliage at the top side, and towards the bottom of the branches, we have very less of foliage and more of the branch look visible. If you want, you can pull out further more branches from this, so I'm just going to pull out some smaller branches from these and let them be. Now, using in a dark green mix, I'm just going to add in some more darker overlapping leaves onto these that we have already added to give in that little more colored. So I've just mixed in simple black to my green and gotten this dark green color. I'm done with the foiliage now using in my fine tip line brush, I'm going to begin adding in the detail for the street light. So I'm just going to pull out simple wire lines first into the sky. You can see I'm using such a fine tip brush so I'm able to get in these fine lines. If you want, you can add these fine lines using a waterproof pen so that you do not mess up with the thickness of these lines. Alright, now I'm adding two lines closer to each other here first. Now adding another line at the top here, you can see my brush is such fine tip that I'm getting in these fine lines easily. You can still use a waterproof pen, as I told you, so that you can get the lines crisp and clean if you're not confident about adding these thin lines using the brush directly. In the previous projects, I have discussed with you how I use waterproof pen, but it's important that you use a waterproof pen. Otherwise, when you begin adding in the details with a yellow color for the lights, the black color ink may leak and begin to spread because, again, gouaches are waterwaye paint, so they will begin to spread out if you do not, you know, use waterproof pen here because gouache pas contain water. Now I'm adding in simple bulb handles first, and then we will use the yellow color and add in simple street light details. I'm done adding in, you know, handle for the bulbs. I'm just going to add in one more reeline on top of this here. Now, once this black colour dries out, we'll add in the lights with the yellow. Now at the top, I'm not going to add in the bulb detail. It is just going to be this one line, and at the bottom, we are going to have in the street light details. So the black color that had spread here, I'm just correcting it with the base ier cloud color. But make sure if you ever have to do corrections, you wait for that layer to dry first. So my black was completely dried. Then I again, layered it with a thick consistency of the pink color of the cloud to correct the thickness of that black handle that we had added for the bull. It's important that you can it's easy that actually you can correct your mistakes when it comes to guh, but you need to know the timing, then you can correct it, because if you correct the wet paint, it will again begin to spread and spoil everything further. So for any corrections, make sure you wait for the first layer to dry out and then add now in the bottom two lines also, I have added in the details for adding in the street light details. Now I'm going to pick up bold yellow color in a thick consistency and using in my round brush, I will simply add in yellow dots under these black lines that we've created to act in as the street bulbs. U. Simply using in the yellow, you can see I'm adding in these bulb details, just creating in simple street light view. In one of the previous class projects in day four, if you remember, we had gone ahead with detailed lights, and this time we are going ahead with very simple lights here, but you can see even simple lights creating so much there. Now, if you see for this line here, I have added in the bulb details much closer. And at the bottom, I've added the bulbs a little far. You can go ahead with a mix of both of these kind of details, or you can go ahead with just bulbs far or close to each other. I prefer the far one looks much better, but since I had already added those closer, so I let them be closer. I'm almost done with this cast project done adding in the yellow light details. You can see simple technique, but so much reality look to your landscape painting. So now let's remove in the masking tape and see a final painting. Make sure you remove the masking tape once your edges are completely dried, so that you do not tear off the edges. Now, here you can see again the paper may have been wet, so I could manage to stop the paper from peeling off completely. So go very carefully and slowly so that you do not mess up and lose those white edges. Otherwise, they make the painting look very shabby. I will correct that spot again at the top with the help of the green foolage detail. So again, you see with gouache, so easy to correct in these simple errors that come in unsaid or, you know, when things happen like this, while peeling off the masking tape, you can easily correct it and get the texture and the consistency right again. So here's a closer look at our painting from day 13, a pretty simple sky with one huge cloud and simple foolage detail with simple street light views. I hope you guys enjoy painting this with me today. I will see you guys soon into the day 14 class project. Till then, make sure to drop me a review if you like this class. Thank you so much, once again, to each one of you for joining me and painting along with me through the 30 day challenge. 22. Day 14 - Sunset: Hello, everyone. Welcome back to day 14 of the 30 days, of course. Today we are going to go with another simple yet beautiful sunset painting. Now, there's no pencil sketch. We're directly going to begin with the colors. I'm first going to begin with a very dark shade of the violet color. I'm beginning in with a medium tone, and at the top, we'll darken it up with the help of going ahead further because this is the darkest violet that I have in my palette. So I'll just add in black at the top vile blending and create a little more dark tone at the top. And then we are going to blend in orange this time. Now, violet and orange mixed together will give you muddy tone. So it's very important in between, you use white for blending or use in a very light pastel peach shade for blending. Now, that depends on the colors that are available in your palette. You can go ahead with absolute colors that's available in your palette. Now, at the top, I've just darkened up this past with the help of a little tint of indigo color instead of using the black this time. So added a indigo at the top here and blending it quickly. Now next, I'm going to pick up a light shade of the lilac color and blend in here. Alright, now, if you do not have this, you can simply mix in a little hint of pink, white, and violet, and you will get this. Now again, the ratio depends on the tonal variation of the paints that you have in your palette. Now I'm just adding in here, and then I'll go ahead and blend all of these together well. So first, I've just added now I'll blend these two colors first and create a perfect transition from the very dark sky to a little lighter tone out here. Now, at the bottom, as I told you, we are going to be going ahead with the orange tone. So first, I'll add in a little bit of white here underneath the lilac color. And then I'll use an orange for blending. This way, it will help me in avoiding getting in any muddy tones and will give me a smooth transition between the violet and the orange tones as well. So now I will pick up a bright orange color, not too dark, not too light. And I will just add it here. It's a little pastel orange, as you can see. If you do not have such a pastel orange, you can add in a little hint of white to your basic vermilion or orange color and get a similar tone. So I've just added in the orange, blended it with the lilac very easy method, nothing just with the help of white. You can see we do not have any muddy tones coming in. Now, at the bottom most space, I'm going to go ahead with the black color. This time, our silhate is going to be very simple yet it will give you a pretty view. So going ahead with the black color at the bottom space, towards the entire right side, we are going to have in a lot of foolage detail coming in later. So first beginning in with the base layer black, it's not supposed to be a straight line. You just need to go ahead, fill in that space completely. On top of it, we'll be giving in little bush and simple details. Now, almost in the center space, we are going to show a setting sun view as well. So we'll create a bright effect there later on, moving further with the help of yellow and white in case if you want and if you're not confident about going ahead, you know, with the white and yellow closer to the black tones, you can first move ahead a little into this class project, see how we are going to add in that setting sun effect and add that first and then move on to the details with the black color. It's absolutely your mix and match how you wish to go ahead with and how you are comfortable with. Using in this spoiled round brush, I'm just going to begin with the black color and create in the background foilage. Now, using this brush, also, I've discussed in the technique section how you can quickly just fill in the space and create in your background for the foilage and then just go ahead with little detail foolage on top of this. So you can see I'm going ahead with varied range of the fooliage. I'm not going ahead with, you know, the foliage of same height throughout. Somewhere I'm taking it more towards the center space, somewhere I'm keeping it just majorly towards the edge of the right side. From the top, I'm just pulling a little more towards the downside. Now, remember this is just the first layer. We are going to add in little detailed foliage to this. So you accordingly keep this layer such that, you know, there is space for you to add in the detailed foliage as well. Also, very important. You need to be careful. Go ahead with the dry brush technique here. Bush should not have excess water. You pigment shouldn't have excess water. You should get these details in a dry brush method. Now I'm picking up the bright yellow color out here on my palette, and I will add in the first layer for the sun that we are going to create. So it's going to be a setting sun, so I'm just going to add in a half circle out here and just fill it with the yellow. And using a damp brush, I will blend this into the base layer. This is just the first layer for creating in a sun. So using a dam brush, I blended that on the edges into the base layer just as we create the glowing space for the moon. We are creating the glowing space for the sun this time. Now let's go ahead picking up the black color, begin adding in the detailed foliage out here. So just simple pulling out leaves that I'm doing, I'm using my smaller size brush, and the tip of which has a pointed tip so I'm able to get in these fine details. You can even use a further smaller size brush if your brush does not allow you to add in details because of the tip of the brush. One. So randomly, you can see I'm going ahead with detailed leaves and some branches, very thin details that I'm trying to add in here on the right side. The left side, the sky is going to be visible, and on the right side, we have the foliage. At the bottom space, we are again further going to fill in more of the details with the black colour. This class project will be done in just under 15 minutes, and you will be stunned to see what you've created out of these 15 minutes class project. Now, randomly, I'm pulling out some branches, as you can see, simple branch and from that. I'm just keeping on pulling out further smaller branches, creating in more depth and realistic effect to our nature painting. Now, somewhere I'm going ahead with little more bold and thicker leaves, you can see, I'm pressing the belly of my brush, giving in detailed leaves. All of these details I've discussed in the technique section of grasses and leaves, wherein I've showed you each of the technique of adding in the background the detail and how you can go ahead and fill in the spaces a little more quicker. Now, shifting into my detailer brush, I'm going to begin adding in the details at the bottom black space that we've added. For that, also, we are going to be using the black color itself. So let's begin adding in those details now. Now, in this close of view, you can see the yellow effect that we've created for the sun. I'm not going to add in the black foliage there right now because I'll first create in the white layer of the sun as well and given that beautiful sunset effect. And then once it dries, I'll give in the black details in front of it. Now, in the rest of the space, I'm just creating in simple bush details. This also, again, we've discussed in the technique section of adding in simple bush, using in first at the top, you create dab in your brush and create simple leaf like structure, and towards the bottom space, you fill it completely with the black color. So I'm just going ahead with this simple silhohet here and giving in more details at the bottom space. So till the right edge, I have added in the details of this black color. Now, same way, I'm going to go ahead onto the black side as well. But the sun space, again, I'm leaving it for now because as I told you, I'll be adding in the setting sun effect there first. Now, on the leftmost edge, I'm taking it a little taller on the edge side. On the right, we already have so much of the fooliage details. So I've kept the details out there very small, very tiny. And towards the left, I'll create some bigger foolage details, but not too big because I want to let the sky also be visible on the left side majorly. So you can see I'm using such a fine tip brush, so I'm able to get in such fine details. At the top, I'm just using the tip, creating in simple random structures, and towards the bottom, I'm just filling it with the black color. Now, first, let's add in the detail for the sun. For that, I'm going to use in my round brush and the white color and going to add it a little below the yellow space. So your white space will be smaller than the yellow semicircle that you've created. And automatically, you will see this is giving in that setting sun effect with that yellow background. So now, again, using a dam brush, I will just blend a little of this white with the yellow. So I've picked up a little yellow again so that the blending becomes easier. And, you know, we have in that perfect blend between the yellow and the white showing in that setting sun effect. Now, you can see the white is glowing, giving in that setting sun effect. And from the background of the white, you are having that yellow light of the sun coming in. And since the rest of the sky is already orange, you get in those warm vibes of the setting sun. Now in front of it, I'm adding in simple details. You can see you need to wait for your white detail to be dried completely, only then go ahead with the black in front of white. Otherwise, both white and black will begin to mix together and your details may ruin out. Now, on the left side, I will just add in some details or more with a black color before we peel off the masking tape for this project. So just adding in simple branch of a leaf out here, alright. Now, even on the right side, I'm just pulling out some detailed leaf, very small ones you can see, giving in that perfect silhouette effect. Now, in between, just adding in some simple strokes that we've discussed in the pine tree section to give it a little more detailed view. You can go ahead with a mix of anything that you wish for the foliage. You can even add simple pine trees, palm trees, but make sure you just keep the details very small and delicate this time because we're giving in a very far view, and the major highlight of this painting is the setting sun effect and the sky with the foliage on the right side. Now, I've just added a little more detail closer to the sun because now my white was completely dry. So that is it. We are almost through the painting for day 14. So let's peel off the masking tape and see our final painting. Make sure your edges are completely dry before you begin peeling off the masking tape. Now, from the far view, you can see how beautiful that white setting sun effect is coming in. Make sure you peel off the masking tape against the paper so that your paints do not wear off. So here's a closer look at our painting from day 14, a very simple sunset just under 15 minutes. The setting sound effect with the help of yellow and white, simple techniques, blending and simple silhouette with the black color. I hope you guys enjoyed painting this with me today. I will see you guys soon into the day 15 class project. Thank you so much once again for joining me into this class and painting along with me. 23. Day 15 - Winter Sky: Hello, everyone. Welcome back to day 15 after 30 days of quash. Let's begin with a very basic pencil sketch for a class project for day 15. The for the class project for day 15, we are going to be painting a very simple winter snowska landscape. The beach is marking the horizon line, much below the center line, as you can see, the top area is going to be a sky. The bottom will be the snow covered space, and on the horizon line, we'll add in some details. Now, we're going to go ahead with a pretty blue, dark winter sky evening. So I'm picking up the shades of blue. Now, you can use Prussian blue or indigo. You just need one darker blue first for the top, and there you'll keep on diluting the colors accordingly. So I have mixed in a little hint of the indigo along with the Prussian blue color. Now, in case if you do not have indigo, you can add very little hint of the black color to your Prussian blue color or any darker blue which is available in your palette. They need not be the exact same shades as mine. Now, next, I'm going to pick up the crucien blue color directly, not adding in any glac to it or indigo to it. We need to begin creating in the lighter shades as we move towards the bottom side, just a little dark hint at the top. I'm just beginning in with the crucian blue colour, going ahead, bending it with a darker tone that we've already added previously. Now, since I've told you my paper is a little rough green, it takes me a little time to blend them on the paper right and get the right smooth transition between the shades happening. Now I'm going to pick up a very light blue shade as compared to the Prusian blue color. This is, you know, a little pastel hint to the blue color. So what you could do is you could just add in white to your Prusien blue and get this lighter tin. But make sure that you do not add a lot of white. You can see it's just one hint lighter than the previous Prussian blue color we have been using. Twist that we are going to add into this dark winter sky is going to be a little hint of the cobalt green colour, which will give it a little Northern sky kind of hint coming into this winter land that we are going to be painting in. So I'm picking up the bal green hube which is already readily in my palette. Do not worry if you do not have the same shade, mix in a little bit of serelon blue, a little hint of green and white, and you'll get this similar tone. If you have a viridian green, that would be much better to mix in. But if you do not have, you can use emerald green, a little hint of sap cream if you do not have either of the greens with a little bit of the serleon or ultramarine blue, and you'll get a similar tone. Now, again, closer to the horizon line, I'm just picking up a little bit of the blue color itself and blending it with the cobaltrin color that we've added. Now, make sure that you define the horizon line well because the bottom area is going to be completely the snow space, which is going to be very light almost equal to a white tone that we'll be adding in. So you do not want the colors from the sky to go much into the snow space. So have that crisp line for the horizon line. Now, next, I'm just going to add in little detail with the cobaltrene color on the dark blue color of the top spaces to give it a little more of the northern light details into our winter sky. So using in a smaller size Filbert brush, I'm just going to blend in a little of this cobaltrene color hue into the blue at the top spaces. Now I'm just going with random cloud kind strokes that we've been adding in our clouds, but you just need to make sure you do not have to add in a lot of pressure to your brush because if you will add in a lot of pressure to your brush the bottom dark blue colour will begin to get activated and mixing it with the cream, it will create a neutral color, and it will not give you the highlight of the cobaltrene color that you need over the Prussian blue color. So it's important that you maintain the pressure on your brush while adding in these strokes with the cobaltrene colors so that they are visible as it is. So you can see automatically on the dark blue spaces we are beginning to have in little highlights of the green tones coming in, creating in the light into the night sky, giving in that, you know, the Northern Light view into our simple winter scape that we are painting in here. Even onto the bottom, you know, cobaltrem color that we've added simply, you can add in little highlights with the blue colour that you've used so that it will all look blend together. Now, since we're giving it a little of the Luthern sky view into our winter sky, I'm going to use a very light pastel pink color and add in little highlights with the pink as well. Now, again, if you do not have a pastel pink color, you can simply add in a lot of white to your basic pink color that you have. It can be carmine, scarlet, rose, or any other pink shade that you have in your palette. I readily have this very light pastel pink colour. You can see it's almost equal to white, but it has that perfect pink hint. Now, using this, I'm going to create little highlights into our Northern sky here. Same view, just as I was adding in the details with the cobaltrien colour with the blue. Same way using in the pink, I'm adding in the highlights. You can see it is having a soft blended look with the base layer, but still it's visible as a highlight onto the blue tones, giving in that perfect view and the highlight effect into our Northern sky. So it's important the pressure that you add on your brush while adding in these strokes because a lot of pressure will activate the base layer's colors, and you will not have the highlight of these lighter tones. Rather, you will have a color mix of the pink and blue which will act in as a purple highlight or a lighter shade of the blue coming in. I'm just going ahead, adding in clouds, blending them in. Now we're almost through the sky. I will just go ahead, add a little more blending details. You can see on the edges each cloud detail, I'm blending it with a base layer so that we have in that soft Northern sky. So just using in a damp brush at the top, wherever I've added in the pink strokes, I'm just blending them on the edge with the base lear blue so that it has that soft edge because I do not want any harsh cloud effect. The ready bit of sky. Now, let's go ahead into the snow space. The fogger snow space I'm just going to pick up the white color. Now my brush has a little hint of the blue and the cobalreen. So automatically in my white, there is a little hint of the green and the blue tones. But you can see it's almost a white tone that I'm using into the base layer first. Oh The way the adding in the base layer, now using in a very light tone of the blue. Let's begin adding in details into the snow space. So first I'm going to create in some diagonal lines and then blend it into the base ia white. So you can see I'm pulling out the diagonal lines from the left towards the bottom right side. Now again, I'm going a little diagonally, as you can see, I'm going to create in a few lines and then using in a little hint of the blue, I will blend them at the bottom space moving further. And the first level, we've already added in these diagonal lines with the blue color. Now, from the top left side, I'm pulling out a lot of blue and blending it almost to the center space. Same way from the bottom right, I'm going to pick up the same blue and pull it towards the center space and blend in. So in the center, you will just have little highlights, and from both the top left and the bottom right space, you will have a lot of blue shades coming in. The center, you can see is still light with a little of the white hint creating in that snow effect. Now, using the black color and my fine tip brush, I'm going to add in some details on the horizon line. You can see the closer look of the sky, how the pink highlights are blended yet visible and the green highlights creating in that Northern sky view. Now, I have added in first the center part for the tree. Now, this time, the pine tree, I'm going to add in in a little different manner. I'm going to keep pulling very thin strokes towards the top side, creating in that perfect winter looking tree detail. I'll give you a closer look further, but right now, I'm just pulling in very fine strokes, all moving towards the top side. At the top, my strokes are smaller in length, moving downwards, you can see I'm increasing the length, giving it a little triangular view, but I'm not increasing it too much also. I'm keeping it a little symmetrical as well. I'm done adding in the first one. Same way, I'm going to add in one more here. Now, you can see I've not added these in the center perfectly. It's more towards the right side. Do not add it in the center because that will create the focus onto this part, and it will look very monotonous kind of thing. It's important to keep it a little aligned either to the left or right wherever you wish to, but just do not keep it center aligned. The second one, as well, you can see I've added it almost of the same height. Now in the first one, I'll just increase the height a little so that both of them do not look exactly of the same height. You can increase the length of whichever one you want to. It's not necessary to keep it left or right. Now, on the left side here, I'm just going to add a little more detail with a black color. So just at the top, picking in with a little simple bush detail that we usually go ahead with, tapping in the tip at the top and moving downwards, and decreasing the length height here. I'm not going to add it into the entire space, just taking it a little before the center line. Now at the bottom, till the horizon line, just going to fill it with a black color. At the top, using the tip, I'm just going to give in little more details with the black color itself, giving in more little defined look to the bush that we've added here. Now, next towards the right side as well, I'm just going to add a little bush detail. Again, I'm not going to be connecting all of these on the horizon line, little details here and there to give in a little more depth to a horizon line. I'm using a very fine tip brush, so you can see my details are very fine, and towards the rightmost edge, I've added a very fine line touching the right end. So make sure you use a delicate brush this time so that your details are delicate and they give in that detail. Now, towards the left here also, I'm just pulling a very fine line, giving in that fine end to the details that we've added. Now, you can see in my snow space also. I have accidentally had, you know, a few drops of the black spots. Now I'm going to go ahead and correct these. So I'm using in white and going to just overlay. Make sure before you go to correct any such mistakes, those correction that you want to do are completely dried. Otherwise, it will be very difficult to correct them. So I've added a layer of white, but it turned out a little gray because my black was wet. So I've just picked up the blue again and blending it all well, and a little gray highlight is okay into the snow space, creating in more depth of the snow area. I'm just giving in a little more depth with a little hint of the create, just some simple diagonal lines, but soft and blended look. Now, just one last thing, I'm just blending in the pink little into the base layer, so I'm just using a damp brush and running over the pink so that it blends in with the base layer a little because I feel the pink is somewhere popping out a lot, which I'm not liking, so simple blend, and you can see it's a little settled now and it's not standing out differently. Now, let's remove in the masking tape and see a final painting. Make sure you pull off the masking tape against the paper and also make sure that your edges are completely dried before you begin pulling off the masking tape. Now, let's have a closer look at our painting from day 15. So here's a closer look at our very simple Northern sky winterscape painting for day 15. You can see the snow details that we've added at the bottom space, giving in that shadow effect with the blues, creating in the highlights. Very simple technique, very simple detail and simple details onto the horizon line. I hope you guys enjoyed painting this with me today. I will see you guys soon into my next class project. Thank you so much for joining me. 24. Day 16 - Winter Cabin: Hello, everyone. Welcome back to day 16 of the 30 days of quash Challenge. Today we are going to be painting another beautiful winter landscape wherein we'll be having in a red cabin with the snowcaped mountains. So I'm beginning in with the pencil sketch, marking out the red cabin out here. So towards the right side, I'm marking the pencil sketch for the red cabin that we'll be adding. If you want, you can keep the cabin towards the left side as well, or a little towards the center, not much or not exactly the center space, because, you know, we'll be having in the snow cape mountains and the pine trees in front of these giving in that perfect view. Now, I'm going to lighten up this pencil sketch because we are going to be having very light shades into the sky around the cabin into our snow caped mountains. So we do not want any pencil sketch to be visible. So I've just gone ahead. Now we'll go ahead first with the sky, but we'll just mark out the mountain spaces behind the red cabin, as well. So we're going to be having in two big, huge mountains, which are going to be pretty simple to paint. And then in front of these on the horizon line, we'll add in a little view of the pine trees as well, giving in little details. And the bottom will be the snow space. Now, these two mountain, snow, the cabin and the sky. So let's begin in with the sky first. For this sky, we are going to go ahead with very light tone pastel colors. This time. It's going to be shades of blue, yellow, and pink, very light, very, very pastel colors that we'll be using. Now, in case if you do not have these ready pastel colors, you know the hack, simply just mix in white with your base layer colors. That is with a blue, mix in a lot of white, with a pink, mix in a lot of white, with a yellow, mix in a lot of white, and you'll get in the pastel tones of blue, pink, and yellow that we use again for this class project. So I've added a very light layer of the blue color. You can see. It's almost equal to a white if you compare it to my paper with just a little hint of blue that we've added in. Now, I'll just read on my brush again and make all of these in the perfect stoke, having and removing in all the uneven edges at places. Now, towards the bottom side, I'm going to go ahead with the yellow and pink tones. Now, we are not going to run the colors into the mountain range, so be a little careful at this point. So beginning in with the pink color here, you can see, it's a very light pastel pink from my palette that I'm using. Now, around the mountain range, I'm going to go ahead carefully and define the shape of the mountain. Our mountains are going to be looking almost white with a little texture detail of the gray and the black color. So we are going ahead with the pink closer to the mountain range. You can see I've marked out the line of the mountain perfectly. Now, into the mountain range, we are going to be having in very simple detail. Now at the top, you can see across the blue space. There are a little patch, so I'm just using a damp brush and blending it till the top space so that those uneven edges of the blue colour get disappeared. Now using in the filbert brush, I'll go ahead with a very light pastel yellow color and begin adding in the details. So I'm using a very light pastel yellow color, as you can see. Now, in case if you do not have such a pastel yellow color, you can mix in a lot of white to your paste color yellow and you'll get a equal tone. Now using in a little bit of the pink. I'm blending it with the yellow at the top and bottom, creating in more depth into our clouds. You can see AskasPretty simple, pretty simple colors, pretty simple details that we are going ahead with. So that is it. We are done with our simple sky. Now, let's go ahead into the mountain range. So for the first layer of the mountain range, I'm using a bold white color and just adding it into the paste layer. We are creating the mountain as a complete snow mountain. So just giving in the entire snow detail and then we'll give in that little view of the mountain visible with the help of the drybush technique that we'll go ahead with. I'm not going to run the white color into the cabin space. The cabin will be of a bold red color this time. Now, you may be wondering why the yellow and the blue mixed together did not give you green tones into the sky because both white and sorry, the yellow and the blue had white in it and were pastel in color because of which it did not give you any green tones, even though you laid a little of the yellow over the blue highlights of the sky. Even the second mountain range for the first layer, I'm just adding in the entire white color. We'll be separating both the mountain ranges moving ahead with the help of the Trybush technique. Now, using in a little bit of the pastel pink color, I'm just going to add in the bottom snow space. So basically, I added a little hint of the pink out here so as to show the reflection of the sky falling onto the snow that is collected closer to the red cabin and the mountain that we are painting in. Now, to this, I'm going to add in little highlights with the blue that we've used in the sky. So from the edges, I'm going to begin adding in little blue highlights as well because our sky has blue, as well. So showing a little reflection of that color as well, falling onto the snow space from the edges. So in the center, you can see I have maintained that glowing pink space and from the edges, pulling out these darker blue strokes. Now, with this blue color itself, I'll define the horizon line a little more on the left and right. So just on the horizon line, giving in little darker hints with the help of this blue color. Now, next, using in a bold red color. I'm going to begin painting in the first layer for our cabin. I'm using the permanent red color from this palette. You can use any bold red which is available in your palette by the name of permanent red scarlet or any other tone of red that's available. So now the window that we've marked into the cabin space, I've just marked the outline for that, and I'm not going to add in the red colour there around it, going ahead carefully marking the outline and filling this entire space with the red colour. We are even going to give in little highlights with the brown to the cabin, creating in the shadow effect onto the cabin, as well. Now, next, I'm just going to add in a little hint of the burnt sienna to my red color and get a little maroonish tone. And using this dark maroon kind of a color, I'm going to paint in the next batch of the cabin. Alright. So the roof is going to be white, trying to show it as a snow cape look. Now, this part, you can see, I've gone ahead with one tone darker than the front red that I've used in. You can either directly use a maroon color or you can create a color like this by just adding in a little hint of brown to your red colour. Now, using the same dark color that we've created, I'm going to mark the outline of the front cabin space as well. So I'm just giving fine line, and using a dam brush, I will blend this into the cabin based Leo red color that we've added. So I've added the line. Now using a smaller size brush, I'm just going to blend it into the red colour. Same way on the right side of the roof as well. I'm giving in the dark line, and now using the red color and a little of the water, I'll blend it again. So just picked up a little of the red again and pulling it towards the downside, blending it. You can see now we just have little brown tone highlights on the edges of the front part of the roof, acting in as the shadow out there. We'll give in more details to the cabin once this base layer colors dry out. Now, using the blue color that we used in the sky, we are going to begin adding in the dry brush onto the snow. This is going to be the first layer. Make sure you do not add in a lot of it. Go ahead very carefully. Otherwise, you know, you may again have to use in white to give in more depth. So I'm going ahead with the dry brush technique. Now, we've already discussed this dry brush technique in the technique section, wherein you need to make sure that you do not have excess pigment or excess water on your brush. Also, do not dip your brush into water. The pigment has to be a little thick and you need to drag your brush, keeping your brush tilted at an angle of 45 degree. So you will see automatically using the bristles, you get in little dry brush. Now, I'm first marking the outline of this first mountain range. So towards the roof of the cabin, I have marked the outline, and from the second mountain range as well, I've separated it, and given in simple details out here. We are going to go ahead and add in a lot of pine trees into the front of these mountain ranges. So I'm majorly worried about adding in the right drybush towards the top of the mountain, which will be visible, giving in the depth. Now, you can see the white layer is still visible because onto this drybush we are going to go ahead with darker tones as well, creating in more texture. Now, in the same way, I'm going ahead with the second mountain range here on the left side as well. Now, from the left, you can see I'm pulling this driver stroke towards the bottom side, holding the brush diagonally, and taking these strokes towards the bottom right side. Now, next layer, I'm going ahead with a grayish tone. Mind it, this is not a black color. It's a very dark grey color that I'm using here because we are going to be adding in the pine trees with the black color. So make sure you use in light tones here. You can simply add in a little hint of blue and black and white and get a grayish tone. So now you can see the grayish highlight that I'm adding will be quite less as compared to the blue highlights that we added. So that we have the white also visible, the blue also visible, and now the gray also visible. Now, I've added a little more darker hint to this grayish mix and going ahead with little more darker highlights. So now just added a little hint of black to my gray and created one tone darker and adding in little highlights with this darker tone. Now, again, this will be much less than the first layer of gray that we've added because we want each of the color layers to be visible. So automatically, you can see in our mountain range, we have four colors visible white, blue, gray, and dark gray. Now, in the seam, we onto the second mountain range as well. I'm going ahead with the same drybush technique with the different colors that we went ahead with. Now, at this point, if you see, both the mountain ranges are not separated. So using the white, I'm just going to mark the outline again and create a little separation to the mountain ranges. Now, at certain places, I'm just giving an overlying of the white, trying to show in more of the snow and hiding a little of the dribra strokes. So with that white, you can see we've separated in both the mountain ranges. Now at the bottom here, as it is, we are going to have in a lot of pine trees. So I'm just blending these colors so that we have that separate effect for our mountain range. So with the help of white, I've just blended this space out here, and this will all get covered up with the help of the pine trees that we'll be adding. Now, using in the line of brush and the black color, I'm going to begin adding in the details into the cabin. So I'm first marking the outline of the roof. I'm using a dark brown color here, not exact black tone that I'm using here. Now, at the top roof as well, just adding in little highlights with the dark brown color, some strokes here and there to show the roof because the cabin roof is completely covered up with the snow. That is the reason I'm just adding in these highlights out there, marking that three d dimension, giving in those little outline edges so that it stands out from the background mountain range that we've added. And the snow on the cabin is visible separately. Now, using the black color, I've added a small chimney as well on top of the cabin out here. A very simple one using in my fine tip brush, I'm able to add in these details swiftly. Now onto the snow area of the cabin as well, added little highlights with the grayish tint, simple strokes, as you can see. Now using in a dark brown color, I'm going to add in a little more texture to our cabin. So I'm just adding in simple lines, giving in a little more texture to our cabin, just pulling out simple, you know, strokes, giving in texture. Now, make sure you use one tone darker color than the Basl or cabin color that you have so that these strokes are visible, but don't use too much of a dark tone as well. It just has to be little light so that it's visible but not too dark, such that it stands out separately. So I'm going to go ahead with simple strokes using in my fine tip brush. You can see I'm able to get in simple thin lines out there. So through the entire front side of the cabin, I'm using this one ton darker red color, adding in the details. You can see the brown details that we had added previously at the top to create the shadow is giving in such a three d dimension to our cabin. Now, we've added in the lines to the cabin as well. Now, we have to define the window of the cabin also moving further. For now, I'm just going to add in little snow details as well. So just using in the white gouache, I'm just creating in very simple strokes out there at certain tandom places, trying to show a little snow collected onto the front part of the cabin, as well. Now, here as well. I'm just dropping in a little snow collected in front. So simple white details in front of the house, covering up a little of the cv in that we are adding in. Now, using in the black color, let's add in the detail to the window. So I'm just going to define the window here, going to give in very fine edges. I'm using in my pointed tip brush. It's a liner brush. It is very fine. So I'm able to get in these details. If you want, you can even use a black waterproof pen to add in these details. If you're not confident about adding in these details with a fine tip brush and the black color. After this, we'll just be left to add in the pine trees in front of the mountain range, and we'll be ready with our class project for day 16, as well. Now, using in my round brush, I'm beginning to add in the pine trees with the black color in front of the mountain ranges that we have added. Now, make sure this is the reason I was telling you to not use black into your mountain ranges. So automatically, these pine trees will stand out differently from the mountain range that you've added in. So I'm adding in simple pine trees. Again, I have discussed all of these simple techniques in the technique section of the pine trees. Then I show you how you can add in pine trees quickly. Also how you can use simple strokes to act in as the filler elements for your pine tree range when you add into any painting. Now I'm going to go ahead, keep on varying the heights of these pine trees throughout somewhere taller, somewhere shorter. On the rightmost edge, as well, I'm just going to give in a simple bush detail closer to the cabin. So I've taken one huge pine tree almost in the center space. Now moving towards the left side, I'm going to keep feeding and quickly add in the pine trees, and then we'll be ready with our painting for day 16, as well. So you will notice no two adjacent pine trees that I add in are equal in heights. I try to vary them throughout somewhere huge, somewhere very small in between. And in between, you can even use the simple strokes that we've discussed, the simple or, you know, pointed strokes that you can use to add in some filler pine trees. Now, this time I'm going ahead with almost the detailed pine trees throughout. In between, I'm adding in some scars look as well, but going ahead with a detailed look in the foreground here, Now moving towards the left side, you can see I'm going ahead with very small details as well. I'm defining in the horizon line well, giving in that straight, perfect view to our pine trees and the snow space. Now on the right most side, as I told you, I'm just going to give in simple bush detail. Even on the left edge, you can see I've given in very simple bush details and just given in simple, you know, blend of the pine trees and the bush and some simple branches in between, as well. So that is it. Let's remove our masking tape and see our final painting. Make sure you peel off the masking tape against the paper. And your edges are completely dried. Now, you can see, because of the pine trees, both our mountain ranges are standing out separately, one on the left, one on the right, and a very simple cabin detail that we've added in. So here's a closer look at our painting from day 16. You can see the cabin details that we've added very simple snow in the foreground of the cabin, the highlights on the roof with the black color, simple pine trees, simple details onto the snow caped mountain, and a pretty simple pastel sky. I hope you guys enjoyed painting this very beautiful winter land with me today for day 16. I will see you guys soon into the day 17 class project. Thank you so much, once again, to each one of you for joining me into this 30 day challenge and painting along with me throughout the 30 days. 25. Day 17 - The Bright Day: Hello, everyone. Welcome back to day 17 of the 30 days of course Challenge. So let's begin with our class project for day 17. We are directly going to begin with the paints. This time we are going to be painting a beautiful blue cloud sky. So I'm going to begin with the blue colour, but you will see I'm going to leave in caps for the white clouds this time. I'm roughly going ahead with a layout of blue in the center. On the edges, I'm going to be having in the white clouds, leaving in space for those right now, and later on, we'll blend in with the blues and grays as per the need into the clouds. For the clouds, this time, roughly leave in the white spaces. Even at the bottom, I'm going to have in one huge white cloud. Very randomly, you can see, I'm just laying out the blue color for now. It's a beautiful sky blue color from my palette. You can simply mix in a lot of white to your serlem blue if you do not have such a sky blue color readily in your palette. Now at the bottom, you can see I've marked a cloud space, and on the right, I have two clouds and on the left, one huge big white cloud. Now, when we begin adding in the cloud details, we'll blend it with the blue, create in that perfect cloudy day sky. And then we'll add in the details of the siloed, which is going to be pretty simple siloed this time. Now, the spaces that we had left blank, I'm going ahead with the white color there. Now you may feel, where is the white? Why is it even visible or no? Why do we even need to add it? But we need to add in the pasteler white, so that later on, on top of fate, we can blend it with the blues and give in highlights of the blue into the white spaces as well. The first roughly, I'm adding in white into that space. You can see on the edge, it's blending in with the blue, giving in little lightish blue effect. I'm going to add in white into all the four spots that we have left for now. On the edge, that is the meeting point of the white and blue. You can see I'm going ahead carefully, such that the blue is blending a little with the white, giving in that very light blue effect for now. We're still going to go ahead with a lot of blending, creating in the depth into the sky and the clouds out here. I'm onto my last cloud at the bottom here, and I've marked out the white spaces into each of the clouds. You can see the white layer does make a difference into the entire picture and creates the base layer for blending and giving in the depth to your cloud. Now, using the white color and a smaller size filbert brush, I will giving in depth on the edges of these clouds. So you can use a smaller size round brush, flat brush, filbert brush, whichever is available. Now, on the edges, I'm giving in little dry brush technique, blending in with the blue, giving in more shape to our clouds. So you can see, I haven't dipped my brush into water. It's a little dry brush technique that we are falling on the edges to create the texture into our clouds. Just on the edges, run in with white colour. Make sure you do not add in a lot of water to your white because we need that dry brush stroke. You do not even have a lot of pigment on your brush so that you get in these details right. So just giving in dry brush and creating in the shape of the cloud, blending in with the blue of the sky. To all of the clouds, I've gone ahead onto the edges inside part that is the blue space closer ones and created in the outline, lending in with the blue, giving in that dry brush texture for the clouds. Now, I'm running a little of the white into the blue space of the sky as well, giving in some smaller cloud details randomly. Now into the center of the sky, I'm just running very simple white spots, not much. You do not have to overdo these. You can see slowly the sky is taking the shape. The clouds are taking its shape. We're still going to go ahead with a lot of more detail and color pattern into our clouds as well. So just added little white spots into the rest of the blue spaces. Now I'm going to go ahead with the next leg of details creating in more depth into our clouds again. Now, using the blue that we had used in the base layer, I'm going to use it in a very light consistency that is just a little pinch and blended with the white that we've added on the outside edges of the clouds. So now you can see on the outside, we'll have very light blue texture. I've just picked up a very small tinge of the color on my brush and I'm blending it with the white of the clouds. So you can see we have that light blue effect onto our clouds, giving in that blend between the sky, the white of the clouds, and then the blue of the clouds. You can see I'm just adding a drop of color. Blending it with the pastel or white losing a damp brush so that we do not have the dark blue. It's a very light sky blue colour effect that we are having into our clouds. Now, next, I'm going to pick up a very light gray hint and add in some gray highlights into our clouds. For the gray color, you can simply mix in one tinge of black colour to your white and get this lightish gray effect to create in a little more depth and drama into your clouds, giving in more depth and texture to your simple, cloudy sky that we are painting here. It's a bright sunny sky that we are painting with huge white clouds, with a blend of blue and a little hint of gray. Now onto this cloud, which is on the right side here, I feel the gray is a little extra, so I'll quickly pick up a little white and blend it again with the gray. So you can see with quash, it's so easy to overdo the, you know, errors again, or if any spot you feel that the colors are highlighting a lot, you can again blend it with the base colors that you want to. Now I'll just blend a little of these gray and blue using my fingertip on certain spots, creating in more texture to the cloud. You need to do this while your paints are still wet. So my paints are stil wet, so quickly creating in little texture as well. Now, let's wait for this to dry completely. Now my sky is completely dried, and I'm going to begin using in this pointed tip pin and begin adding in the details. So first using in this 0.1 nip pen, I'm going to begin adding in some lines into the sky. Now, while you begin adding in this, the nip of your pen may lift up some paints, and at certain point, it may stop working. So you can clean the nip of your brush on a blank paper, running it to and fro and get the ink flow again. So I've added in some line details into the sky. I wanted very fine details. So I've used in the fine tip pen. I'm just cleaning the tip of my brush again because there is a little of the paint that gets lifted up and because of it, the nip does not flow in easily again. Oh now using this spoiled round brush, I'm going to begin adding in the first layer for the silo heat out here. So I've discussed this in the technique section of adding in these bushes detail quickly, using in this brush technique with the help of a dry brush or a spoiled brush. You can even use a normal round or a flat brush, but you need to make sure that you do not dip it into water and that your paints are also not in a watery consistency. It needs to thick consistency so that you can get in these dry brush stroke using in a spoiled brush, creating in the filage detail quickly. Now I'm going to begin adding in shape to this foilage as well while adding in the details here. Now, make sure you add them in such a way that you do not cover the entire clouds in the center area. The edge cloud on the right side will, of course, get covered up. You can see I'm just running my brush in circular motions also at places to create more different textures possible. Somewhere I'm going ahead dabbing, creating in the outline space or the shape that I want for this foolage. And towards the rightmost side, I'm just running it in random angles of my brush, creating in different textures possible. On top of this, we'll go ahead with the detailed foolage as well. I'm done with the foilage at the top right side. Now I'm going to create similar kind of foilage at the bottom right side. I'm going to keep both of these foilage a little separated from each other so that now I'm just going ahead at the bottom space, creating in the same kind of texture. Then we'll go ahead with the detailed foilage on top of these. Make sure that your white clouds are completely dried before you begin to add these details with the black color. Otherwise, the white and the black mixed together will give you gray hints and will not give you the bold black detail that you need for this foilage space. Now, let's begin adding in the detailed leaves on top of this. I'm done adding in the basilia foilage. I've discussed this technique in the technique section as well, which will make your job easier to add in the details quickly. Now, using in the tip of my brush, I'm beginning to add in detailed foliage on the inside edge. So just with the tip, adding in detailed filage, dabbing in the tip of the brush, creating in the depth. For this, you can use a smaller sized round brush if you want. I'm using the same round brush which I used for adding in the basic foilage detail because I'm just adding in the details with this. And then if needed, I'll shift into a smaller size brush to add in further smaller details as well. Now at certain spots, I'll create in bigger blocks of the painter's bell trying to show in a lot of foolage out there because of the entire space turns out blackish. Same way on the top part as well, giving in little depth to the fooliage, creating in textures, and I'll add in the detailed foilage there as well. Now, for the detailed fooliage, I've shifted into my smaller size or liner brush so that I can get in very fine details because this fooliage is going to be the highlight of the painting as well. So I'm going with very minute details. First, using in the bigger size brush. I added in some bigger foiliage detail you can already see. And now adding in the detailed ones using in this liner brush. Now, randomly, I'm going to even keep on pulling out some branches and further smaller branches from one branch itself, and keep on creating in more texture and depth out there. Now, you can see since we've already created in that major foolage detail previously. So adding in this detailed foilage will not take you much time and will be easier because our major space is already covered up with the quick foilage technique that we used using in that spoiled brush technique. So this is how you can save time. In fact, it's not just about saving time, but you can see it gives in the more realistic view and makes your job easier, as well. Oh Now, same way on the bottom side as well. I'm beginning to add in the detailed foilage and some branch detail using in this smaller sized round liner brush, and you can see it's giving in so much realistic view to this entire painting. So you need to go ahead with a mix of simple techniques, plus detailed look to create in that depth, plus make your painting easy and a quick go if you are short of time. I want the top space as well. I'm going to go ahead with some more detailed foolage, pull out some more branches, and then we'll just add in some simple birds sitting onto our lines, and we'll be ready with our class project for day 17, another beautiful bold sky with bold cloud details and simple lout to add on to our beautiful sky. Now, from the top out here, you can see I'm pulling out branches and giving in the fooliage detail. Just some last detail of the foliage that I've added in. Now let's go ahead, add in the birds as well. So using the black color itself, I'll be adding in the birds onto the lines and a few into the sky, as well. So now you can see so much more details that I've added onto the top space. All of those are visible, giving in more detail and depth to your foliage. Now using in the black color, I'm going to add in simple siloed for the birds. You can go ahead with a mix of simple silo heads wherever you wish to. Again, the placement of the foilage, the birds, the wire lines need not exactly be the same. You can take the foliage on the left side or a mix of left and right. You can create little foliage on the left, measure on the right, plus simple bird details wherever you wish to add. I'm going ahead with simple details for the birds, adding in some silhds randomly on the violins, as well as into the sky. So flying bird details, simple strokes, simple techniques. Now, just adding in a few more at the top here, and then we'll be ready to peel off the masking tape and see a final painting for day 17 of the 30 day challenge. I'm almost done adding in the silhoueads for the birds. You can see I've added in all the different silhoueads at different spots. Now, just going to add in some tiny, miny birds randomly here and there into the sky before we peel off the masking tape. You can see very tiny ones that I'm adding in just using the tip of this liner brush. So let's peel off the masking tape, see our final painting. Make sure you peel off the masking tape against the papers so that you do not tear off the edges and do not lift off the color and ruin those white, beautiful edges that add on to our painting. So here's a closer look at our painting from day 17, you can see the detailed Siluet with simple technique that filled in the space and the simple bods that we've added into our beautiful, cloudy sky. I hope you guys enjoyed painting this with me for day 17. I will see you guys soon into the day 18 class project, wherein we paint another beautiful landscape in colors together. Thank you so much, once again, to each one of you for joining me into this class and painting along with me. 26. Day 18 - Cotton Candy Clouds: Hello, everyone. Welcome back to Day 18 of the 30 days gosh challenge wherein we are painting landscapes and colors. So let's begin with a very basic pencil sketch. We're just going to mark out the horizon line. This time, we are going to paint another beautiful cloudy sky, but instead of the white bull clouds this time, we are going to have in beautiful pastel clouds with a simple field silhouette that we'll go ahead with. I'm beginning in with the same beautiful sky blue color from the previous class project that we used in. Again, you can simply mix in cerulin blue with your white to get in the similar blue. Now, I'm just going to mark out the cloud space at the bottom. This time we are going to have a huge bold pastel sky towards the horizon line. So I'm roughly marked out a random cloud shaped with a blue colour. Now the top of the sky is going to be filled in the bold blue color that we are going ahead with. So just filling in with the blue at the outline that we've marked out. Now, at the top, I'm going to randomly use in white and at certain places create in some lighter spots by just pending in little white highlights into the blue sky. Not everywhere you need the same colour spot. I'm just wanting to give in little colour variations to the blue. So randomly at certain spots, blending in with the white so that we have little lighter hints and shades of blue coming into a sky. You can see with a simple technique of blending in white, with a little hint of the blue that we've already added, I have created in little more depth into the top of the sky as well, giving in little cloud details. Now, do not worry of the rough blue line that we have for the cloud. We are going to add in the pastel colors and blend it well with the blue tones once we begin creating in the cloud detail closer to the horizon line. Then I'm done with the top part of the sky, that's the blue and the white highlights that we've created. Now let's begin moving further, creating in that cotton candy cloud closer to the horizon line. For that first, I'm going to pick up a pastel pink color, which is almost equal to a peaches tone. I'm adding it onto the pink part of my palette. So automatically, I'll get a little pinkish highlight to it. Now beginning in with this very light pastel pink color. I'm going to first begin airing in closer and pending in lightly with the blue tones. Now, this will give you a little lilac tones in between le blending, and that will be perfectly showing the transition happening in from the blue towards the pink, yellow clouds that we'll be creating in. So I'm going to get very carefully color by color. Now, next I'm going to pick up a shade of yellow and begin adding in closer. So I'm going to keep on shifting and juggling between different pastel tones, which is going to be pastel tones of pink, yellow, a little of orange, and a little of the lilac tones as well. Now, again, even the tonal variation of these colors will be different. So some wear light pink, dark pink, little lighter yellow, darker yellow to create in more depth and details into our cotton candy sky. Now I've added in this little darker pink color. Now my brush accidentally had a little black color lifted up because of which you can see the mess. So using in the pastel color, I'm blending it again. You can see the first pink that we had picked up was quite light, and this pink is one shade darker. So same way, you need to keep on juggling between different shades. Now I've picked up a lilac tone, which was already readily available in my palette. You can mix in a lot of pipe to your purple color to get a lilac tone. Now at spaces on left and right, I'm adding in the lilac color. Now, you can see since I'm using all these colors in the pastel consistency already, that is the reason even when the lilac colour is blending in with the yellow, it's not giving me any muddy tones. Otherwise, purple mixed with yellow will give you muddy tones. So because of the white consistency or the white color into these pastel tones, it's automatically making the blending as well easy. So make sure that you use all these colors to create the cotton candy cloud in the pastel consistency. If you do not have ready pastel tones, you can mix white to your baseler colors to get in the right tone. Now I've picked up a very light pastel yellow color I'm going to add it here towards the bottom side. Now, next again, I've picked up a little more darker pink. You can see this is the third shade of pink that I'm adding in. What you can do is you can pick up a base pink colour and keep on adjusting the ratio of white into your pink. So automatically, you can get in different tones of the pink color. Now, you can even add in a little hint of orange to create in the peach tone that we used previously. Or if you want, you can directly even keep on using the pastel shades of pink colour. Now, again, I'm picking up a very light pastel yellow color. It's very light. You can see as compared to the first yellow that we picked up. That was a bold, beautiful pastel yellow. This is a very light yellow that we are using. It's more of white, less of yellow hint that stay in. So added it here. I'm just going to add in some more random highlights here and there wherever I feel the need to add in more colors and create in more blends. So adding a little yellow onto the lilac at the top and going to blend these again, you can see each color is visible separately with some cloudy motions that we have tried to create in here. So it's very easy to go ahead step by step while blending in and creating in these cotton candy Cloud details. Simple method that we've used, but you can see each color has a different cloud shape, visible differently into our cloud area. Now, randomly picking up the pink tones, I'm just going to blend in at the top space into the blue colour of our sky and create in much better smooth blend. Here, I'm going to pick up the lilac colored and blend it into the sky using in my damp brush technique, giving in little dry brr stroke, creating in that texture for that cotton candy cloud. Now, before we move on, I'm just going to add in a little more yellow and some darker pink highlights into this cotton candy sky, adding in more bold yellow out here at the top right side of this cotton candy cloud. And now I'm going to pick up the bold pink colour. Again. This pink is in a little pastel consistency only that I'm going to use in and create in some darker highlights onto the left side of this cotton candy sky. Here, I'm going ahead with this dark pink colour, creating in more highlight into the sky, giving in more color variation to the cotton candy cloud. Now one thing, your placement of the clouds can completely vary and your color placements can also keep on varying. It's not necessary to have the same placement or the same layout for this cotton candy cloud. It's more important to understand the technique and the method that we're going ahead with and having your own color combinations. But just make sure that you try using in the pastel consistencies to get in the cotton candy effect that we want into this cloud. Now using the lilac color, just adding in little highlights closer to the horizon line over the yellow space. Now quickly using the dam brush, I will blend these lilac tones that we've added at the bottom space into the baselier colors so that they all have a soft blended edge together. Lastly, we'll just pick up a little more of this light pastel yellow that we had been using and going to blend in with the lilac in the center, creating in a little more highlight. So you can see we've gone ahead in multiple layers to create in this simple cotton cloud effect into a sky. You can use more lighter tones if you want to create much lighter cotton candy effect, or you can even use more darker tones in this, but make sure while blending you have in the right colors beside each other so that the colors blend easily and do not create any muddy tones or unpleasant blending. Now, let's begin painting in the bottom field space here. For that, I'm going to use in the shade of yellow first. In the center, I'm going to add in yellow, then move on to a yellow aqua color, then to the greens and creating in darker green. So that way in the center of our field, we are going to have in the lighter highlights of the yellow and the yellow aqua color. Now using the yellow ochre colour, and then I'll move on to a sabren colour. You can use any green that's available in your palette may not be the exact same shade as mine. Oh I'm using the satcren color, defining the horizon line well and just pulling out this color from the edge towards the center space and blending in with the yellow ochre color. Just in the center, we need a little highlight of that yellow and the yellow ochre that we've added. Rest of the spaces will be blended in with the greens as we are blending in now. From the edge, again, I'll put in more darker tones moving further. So basically in the center, you will have the lighter color, then moving towards the outsides, the color will keep on darkening up. And towards the edge, we are going to have in a lot of the dark effect with the help of the black colour or you can use a very dark green color if that's readily available in your palette. I've picked up a little of the yellow aqua color and blending it again with the greens, you can see in the center. I'll pick up a little yellow again and add it in that little space closer to the horizon line and blend it again. So you can keep on picking the previous color for blending to make your process easier because you could see the green out there was not blended easily with the yellow aqua color. So I picked up the yellow ochre again for blending so that I have that little yellow aqua highlight visible. Same way just picking up a little yellow, adding it as a highlight in the center space, blending it with the yellow och color. Now, from the edges, I'm beginning to add in the darker highlights. You can simply mix in a little hint of black to your saplne colour and create a darker green tone, or you can directly use black in a little lighter consistency on the edges and blend in with the base green that we've added. Now, you can see I'm adding this in such a way that the lighter green is still visible, and then we have the darker green. And then in the center, we have the highlight of the yellow and the yellow ocher color to show that cloud brightness falling into the field as well. Now, using the green color, I'm going to add in little details on the horizon line, create a little bush effect. I'm using the same sat screen color. But in a little darker consistency, I've mixed in a little of the viridian green to this as well to create a little darker green kind of color. And using this on the right side, I'm going to create a little simple bush detail. So at the top, I'm dabbing in with the tip of my brush, and at the bottom side, I'm going to fill it completely with this green color itself. Now, in between, I'm using a very light green colour as well to create a little bush with a lighter green to show the effect of the cotton candy cloud, giving its color highlights or the reflection highlights of the sky color onto this bush area as well. So we have little lighter green details in between. I'm using a lighter green from my palette to create a lighter green. You can either mix in white or yellow to your day's green color. Mixing a yellow will give you a much better light green tone instead of mixing a white directly. So I'm just juggling in between the daker green and the ightogreen tandom such that they are also well blended with each other. Now, in the center as well, going to create a little push detail. Now, all of these push will not be all stuck together through the entire horizon line. In between, we'll have little gaps on the horizon line as well to give a little breakage to this push detail that we are adding. We'll add a little on the left side as well. Again, leaving in little gaps. You can see the center. We have a little horizon line only visible. Now, again, for this also, you can see I'm just chuckling in between different tones of green, lighter green, darker green. For darker green, you can mix in black, brown blues to your base green color. For lighter greens, you can mix in yellow and white. Of course, to adjust the tonal variations, you need to go ahead with different ratios depending on the greens, yellows that you have in your palette. So on the leftmost stage, I add a little darker highlights and then moving ahead with the lighter green, and then I'll just add a little more darker highlight. But you can see, again, we have a little horizon line visible in between the left and the center B details also that we have added. Now, I'll just go ahead with a little more of the darkest sreen color. So for that, I've mixed in a satren along with a little bit of the black on my palette and gotten in for the darker green color. And just going to create little highlights onto this bush with a darker green colour into the right space, center space, and the left space as well. So you will have three to four colour variations of the greens. I have randomly been using green mixing it with readily greens on my palette so that I do not have to waste onto any of these paints. On the left side as well, I've added in the darker green highlights. Now after this, we are just to lift add in a few details into our field space, and then we'll be ready with this class project as well. So now I'm going to go ahead, pick up a darker green color and add in little dry brush details onto the base of the field. Then we'll add in little simple grass details. So for the dry brush, I've picked up my filbert brush. I have picked up a little hint of the sabren mixed in with black, tap my brush onto the rough cloth so that the excess water and pigment is all absorbed. Now having in very little pigment, I'm just dragging it from the edges, giving in little dry brush strokes, moving towards the center side from the edges, that's the left and the right. You can go ahead given this type brush using a round brush, flat brush, filbert brush, mop brush, whichever you are comfortable with, creating a little texture on the field. Now, along with the texture, I'm adding in little darker green highlights also from the edges. So mixed in the saprin with black, you can see it's darker than the base green that we have already added and created in the depth. Now, after this, I'm going to add in simple grass detail, and then we'll add in little wildflower detail using in the yellow color. At the bottom, I'm creating in more darker depth to crave in the shadow to our grass that we'll be adding. For the grass, I'll be using in a very light green color and using in the pointed tip brush, I'll just give in simple grass strokes at the bottom space. So I'm using in this light green color. Let's begin adding in simple grass strokes. I'm just going to pull out the grass strokes at the bottom space, not going to add in much towards the top of the field. So simple strokes that you can pull out, or you can use a smaller size brush, which will give you fine details and help you in adding in these grass strokes simply. Mm. You can see I'm just pulling out simple strokes, moving in random directions. I'm not going to add the grass strokes much taller. As I told you, they're going to be very small majorly towards the bottom side. Same way, I'm going to add in a little onto the left side as well. So now you can see the dark green that we've created at the bottommost edge of the field is giving in so much of the shadow effect to these grasses that we are adding enough. That is the reason we created the bottom space too dark so that we have in the perfect highlight in the background while adding in these grasses. I'm done adding in the grass, I'll just blend these extra strokes that I had laid previously. And now let's go ahead use a bold, pastel yellow or a bold bright yellow color and add in little floral detail. So I'm using my yellow colour, which is a bold and bright yellow. And using this, I'm just going to add in very simple floral details into the grass area that we've added. I'm just tabbing random shapes to give in little floral detail, creating in a little more of the wildflower kind of detail. So very simple florals that I'm adding, you know, there's no shape or structure that you need for these florals. You can just go ahead, keep on dabbing randomly some yellow spots closer to this space. Now at the center space here, you can see I'm just giving in small dots closer to each other to create in that wildflower detail. We'll just add in a little more floals onto the left side as well, and then we'll be ready with this class project for day 18, as well. Now quickly going to add in, and then I will just platter a little of the yellow color at the bottom space to give in more fine details of the floals that we've added. Now, just tabbing in a little of the yellow colour, giving in very fine spots, creating in more of that wildflower look. When you begin adding in this, make sure you cover up your previous painting if you're painting onto a sketchbook or cover up your sky if you're not confident about these platters moving into your sky space so that you do not have yellow spots into your ski. So that is it. We are ready with our class project. Let's remove in the masking tape and see a final painting. Make sure you peel off the masking tape against the paper so that you do not tear off the edges and make sure that your edges are completely dried so that you do not lift up the paints. So here's a closer look at our painting from day 18, beautiful cotton candy cloud with a simple field detail. I hope you guys enjoyed painting this with me today. I will see you guys soon into the Day 19 class project. Till then, thank you so much for joining me into this class and painting along with me. Make sure to drop a review if you like this class so far and keep uploading in your class project so that we can share it with the rest of our artist community here. Thank you so much, once again, for joining me into this class and painting along with me. I will see you soon into the Day 19 class project. 27. Day 19 - Misty Landscape: Hello, everyone. Welcome back to Day 19 of the 30 days of quash challenge. Today, we are going to paint a beautiful, misty kind of a landscape. We are going to go ahead with the tones of gray and orange. So I'm beginning in with a medium tone of gray. There is no pencil sketch. We are directly going to paint a misty sky and then some pine trees. I'm beginning in with a very pastel gray color at the top. Now, this color you can mix in by adding in a little hint of brown, black and white. Now the proportion of white will be the most proportion of black and browns will be very, very less. So it's a brownish gray color as you can see. Now I'm going to go ahead with the lighter gray underneath, and then I'll shift on to the shades of orange. For the shades of orange, also, I'm going to create in a lot of pastel shades. Basically, I readily have those pastel shades in my palette, but you'll have to create in very light pastel shades of orange. So first, I'll just add in a little hint of white again on top of this as well to lighten this color because I feel that this color is still a little extra dark. So I'm just going to lighten this up at the top. Now, next I'm going to pick up a little of the pastel pink color, and it's going to be very small area for the pastel pink that I'm adding in just below the gray color. For the pastel pink, mix in white with your base layer pink color, whichever available in your palette, more of white, less of the base color. Now I'm going to shift on to a peach color tone. For creating in a peach color, you can mix in orange, red and white. Proportion of white will be more. Orange and red would be equivalently less. If you want a further lighter hint, you can add in a little hint of yellow also along with the red and orange and get this very light skin tone kind of a peach color. I'm just laying down the colors first and then I'll blend these all again further. So blending in with the pink and the gray. So I'm done with a very simple sky. Now at the bottom, we are going to have a misty range of the mountains that we are going to add in and then some simple details of the pine trees. So for the misty range of the mountains that I'm going to add in, I'm going to go in with various tonal variations of the peach moving to the orange color. So now I'm picking up the peach color one tone darker than the previous that I added in the sky. Now, if you do not have a ready peach color in so many color tonal variations, what you can do is keep on mixing in the color shades with different proportions of white and get in the total variation. So you can go ahead, keep in a proportion of red and orange and just keep on altering the proportion of white. For the lightest tone, you will add in more white. Then you will keep on adding in lesser white into it. So I've added in just one tone darker color than the sky peach color that we have used in. So my first mountain range is dried and we are going to go ahead onto our second mountain range. For that, I'm mixing in orange to the peach color. Now, this is still a little dark in tone than what I want. So later on after adding it onto the paper, I will pick up little white for blending. And now with each of the mountain ranges that I add, I'm going to keep on adding in some details of the pine trees with each color. So I've lightened up the color here with the help of a little more peach. Now, do not worry if you do not have the exact same shade one, you can have the closest shade that you can create. Secondly, if you have the same color palette, you can, of course, use the same shades. But for mixing in such colors, it's very simple. You just need to use in yellow, orange and white. Now, orange in the highest proportion, then white and then a little hint of the yellow colon. Now I'm going to pick up little white and blend this and lighten this up because on the paper, this is still seeming dark, as I told you. So just lighten it up onto the entire space. Now on top of this mountain range, I'm going to go ahead with some simple pinetree details. Now, it's going to be very simple, spiky strokes pine trees that I'm going to add that is the far view of the pine tree, not the detailed ones. So just going to pick up the same color and keep on pulling up spike like structures from top of this space. Now I'm going to vary the height of these throughout so that we have in that natural effect because they are, of course, not going to be of the same height in the nature. So, into the entire space, you can see I'm pulling out simple strokes of different heights, tall, short, small, just wearing, not keeping them of the same length adjacent to each other. A Now for the next mountain range, I'm going to pick up a little of the bonsiena color and add it to this mix of orange, white, and the peach color that I already have. So just going you can mix in orange, Bn sienna and a little hint of white to get a similar tone. Now using this, I'm going to add in the third mountain range at the bottom side. So first, I've picked up the orange color, marking the outline, and then I will pick up this mix that we have created in. So I've picked up the orange color without adding in any white here to mark the outline, now picking up this color mix, and towards the bottom side, going to add it completely and keep on lightning as we move towards the bottom side. Now, towards the bottomost edge, I'm just picking up some simple, very light peach color. You can even use white if you do not have this pastel peach color and just blend in with the mix of the brown orange and white that we have already added in. Now, to this area as well, we are going to add in the same details of the pine trees as we added to the previous mountain range. So now using in the same color. Let's begin pulling out the strokes for the pine trees. Now I'm picking up the orange color. And I'm going to use the bold orange color at the top to pull out these pine tree details. Because at the top, if you remember for this mountain range, we used in the orange color, and then we moved on to the mix of the orange and the brown shades. So at the top, whichever color you have, use in that same shade for pulling out these so that the pine trees and the mountain range look well blended with each other and do not look separate. In case if you feel that the color tones look a little separate, you can add in the pine trees and then blend them also quickly with the bottom mountain range by reactivating the base layer. So you can see my color of the mountain range and the pine trees that I'm adding is exactly matching. I'm using the same orange color that I began with for the third layer of the mountain range. You can keep the color separate or you can just blend in again with the help of a dam brush and the same color to create in the blend into these pine trees and the mountain range. Now, you can see I've added the mountain range in such a way that all the three mountain ranges are visible separately and do not get hidden because of the details that we keep adding in. Now I'm picking up some bold black color to add in some detailed pine trees at the bottom most space. Also make sure that you go ahead with the next mountain range only when your previous mountain range is dried so that the colors do not get activated and you have a distinctive view for each of the mountain ranges. Now, let's begin adding in some detailed looking pine trees at the bottomst space. My last layer of the mountain is also dried. That is the reason I'm going ahead with this black layer now. So now on the rightmost side, I'm going ahead with a detailed pine tree with the black colour. You can see I'm just going ahead, adding in simple foliage detail. All of these I've discussed in detail in the technique section of the pine trees part. Win I've showed you different ways of adding in quick pine trees that we added in the previous two mountain ranges, showing you that they are far off from our view, that is the reason in such a quick manner. And then adding in the detailed pine trees in different manners plus a blend of the detailed and the simple pine trees to fill in the spaces quickly and make everything look more natural and realistic. O. Now adding in another pine tree here, but you can see I'm going ahead, varying in the heights of the pine trees. Plus, I'll even keep on varying the thickness of the pine trees so that we have different variations as well as the natural effects to all of our details at the bottom most space here as well. For our day 20 class project, as well, we are going to paint in another beautiful, misty sky, but with bold colors next time. Now, this next pine tree, I've again gone ahead with one big bold pine tree. You can see this is going quite tall as compared to the previous one that we added. So as I'm reaching the base of these pine trees towards the bottomost side of my paper, you can see I'm majorly dabbing in a lot of my brush and filling it majorly with the black color, not giving in much detailed view, instead creating in a patchy black effect for all of the pine trees that I'm adding in so far. Now, next I'm going to pick up the same black colour and add in a little more of the pine tree, but in the simple format now. So in the previous class project on day 15, painting the wonderland winter wonderland that we painted, we used in this style of the pine tree and using in a blend of that as well here. So you can see you'll go ahead with different variations to the pine trees, which will add in more natural effect, giving in the nature beauty of everything different yet altogether. Now, as I'm moving towards the left side, you can see I'm going ahead with some tiny small pine trees as well. We're almost through this class project for day 19, just completing until the left side, and then we'll be ready to peel off the masking tape and see a final beautiful, simple, misty pine tree painting for day 19. H. So as I'm moving further towards the left side, you can see I'm adding in so many small pine trees as well. I'm going to maybe add in one more huge pine tree on the left side as we move towards the leftmost edge. But again, you can see I'm wearing in the heights of the pine trees even when I'm adding them in smaller heights, very small, then big and trying to make sure that no two edges in pine trees are of the same height so that they give in more of the natural effect to your landscape painting. Also, if you notice one thing, each of my pine trees has a beautiful pointed edge, and towards the bottom, as I told you, I'm filling it up majorly with the black color by tapping in my brush, giving in a lot of detailed black patches so that, you know, it looks like all of the cluster plus a lot of more pine trees behind this, as well. So I'm not going ahead with a very huge pine tree on the left side. I'll just go ahead with medium range heights as you can see, B on the right, we've already added in two huge ones going up till the second mountain range. I'll quickly add one little bigger pine tree yard in between the smaller ones that I've added. I'll just quickly add in a thin stem first, and then on top of it, add in quick filiage. Not going to add in a lot of fooliage, also going to keep it a little scarce and quickly fill in the space. Now, in between the pine trees, using in the black color itself, I'm just going to pull out some simple strokes to show in some far off pine trees in between the detailed pine trees as well. So randomly at places just pulling out a few strokes which we used in the previous two mountain ranges, you can see it's giving in so much more of the depth effect. So again, a blend of the detail, simple, creating in more depth to your painting, making it quick and easy. And towards the bottom, again, I'm just adding in a little more of the black color, filling in the bottom most space, creating in that patchy effect, giving in more detailed view. So that is it. We are ready with our class project for Day 19. Let's peel off the masking tape and see our final painting. Make sure that your edges are completely dried before you begin to peel off the masking tape and peel off the masking tape against the paper so that you do not tear off the edges and do not lift up the color from the edges. So here's a closer look at our painting from Day 19, a beautiful light, misty sky with misty mountain ranges and detailed pine trees. I hope you guys enjoyed painting this with me for Day 19 of this 30 day challenge. I will see you guys soon into the class project for day 20. Make sure to keep sharing in your class projects and do drop a review if you like this class. See you soon into the next class project. 28. Day 20 - Sunset Mountains: Hello, everyone. Welcome back to day 20 of the 30 days of Kash challenge. Today we are going to be painting yet another beautiful pine tree landscape. But this time, it's going to be of very dark bold colors. We've painted a similar one with watercolors in my previous challenge. So using the same reference this time, I'm going to go ahead and recreate it with quash. So first, beginning in with a dark blue color at the top. Now, this dark blue color, you can either Prussian blue indigo, or you can just simply mix in a little hint of black to your Cerlean blue if you do not have a darker blue readily available in your palette. So I'm just going ahead with a dark blue colour first at the top of aski. Now, at the topmost space, I'm going to add in a little hint of black and darken up the sky a little more. Right now, I'm not going too much in depth with the blending because we are going to go ahead with a lot of colors at the bottom space also. So once I'm done adding in the next layer of colours, I'll keep on blending it with the previous color. Now I'm picking up a paste, purple color. You can either create one or you can readily use a lilac color if available in your palette. For creating one, you can simply mix in little white to your purple or violet color and get this pastel violet tone. Adding it underneath the blue color space and blending it with the blue and treating in a bluish violet while blending both of the blue and the violet colors together. You can see the black hint is only at the topmost space of the sky and not taken up completely over the blue color. It's just a little dark hint at the topmost area. Now I'll use a dam brush and blend both of these colors for blending. I'm just lifting in a little bit of the blue color again so that I get the perfect transition happening in between the blue and the lilac color. Next, I'll just pick up a little of the pink color underneath the lilac tone. It's a very light pastel pink colour that I've picked up, blending in with the lilac color. Very little, not much that I'll be adding this year. Now I'm going ahead with a yellowish orange color. So this is basically more of an orangish side, but a little hint of yellow. It's not pure orange color, as you can see. It's more of an orangish yellow, not yellowish orange. Now I've added that underneath the pink space, but I've left this little gap in between where I'm going to use in the peach color for blending. So then I get a beautiful transition from the pink to the orange with lighter tones in between. Now, again, for ceting in the peach color in the previous class project, I told you the color makes a little hint of yellow, pink, orange and a lot of white will give you a peachish tone. Now underneath the orange, picking up a medium tone of the pink color, you can see it's not a very light pink that I've picked up. I've laid it up almost over the orange tone, blending it in such a way that we have little hints of the orange still visible into a sky. Next again, picking up the lilac color that we used. But this time, I have picked it up in a little dark consistency and then lightened it up with a lighter color. Now, as you know, my palette has multiple tones of the lilac color. It almost has around 12 to 14 in shades. So I have all the tonal variations ready. You can keep alterating by adjusting the ratio of white. If you want further lighter color, add in more of white. If you want less lighter tint, add in less of white, more of the base color. So I'm done with the base of the sky. Now I'm going to go ahead, add in the cloud details. For that, I've shifted into my smaller size filbert brush, picked up the pink that we used underneath the orange and adding in highlights over the lilac color at the top. I'm going ahead with very soft smooth strokes, not gold lines that I want to depict into this sky. Now, picking up a little lighter hint of the same pink, I'm going to begin adding in clouds at the top space as well. You can see I'm adding clouds from the left and the right he moving towards the center, very loose strokes that I'm using. But again, you will see all of these has a very soft blend that I'm creating with the base layer. I'm not going ahead with bold strokes. I want very soft blended subtle look into my cloud space here. So I've added the pink highlights over the lilac and the blue colour. Now I'm going to pick up a further lighter pastel pink color and begin creating a little more highlights over the blue at the top left side. So then with the lighter pink highlight at the top here, you can see very little blended effect that I've given in. Now I'm going to pick up the pink color in a little bold consistency. So I'm picking up this pink which I used underneath the orange, but this time I'm going to pick it up in a further darker consistency and begin adding in the cloud over the orange and the pink space. You can see it's darker than the base lear pink that I use closer to the orange closer to the orange because of the blend with orange, the color automatically turned lighter. Now adding in cloud strokes with this, again, I'm adding it in a soft blended way. I'm adding in the strokes, blending it with the base leer on the edges, giving it that soft smooth look. Now, again, I'm going to use in a little of the lighter pink color and add in little cloud strokes over the lilac color here. Very little, not much of it that I'm going to add in. For creating in the soft blend, after adding in the strokes, you can use a dam brush and some Baslier color and blend these strokes on the edges very softly, very slowly so that in such a way that the clouds are still visible, but they do not have that bold effect. Now I'm picking up the grey color to begin adding in the mountain change. So first, I've picked up a medium dark tone of the Greek color. It's not too light, but not even black. I'm going to add in one mountain range left on the right side here first. So then adding in the first mountain range. Now I've darkened up the gray color. I'm adding in a little hint of black to the same gray. Again, I have a darker gray ready in my palette, but since I already have a little of black on my palette and the previous gray color, I'm just adding in a little hint of black to create a darker version of the same gray tone. So this is how, you know, despite having in the colors if you want to reuse the colours on your palette readily available, create darker tones as well so that you can use the colors already available and you not have to waste them because, again, quash is a water based medium, easily reactivated. So no wastage of pains, reactivating them onto the palette again or blending it with other tones is much easier as compared to acrylics. Now, once the first two mountain range dries out, let's move ahead to the third one. Now for the third one, I'm going ahead with this very dark color, which is almost equal to a black colour, but not actually black colour, because for the black, I'm going to be adding in the pine trees. So I've darkened up the gray only with a little more hint of the black. So make sure you do not use a dark bold black for adding in the mountain ranges here because we are going to add in little pine tree details in front of these mountain ranges for which we'll be using in the black color. If you will use in the black color for the mountain range, then the pine tree will not be visible that distinctively on the last mountain range. You can see it's a dark gray color that I've used. When I'll be adding in the black pine tree on top of this dark gray last layer of the mountain, you'll be able to distinguish the color between the dark gray and the black. So make sure you create three versions of the gray color. For creating in gray, you can mix in a little bit of Crucian blue, white and black. Again, for creating lighter, you will have to keep the proportion of white extra. And for creating in darker tins, you will have to keep the proportion of black and blue a little extra. So make sure you first create in three versions of gray if you do not have ready gray available, and then go ahead add in the three gray mountain ranges. Now my mountain ranges are dried. I am going to pick up the black color onto my round brush and begin adding in the pine tree that we are going to add in. So I'm going ahead with one huge pine tree in almost the center space. So first marking the center stem, and then I'll begin adding in the detailed foliage. Now, I'm going to go ahead with a detailed pine tree this time, so I'm going ahead very slowly while adding in the foilage so that the foilage look detailed and cric. I'm not going ahead with, you know, a quick foiage effect this time because this one pine tree will be the main focus. And then we'll just add in little more details at the bottom most space depending on how this one turns out. So you can see how slowly I'm going ahead with the foliage this time, pulling out branches, and then creating foliage onto that branch. But one thing to notice as I'm moving towards the bottom side, I'm increasing the length of these foliage, such that from the top to bottom, we have a triangular shape for our pine tree coming in. Now you can see how the black is visible even on the darkest gray mountain range that I've added. So the color while adding seemed to be a black color for the third mountain range. But actually, if you see it now, it's not black color. It's a dark gray color. That is the reason the black color is still visible perfectly on top of this dark gray layer. Now, as I'm reaching the end, I'm creating in very less detailed foilage. I'm just dabbing in with the black color a lot so as to show a lot of foilage out there together. Now, towards the rightmost side here, I'm going ahead with one more pine tree, but a very small one. The main focus will be the center pine tree that we've added. Now, in the rest of the left and right space of this pine tree, I'm going to go ahead with smaller virgins as needed. Not everywhere will be a lot of pine trees. Somewhere you can even use in the simple strokes that I've discussed in the technique section. If you want, you can refer the pine tree technique section where I've showed you simple way of filling in the space completely. So I gave in little simple bush detail in the center of this and now again added in one more pine tree. Now again, here, I'm just going to pull out simple strokes from the center pine tree to the pine tree on the right. You can see I'm just pulling simple strokes which has pointed edge, trying to show in some far off pine tree effect with very simple technique. Mm. Now, same way onto the left as well. I'm going to go ahead with pine trees. You can see I've made sure about one thing that even despite varying the heights of the pine trees, I've made sure all the three mountain ranges are visible from behind the pine trees. We have the lightest one visible on the right side, the second daker one on the left side visible and the darkest mountain range that we added is still visible on the right side from behind of the pine trees. So you need to make sure about this thing because if you will hide out these mountain ranges, what would be the sense of adding them in the first place? So, make sure you vary the height of these pine trees in such a way that all the three mountain ranges are visible distinctively and perfectly into your landscape. Now I'm done adding in the pine tree, so I'm going to begin adding in little texture onto the mountain range now. So firstly, I will begin with a mountain range on the left here. Make sure that your mountain ranges are completely dry. So I'm picking up the light gray color, and I will just add in little dry brush stroke to create texture onto this mountain range on the left side. So just going ahead, pulling out little simple texture. I'm going to make it move from left to right a little diagonally. You can see it's very simple strokes that I'm using creating in simple dry brush kind of texture to give in more depth to the mountain range. So you can see I'm going layer on layer. I used a medium tone, and now using a little more lighter tone, I added a little more white to my gray color to create a little lighter tone, now adding in a little more texture and movement. You can see I'm moving from top left to bottom right diagonally, creating this texture on the mountain range. Same way, I will add in a little texture onto the right mountain also that we've added. For that, I'm using this very light pray that I created by adding more white to the baseler mountain color. The mountain color that we use for the first mountain on the right side, I added white to it so that we can get a lighter tine. Now, creating a little texture onto that mountain range as well, using in this lighter color. Now, for this mountain on the right side, we went from top right to bottom left diagonally creating in the texture. Now I've shifted into my pointed tip brush and I'm going to create a little more depth given very simple, you know, details to the pine tree. So I'm just going to add in some very simple branch detail or stick details in between. So very simple lines that I'm adding in first. Saying way even onto the right side, I have added in very simple strokes. On top of it, I'm just giving in simple thorn details in between. So you can see simple techniques that we use given so much more depth and realistic effect to your landscape. All of these techniques I've discussed with you in detail in the pine tree technique section where I've shown you all of these simple thorn sticks to add in, simple, quick pine tree, far off effect, detailed pine tree, detailed foolage, simple foolage, all of these discussed in detail. So I'm done adding in the pine trees. Now I'm going to quickly add in a small moon into our sky, and we'll be ready with our crass project for day 20. H So using in my pointed tip line of brush and the white color in bold consistency, I'm going to add a crescent moon in the center on the top blue dark sky, a very small tiny moon out here at the top. So that is it. Let's remove in the masking tape and see a final painting. You can see how all the three mountain ranges are visible plus the texture on the two mountain ranges is giving in so much more depth to the painting with simple pine tree details and a pretty moon. So here's a closer look at a beautiful painting from day 20. This is one of my most favorite from this series so far. I love the soft blended clouds, the detail on the mountains, the simple pine tree detail that we added in the center space with a simple moon, creating in the perfect nature of you one would pray for. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the next class project till then, if you like this class, make sure to drop a review so that it can help me reach maximum students. 29. Day 21 - Amongst the Mountains: Hello, everyone. Welcome back to day 21 of the 30 days of quash. Today we are going to paint another beautiful road view landscape. So we'll go ahead with the basic pencil sketch first and then move on to the details. It's going to be a beautiful view by the long drive that we'll be painting today. So first, marking out the road space at the bottom area, we're going to show it across kind of like a mountainous road pathway that we are focusing on for this class project with a pretty bright sky view. So now, on the left and right, we are going to have in the greenery across the pathway. So I've marked out the spaces, so the top is going to be the sky. The bottom center will be the entire pathway. Behind the greenery, we'll have a small sea area here, and this entire space out here will be the greenery space that we mark below the sea and the top will be the sky. So very basic pencil outline that we've marked on going ahead with the sky first. So for the sky, I'm going to use in pretty bright shades of yellow and blue to create a beautiful daylight sky color. So I've picked up a very light pastel blue color. You can see it's almost equal to a white color with just a very little hint of blue. In case if you do not have this ready color, you can mix in a lot of white to your blue and get a similar color. So it's just a very light hint into a lot of white that is there. Now, this color is, of course, readily available in my palette because of the various shades that's available in my palette to paint with. Next, I'm going to go ahead with a very light shed of yellow at the bottom space. Now, again, if you do not have such a light naples yellow color, you can mix in a lot of white to your yellow and get this bright pastel yellow colour. And now at the bottom, I've used a little bright yellow, blending it with the pastel yellow that we've added and blending all of it well with the blue. Now, my blue was also in a very light pastel consistency, and in between for blending, I used in the very light pastel yellow because of which I have not gotten any green tones while blending. In case if you will have in a bright blue and a bright yellow colour and blend it without the help of white, then it may give you greenish tone because blue and yellow mixed together will give you a green colour. Now using a bright blue color almost equal to a turquoise blue color, adding it into the sea area. The sea area is also going to be very simple. It's a very small space that I'm adding in. Now, in case if you do not have such a ready color, you can simply mix in a little hint of emerald green or viridian green to your blue colour with a little bit of white and get a similar looking blue tone for the water, or if you have a water blue colour, then you can even use that or an aqua blue shade, whichever name it's available in your palette, or you can simply mix in white to your erlean blue and use that as well directly. I'm defining the horizon line well with a sea area. Now, if a little of the paint goes into the greenery space or the pathway space, it's okay because those spaces are going to be of dark tones. Now, make sure you give the water space completely till the left edge because from behind of the bush retails that we'll be adding on the left side, a little of the sea may be visible here and there, so make sure you add in the blue color for now, because as it is there, we'll be having dark green and black tones. Now, for the pathway, I'm going ahead with a medium tone of the gray color, going to add it into the entire space here. But I'll make sure that I am not using a very dark tone of gray. Make sure you use a medium tone of gray and then I'll be using a lighter color as well to create more lighter highlights. Now, across the pathway, I'm trying to go ahead with the line measurements. On the edges, I'm just picking up this color from the center and blending it, giving it in the right way. No. So, into the entire pathway, I first added one single tone of the gray color. You can mix in this gray color with the help of little brown, black and white because it will give you that little brownish hint for the muddy view that we are going ahead with. Now, picking up little white, I'm creating in little lighter effects as well. So you can simply use in white, layout at places and blend it with the pasteler gray that you've created. Or you can use a lighter gray colour as well to create these highlighting spots onto the pathway. Now, next, let's go ahead, add in little waves detail into our sea area. For that, I'm going to use in this medium tone of blue. I already have some dark blue on my palette, adding in little light blue to it so that I can mix and use in the dark, medium blue color tone that I need. We are going to add in very simple effect for the waves again. This also I've discussed in the last technique section of this class where I've shown you how you can add in simple waves to more detail to your sea view. So just going ahead with my pointed tip brush. This is a liner detail or brush that I'm using and just going to add in these simple strokes. You can see it's not a very dark color that I'm using. It's a medium tone of blue, just one tone darker than the base layer. That is the reason I mixed it with the dark blue on my palette so that I do not have to waste that dark blue color. I always tell you with gouache, you can reactivate your colors on your palette, reuse them itself, and you do not have to waste them. I have not cleaned my palette since, I guess, almost the 15 class projects that we've been painting in this class. I've been rewetting the paints, mixing in colors into the same palette, and reusing them. Till now, as Bell, I haven't cleaned my palette, so you can see how I have been mixing lighter colors or darker colors with the colors on my palette itself and reusing them so that I do not have to waste any of these because, gosh, water soluble medium easily reactivated. You just need to be sure about the consistency that you need for the specific details. So I'm almost done adding in the waves detail. You can see some smaller lines, criss cross lines. Somewhere I've added in little thicker lines to depict some depth into the waves to give in that crashing effect of the foam closer to each other as well. So we're done with the waves. Now we'll go ahead with the greenery details into our painting. For that, I'm going to pick up the sap green color. Again, you can see the colour is on my palette. I'll just add a little more to the same color on my palette. And for lighter tones, I'll mix in here. For darker tones as well. I'll just add in little hint of black. So beginning in with this, now on the right side, I'll first begin giving in the details at the top. So using the tip of my round brush, I'm using a smaller sized round brush which has a pointed tip. I'm just creating in some simple grass details, which is little going to overlap onto the sea area as well. So just using the pointed tip of the brush, I'm beginning to add in simple crass details at the top here. Now, at the top first, I will just create simple leaf detail by tapping in the tip of my brush, giving in little bush detail. And towards the bottom space, we'll just keep filling it with colours. So in the entire top space at the right area, you can see I've marked out the detail. Now, towards the bottom side, I'm filling it all completely with the green color first. Then we'll create in little darker depths onto the edges of the pathway space with the help of the black tones. Now, using the black color at the bottommost space here and blending it with the green. Across the pathway line, I'm going to use in this black color and create a little darker shadow effect for the pathway as well. So here you can see I have added in the black color. Now I'll pick up the same green color again for blending in the black and the green so that we have a smooth and clear transition happening in between the greens and the blacks. Now, I'll just quickly add in a little more details at the top using in the tip of the brush and give a little more foilage detail here. Now, on the leftmost side as well, we are going to go ahead with a similar kind of detail, but there we'll first go ahead with the black color, and then we'll add in the details with the green on top of it. So now let's begin with the details on the left side. I'll pick up this black color and I'll add it onto the entire left pencil sketch that we had created. If you do not remember it, you can just have a look first at the entire space that I'm adding in the black color. Then later on, I'll just begin pulling out the fooliage from this as well. So I've just given in a small patch of the black color, and now in front of it, that is towards the center of the sky side. I'll begin adding in simple foilage using this spoiled round brush technique. This also I've discussed in the technique section how you can quickly add in this fooliage using in a brush just in a dry, damp manner. Now, the bottom white space that I've left there, I'm going to add in a little rock detail using in the brown color. That is the reason I've left it blank for now. Using in the browns, I'll just create a simple rocky mountain kind of a detail across the pathway there. So for that, now I'm going to pick up the burn sienna color which is already on my palette here. I'm just picking it up in the thick consistency and going to add it here and blend it with the black in the bottommost space completely. So I've added the brown color. Now using the black, I'll just create a little darker shadow effect at the bottom space, or you can use a very dark brown color as well if you want across the pathway line, but blend it well with the brown color. Now, I'm just blending in the blacks and the browns here at the top, and then we'll wait for all of this to dry and then move ahead further adding in the texture to the left side part here. So now let's begin adding in some more details onto the foiliage part. First, I'll pick up a little of the yellow ochre colour, and onto the right side foliage that we've created, I'm going to add in some lighter and the darker depths. So using the simple technique of the spoiltn brush, I'll just add in some yellow ochre foiliage effect and then some black colour fooliage effect. For the black, you can even use a dark green colour if you wish to or even use in brown tones. So randomly, you can see I'm dropping in some lighter foiliage with a yellow aqua color first. Now, same way dropping in little foolage with a black color as well now, and then I will use in green colour to blend all of these well together such that you'll have little lighter yellow patches in between and then some darker foilage effect with the black color as well. You need to make sure that all of these has a well blended look with each other. So picking up the green to blend all of these, but making sure that they are all visible as highlight between the entire foolage effect. So that is it. I'm done with the foliage effect here onto the right side. You can see just ting in a little more of the yellow ocher effect to create in that lighter blend, and all of it is well blended with the greens and the blacks together. Now, onto the left side, I'm going to go ahead with a little detailed foilage structure. For that, I'm going to use in my detail or brush and begin pulling out simple details from the left side. So now just beginning to pull out simple foolage from the right side, as I told you, very simple details that I'm trying to pull out here. If you want, you can even use a smaller size down brush, which has a pointed tip and keep on pulling out this simple foliage detail. You can see if we filled in the entire space with a plaque first, then tapping technique with a spoiled brush, and now just adding in simple detail with a detail or brush, giving in so much more depth to the entire thing. You can see I've tried to vary the shape throughout somewhere, taking it longer, somewhere just towards the left edge only. So I'm almost done adding in the details with a black color as well. On top of it, I'm going to give in little depth with a green colour, and for the rock space, I'm going to add in a little texture with a white color. So now picking up the green colour first and going to add in little foliage detail with the greens, as well. And then using in the green colour, I'll just begin dabbing in a little on the leftmost edge as well. So make sure that your black is completely dried before you begin dabbing in with the green colour. O. Now, let's begin adding in some texture onto the rock space. For that I'm using in the white color and using in the dry brush technique, holding my brush diagonal and creating in little texture onto the rock at the bottommost brown space only. Now, using the white colour and my liner brush, I'm going to add in little details onto the pathway. Make sure you use a detail of brush, or you can use a white shell pin for adding in these fine line details onto the pathway as well. So onto both sides of the pathway, I'm going to add in these fine lines towards the center where the pathway is disappearing. The line is much finer. And as it moves towards the bottom side of the paper, I'm thickening the line because of the perspective view. You can see how easily I could just tilt my book and add in these details because of the free movement of my paper. This helps in adjusting your hand movements easily as per your convenience. Now using the white colour, beginning to add in simple center details as well on the pathway. First, towards the center where the pathway is disappearing, I'm adding smaller lines. And as I move towards the bottom side, that is towards the end of the paper. I'm thickening and lengthening up these lines. Again, this is also because of the perspective angle that I'm trying to add in here. Now, using in the darker green color, or you can even use a little of the pains grey color, add a little texture onto the pathway and blend in at certain spots. So I'm using the dry brush technique, adding in some texture on the pathway. And then using a tabush, I'll blend a little of these into the base of the pathway. So using a dam brush, you can see, I've simply blended a little of these dark spots into the pathway, creating in some darker patches as well onto the pathway. Now, one last thing, I'll just add in a little darker effect here and create closer to the white color, a little darker shadow effect, blending in this darker gray effect into the base layer across the white line. You can see a little dark shadow effect that's forming in here. So that is it. We are ready with our class project for day 21. Let's remove in the masking tape and see a final painting. Now, before peeling of the masking tape, I'll just add in a little more detail on the leftmost side here, and then we'll peel off the masking tape. I'll just give in a little more detailed foiage effect at certain places pulling out some more length to the foolage in towards the center side. So at certain spots, you can see I just pulled out a little punch towards the center side or towards the sun and the seaside that we've added. Now let's peel off the masking tape and see your final painting. Make sure that your edges are completely dried before you begin to peel off the masking tape. So here's a closer look at our painting from day 21. You can see the green fooliage effect on the left side that we've added and the simple rock brown color that we added with a simple technique. When you have a closer look, you can see all the colors more clearly. And on the right side, we added in lighter foolage detail but the yellow orchard tones and glare. I hope you guys enjoyed painting this with me today for the day 21 class project. I will see you guys soon into the day 22 class project till then happy painting. 30. Day 22 - The Glow in the Beach: Hello, everyone. Welcome back to Day 22 of the 30 days of cash. Today, we are going to be painting another beautiful seascape with a beautiful evening view. So I'm just pinning in with the pencil sketch. I first mark the horizon line. On top of the horizon line, we are going to have in a little of the greenery detail, which is going to move into the sea area as well. And then towards the bottom side, we are going to have in a simple beach space from which we are going to have a lot of palm trees coming in. So I'm not giving in the detailed sketch for the palm tree right now. We are going to have in three, one on the right, and two on the left out there. And here we are going to show in a light space. That is from a palm tree, we'll show a light hanging in. The reflection or the light of which will be falling onto the beach area, so we'll create a light space there. So that is it for our pencil sketch. Now let's begin with the colors one by one. So first, we'll begin with the sky. We're going to have in a beautiful evening sky with the shades of blue pink, a little hint of yellow, and then adding in cloud details with the violet color. So I'm first begging in the bright sky blue color. Next, I'm going to add in a little bit of white underneath the blue and blend it with the blue perfectly. Then we'll move on to the shades of pink and yellow first. And then for the clouds, we'll move on to the violet tones. Now, for the yellow color, I'm picking up this yellowish orange tone from my palette. You can simply mix in a little bit of your bright yellow with a very little hint of orange and white. Make sure you add in white so that when you blend in with the blue colour, you do not get in muddy tones. So you can see while blending, I again, picked up a little white and blended it with the blue. So only in the half space I've added, and in the half ed space at the bottom of the sky, we are going to go ahead with the tones of a you know, the blue and the pink tones. So again, from the right side, I'm blending it with the blue a bit. For the clouds, we'll go ahead with the pink and the violet tones. In the sky, we have the beautiful sunset effect with the yellow and the blue tones. So something new that we saw into this class project is blending half and half like this, the yellow and the blue that we blended. Now, I've picked up a little of the dark blue colour, and I'm going to add in a little darker depth at the top out here. So I've just laid down one layer, and using in white, I'll blend it with the base layer. If you want, you can pick up the base layer blue colour again for blending. It's not necessary that you need to pick up white colour itself. I just want to give in a little darker effect to the night because we are painting an evening sky. So I want the top of the sky to depict a little darker tone than the rest of the sky. Now, till the sky dries out, let's go ahead and paint in the base layer of the sea, as well. We'll add in the cloud details once the sky is dried. So for the base layer of the sea, as well, I'm going to use in this same blue color which is on my palette already. It's a medium blue tone that I'm using in. And I'm going to add in. And while adding in here, I'm going to blend it with a little of the pink color because as I told you, we'll be adding pink and violet clouds into our sky. I'm going to define the horizon line well. You can see it's a beautiful dark blue color that I'm using here, but it again, has a little of the white undertone. So, you know, it's not that blue blue, but it has a little pastel effect as well. Now, I'm picking up the pink, which is already on my palette, adding it on the left side because we are going to have a huge cloud on the left side in the sky with the pink and the violet tones. Now I'll blend in the blue and the pink with the help of a little more pink out there. So you can pick up any pastel pink color. And for the sea, you know, I use the color which was readily on my palette because I didn't want it to waste in that blue, you can use in a medium tone of blue or you can simply use in the dark blue that you used in the sky in a medium consistency, blended with the white, or you can even use the turquoise blue color if you want. So I picked up a little violet and also added vile blending it into the sea, because as I told you, the clouds will be of the violet and pink tones. So just blended into the sea area with the blue color. On the left, we have the pink, and on the right, we have the blue and the violet tones. Now, on the right, as well, just added little pink highlights on the edges itself. Now, for the beach area, I'm going to go ahead with the yellow aqua color. So at the bottom of space, going ahead with the yellow aqua color, I will blend it with the blue and pink of the water area that we've painted. Now, here I've left a little white space. There I'm going to use in bright yellow color and blend it with the yellow ocher. If you remember, while I did the pencil sketch, I told you to one of the palm trees out here, we are going to be adding in a light hanging from the stem of the tree. So there I'm going to show in the reflection or the light falling onto the sand area, creating in that glowing space. So that is the reason I've added in the yellow there. Now using a damp brush, I'm blending the water and the sand area that we've painted and creating a soft blend between both of these. I do not want any sharp distinction between the water and this space. That is the reason blending both of them well together. You can either use the Baselo color or a little hint of white to blend in. So I'm using the pink and the violet to blend in with the yellow ochre color. You can see we've got a very soft blend of the yellow ochre and the sea space. Now I'm going to pick up some white and add it over the yellow here to create in that glowing spot. We may need a little touch up once we add in the light details onto the tree as well. For now, just creating in a spot and leaving it there. Adding in a little more of the white. First, I added in the entire space. You can see slowly creating more at a spotlight point out there. Now, let's begin adding in the clouds into the sky. For that, I'm using in the purple color first. So it's a pastel purple that I'm using. Again, this color is readily available in my palette. You can simply mix in white to your purple to get tone. Now, this time into my sky, I'm going to have in sharp cloud details. I'm not going to create a soft blend everywhere with the base layer of the sky, so you will see some bold clouds this time. Next, picking up a little of the pink and blending it with the violet clouds that we've added. So that is the reason in the sea area while adding in the Basler color, we added in the pink and the violet blend with the blue already because we were going to have in a lot of cloud details out here. So completely till the horizon line, I've added in one huge cloud. Now at the top space, using the same two colors, I'm going to keep on adding in few more clouds. You want you can vary and add in more color variations. That is, you can add in a little more lighter lilac tone as well, or you can even use a lighter pastel pink color to create some highlights into these clouds. You need not stick to only two colors for the clouds. You can use three to four colors of your choice, but you need to make sure that all of them go well and blend well together with the purple and pinks that you use already. So now using a little lighter pink on the left side here to add in a cloud. So very simple cloud details that I'm going ahead with. Again, in the technique section of the class, wherein I discussed clouds in detail. I've shared all the tips and tricks that you can use to create in the soft blended clouds or such, you know, sharp edge clouds that we are going ahead with. In this class, we've gone ahead with a mix of all kind of clouds. So just adding in a little more detail, you can see using in the two colors, blending them to each other, creating in different shapes for the clouds. I've given in the cloud details. On the left side, I've given the cloud details in such a way that we have that little of the yellow sky still visible. So make sure you keep such small things in mind while adding in the details. So that is it for the clouds. Now let's go ahead, pick up some sap green color and begin adding in the details in the remaining white space first. So I'm just going to create in a simple bush area here. Now into this as well in the center part of it, I'm going to show in the lighter effect with a very light yellowish green colour. If you do not have a yellowish green colour, you can simply mix in a lot of yellow and a little hint of white to your green to create that yellowish green colour. Now mixing in the sabrene with a little hint of black for the bottom side to create in the darker bottom edge, which is moving into the sea. Automatically that will give in that little shadow effect also needed. You can see I'm going very slowly from the outline because as I told you in the center, I'm going to give in the lighter green effect. So towards the bottom of this bush space, you can see I've moved into the water area very gently moving out simple strokes from the bottom space. And then on the left edge, I gave in little black detail. Then again, sabrene now in the center, picking up the light yellowish green color that I have in my palette, adding in your and blending in with the sabrene on the edge. Now, when you go ahead with this blending, go ahead carefully such that you do not make the sabrene overpowering onto the lighter color that you've added. So on the edges, I'm blending in very carefully, giving in that soft blend between the colors automatically in the center, having in a little highlighted spot for the bush area that we want in. Now, after that, let's begin adding in the waves detail. For that, I've shifted into my line of brush using the same blue color that we used for the sea. I'm adding in simple wave details. In each of the class projects, you may have seen, adding in waves is very simple. You just need a pointed tip brush, and you need to just go ahead adding in simple lines. Now, these lines can somewhere be straight, some were curvy, somewhere overlapping each other, some were diagonal, somewhere criss cross to each other. So, you know, there's no specific method or layout that you have for adding in the waves. The, you know, beauty lies in the imperfections when it comes to waves. You can see somewhere I go ahead with thicker wave lines, somewhere I go ahead with a cluster of waves together. All of these adds on to the natural effect of the sea area. Somewhere I use in little darker hints as well to create more depth to the waves as well. So here you can see, I added a few waves diagonally moving from top right towards the bottom left, creating in the curve into the sea area that we are having at the bottom space. Now, on the left side as well, I'm going to go ahead add in the wave details with the blue, and then I will even be adding in little highlights with the pink for the waves on the left side. So pink, I will use one tone darker than the basely of pink that we've used in the sea area so that it stands out on the pink base that we already have in the sea. So I'm just adding in the highlights with the pink on the other side as well. You can see very little tone darker than the basely or pink that we've already been using. I'm using the same wave technique that we use with the blue color, that the color difference to show in the effect of the sky cloud coming into the water area that we want to depict. Now on to the pink waves, going ahead with a little overlapping of the blue waves as well, creating in more depth and details. So we're done with the waves. Now let's go ahead with the details of the palm trees. Now, the pencil sketch for the palm trees is absolutely not visible. But remember, we had added in three pencil sketch, one on the right, two on the left. So I've picked up a brownish black color. It's not exactly black, not exactly brown, so I've mixed in a little bit of black to my brown and use this color. Now at the bottom, I'm just going to blend it into a yellow oka colour to show the deep rooted effect of this tree into the sand area. So just using a dam brush, blended the base with the yellow ochre colour, if you want. You can use a little yellow ochre colour again for touch up. Now going ahead with the next two trees. Now, make sure you do not use a black color here because we are going to add in little texture on top of it. So make sure you use a dark brownish color or grayish color, not exactly a dark black color so that you can add in textures later on with the black and the darker tone onto the bak of this tree. Same way for this as well, I'm just going to go and show the rooted effect into the sand space. Now, adding in the third tree on the left side, and then we'll go ahead with the foliage detail onto these trees. We are almost through the class project. We just need to add in the foliage detail and then create in the effect for the light of the tree. Now, you can see that glowing space that is coming into view in the center towards the second palm tree that we've added. So there we are going to add in that bulb hanging from the tree, showing in that light falling onto the sand space. Now, begin to add in simple foiliage to your palm trees. Again, these also have discussed in detail how you can add in simple foilage or detailed foolage both. When you are going ahead with tiny trees, the quick method falls easier. When you're going ahead with such huge trees, the detailed foliage goes much better with the layout of the painting that you're going ahead with. So using in the sap creen color, I'm going ahead with the details here. Again, for this also, you can vary with the tones of greens. You need not exactly only keep using sap creen. You can go ahead with a mix of greens to create in the depth and the details here. Now, going ahead with the foliage for the second tree as well. Now all of these trees, if you notice, they are not completely in our view. So we only have a few branches of the filage visible. Now, from the third tree that I'm going ahead with, I'm going to add a little foilage overlapping onto the second tree and try to show in little fooliage moving in there. So, you know, overlapping each other, creating in more details. Plus, you can see how quickly I've added in the foolageV simple technique, not much of detailed look that we need to go ahead with. So that is it for the fooliage detail. Now I'm going to go ahead, pick up a little more darker color and begin adding in little texture and effect to the bark of the tree that we've added in. So I'm using one tone darker color. That is the dark brown mixed with black and just added one dark line to the tree on the right side and blending it with the lighter tints. So towards the right, I still have the lighter color and towards the left, I have the darker hints. And now onto the second one, adding in little texture, creating in very simple strokes, giving in a little more detail. Now, on the horizon line, using the black color, I've added a very small tiny mountain range, just a very thin one, not much, you know, a bigger one that we need a very delicate looking. Make sure you do not overlap it onto the palm tree. The palm tree has to be on the face and not behind cut between the mountains. Now using the black color itself onto this second one, I'm just going to create in the darker effect on the edge, giving in more depth and detail, and then create in little texture as well. Then lastly, we'll just be left to add in the bulb detail onto this tree now. So creating in that texture that I told you, putting in simple lines to create the wooden effect onto the back of the palm tree. Now, first, I'll go ahead with one more layer of white into the glowing space so that that can dry out. Again, I'll add in white, and on the edges using in a damp brush, I will blend it into the base that we've already added. Even on the sea side, I need to make sure that it has a soft blended lo. Added a little hint of yellow again on top of it, very little, and now blending it again. On the top, also, as I told you, closer to the sea, I'm going ahead, blending, creating in that soft edge of this glowing space that we are creating. If anywhere you feel you need to use the base colors for blending, feel free to pick up the base colors so that your blending looks smooth and even. Now using the black color, I'm creating in the body of the bulb out here. Okay? So you can see I'm just creating a simple rectangle, and towards the bottom, I'm going to just put out a round shape, and towards the center of this round, I'll add in a white dot to show the light emitting from the bulb. Now onto this light as well, I'm going to create little highlighting spots with a white color. For that, you need to make sure now that the bulb dries completely. So once the bulb is completely dried, you can see I'm going to go ahead with the white details of the bulb. For that, I'm picking up the white colour in a bold consistency, picomes a fresh paint so that I have the thick consistency giving in that opaque look. Now, I'm just going to go ahead and add center of the circle out here to show in that light emitting from the bulb, which is being reflected on the sand area where we've created in that glowing spot. Now using in little white color, I'll just create little outline to the bulb just at certain places so that we can have a three effect to the bulb also peeking out from the back of the tree. Otherwise, since the tree is also dark and the bulb is also of the black color, you can see both are merging into each other. So just very light white highlights, you can see, and it gives in effect, trying to show that three D effect of the bulb hanging out from the tree. Now, I'll just add a little more white effect to the light of the bulb, and then we'll be ready with this class project for day 22. This is, again, one of my favorite paintings because of the glow that comes at the sand space of the light that I needed. Plus, this painting I have already painted with watercolors in one of my class if you've been following me. So recreating paintings with different mediums is one of my favorite things to do. And now you can see the reflection of the light falling onto the sand area and the bulb details that we've given. So that is it. We are ready with our class prochq. Let's begin to remove in the masking tape and see a final painting. Make sure that your edges are completely dried before you begin to peel off your masking tape. So just peeling them off against the paper so that I do not lift up the paint or tear off the edges. So here's a closer look at our painting from day 22, the bold clouds, the details of the green bosch, the wave details, the color mixes that we've used, and the glowing spot of the light being the highlight of the painting. I hope you guys enjoyed painting this with me today for day 22 of this class. I will see you guys soon into the next class project till then, make sure to keep uploading your class projects and happy painting. 31. Day 23 - On the Roads: Hello, everyone. Welcome back to Day 23 of the 30 days of quash. Today, we are going to go ahead and paint in a beautiful roadside view landscape. It's going to be a simple painting that we'll be going ahead with So the pathway area is going to be very small at the bottom side. I've marked the horizon line, and underneath that, I'm giving in the pathway detail. On the left and right, we'll have in the greenery details, and this center part will be the pathway, and the top is going to be entire sky. So we'll first begin in with the sky and then move on to the other details. The details below the horizon line are going to be very simple and quick. Plus, we are going to give in a glowing light effect, trying to show in the lights of the car out on the pathway. So first, let's begin in with the sky now. So for the sky, first, I'm picking up a pastel purple color. Now, for this color, you can simply mix in purple and white. I have added in a very small tinge of black to give it that little grayish purple tint. So just a very small tint, like 0.1% ratio, I would say, of black compared to the purple and violet, adding it at the top of the sky first. Now, next I'm going ahead with the peach color. I've already shared multiple times the mix that you can create for this peach color. You just need to add in a very small tinge of red pink, sorry, red, orange, a little tinge of yellow, and a lot of white to get a peach skin tone. So again, now, make sure that your white proportion has to be a lot because you can see the peach color is very, very, very light, almost equal to a white tone with very little hints of the yellow, orange, red color mix. Now I'm going ahead with a little darker peach tone. That was a skin tone previously. This is a peachesh tone. For this, you can just mix in simple yellow red, orange. If you want, you can skip yellow, orange red with white, and you'll get that tone. And now at the bottommost space, I'm going ahead with a beautiful bright yellow color and blending all of these well with each other. And towards the bottom side, I have picked up the yellowish orange color. For the yellowish orange color, you can mix in orange, yellow and white and create in this color and blend it all well with the yellow at the top of it. Now, define the horizon line well. Make sure you do not run into the bottom space under the horizon line. So we are done with the pace of our sky. Now we are going to go ahead, add in the cloud details. For that, I'm picking up the gray color, sorry, the purple color again that we used into the sky. Just I'm going to keep it one tone darker than the base layer. So you can just add in a little hint of the violet or the black to create this grayish violet color again, which is one tone darker than the base layer and begin adding in simple crowd structures. I'm using my smaller size Pilbard brush. You can use round brush, flat brush, mop brush, whichever is available and whichever you are comfortable with. Now, I'm going to pick up the lilac color, which is basically, I'm not going to add in the black tint to it this time and using this violet color, I'm going to begin adding in the cloud details towards the bottom side of the sky. At the top, I added it in the grayish tint. You can see the difference when I'm laying down the clouds closer to each other. So with the lilac color now, that's a pastel violet color that I'm using, not exactly a lilac color. I'm blending in with the two clouds that we already added and adding in some smaller cloud details further moving towards the bottom side. So on the left here, you can see I've created this cloud, a big huge one with the tones of gray blending in with the grayish violet tone and the violet tone as well. And moving towards the bottom side, I'm going to, you know, keep in the clouds very small and tiny, but a lot of them close to each other. So you can see, as I'm moving towards the bottom side, I'm just adding in very simple dry brass strokes to create in the cloud detail. Majorly at the top of the sky, we've given in the detailed clouds with different tones of the purple colour, grayish tones, lighter tones. Now I've picked up the light gray color. It's a pastel purple in my palette and adding in some highlights with this onto the clouds. For this, you can add in more white to your violet mix already that you're using for the clouds and create this for the lighter tone, as well. Now, towards the horizon line, I'm going to show in the sunset effect. For that, I've picked up the bold orange color, and I'm going to add in some subtle cloud details towards the bottom side. So make sure you use in a pointed tip brush. I'm using the tip of my filbert brush. Since this is a smaller size brush, I'm able to use the tip in a thin manner. Make sure you use the right brush so that you get in these details right. So adding in these bold sunset color effect towards the horizon line. Added a little towards the gray cloud in the center as well. Now blending it into the base layer using in the damp brush. If you want, you can pick up the pastel or orange color that you used for blending in so that you have that soft smooth blend, but still having those darker highlights visible. So I'm blending it in such a way that it has the soft edge, but still it has a visible look with, you know, base lear color. So I have picked up the pasteler colour, blending it and making sure that I still have the cloud detail of the darker highlights. Now, next going to pick up a very bright yellow color and going to add a little of it on the right side here towards the bottom side to show in that sunset effect in between the dark orange and the light orange highlights that we've added closer to the horizon line. Now, using the bold orange color, just adding little more highlights closer to the yellow, blending in all well, then I will use a light pastel yellow color and add in little highlights on the purple clouds at the top, and we'll be ready with our sky for the class. So just adding in little highlights, you can see very soft strokes, but still having in the distinctive look. Using this pastel naples yellow kind of color and going to add in little highlights here. Make sure you use a yellow with the white in it so that when you blend the violet and the yellow, you do not get a muddy tone. If you will use a direct yellow color, then blending it with violet, it will give you muddy tones. So make sure you use the right mix so as to avoid any uneven or unpleasant tones in between. So we are done with our sky. Now, let's go ahead with the details of the greenery. For that, I've picked up the Saprine color, and I'm going to begin with the right area here. Now, just like in one of the previous class projects we did, towards the top side, I'm going to keep it green, but towards the pathway side, I'm going to keep in the darker color to show the shadow effect for the pathway. So there I'm going to use in a dark color. You can either mix in black to your green or directly use in a darker green color for blending or, you know, add in black directly and blend it with the green. I first added a little lighter green along with the sap green, and now towards the edge, I will add in the darker green color. So for that, I'm just picking up the black color. I'm going to add it onto the edge of the pathway line where the greenery and the pathway meets. And I'll blend it with the green color using the basely of green again. So you can see a darker effect that's coming in that will act in as the shadow effect that we needed. We followed the same technique in the day 21 class project, if you remember. Same way, we are even going to quickly do the same thing onto the left side as well. You can see I have the light green, sap green, and then the darker edge visible. So before moving on to the left side, I'll first pick up the gray color and add in on the pathway. Again, for the gray color mix, you can just mix in black, white, and a little hint of brown or a little hint of blue to get the grayish tone. Now, you can see it's a grayish color, not a black color that I'm using. It's a medium to dark tone, not too light, but it isn't even too dark, like a blackish tone. In between, I've picked up a little of the lighter one as well to blend in with the gray so as to show in the different highlights onto the pathway as well. Now, let's go ahead with the left side area. Same technique that we followed on the right side, sap green, light green, and either a dark green color or a black color that you need to use to create in the details here. So I added the sap green color, then the light green color, and now adding in the black, blending it with the green across the line of the pathway to show in the shadow effect. Make sure that if you do not have a light green colour, you can mix in yellow with your green and create that lighter green colour. For blending, as I always tell you, you can pick up the previous color to blend in so that you have that smooth transition happening in. Now, on the right side as well, I'll just blend little darker tones more on the edge and blend it with the greens perfectly. So we are ready with the base. Now we have to add in little details on the horizon line, and then we'll be adding in the car highlight that I told you, showing in the glowing light effect of the car this time. Now, let's begin adding in the details on the horizon line. So first, I'm going to pick up a lighter gray color and add in two tiny house details out here on the right side. Very simple silhouette, no much detail. And then through the horizon line, we are going to add in simple tree details we're using in the black color. I'm lightening my gray taint by adding in more white to it. Again, I have a very light green, my palette readily available, but since I already had the darker gray for the pathway, I'm mixing in white so that I can reuse that color itself. So added two tiny house details out here on the right side, as I told you. Now, I'm just going to go ahead with the further details. Now, to distinguish, I used a little hint of the black color and created that little cut effect in between the house that we've added. I'll just add in a little more details with the gray color, a few more houses, and then we'll go ahead with the next detail. Now for distinguishing each of these, you can use little darker tint lines in between to create a separation line for each of them. So I'm just adding these, and then I'll just use a little darker gray hint or a black color to just set distinction points for each of them and show in that little three d dimension. So using the black color and the pointed tip, I'm just adding in simple lines on the edges, you can see. This is giving in that three d dimension and a separation to each of them, despite being of the same color close to each other. Now, first, I'll just add in the first layer for the glowing light that we are going to add in. So using in the white color, I'm just going to create in two small circles and using in the damp brush, I'm going to blend this out there and create the first dull layer for the light effect that we need in. So very small ones because we are showing a far off car headlight, so we do not need bigger circles. Make sure you go ahead with proportion of the size of your paper. Now using the plaque color and the point tive brush, I'm going to begin adding in the rest of the details on the horizon line. So very simple details. As you can see, I'm just pulling out simple grasstkes, simple bushes. Somewhere I'm just pulling out some grasstkes and towards the bottom side, adding in the details with the black color filling in completely. Now, make sure in front of the houses that you've added, you add these in such a way that from behind the houses are still visible. Otherwise, it would have made no sense to add these. So you can see in front of the house, I'm adding them in very small tiny pieces. Same way, continuing towards the left side as well, adding in the bush detail. At the top, I'm diving in the tip of my brush, creating in that bush effect. And towards the bottom till the horizon line, I'm filling it completely with the black color. Now, in between, you can even go ahead using a blend of some pine trees or some palm trees as well with the bush. I'm going to add in a little more bush detail and then see if I'll go ahead with some pine trees or palm trees. Now, before moving further, I'll add in the second layer for the light because the first layer has dried out. So the reason why I'm breaking things in between is so that we do not have to later on wait just for one element. So now I've added little orange dots in the center off to the white dots. Again, using the damp brush, I'm going to blend these and create in that dull space. So this is going to be the second layer for the glowing effect that we need for our lights. Now back to the black color using in the pointed tip of my brush, I'm just adding in simple pine trees. We've discussed this in the technique section where I show you the simple spiky strokes that you can add to create in that look of the fire of pine trees. And you can see I've varied the heights of the bush throughout. I've not kept them of the same length throughout. I've tried to vary them with every segment. Now, on the left edge here, I'm adding in one pine tree, so a huge pine tree that you can see, I'm adding on the left edge. So now just going to add in simple foliage quickly. We're almost through the class project, a little more details onto the pathway and a little detail on the horizon line, and we'll be ready with our class project for day 23 as well. I'm just going to give a little more depth to these bushes at certain places, increasing the length randomly wherever I feel the need to. In between, as I told you, I'll just go ahead add in a few of the pine trees randomly at spots where I feel that I should, again, here on the rightmost edge in front of the house that we added, adding in a small pine tree. You can see I'm adding the details, still making sure that the gray houses are visible into the background of the bushes that I'm adding. Now, using a pastel orange color, going to add in the third layer for the light spots. So I've added in those light dots. Now going to use a dam brush, blend this again. Now, for the glowing effect, we want a very bright glow, and then in the center, we'll be adding in the light effect. So across the glow space that is there, we need the yellowish orange color to depict the light effect. Just dropped a drop of water, so just cleaning it up quickly. Now using a bright yellow color, I'm going to add in the glowing effect further. As I was telling you, I want a yellowish orange glow effect in the background and a bold white light effect coming from this glowing area that we are creating. That is the reason I first went ahead with a layer of white, then different shades of orange, building the glow effect one by one step by step. Now, till this layer dries, I'm going to use my liner brush and the white color and add the rest of the details onto the pathway. So using the white color and my pointed tip brush, I'm just going ahead and adding in very fine lines onto the edges, and onto the edge also, I'm going to add in small dots to depict some light moving, you know, across the edges of the pathway as well. So you can see I'm using a very fine tip brush. If you're not confident about adding in these details with a fine tip brush, you can use a white gelpin. Now I'm going to go ahead, add in the light details as I told you. So just simple white dots that I'm adding across the, you know, corners of the pathway, trying to show in that pathway effect coming in with these lights, very simple dots onto the white line that we added in. Now, in the center of this light as well, just going to add in simple details of the pathway, and then we'll just add in the last layer of details for the glowing light that we want. Now to the light, let's add in the final detail. I have picked up a very light pastel yellow color, and I'm just going to add it onto the center again and see if I'm getting in that perfect effect or I need to add in more layer. So make sure that your previous layer is completely dried before you add in this. So now in the centermo space, I have added in this bright yellow you can see. Or if you do not have such a bright yellow, make sure to mix in a lot of white to your yellow. You just need a little creamish hint to your white, basically. So that is it. You can see the light is glowing and around it, we have the yellowish orange effect. Make sure you peel off the masking tape against the paper and only when your edges are completely dried. So here's a closer look at a final painting from day 23. You can see the glowing effect of the light. In the center, we have the bold yellow light, and across it, we have that yellowish orange glow effect of the light and simple details into the sky and a simple pathway painting. I hope you guys enjoyed painting this with me. I will see you guys one into the next class project. 32. Day 24 - Let the Street Glow: Hello, everyone. Welcome back to day 24 of the 30 days of Watch. Today we are going to be painting yet another beautiful pathway painting. So I'm going ahead with the basic pencil sketch first. I have marked the horizon line a little below the center line this time and marking out the pathway space. This time, the pathway is going to be different. It's moving from the bottom left towards the top right side, and it's quite broad, as well. And it's diminishing at the horizon line point, you can see. On the left and right, we are going to have in the greenery details again this time as well on the pathway, this time we are going to show in the street light glowing effect. In the previous class project, we went ahead with a glowing car highlight effect. This time we'll be adding in the globe because of the street light that we'll be adding here almost in the center space. First, we'll begin with the sky. It's going to be almost equal to a night sky that we'll be painting in. So first, I'm beginning in with this grayish blue color. Now, again I have this color ready in my palette You can simply pick up serlee blue with a little hint of black and white and create this grayish blue color, add it at the top, and then we'll bend in with some hold pink colours into the sky. As I told you, it's almost a dark evening night sky that we're going ahead with. In the previous class project, we went ahead with a bright sky color combination. This time, it's a night sky. The glowing effects will also be different this time. Now, next, I've picked up one ton lighter blue of the grayish blue color that I have. You can simply mix in more white to your mix to create the further lighter tone. Now, adding in the pink color. First, I've added in this light pink color. Now I've picked up a bright pink color, added a very little hint of eight and going to blend in with the light pink, and then towards the bottom side again, I'm going to pick up the blue tone and blend in here. So towards the bottom area, I've again picked up the same blue color that we used at the topmost pace and blending it with the pink, you'll automatically get lids and violet tones in between because of the blending of the blue and the pinks together. So we are done with the base of the sky. Now I'm going to begin adding in details of clouds. So for picking up the blue, I blended it on the right side. Now I'll shift into a smaller size filbert brush, and using in the pink color, I'll begin adding in some highlights into the sky and then using the blue, creating in some details. I'm going to go ahead with very soft details for the clouds this time. In the previous class project, we went ahead with bold clouds, as you can see, or almost with those rough edges. This time, I'm going to go ahead with soft blends. So going to add in the colors and heap them on blending into the base layers quickly. Now using the blue in a little darker consistency, I will begin creating in some highlights over the pink tones that we've added. Now you can see I'm going ahead very crisscross and giving in the soft blend to create in the soft depth this time. Now, just adding some last darker strokes from the right edge with the blue color and we're done with our pretty simple details into the sky this time. Now next we'll go ahead with the next details at the bottom of the horizon line. I'm going to begin in with the pathway first. So into the pathway, I'm going to be using in the born sienna color. Now here at this side, we are going to have in the glowing spot. That is our street lamp will be towards the left side here. And from there, we'll be showing the light reflection falling on the pathway. That is the reason in this spot first, I'm adding in the burn sienna color into the base layer. Now I'll pick up a little of the darkish grayish brown color and add it into the rest of the spaces. For that, I'm picking up the dark gray color, and I have added in a little hint of the burnt umber to the gray and going to add it into the rest of the space with this grayish brown color. Now, towards the top, I have picked up the darker tone by adding in little hint of black to the same mix, or you can simply pick up a dark gray color and add, and we need to blend all of these. At this point, you can see I'm just adding in these details. They are not well blended with each other. So now I'm just going to use in a damp brush and keep all of these blending. I need to just make sure that the brown colour is having in that spot because there we want to create in the light effect of the glowing area. So if you want for that blending, you can pick up the lighter brown color again and then go ahead blending. I'm picking up the dark gray and going to begin blending on the edges, giving in more darker depth, just giving in that lighter spot in the left edge of the pathway that we have. So now I picked up the same brown color for blending and you can see I picked up a little hint of orange as well. So I just mix the brown with the orange on my palette to create further lighter glowing spot. Now, with every layer of the color that you keep adding, you need to blend the edges with the base of the grey color that you have. So I again picked up the gray colour and blended them. You can see slowly we are beginning to get in that glowing spot on the pathway, trying to show that orange light effect on the pathway. Now I'm going to pick up a little of the bright yellow color and create a little more glowing spot with this bright yellow color out here and blend it with the orange and the browns that we added. You can see with every layer, the brightness is coming to life. Just that while blending, be sure you can see as soon as I laid the yellow colour, little of the edge brown black colour got lifted on my brush, so I need to keep cleaning my brush in between before picking up fresh paint. So I added in the yellow highlights. Now I will quickly go ahead and blend these onto the edges again using the grayish tint. Now, I'm going to pick up a grayish blue color and add in the first layer of mountain on the horizon line. Maybe we'll add another one, I'll see. It's going to be a muted tone of the gray color of bluish mix. So I have the bluish gray on my palette to that and adding in little white and a little tinder flare to create that muted grayish blue color. It is almost going to be like the sky color, but just 1% darker so that it stands out distinctively. You can see it is that grayish blue color, but still it's visible distinctively from the sky. You can just mix in the black, white, and your blue color in a proportion and try to get a similar mix. Of course, the blue and white will be more as compared to the black because it's a mute tone that we are creating in. Now using the darker color, I'll just add in little highlights randomly onto this as well. Now, next, let's go ahead, pick up the green color. I'm going to pick up the random green color that's on my palette, mix in a little more of the sabren and into the entire white space, we are going to begin filling in with the green colour. At the top, I'm going to create in simple bush detail overlapping the mountain as well, and towards the bottom side, I'm going to fill it. And as I move towards the pathway edge, I will add in little darker highlights using a mix of black or green or a dark green colour if readily available. Now onto the left side, I will have to add in a little lighter green first closer to this light spot because, of course, the light will also be falling on the greenery area. So even the greenery needs to have that bright effect where the light is falling in. So I've added a very bright green color out there, and now in the rest of the space, I'm going to add in the satin and the dark green color and blend all of these. I'm just adding in a little of the yellow aqua highlight as well this time. Now, if the yellow light green colour gets completely hidden while blending, you can again add it on top of it and blend because quash is an opaque medium, and you can simply overlay again and blend in and create in those highlighting spots. So I've blended it with the greens. You can see I've tried to maintain in that lighter green spot, but I will still further add in little lighter green in the center to give in that glowing light effect falling in there as well. Slowly, when we add in the street light, you will see all of this coming well together. Using the yellow ocher, I'm blending in here, creating in that lighter effect just above the space where we've created in the glowing effect on the pathway. Now using a dark color on the edges of the left side as well, I'm going to create a little depth giving in that shadow effect. Using the black color across the edge of the pathway and towards the edge of the greenery space, going to blend it with the greens. I've just added it now and using the greens, I will blend all of these well. So even on the right side, I'm going to add in a similar effect across the pathway line and then blend in. Now on the left side, you can see that light green spot has hidden completely. So once this dries out a little, I will again pick up a little of the yellow ocher and the light green color and create in that glowing spot till then finishing up the details, giving in the darker depths at the bottom on the right side, and blending it with the help of the sabcren color. So on the edges and at the bottom of the pathway, we have got the darker tins. Now using the light green, adding in that glowing spot again, and I'll pick up a little of the yellow ochre as well and blend in all of it here. So blending the yellow ocher with the light green, we've again got the glowing spot. You can see adding in little yellow as well if needed. So as I told you, Quash opaque medium, you can overlay and work again if you want to correct anything or if you want to add in further details while blending or after blending. Now, using a little darker green tint, I'm going to begin adding in simple bosch details on the right side first. Using the tape, dapping in, creating in simple texture, going ahead with different lens as you can see, Now, as we keep towards the left side, I'm going to keep on adding in simple pine trees, and then on the leftmost edge, I will just create in a simple bush detail if needed. So let's go ahead. This time, I'm not going to take the pine trees too much tall because we are going to add in a street pole, which will be tall enough and having in the focus of the painting. So I do not want to divert the focus onto any other elements, so want to keep them minimal and, you know, in length or in size with the painting size that we are going ahead with. So moving towards the left, I've added in some smaller bush detail and blending this into the base of the green that we have across the pathway. Now on the leftmost edge, I'm just going to add in some bigger detail of the green color at the top again, creating in simple foliage detail, daving in and then towards the bottom space, going to fill it with the blend of the Saprine and a darker green colour. So towards the outer sides, you can see I'm giving in the detailed look and towards the bottom space, I'm just filling it with the dark green color that we've created. I am randomly mixing in blacks and greens which are on my palette. You can simply keep on reading the tones of greens that you wish to. Now using in a little of the black, I'm going to add in some darker depth here. Now, as I told you, keep on wearing the tones of greens, whatever available in your palette, create your own mixes if you wish to, as I have been doing to reuse the colors on my palette. Now I'm just blending all of these into the base layer of the pathway, using the darker color again. Again, at this point, if you feel after blending, again, the glowing spot has disappeared, you can again go ahead, pick up the paints and add in. But I made sure that I do not disappear the glowing space this time, I added in and used a damp brush and blended it with the glowing space. Now, let's go ahead adding the street light detail. For that, I've shifted into my liner brush using the black color. I'm first going to begin adding in the pole details. So it's a very simple thin pole that I'm going to add in and then pull out the hand for the light and add in simple yellow light detail, which is reflecting the shadow or the light effect on the pathway. Now, you can see as soon as you've added the pole, you can begin to imagine the effect of the light that's falling in the greenery space and the pathway, the details that we've given for the glowing area. One more thing if you're not confident about adding in these pol details directly with the brush, you can first use a waterproof black pen, add in the details with that and then if you wish to, you can give in an overlayering with the black color again. Now on the right side, I'm adding in a simple light, which is going to be a silhouette not light details that we'll be adding in there and adding in some simple lines and poles detail randomly in between the greenery spaces that we've created. So electric poles, some simple elines. So added in simple violins on the right side and now on the left, also adding in simple details. As I told you, all of these, if you want, you can go ahead use in a waterproof black pen. Make sure you use a waterproof pen because in case if you have to overdo any of the things, then quash is a water based medium, and if your pen will not be waterproof, all of these details that you add in with the black pen will begin to spread out, creating in black patches onto your painting. Or if you're adding in directly with the black pen, then it's perfectly fine. Adding in one more pole out here and adding in simple details to these poles, creating in that electric pol structure. So I've gone ahead with a very simple so heat for this electric pole. Now I'm going to pull out some violins from this pole as well and adding in some simple spring structure connections in between these details also that I've added. I'll give you a close overview once we are done with all the details into the painting. Now, pulling out simple lines from this pole that we added towards the right edge. Now, using the brown, I'm going to create a little of the shadow effect onto the, you know, pole as well. So you're just using the brown, adding in light effect on front of the black line that we added. So this will automatically show the effect of the light or the shadow of the light falling onto the pole as well, giving in that glowing space on the pole handle here. So these are simple details which make it more realistic. Now using in the yellow color, I will add in one more thin line in front of the brown. So we have a very fine black line, very fine brown line, and now a very fine yellow line. Yellow will be the shortest, brown second and black is oncomplete. So only in the center space of the pole majorly, I've created this glowing effect or the shadow effect of the light falling onto the pole as well. Now, using in the white and yellow, I'm going to create in that glowing spot for the light, as well. So that will be the first layer for the light. I missed out, we should have first created it previously only. But make sure when you're doing this, if you use a black color, while blending or creating in that glowing spot, do not reactivate the black color. Otherwise, it will give you that blackish effect out there because, again, gouache can easily be reactivated. So after white, I've added in a little hint of yellow and blending that as well and creating in that glowing spot. Till then I'll quickly add in a little more details onto the pathway, and then we'll add in the final light detail. Now, using the white, I'm beginning to add in the details on the edge. So I'm just using in my line of brush and using the white, adding in simple details on the edge of the pathway. Very fine, tiny details that I'm going ahead with. Same way going to go onto the left side as well. Now, you will notice that giving in that perspective view, the lines which are closer to us have kept them a little tall, and as I'm moving towards the center diminishing line, I've turned it lighter and smaller in length. I guess I'll go ahead and connect all of these lines. I'm not king this broken line effect that I've gone ahead with. So I've just quickly picked up some white color and blended all of those lines that I added and created in the simple line. And now in the center, I will give in these a small line effect and the detail. So very simple, you can see how you can go ahead and overlay details again and give in more detail as per your wish or correct the details as per your choice. In case if you had already added in the single line and wanted to give in these small line details, you could again use the brown overlaid or the base color that you used for the pathway and then give in the details again. Now, using in the yellow color, I'm going to add in the final light detail a bright yellow light effect that I'm adding out here. Now you can see the light and the effect coming onto the pole and the pathway and that little highlight on the greenery space. All of the details put in so well to each other and creating in so much realistic effect. Now, across the light, I'm just giving in a very fine orange line to depict more of that glowing effect of the light out there. If you want, you can blend that using a dam brush, but be very careful because of the baseler colors and the black color that you already have. So that is it. We are ready with our class project. I love, love, love how the effect on the pool and the glowing space on the pathway has turned out. Simple details, simple techniques, but so much more depth, especially the pole, if you see it's giving that perfect glowing effect of the light falling in there. So here's a closer look at our painting from date 24. You can see the effect on the pole, the details in the pathway, the greenery light glowing effect. Then the simple details of the electric pole that we've added, the light effect on the pole with the browns, the yellows, the light green in the greenery space, trying to show in all the reflection of the light, giving in that detail of the effect on the pathway, greenery space and the pole. I hope you guys enjoyed painting this one with me. I love creating the glowing spaces in this one, plus something new to learn for each one of you. Thank you so much for joining me into this class and painting along with me. 33. Day 25 - Blue Sea: Hello, everyone. Welcome back to Day 25 of the 30 days of quash. Today we are going to go ahead with a very simple monochrome painting. So I'm first marking out the horizon line. It's going to be a seascape painting. We are going to go ahead with the tones of blue and create in simple details. For the class project for day 26, as well, we'll be creating another monochrome painting. But let's first go ahead with a class project for today. So first, let's begin in with the sky. Now, we are going to be working in with the tones of blue, as I told you. So first, I've picked up a light blue color. Now you can mix in a lot of white to your serle blue or cobal blue and get a similar tone and add it into the entire sky space almost. Now the sky will be of this simple light color. But when we begin adding in the silhouette from the left and right edges, we'll keep on waving the tones of blue. To this blue, you need to keep on creating darker tints. For that, you will have to keep on adding the base blue that you're using with the white, or you can keep on adding blue with a little tinge of black to give in that grayish effect to your blue if you wish to. Oh Now, a C is also going to be of the same color. As I told you, we are going ahead with a monochrome painting. So I'm going ahead painting in the base layer for the C as well. Then we'll begin adding in the details. So basically, a monochrome painting is where you use one color and keep on creating tonal variations with the help of white and black and create the entire painting. So on the left and right, we are going to give in bush details. And for that, I'm leaving in the space out here. And I'm going to begin pulling out the darker edges already into the sea. So on the left and right, I'm beginning in with the darker tones. I've picked up one tone darker color. Now I readily had this color on my palette, but you can again, keep on wearing with the help of white and black in your paste color palette. So say if you're using serlein blue or cobalblue with a mix of white, you can keep on adding more cobal blue to keep on creating in the darker tins. And after a certain point, you can even keep adding in little tine of black to create the darker tins. And for the lighter hints, you can keep on adding more of white. So from the edges, I've added in one layer darker color to begin adding in the depth. Now I'm going ahead with further darker tone. So again, I have this third darker color also. But in case if you want, you can just add in a little more hint of the black color and the blue colour to create in this darker tint. Now, using the smaller size brush, you can see I'm pulling out smaller strokes from the edges towards the center side, making sure that all the three colors that I've used so far are visible and giving in the details. Now, with every darker tint that you go ahead with, make sure that the lighter tones are visible. Now, this darker tint, you can see, I'm adding some random strokes in the center as well, creating in some S wave details. So but I'm making sure that all the three colors of the blue colour that we've used so far are visible because we need to be sure and given those lighter effects also visible because the sky is going to have the fooliage detail with these different tints, as well. Now, let's go ahead with the first layer of foliage into our sky. For that, I'm going to pick up the second darker tint than the base layer of the sky that we use. Okay, and going to just use in this spoiled round brush and create in simple foliage by dabbing in and creating in simple foilage detail. We've discussed how we add in the quick bush detail, the same thing I'm following in here, and then we'll add in some detailed foilage effect as well. So on both the left and the right side, leaving a little space in the center, I have added in this spoilage effect with the first layer of the color. Now I'm going to go ahead with one tone darker color of the same color family. As I told you, you need to go ahead and keep on mixing in different tones and different create in the different tints that you need. If you're using cobalt blue, keep on it adjusting the proportion of cobal blue with the help of black and cobalt blue along with white. If you're using serle blue, keep on it adjusting it with the serlean blue color. You can even use Prussian blue if you wish to and create in the lighter and darker tints with the help of black and white. Now I've picked up this second darker tint and beginning to add in the second effect of the foolage. Now again, I'll make sure that the first layer of foilage that we added is still visible from behind of this. Same way, adding a little onto the left side as well. I've left little spaces still because there we'll be going in with the third darker tint to add in the last layer of the foliage. Now picking up the darkest color, I've added a little hint of black to my base color so that I get this dark grayish blue color. I'm beginning to add in the details on the edge itself. The technique here is very important that you keep your brush damp and dry and only lift up little paints because only then you'll get this dry brush effect of the foliage. If you will have a lot of pigment or a wet brush, you will begin to get in patches of the color instead of getting this simple detail. Now at the bottom here, I'm just going to blend it with this light color and add in a simple tree branch later on, trying to show that all of this fooliage is coming out from a tree. On the left side, we'll still go ahead add in the detailed foliage with the darker bluish gray color that we've created and added on the right side. So same way, adding in the foolage detail onto the left side as well quickly and then going to go ahead with the next layer of details. So done adding in the detail with the darker color on the left, as well. Now I'll begin using in the first lighter tone and begin adding in some detailed foliage using in the tip of the brush. So simply dabbing in using in the tip, creating in some simple detailed leaf details. If you want, you can keep all the three colours separately on your palette so that you do not have to again and again mix the exact same shade to add in the detailed as well. Since I readily have the different tones on my palette ready, so that is the reason I kept on adding in detail by detail, going ahead step by step and not kept any extra color on my palette. But since in case, if, you know, you are mixing your own colors, I would recommend that you keep the colors separate. The lighter tone, the medium tone, the darker tone, create in three tones, already swatch them out so that you have enough of it. Plus you know which colors you are going to be using in. Just adding in simple detail, pulling out simple leaves from the foliage that we've added in. Now, same way going ahead onto the left side as well, adding in some simple detailed foolage effect. Then we'll go ahead with the next layer of details into the sea area as well. Now, using the darker color, I'm going to add in some detailed foilage onto the third darker color that we had used as well and add, Okay, I just slip my blush, but no problem, I'll correct these mistakes as well. Again, you know, such mishaps happen, but with quash, you can easily correct all of these, as well. Now tabbing out some darker tints out here. So very simple technique, giving in some detailed foiage effect with this darker color as well. And as I told you, towards the right side, we are going to add in a simple tree bark detail as well. So just pulling out that simple detail and pulling out simple branches into the foliage that we've added at the top, trying to show that all of this is coming out from a huge tree out here on the rightmost edge. Towards the bottom part, just added in the foliage with this darker color to show in that rooted effect to the tree that we are adding in here. So very simple details, but gives in so much more realistic effect to the painting. Same way, just going to go ahead onto the left side, add in some detailed foliage effect. So on the left side as well, I've created a small tree like structure with the fooliage that we added, gave in that little stem detail in the center, pulled out some branches, and towards the bottom space, added in simple foliage detail. Now, I need to correct the mess that had happened by the slip of my brush. So I'm going to pick up the lighter tones and blend that while we begin adding in the details into the sea area. Now, first in the center of the horizon line, I'm going ahead with the dark tone, adding in simple bosch detail in the center as well. We are going to add in a moon into the center of the sky, so we'll show a little reflection of that as well falling into the sea area moving ahead further. So I've taken up the foliage towards the left tree almost now using in the lighter color, blending in that mishap that had happened, sing in the lighter tint, you can see no one can say that the brush had fallen and there was a paint patch that had come in. So simple effect, you can go ahead and blend in again. With quash, it's easy to correct your mistakes as compared to watercolors or acrylics, because with watercolors, it will be very difficult to, you know, overdo unless and until you want to use in darker tones. But with quash, you can even use lighter tones to correct in the details. Now going ahead with one more darker tint that we used in the filage at the top spaces. And using that darker color, I'm going to add in little detail into the sea area as well, creating in little wave detail. Make sure it's not too dark, so I'm just getting in the right tint because I had added in little black to that. So you can see it's difficult for me also to get the similar color tone. So that is why I recommend that you keep the color mixes ready and separate so that you can use as much and wherever needed. Now, you will see again, this darker detail that I'm pulling out is much less as compared to the previous details. So the lighter color had the maximum space. The second darker tone had lesser space as compared to the lighter one. Then the third darker tone had much lesser space, and now the darkest tone has further lesser space. So slowly, when you keep on reducing the space or length of these detail, automatically, you'll have in all the colors visible. That's the technique to be followed here. Now, in the center, adding in simple waves effect with the darker tint, as well. Now, towards the bottom side, the space that we've left in without waves detail, there I'm using a dark grayish color and adding in simple foolise detail. So this also, if you want, you can use a very dark bluish gray color, but I'm using a darkish gray colour with a little hint of the blue in that as well, and going to fill it completely, creating in simple bush detail. Now, in the center, I'm picking up the blue color and going to blend in with this dark grayish color that we've added, adding in the blue and blending all of it well. So onto the entire dark gray patch, I'm adding in that blue highlight such that we have a blend of the grays and the blues. A very dark color, you can see. It's the darkest in the monotone family that we are going ahead with. Now, using the same dark bluish gray mix, I'm going ahead with my line of brush and adding in simple grass details from this bottom bush area that we've created. So I've mixed in the dark blue with a little hint of black, matching my base layer bush effect color, and adding in simple strokes to act in as the grass details coming out into the water space. So I've gone ahead with simple strokes, just moving randomly left to right, right to left, no specific structure or way to follow in giving in simple details, creating in depth. Now, randomly in between, I'll just add in some thicker strokes as well to give in a little more depth and create in more detail. Somewhere pulling out some longer strokes as well. You can see all of this is coming out so well together. After this, we'll be left to add in the moon and a little reflection highlight of the moon as well into the sea area. So now let's add in the detail for the moon. For that, I've been picking up the white color and using the white Alphas, create a simple glowing space. Now by now, I'm sure you may have learned how to create in the glowing spots for the painting of moons, stars into your galaxy for the glowing effect of the lights, the street lights, the car lights. It's the same technique that you follow the placement or the size may vary depending on the type of object that you are adding in. Now, I'm just going ahead, adding in some highlights with the white colour into the sea area. So using in the white in a bold consistency, just creating in simple dots and lines into the center space to show the moonlight effect falling into the sea area here, make sure that you use the white in a bold consistency so that it stands out and is visible perfectly. Now, to the moon, let's add in the detail. So I'm just going to dab this with my finger tip and create in that glowing spot. All right. So dabbing it, creating that dull space for the moon, I forgot to create the dull space, so quickly using the finger technique to dry quickly. Now using in the white colour in a bold consistency, going to add it into the center space to create in that moon effect. Now the moon size will be smaller as compared to the main glowing space that you are creating in. So I'm just creating in the glowing space perfectly with the brush again. And I'm just adding a little hint of the blue as well on the edges and blend it well into the base of the sky. Now, using the white in a bold consistency, adding the moon in the center, it will be smaller compared to the dull space that you've created. So you need to keep the size and proportions in mind while adding in this detail. So that is it. We are ready with our class project for day 25 as well. Let's remove in the masking tape and see a final painting. Make sure to peel off the masking tape against the paper and also make sure that you peel them off only once your edges are completely dried so that you do not tear off the edges or lift up the paints from the edges. So here's a closer look at our painting from day 25. I hope you guys enjoyed painting this monochrome painting with me today. So you can see using a single colour as well, we can create such beautiful landscape paintings. I will see you guys soon into the next class project. 34. Day 26 - Magic of Black: Hello, everyone. Welcome back to Day 26 after 30 days of course Challenge. Today we are going to be painting another monochrome painting. But this time we'll be using in the shades of black and gray to create our beautiful monochrome landscape. So beginning in with the pencil sketch, I'm just marking the horizon line and towards the bottom space, I'm marking out the pathway. We're going to have a very night kind of a view this time for our painting, so it's going to be a roadway view for the night scene. So I've moved the pathway, moving towards the left side, as you can see, it's moving towards the left bottom side. So just marked out the pathway that both the rest of the sides are just going to be simple pavements and the top area is going to be the sky. So let's begin with the sky. As I told you, we are going to be painting it with the shades of black. So we'll be using in black, gray and medium tones of gray and plaque. So to create in the shades, you would basically be ding in either a ready gray shade or you can keep on creating it with the help of black and white. So first, I'm beginning in with a medium tone of a gray. Now to create in different tones of gray, you can simply keep on adjusting in the tone variation for white with black. If you want, you can even add a little hint of brown to create in different gray tones. At the top, I'm going ahead with a medium tone of the cray. I'll keep on blending all of these. And at the top, I'm going to use the darkest tone of gray. Now, make sure you do not use a black directly. Try getting it into a little gray tonal variation that will help you in building your element details later on. So right now, I'm just going ahead with different tones of gray. It's not black. So when I add in the elements or the silhds with the black color, it will be perfectly visible on the gray tones. That is the reason I'm telling you to use in different tonal variations of the gray at the moment. Now at the bottom, closer to the horizon line as well, I'm picking up the dark gray color that we used at the top and blending it with the light grey. So I'm almost ready with a simple sky. We'll add in little cloud details if needed. And the main details in this will be the details that we add for the street light effect into it. Now, at the topmost area of the sky, I'm just going to add in a little hint of black because there we are not going to have in any silver hat. So we don't need any overlaying there. So very little black, you can see, I've added in, and I'm going to blend in with the top sky moving towards the horizon line completely and creating that little darker hint at the top. It's going to turn out a beautiful landscape in a night view that we are going to be painting in. Now, this side, it's gone a little black in the center, so I'll quickly pick up a little lighter gray or a damp brush and blend in and turn it lighter. Just you can see with simple techniques, you can simply lift up the colors again when it comes to gouache. Now I've blended from the bottom to the top, so you can see we've got that even blend. There is no uneven edges anywhere. Now I'm just going to pick up little lighter gray as well and blend it with the Tarkatins here. Now, I'll just pick up little dark gray color. And again, bend in from the horizon line, and we are ready with our sky completely. Now we'll go ahead with the colors into the pavement. So the pathway that we are painting, that is the road that we are showing into our landscape painting will also be of the tones of the gray color. As I told you, we are going ahead with a monochrome painting, so everything will keep on revolving around the black and gray tones. So create in three to four tonal variations of the gray and keep it ready in enough quantity so that you can keep on using them. First, I'm using in the light tone of gray in the center, and from the edges, I will keep on increasing by adding in the darker tonal variation. Blending. So in the center of the pathway, I want a little light variation, and towards the edges, I want the darker tint of the great tones. Now, I'm going to pick up a further darker tone of the gray, and towards from the bottom and the top, I will keep on creating in little more darker highlights and show a distinction point from the sky as well. So I'll pick up the third tonal variation of the gray, and from the bottom, I'm pulling towards the center part. And from the top of the pathway as well, I will pull it towards the center part. So automatically in the center, you will see a glowing light spot that gets created with the lighter tone of the gray color. If you want for blending, again, in the center, you can use in a little of the lighter gray to create in that smooth blend. Now you can see the sky is also distinguished because of the dark gray that we used on the horizon line towards the pathway area. And in the center of the pathway, we have that lighter gray highlight coming in. Now across both sides of the pathway, we are just going to go ahead with a very dark mix of the gray and the black color. So it is going to be like a grayish black color, try mixing in the gray and the black. If you do not have gray, you can just add in a very small hint of white to your black and add it onto both the edges. So automatically, both the sides you will see will be of the darker hint with that siluet which is not in colors. It's a monotreme painting that we are going ahead with. Then on top of the horizon line, we'll add on details and the silhouet as well. Same way, even on the left side, I'm filling it completely with the black color, as you can see, and then we'll just blend in with the pathway as well and create a little darker highlight. So on the edge of the pathway, I want to give in further more darker tints with the help of the black colour, so I'll shift into my smaller size brush and add in little hints of black and blend it with the pathway. Now, in the center, again, I've lifted up a little of the light gray, blending in with the black so that we have that flowing spot in the center of the pathway. Basically, I just want to show that the side of the pathway has that blended loop with the lou heat on the left and right with the black tones that we've added. Now I'll just add a little more darker hint at the bottom just as we added previously. Again, this time I'm using the black color to add a little darker effect because we already have that lighter hint in the center, which will blend in with the black and give us the darkish gray effect that we need. So I'm done with the pathway for now. I know you may feel that the pathway has disappeared completely, but do not worry. When we'll go ahead, begin to add in more details. All of it will turn out beautiful and we'll have that distinct look. Now, I'm just going to go ahead, begin adding in the silhouette on the horizon line. For that, I've shifted into my round brush and using the black colour itself, I'll begin adding in the silhouette on top of the horizon line. Going to go ahead with a simple Cityscape outline. So I'm just going to begin adding in simple, you know, structures for showing in the buildings. So for that, you can go ahead with your own Cityscape layout. You did not follow the same layout that I'm following. You can go ahead with different shapes of the buildings that you want to show into your cityscape. Plus, the placements can also vary. Now, in between, I'm going to use in little hints of the gray as well for blending in with the bottom layers that we have. So whichever color you are using, make sure it has a blended look with the bottom black color that we've already added across the pathway area. Well. Now, for these details, you can see I'm going ahead very carefully and slowly, and with every element that I'm adding, I'm blending it with the bottom layer so that it has that blended look and does not stand out separately. We do not want a bold, separate look. We want a blended look with the bottom layer. So wherever you feel you need a little of the base layers, go ahead, add in the colors and keep on blending. So I've just added a little more black at the base layer and blending it in with the top silhouette that we've added. Now when I'm adding this, you can see the pathway will again begin to come into picture and have in that bold distinctive effect. So for the cityscape, you can see I'm going ahead with random structures. There's no specific pattern. I'm just using a filbert brush along way to keep on blending with the base layer so that it has the same color effect. Now, in between the cityscape, I'm adding in little of the simple bush detail. All of these we've been kept discussing since the past 25 days, using simple technique, just the tip of the brush and dabbing in and then filling it with the paste. Now, even for the bush that I added, I blended it into the base layer of the pathway, as you can see. Now on the leftmost edge as well, I'll go ahead with little bush detail and then a little city silgate in between the bushes, as well. Same way even on the left side, blending in with the dark black color at the bottom space. Wherever you feel or, you know, the blending is not going or the colors are not matching. You can simply overlay and blend in. So I'm adding in a little of the black color again. And again, across the pathway, I will create that soft blend for now. So just using the dam brush, blending in across, but very carefully so that I do not have to overdo a lot of things. Now I know this technique or this specific class project may be a little difficult for a few of you because of the blending in the pathway again and again. But with practice, I assure you, it will be very easy to follow along. Now at the top, I'm giving in the dark, bold black color effect again, wherever needed. So in the center, we have that city, sorry, the roadway. But you can see the roadway does not have that distinctive look still. We'll be adding in details, which will create in that distinctive look for the roadway, as well. Since it's a monochrome painting, not everything will have that clear crisp line of distinction. We need to go ahead with details in such a way that creates that distinctive line. I'm picking up the dark tone of gray again and I'll begin adding in little details into the sky. I'm going to create in simple cloud effect using in the gray tones. I'm using my smaller size filbert brush to add in these details. You can even use a round brush, flat brrush, whichever is available with you. Multiple times we've discussed all of these in the techniques, as well as we've discussed these, you know, in the other class projects as well. How you can keep on using different brushes, whichever is available with you to add in these details. Now for the clouds, you can see at the top, I'm giving in a little bold effect, but at the bottom, I'm trying to blend in and given that soft blended effect with the base layer. So I'm quickly going to go ahead and keep on adding in a few more clouds with this tacoton of the gray color and then see if we need to shift into a lighter gray as well to add in some highlights into the clouds. Now, at the top, I'm just adding in simple clouds. You can see just giving in simple strokes to add in that cluster of cloud effect together. Even closer to the horizon line, closer to the cityscape, I added in lighter tones of the gray clouds as you can see. Now the cityscape, as you can see, is very small and minimal because the cityscape is from a very far off view that we are painting. So keeping the perspective view in mind, things that are far off are very tiny to our view. That is the reason keeping them very small and minimal. Now, I'll just quickly go ahead, blend in a little of these clouds into the base layer, giving in that soft edge at the top, as well. Now, using the black color and my pointed tip brush, I'll begin adding in the further silhouette details. So we are going to have in a lot of, you know, street lamp details. So I'm beginning to add in these across the pathway line. Now you will see how the pathway will have its own crisp distinction without giving in that crisp prescription line that we've given in. So on the left side, on the horizon line, I've given in five lines approximately for the street lights. On the rightmost side, we are going to having just the hand of the street light coming in from the outside view. That is the pole is not visible to us. We just have the hand of the light and the light effect coming in. Alright, so adding in that here as well. Now, in between at certain places, I'm just going to go ahead, add in some very small pool details or street light details which are again, far off view, so very small, I'll add them. And then while adding in the light details, let's see how we go ahead with the details on top of these. Now I'm going to add in the hand to all of these five lines that we already added for the street light effect. So I'll just keep on adding in, you know, street hand to all of these. Now, let's add in the first layer for the car details that we're going to add onto the pathways. For that, I'm using my smaller size down brush, and using the black color, I'm just going to add in the body of the car for the top area. Then we'll be creating in some glowing light effect for the car as well. Now, in one of the previous class projects on day 23, I assume, we have already created those growing light effects for the car on the pathway. We're going to follow the same method here as well. It's just that we've even added in the body of the car this time. There we only had the light effect on the horizon line almost. So I added the body of the car. Now at the bottom, I've added in a layer of the white color. Now, this white color, I'm going to blend it into the base layer very carefully on the edges to create that background glow effect for the light that we'll be adding in. Now using a little hint of the gray to blend in with the black so that the car also does not have that bold black effect and blending it onto the outside edges into the pathway to give in that blurry effect to the car because of the glowing light effect. So if you ever notice a car, when the back light glows, the top of the car may turn a little blurry to your view. Now for the light area as well, again, creating in one more layer of the white color because you can see the base layer gray will keep on blending with the white, and it will not give you that cling dull effect that we need. So now we'll have to wait for these layers to dry until then let's go ahead with the rest of the details into the painting. So that is the reason in between, I gave a break to the street light effects and created in the first layer on the pathway because, you know, the glowing light effect will need layers to work on on the pathway area. Now using the bold white color, I'm just going to add in the street light details to each of the lights that we've added one on the right, five on the left out there. Oh. Now, to these two small pools, I'm going to add in the light effect in the center, not giving in that hand detail there. Now using the white just into the city area as well, I'm just going to give in simple light details randomly at spots of the cityscape. Then we are going to use in white to give that distinctive line to the pathway as well. And then we'll go on to the glowing light effect, and we'll be ready with our class project for day 26 as well. Now, adding in the second layer of white here again, I'm going to blend it on the edges and create in that glowing effect before we move further. Now, using the white, adding on the edges of the pathway, the line that we had created with the pencil sketch, approximately going onto that line, using white in a little faded color and blending it in the base lear gray area, creating in that distinctive point for the pathway and the black silhouette on both the edges. So now you can see, because we blend it in the black, the details or everything is coming in together so beautifully with a simple rough white line, which is also not too prominent. It has to be in a little dullefe now using the yellow color, I'm going to create in a little of the light shadow falling onto the pathway. So I've picked up a little mix of the yellowish orange color and going to add in lines and then simply using a damp brush, blending it onto the pathway to create in that little light effect. I know it's a monochrome painting, why yellow and orange, but this is just a small detail that I'm adding in. You could even create this highlight just with the white color itself, but I want to give in that little hint of color so that we can create in that glowing lights with the yellow and orange further. Now with a black color, adding in the details for the street car light or the headlight that we want to create and creating in that structure of the car that we want to go ahead with from the back view. Now for the light, I'm going to go ahead with a bright yellow color and add it into the center circles that we've created with the help of black. You can see we've created an outline of the car and center, we had left it white. Now added in a little hint of the yellow color. Now I'm going to use a damp brush, blend these as well on the edges and create in the dull yellow effect, as well. First, we went ahead with the white because the base layer was gray. So we needed a lighter layer so that the yellow and the orange tones pop out perfectly to give in that glowing car effect. Now I'm going to use in a little more darker yellowish color than the previous color that we used and add in one lao. And then we'll use a little orange color. So I added in the yellow now again on the edges, blending in the yellow as well, creating in that little growing effect of the yellow. And then we'll move on to the last orange tone to add in, and then we'll be ready with the class project almost. Now, using a little of the medium gray color, I'm just going to blend in this glowing effect that we've created on the pathway for showing in the shadow of the light. So blending in with the help of the gray into the pathway, giving in little cuts in between to show in that natural reflection of the light falling onto the pathway. Now I'm going to use in white and add in a small moon as well into the sky. Before that, I'll just add a little more details onto the car. So just small lines to give it that little three D effect to the line. Now using the white in a bold consistency to add a small mon into the sky. So first, we are going to create in that glowing space for the moon as well. So I've added in a simple white spot now using a damp brush, blending it onto the edges, creating in that glowing space for the moon. And then into the center of this, I'm going to add in the bold white colour to create in that moon effect. Now, in the center of this, adding in the white color, you can see this gives in that beautiful glowing moon effect that we need in. Now we are ready with our class project. Even the car light details, you can see with the yellow. We have that light onto the headlight effect, and then the shadow falling onto the pathway. Peel off the masking tape only once your edges are completely dried off. So here's a closer look at our painting from day 26, another monochrome with just a little hint of the colors for creating in that light effect. When you have a closer look, you can see that car three effect that we wanted to create in. I hope you guys enjoyed painting another monochrome painting with me today. I will see you guys soon into the day 27 class project. 35. Day 27 - The Orange Sky: Hello, everyone. Welcome back to day 27 after 30 days of quash. Today we are going to go ahead with another beautiful sunset landscape. We're going to be exploring in the color combination of gray and orange for this class project. So beginning in with the gray color at the top, no pencil sketch, no detailing everything with our paints directly. I'm beginning in with a very light tone of the gray first. You can mix in a little hint of brown, black, and a lot of white to create a similar looking gray tone. Then we are going to shift into the shades of orange. Now, we are going to shift into shades of pastel orange first because blending in with the grey, we do not want any uneven or muddy tones in between for blending. So I'm picking up this reddish orange pastel tone out here at the bottom space, you can simply mix in a little hint of red, orange and white to get a similar looking reddish orange tone and begin in from the bottom space. For blending in between, I will use a lighter tone to blend in this dark pastel orange with the top gray color that we've already added in. At the bottom, we are going to have a simple city view silohet that we'll go ahead with. It's going to be majorly kind of street view details that we'll be adding in with the street light. Now, I've picked up this beautiful light skin tone peach color. You can create in this color mix with your own color combinations with the help of yellow, orange, red, or a little hint of pink with a lot of white. So just blending all of these three here and then going to create a smooth transition happening between all the three color shades out here. So I'm done blending in all of these three. I'll just pick up a little more of the gray and blend in here. After this, we'll begin adding in the clouds detail into the sky. For the clouds, I'm going to use in the lighter tone of the skin tone that we used in and white and a little hint of gray to add in simple cloud details. For adding in the clouds, you can either use a round brush, filbert brush, or a flat brush, whichever it is available with you with each of the brush in different class projects. I have kept sharing the techniques, how you can add in similar effects with different brushes available at your end. So I'm mixing the pasteler or reddish orange color that we used along with the skin tone to create a medium tone of this orange skin color. I'm going to begin using it for the clouds. The further clouds, we're going to go ahead with our simple technique. I added in the first orange layer now adding in white to create in the bottom space for the clouds, giving in soft blends, and at the bottom, just pendingate with the paste leer sky that we've created. Going to pick up a little of the grey color as well, add on little clouds with the grey color at the top, and then on the orange part of the sky as well. We're going to go ahead create a lot of clouds here and there randomly in this one. We're going to be using in three shades as I told you. The gray orange and the white colors to create in the clouds. And then we'll move on to the silhouhte for this class project. Now, your placement of the clouds or the color combination that you want to go ahead for the clouds can absolutely vary as for the color combination that you want to go ahead with. It's not necessary to have in the same placement for the clouds. It's about building in your own sky using the techniques. So somewhere I'm going to go ahead with darker clouds as well, so I'm directly using the dark bold color that we used at the bottom layer. Again, I'll pick up a little of the white created bottom cloud space of this dark cloud with a white blending all of it in. So while blending, you can see, I just run my brush in circular motions dabbing in and on the edges, creating that soft blend with the base layer of the sky in certain clouds. That gives in a blended effect with the base layer, as well as creates a subtle effect to your sky because you will have it in different types of clouds. Some of them blended well into the sky, some of them having a bold vibrant effect. It's a mix of sky that clouds that I'm going ahead into the sky. Now at certain places, I'm going to randomly go ahead just add in small colored dots to create in some small subtle clouds in the background with the bold sky clouds that we've already added in. Now for this silhouette we are directly going to be using in the black color. We're not going to have in much detail of colour into our silhouette part. There we'll directly be using in black and creating in the street view that we are going to go ahead with before that, I'll just given some final touches to the clouds and then move on to the silhouette. You can see I've randomly placed the clouds here and there, but I've made use of the color tones that we used in the paislo along with white to create in different crowd placements into ski. Now at the top certain spots, I'm just going to add in white and blend it into the paste layer and create that little blended effect. So for that, you can even quickly use in your fingertip to show that blend moving happening smoothly. Now at the bottom of space, I'm going to pick up the orange reddish color that we used and creating that little darker effect along with the cloud. So going to blend it completely because I feel this darker bottom cloud is looking too loud, so I just want to give it a little blended effect. So just quickly blend it with the paste layer orange. So with quash, you can see how simply you can correct in your places or overlay the colors again to create that effect that you need. Now lifting in the black color, shifting into my round brush. Let's begin adding in the silhouette details at the bottom first. So at the bottom, I'm first going to create an entire space of simple nature or silhouette. I'm going to go ahead with simple bush and cloud details. I'm first going ahead, adding in the outline for the silhouette that we're going to go ahead with, and then begin adding in the further details. Now, beginning in with simple bush details. So on the left first, I gave in simple Cityscape view just very small ones. We're going to add in a lot of street light effect this time, giving in that perspective view. So just going to go ahead with simple details at the bottom first. Now at the top, I'm just giving in detail using the tip of my brush, and at the bottom, you can see I'm quickly filling everything with the black color completely. Same way, we are just going to go ahead and fill in the entire bottom space with different siloeds Again, the type of siloeate also can keep wearing. But just one thing as you keep on moving towards the right side, make sure that you decrease the length of your silhouette. We are giving in a perspective view wherein the details on the left side are much more closer to us and the details on the right are far off from our view. That is the reason giving in that diminishing effect, trying to show in that the details are far off hence visible in a very small way. So you can see, as I've reached the right end I decrease the length of the silhouette that we're going ahead with at the top, just fell in in simple bush details with the tip of the brush and at the bottom, just filled in with the black color. Now, on the left side here, I'm adding in a simple tree like structure on top of the cityscape that we created. So I created in the stent for the tree, and now just going to go ahead, add in simple foilage detail, using the tip of the brush, tapping in creating in simple foolage. We've discussed all of these techniques in the technique section as well. Wherein I show you simple ways to add in bosch using in a brush and creating in the foliage detail at the top. So I've added two of these simple trees. You can see how quickly we could add these with simple foliage details, simple techniques. Now we are going to go ahead with the next leg of details for our siloed, which is going to be adding in a lot of street lights. Now, the street lights is also going to be in the perspective view. So the lines that we'll be adding from the left side will be taller, moving towards the right, we'll keep on shortening the length of the street lights. Again, that's because of the perspective view. The pole which is closer to you will be visible to you in the largest form and then the poles which are moving far off from you will be visible in the smallest pot. So now beginning in from the right side, I'll begin in with the smallest pole because this is the farest from our view. If you're standing on the leftmost edge, and if you have a look at the right side pole, that will be the smallest, giving in that perspective view. Now moving towards the left side, keep on increasing the length of these poles. Now I'm using in my smaller size round brush. Sorry, I'm using my line of brush, actually. You can see I'm able to add in fine lines. If you're not confident to add these in a straight manner using in the brush and the color directly, you can even use a scale and um waterproof black pen to add in these lines. Now, since I'm painting on a sketchwork, you can see how easily I can rotate my book to add in these details according to my hand adjustments, giving me the perfect comfort to add these. In a closer view, you can even see the blended effect of the clouds. They are soft, subtle, having a soft blend into the pasteler of the sky. Now, I'm leaving a lot of space in between and adding this last pole. In between both of these poles, we are going to show a sign board. That is the reason I've left that gap in between. Now, the one that is on the left, you can see, I've taken it so much tall and high enough to give in that perfect view. Now, towards the left in between the details that are added, I'm just adding in some simple poles to add in some more details of the street. These are not going to be the street lights that we'll go ahead with. We'll go ahead with the simple, you know, pole details of the street. That is the reason not keeping them too tall, just keeping them in length to give in that midsize view. Now, in between these two poles that we've left the huge space, there I'm going to go ahead with a detailed signboard overview. So there also, I'll just quickly add in the pole and keep in, and then we'll go ahead with the details one by one. I'm going to thicken up this pole. I've gone a little crooked, it seems so, but anyway ways, I had to thicken this up, so I'll quickly correct it out and create a thick pole here because it's going to be a signboard pole. On top of it, I'm going to go ahead with a thin line and remove both left and right hand and give in simple box detail to create in that signboard view. We're going to add in simple signs that we usually view on the streets. It can be anything that you want to go ahead with like a right turn, left turn, no entry, whichever sign you want to give into. So I'm creating in the board and keeping in, and then we'll add in the detail once this layer dries out of the black color. Now onto this huge pole as well, I'm going to give another signboard. So just adding in a white circle for the signboard. Then we'll add in the signboard details with a red color later on once this white layer dries out. Now to each of the street poles that we've added, I'm moving in the hands for the light. So I'm pulling out the hands on both left and right side. So basically, each pole is going to have in two lights, one on the left, one on the right. All right. So just pulling hands out in a little circular curvy manner, as you can see. So once we are done pulling out the lights for each of these, then we'll use in the white color or the yellow color to add in the street light effect. I'm using the liner brush, and you can see how fine my details are giving in that perfect crisp detail. Now, this one, which is on the leftmost side, you can see, it's the one which is closest to our view. That is the reason I'm adding in the details here in such a huge manner as compared to the other hands that we added. So the other hands are a little far off from our view. So for this one, I have added in one lou head in the black color, as you can see, and the other we'll be adding it in the light form. Now, even on the left onto one side, I give in a small street light detail trying to show in it, you know, another street hole that is visible in our picture of fame. Now, let's add in a little more detail. So I'm using in the orangish peach color that we use and giving in little effect onto the poles, trying to show the color of the sky reflecting onto these poles. So in previous class projects as well, we've given in this effect. So just using this and towards the black color, adding in a fine shadow or a reflection kind of a light effect, trying to show the colors of the light colors of the sky, falling onto the pole out here. A very fine line that I'm adding overlaying onto the black line, you can see, so you can still see the black pole detail, but the light reflecting onto the poles, giving in the sky color falling in. So towards the right side on each of the poles, I'm going to give in this detail. You need not give it to each of the poles. I'm just giving it to the center three poles as you can see, the tallest one, the sign board, and then one on the right side out here. Now, using in the bold bright yellow color, let's add in the light details to each of these. So we added in that simple reflection of the sky on the pole on just the center elements because those are the most detailed ones. Now using in the bright yellow, just adding in simple circles to each of the hands that we've created to give in the light detail. Now, this light in the center, I'm going to create in a glowing space first because again, this is the most closest to our view and in the most detailed form. So first adding in a little orange color, going to blend it into the base layer, create in a small dull patch to act in as the glowing space for the light. So just using in a dam rah, blending in creating in that glowing spot out here. We've discussed so many times how to create in these glowing spots, so just blending it on the edges into the base layer of the sky, giving in that glowing orange background effect for the light that we'll be adding in. And to this light, I'm going to use in the white color later on to add in the light detail. Now, this leftmost pole as well, given in single hand light here, and now to this center, most important pole that is visible to us, added in that light. Now, you can see that glowing effect in the background that we are getting in because of the background that we created the orange color to give in that light effect. Now, using the red color, I'm adding in the signboard details. So I just added in a no parking sign giving in that simple cross and a red line across the white patch that we created. And using the white color and my liner brush itself, I'll add in the other two signs in the center signboard that we've created. So I'll create a left and right arrow to show in that left and right turn sign board out here. Make sure you use in a very fine detail or brush to add in these details. If you are not confident about adding these with a brush, you can even use a white shell pen to add in these details. So I've shown in two arrows, one moving towards the left and one towards the right. Simple details, simple siloed, but you can see it is so much giving in depth view of a street you may be standing across. Now, one last thing. Let's quickly add in a moon into a sky on the top right side here. I'm first going to add in a small circle and create in a dye patch for the moon as well. And then to the center of this, I'll add in the bright white, glowing moon effect. So quickly using in a dampar going to blend this, create in that dull spot. I've discussed this technique in the technique section, and by now, we've used this technique in so many of our class projects to create in stars, moon, glowing light effects, car light effects, so much with the same simple technique. So now in the center, I've added in the bold white color to create in that moon on the edge, I'll just give in a little more blendd effect. So we are ready with our class project. Let's remove the masking tape and see our final painting. Make sure you remove the masking tape once your edges are completely dried and always pull off the masking tape against the paper. So here's a closer view at our painting from day 27 a simple, beautiful sunset sky with simple street view details going in that signboard detail, simple techniques, but such a beautiful view. I hope you guys enjoy painting this with me today. I will see you guys soon into the day 28 class project. Till then, make sure to drop a review if you like this class and do a plow your class projects if you're painting along with me. Thank you so much, once again, to each one of you for joining me into this class and painting alone. 36. Day 28 - Lighthouse: Hello, everyone. Welcome back to day 28 of the 30 days of quash. We are on the third last painting of our 30 day quash color challenge. Today we are going to go ahead with a simple seascape with a mini tiny lighthouse detail. So I first marked out the sea area. At the bottom, we are going to have in a simple greenery patch. On top of the horizon line also, we are going to have in simple greenery space, so just making out rough shapes to add in some rocks or greenery patch detail. And on top of this patch, we are going to have a tiny lighthouse across the sea, very, very tiny one that we are going to add in here. So just adding in a small rough pencil sketch for that as well. Going to have a beautiful blue, purple sky effect and then go ahead with the details one by one. Now, along with the lighthouse, we are going to have in a simple small house as well, a very simple one, no much detail, no much, you know, detailed view to add in simple, just a small house silhouette. Now let's go ahead painting in this beautiful clasper check for day 28. I will quickly pin my paper year so that it does not flip over. We'll begin with the sky first. Let's begin picking up the colors for our sky. I'm first going to begin with a tone of purple. So I'm going to pick up a dark violet color and begin in with this color at the top of my sky. At the top, I've used in a little bit of the black to blend in with the violet color that we're using to create a dark view at the top of the sky. Now, next I'm picking up a medium tone of a lilac color. This is simply you can mix in white with your violet and get in this pastel tone, adding it at the bottom of the bold violet color that we added blended in with the black. Next, I'm going to pick up the skin tone color. Now I've discussed multiple times the mix that you can create for the skin colour with the help of yellow, orange, red and pink and white and creating this color blending it with the violet tones at the top. Now, next I'm shifting into a bright yellow color. Now, I'm not going to add in the colors into the lighthouse, the small house that we've added or the bottom greenery space at the Horizon line. I'm going to go ahead carefully mark the outline on these spaces. On both the sides, I'll go ahead with this bright yellow color and blended. And then I'll move on to a beautiful orange color closer to the horizon line. Closer to the lighthouse, you can see I've added this color very carefully. The reason I use the skin tone in between is so that when the violet and the yellow blend together, they will not give you muddy tones because of the skin peach color in between. Now, same way, going ahead with a beautiful pastel orangish yellow color, and across the lighthouse and the house, going ahead carefully adding in the colors, but making sure not moving into these silhouette spaces that we've left out. Now, lift up a little more of the peach color and blend in again in between here so that I have that smooth transition happening between the violet and the yellow color and giving in that perfect clue of colours happening in smoothly. Now, the sea is going to be a reflection of the sky that we've painted. So I'm going to go ahead with the same colors of the sky and create the colors into the sea. So beginning in with the violet color first, which is mixed in with white, you can simply add in purple and white and create in this similar looking prone. Next, I've picked up a little of a turquoise blue kind of a shade which was readily available in my palette. You can simply pick up a little of a serele blue mixed in with white or you can add in a little hint of the viridian green as well. And I'm blending all of these colors at the bottom space to create in the see detail, blending in the pastel violet with this bluish tone of the turquoise color. Now I'm going to pick up a little more of the lilac color and add it on top here and blend it over the blue. Then I pick up a little of the yellow color as well to arn little highlight into a sea to show the reflection of the sky falling into the sea. So just simply going to pick up the yellow that we used in the sky and add it over the blue area here in the sea and blend it very light handedly. Make sure you go ahead very light handedly because otherwise you may get in muddy tones because of the purple and the blue in the base layer of the sea. So it's important to make sure that, you know, while bending in these shades, you go ahead very light handedly to create these highlighting spots into the sea area. Very little details that I've added. Same way going to pick up a little orange as well and add in little highlights into the sea on the edges, left and right. So we are done with the base layer of the sea, as well. Now let's go ahead and add in some details of clouds into our sky. Now, I'm going to keep on using in different tones of the violet color to add in some cloud details into our sky. I'm using in a very light pastel color of the lilac tone, which is readily available in my palette. You can simply keep on adjusting in these tonal variations with the help of white with your Bs or purple or violet color. And for creating in little darker tints, you can add in a little hint of black or paints gray to your color mix and create in grayish purple tones as well to add in some cloud details like these. We are going to go ahead with the purple cloud details at the top of the sky and a little closer to the lighthouse, as well. I'm using in my smaller size Filbert brush to add in these details you can use in your round brush or a flat brush as well, whichever is available with you if you do not have a Filbert brush. Now to my violet, I've added in a little touch of pink as well as you can see to create in one more tonal variation of the violet color to add in the details of clouds into a sky. So you can see using in simple color mixing, how you can create in different tones to give in more details. This time, I'm going to go ahead with bold clouds, not going to give in much of the blended effect with the base layer of the sky. They're going to be having in rough bold edges, giving in the detailed look. Now at certain spots, you can see I'm creating in little darker cloud effect by just picking up a little hint of black with the pink and violet mix clouds that I'm adding in and at the bottom spaces creating in the darker effects as well. Now over the yellow and the orange space, I'm going to go ahead, creating smaller clouds moving towards the horizon line. Across the lighthouse as well, you can see how I've added in the cloud detail in a simple format, but making sure that the cloud colors do not go into the lighthouse, we want a lighthouse to stay white because we are going to have in a white lighthouse detail there. Now using in the same mix of pink and the lilac color, I'm adding in few more clouds at the bottom side over the yellow orange tones out here. Now, at the top, where we've added in the darker bold clouds, I added in some smaller cloud details in between the bigger clouds that we added in, just using in simple strokes, creating in simple details. Now I'm going to shift into the green colour to begin adding in the details. So I'm first picking up a little paste and green colour which is available in my palette. Now, for these green tones, you can go ahead, use in whichever green is available in your palette. Did not use in the same green as mine. I'm just going ahead with the first layer of the green here. Now, you can see this green is not distinctively visible from the sea area, but we'll be using in the darker tones of greens and black to create in the details into our distinctive part of that bush area into a sea patch. So this is just the first layer of green that I've added in. Now, at the top, I'm just going ahead with a little hint of the yellow, creating in little bush detail so that we have that lighter patch created. Then we can go ahead with the darker color to create in the depth and the distinctive view. Now I'm going to pick up the Saprine color, begin adding it from the bottom space. So basically in the center of this entire bush space, we are going to have in the lighter detail. And at the top and bottom, we are going to have in these darker details with the darker green color. Again, going to pick up a little of the black color which is readily available on my palette and towards the bottom most space, blend it with the Saprine color further. The same we are going to go ahead with the tones of green at the top of the horizon line, the area that we've created. So I'm going to keep on altering between light green, dark green and black colour to create in the details. So first creating in a very light green layer at the top of the bosch area here, then I'll shift on to the Saptren and the black color and create in the details. We just want little lighter green highlights at certain spots, and then the darker spots with the Saptrene color and the black color mix in. For darker green, you can mix in black to your sabtren or your basic green color. And for creating in lighter green, you can mix in yellow to your green to get in a bright bold green colour. I've added in a light green layer first into this entire patch. Now picking in with the sapren color. At random spots, I'm just adding in some patches and blending it with the light green color in such a way that in between, we have certain patches of the light green visible. So at the top line, I'm majorly going ahead with this darker line. So in the center, you will have in that lighter green effect. And towards the base of the horizon line, we'll use a further darker green colour. But you just need to make sure that you blend in these details well. So now I've picked up a little of the black mixed in with sap green and closer to the horizon line, you can see I'm adding in this dark effect of the green colour. Make sure that you have the different tones of green visible. You can randomly have in light green, dark green at any spot that you wish to. It may not exactly be the same placement as mine. Now, again, I'm going to pick up a little of the light green colour and create in some more lighter green spots. This is very random that you go ahead with. There is no specific technique to creating in these green patches into your painting or the simple nature details. You need to keep on altering between different shades of green to create in this effect. You can see I keep altering between light shade, dark shade, and a medium tone. So I basically use a light yellowish green colour, sap green colour and black colour. The darkest green, I mix in a little hint of black to my sap creen, or you can directly use in, you know, hookahs green if you have, or a very dark green tone readily available in your palette. Now, you can see on the top, I have created in such a way that there are different tones of green visible because of the blending in. Now, same way, I'm going to go ahead with the bottom side and create in the depth out here as well. Now, again, going to pick up a little of the saprene color and add it on top of the bush space here, and then I'll mix in black with my saprene and create in the takmos depth at the top out here and given the details. I'm going to pick up the light green and in the center, create in that patchy detail, giving in that glowing effect in the center. So I'm just dabbing in the tip of my brush in such a way that it blends in with the other greens on the same space. Now, just adding in a little yellow ochre highlight as well at the bottom space here to create in that glowing effect. So we are almost ready with our painting a little more details into the lighthouse and the small house closer to the lighthouse, and a little more detail into the bush area. Now, let's add in little wave detail into our CP. For that, I'm using in this medium tone of blue, which is on my palette, just reactivating this blue and going to add in simple wave details. In the last technique section, we've discussed adding in simple wave details into our painting. So I'm going to go ahead with simple strokes and some thicker strokes to add in the waves. So using a pointed tip brush, just adding in simple criss cross lines closer to each other, creating in the depth, across the horizon line, giving in a little bold effect as well. You can see using in simple strokes to create in the waves detail that I'm going ahead with. Somewhere I've used in smaller strokes closer to each other to create in that crashing wave effect. Now, across this green area that we have in the bottom C space, I'm going to give in this darker effect of the waves to show in that crashing effect of wave across this bushy patch that we have in. Now, using the same color, I'm just going to give in some more darker depths as well. So simply just going to create in some cold wave details into our was lier here on the edges, left and right, just simple waves closer to each other, creating in more depth. Now, let's go ahead, add in the details for the lighthouse. For that, I'm going to use in the white color for the lighthouse bottom space. And then at the top, I'm going to use in the brown and black tones to give in the details. So just adding in white colour. In case if your sky colour has run into your lighthouse space, it's okay. Make sure you use in a bold, thick white layer to color in completely. For the house, also, at the bottom of the house, I'm giving in the white colour detail. And for the roof, I'll go ahead with a brown reddish tone. Now I'm lifting up the pink colour to begin adding in further detail. Now I'm lifting in the bold red colour for the roof of the house. So using in the red colour, I'm going to add in the roof of the house. I first thought of adding it with the pink colour, but I guess the red bold colour will give in the perfect view for this lighthouse closer to it. You can even add in a little hint of the born Siena to your red to get a brownish red color for the roof of the house. So I'm done with the house. You can see simple detail, just the roof color and the bottom white color that we've added in, giving in such a beautiful view for the house up there. Using in the same mix of brown along with the red, I'm going to add in the details at the top of the lighthouse. You can refer any lighthouse silhouette that you wish to go ahead with. You need not use the same reference of the lighthouse as mine. I've added a simple rectangle on top of the white space and then created a tomble structure at the top to give in the details for the lighthouse. Now, using in the black color, adding in simple windows on the lighthouse, or you can use a black pen as well to add in these fine details, but make sure that your white layer is completely dried and you use in a waterproof pen if you want to add in these details with a pen. Now, on the edge of the lighthouse, giving in fine black lines to give in that distinctive three D effect view onto the house as well, adding in a small door with the black color. Now, using in a little darker green mixed in with black, just creating in little darker details onto the right side, and I'll blend in with the help of this medium tone of green. So you can see I don't need any black detail, but it has to be green, blended in well. So again, blending in and giving in that darker spot on the rightmost edge, and we'll add in little darker highlight on the bottom bush area in the sea, as well. And then we'll be ready with our class project for day 28 as well. On the left, also giving in little darker hints at the top, and I'll blend it to the base at the horizon line, just adding in darker spots, and then using in the lighter green colour, I'll blend these. You can see this is giving in so much, much better effect, because it gives in the darker effect as well, trying to show in different tones of the bush visible because of the dark sky color that's coming into the view. Same way out here, adding in the black color at the top. You can see I'm going with very rough shape. There is no specific pattern that I'm following added in the black patches. Now, I'll pick up a little of the green colour again and blend these in because I don't want a black colour view. I want a blended dark green colour effect out here as well. Same way towards the bottom, as well, adding in little darker, blending in with the greens that we've added. So you can see in different layers, we went ahead creating in the bush detail on the horizon line and at the bottom of the sea, as well, giving in such a beautiful night picture view to the green bush details as well. Now on the lighthouse, just adding in little more detail with the black color, blending in with the brown on the left edge. So that is it. We are done. We are ready with our class project for day 28, as well. Let's remove in the masking tape and see our final painting. Make sure you peel off the masking tape only once your edges are completely dry and always peel off the masking tape against the paper so that you do not tear off the edges. Now, using in the white color, I'll quickly correct this little mishap that has happened on the bottom right side because of the masking tape. So quickly using in a bold white color, adding in that crisp line for the white edge that I need for my painting, simple ways to correct in your simple mistakes because of the masking tape error that happens in. So here's a closer view at a beautiful lighthouse painting from day 28 with simple bush detail on the horizon line and into the sea and a simple sea with simple waves detail. I hope you guys enjoyed painting this with me. We are left with two more paintings into this 30 day challenge, and we'll close the challenge soon. I hope you guys enjoyed painting this with me. I will see you guys soon into the day 29 class project. 37. Day 29 - The Garden: Hello, everyone. Welcome back to day 29 after 30 days of quash. Today, we are going to be painting a simple garden sky view. We're just going to go ahead with a simple pencil sketch. I'm going to mark out a hot space into the garden area, which is on the left side that I'm giving. On the right side, we are going to have in a little fence space, and in the center, we are going to have a simple greenery with some flower details. On the right side here, we'll be having a fence detail, and we'll have a small pathway muddy pathway closer to the fence area that we'll be adding here. So that's our basic pencil sketch. We'll have the brown hut on the left, the center will be the greenery space. And on the rightmost side, we'll have in the fence area, and our top area is going to be the sky. So we'll begin painting the sky first. We're going to paint a beautiful light coloured sky this time. So let's begin with the colors one by one. Temps fining in with a royal blue colour, as you can see, it's a very light blue tone that I'm using. You can simply mix in a little hint of ultramarine blue or cobalt blue with a lot of white and get a similar looking bright blue colour. Along with this royal blue color, I'm going to blend in lilac tones and then add in some pink and violet cloud details into our sky. So half of the sky I have painted in with this royal blue colour. Now I'll shift into a beautiful pastel purple color, which is a very light pastel pink tone. You can simply mix in violet, pink and white. You can see since the colours are too much of a lighter tone, you will need a lot of white for creating in such light pastel tone color variations if you do not have very pastel tones in your palette. I'm blending both of these colors well, the royal blue and the lilac color and creating in that soft smooth transition. You can see we have an even layout even blend. I have not added the colors into the greenery house and the fence area space. For the clouds I've picked up the grayish blue color. You can add in a little hint of black and white to your serle blue color to get this color. I've added a small patch of cloud with this, and now I'll move on to pink tone. So I'm using a pastel pink color. It's a medium tone of pink you can see, I'm blending it with the blue cloud that I added in creating in smooth cloud effects at the top and bottom of the blue, blending it all well, and you will automatically get little violet hints in between. If the pink and blue blending in together for a pastel pink color, you can simply use in quinacin rose, scarlet, carmine color with a lot of white to get in pastel pink consistency. You can use whichever base pink available with you, magenta, rose, queen rose, permanent rose, whichever name it is. And you can use that with a white to create in pastel consistency. So I'm going ahead with a huge cloud at the bottom space of the sky, and at the top, I'm going to add in little hints of the clouds as well. I'm even using in a little medium tone of the pink on the edges at left and right to create a little darker depths into the cloud, as well. So very simple strokes, we've kept discussing these throughout our class as well as in the technique section to add in, blend in different strokes to use to add in the clouds. So at the bottom, added in a little more darker pink and given in the perfect shape at the bottom space. Now, at the top, I'm going ahead with the lilac mixed in with a blue colour and adding in some self color kind of a cloud detail. So basically, it's more towards the blue tone, but it's one tone darker than the basi or blue, you can see. So I used in the color which was readily on my palette that is the bluish gray color, and I added in little white to it so that I get it in a lighter consistency. And using that, I'm adding in the cloud strokes at the top of the sky. I'm using my filbert brush in a smaller size to add in these clouds. You can use a flat brush, down brush, whichever brush is available with you, we've discussed adding in the clouds with all different kinds of brushes throughout this 30 day challenge so that you need not have everything specific just like as I do. You can use your own material and brushes and create in your blends and details. Now, for the fence area and the muddy pathway, I'm first going ahead with the yellow ocher color and going to add it as the base color. So this is kind of a color blocking that I'm doing for this area so that then we can just go ahead on top of these with the shades of brown and gray and add in the details. So simple color blocking method that I'm using here. The center area is going to be the greenery space for color blocking it with the green color as well. Then on top of it, we'll go ahead with the lighter green, darker green, some leaf details, some floral details moving further. I'm using some lighter green as well in the colour blocking so that we have in that, you know, color variations in the greens coming in while we begin with the base color of the patchy area here. Now, at the top here, I'm just dabbing in the tip of my brush, giving in some rough bush shape with a saprene colour and blending it with the light green by just dabbing in my brush. Even on top of the fence area, I'm just going to take in a little of the greenery space, trying to throw in some bushes and branches moving onto the fence area that we are going to add in there. Now, using in my spoiled round brush, I'm going to go ahead, add in some simple dry brush bush detail out here. Now, this technique also I've discussed in the technique section, as well as in many of the class projects we've kept following this. I'm using a round brush, the bristles of which are spoiled. You can use a damp round brush or a flat brush without dipping it into water and picking up the paints in a little thick consistency. So I'm picking up a little darker green tone, as you can see, and I'm just beginning to dab it at the top to create in that bushy area out there. Just simple dry brush technique to create that simple bush effect in between our garden space. Now for that small cottage on the left side, we're going to go ahead with the bon sienna color and add it as a paste layer and then begin adding in some details. Now, at the bottom of the cottage, also, I'm going to show a lot of greenery space covering the bottom cottage space. That is the reason I've left that space white, and now I'm going to pick up the green colour and blend in with the brown out there trying to show in that bottom space of the cottage being hidden because of the green leaves and the greenery grass detail into the garden space. Now, using the bone sienna color, I'm going to begin adding in the muddy pathway detail on the right side. So I'm going to use in the spoiled plush and just going to dab in little brown details on top of the yellow ocher color randomly. Next, using in a little of the green color as well and daving it on the brown, blending it all well, creating in that muddy pathway space that we need. Now, I'm mixing in my burn sienna with a little hint of the black color, and we'll begin adding in the fence area first. And then we'll give on the overlapping details over the fence as well. So you can directly use a burnt umber or a CPR color or any medium tone of brown that's available with you, beginning to add in simple fence detail on top of the yellow aqua color that we've added. And then we'll go ahead and add in further details overlapping this to give in more detailed view. Now, in between the brown lines, I'm using in the gray color to add in few lines. That is the reason I had left in that gap in between and added the fence a little far off from each other. Now, on top of it, again, using in that little darker tone of the brown color and going to add in further details to create in that fence slope, you can even just use in the gray color or just different tones of crowns to create in this fence area. Plus, if you notice the strokes that I use for the fence area are not exactly straight and trying to move my brush a little wobbly so that it gives in that real wooden kind of an effect. And to give it that wooden effect, that is the reason I used in a little hint of brown in between the gray strokes that we added in into the fence area. Now using in this spoiled brush technique again, I'm going to go ahead add in a little of the dry brush stroke overlapping onto this fence space to create in that natural effect. Now, with the same technique using in the Saptrine color across the muddy area line, also, I've given in little darker green details. Down at the top, as well, I'm just going to use in little yellow ocho colour and give in little dabbing detail in between the brown path that we created for the muddy space, giving in little lighter highlights with a yellow ochre with the same technique because you could see a lot of brown out there. So to create in that lighter effect, I used in the yellow ochre colour there. Now, using the Tarke brown color, I'll begin adding in the details over the cottage. So first, for the roof of the cottage, I'm going ahead with this burn sienna mixed in with the black color and creating again the roof area of the cottage. So giving in simple details out here to create in that dip, you can go ahead using your own siloet for the cottage. You need not follow the same slohet as mine. For the roof of the cottage, you can see I'm just tying in simple lines with a darker term color to create in that wooden texture effect on top of it. This bottom line, I'm just giving it a little thicker texture to create in that distinctive point between the roof and the rest of the cottage space. And at the bottom, I'm just going to use in this color and add in simple strokes to create in that can sort of a detail for the cottage area on the wooden effect. Now, using in my detail or brush, I'm beginning to add in some fine details of the grass. So I'm just going to, you know, pull out some simple strokes with the green color. Again, the tones of green can vary for each one of you, depending on the colors available in your palette. For creating in the lighter green tones, you can keep altering the use of yellow and white in different proportions, and for creating in darker tones, you can use black and browns to create in darker tones of the green if you have limited green colour in your palette. Now overlaying the cottage as well, I'm going ahead, adding in some greenery details. So I pulled out a simple palm leaf kind of structure now pulling out simple leaf details and overlaying over the cottage space. Whenever you go ahead with overlaying, make sure that your base layer is completely dried. Also make sure that, you know, we are using the paints in a good thick consistency so that the overlaying also comes out opaque. Plus, make sure that you do not add in a lot of pressure. Otherwise, the basio colours will get reactivated because squash a water based medium, so it can easily be reactivated with wet strokes again. Now on top, you can see I'm just going ahead with a very random greenery area that I'm trying to create in simple grass strokes, leaf strokes that I'm trying to pull out to give in that wild garden kind of detail out there. Now, some strokes, I'm going ahead with the darker green colour, adding in some darker details as you can see, giving in simple dark details at certain places, you can see, I'm just adding in the tip of my round brush to give in simple leaf details. Same way on the cottage as well, I'm going to go ahead and overlay this. I simply keep on altering the use of black colour with my sabren to create in different tones of green. As you can see, I have been using in this palette since so many of the previous class projects. So I just keep on mixing the colors that are already on my palette so that I do not have to waste the colors in any way. From the bottom of the cottage space as well, I'm going to pull out some bigger leaf structures overlaying the cottage area. Then we'll go ahead with some simple floral details on top of it. I picked up some fresh subtne color so that I have the dark tint to my paint, and I added in a little hint of black as well. And now I'm just going ahead with simple branch details, as you can see, to add in the floals. So I'm going to pull out some smaller branches from the bigger branches that I'm adding in. And then I'll add in simple white floals coming out from the branches that I'm pulling out. So basically, just trying to add in an entire branch of flowers that we'll go ahead with into the greenery space. Now, using the bold white color, let's begin adding in the floral details. So using the white, I'm just going to simply go ahead, keep on dabbing in some white dots to create in the floral effect. For this, make sure you use in the white color in a bold thick consistency so that you have in the bold details. Do not add in a lot of white because after drying, it will give you that dull effect otherwise. So I'm just going to go ahead with simple white wild flour kind of details. We're not going to go ahead and add in, you know, detailed flour look. I'm just adding in simple white spots coming out from these branches to create in that entire branch of floals coming in. Now, randomly, even adding in some flow details or overlapping onto the cottage space, the branch that we added out from there, and just pulling out some more floral details. We're almost through the class project, a little more of these florals and greenery details, and we'll be ready with our second last class project for this 30 day challenge. Now, using the darker green color, I'm going to go ahead, add in some darker branch details for this floorl. So you can see the green that we had used previously was not visible much after we added the floral. So I'm adding in some leaf detail as well, attached to these florals and giving in some darker green depths here and there. I just simply mixed in the black on my palette with the subtrene colour to get in this dark green highlight for adding in details in between the florals that we've added. So you can see, as soon as I added in these darker green details, there is so much more depth that has come into the florals because of the darker green highlight, lifting the florals as well along from the bottom base green color that we had added in. Now at certain places, I'm adding in some darker green leaves as well randomly. Tapping in the tip of my brush, pressing the belly and creating in simple leaf strokes. Now at the top area as well, adding in some dark green or simple details, dabbing in the tip of my brush, creating in simple leaf kind of structures at certain places. Not everywhere. Randomly, I've given in these spots. I'll just go ahead with a little more of the yellow ochre detail, and then we'll be ready to peel off the masking tape for our class project. Using the yellow ochre, I'm adding in simple spots in between the whites to create in simple bud details into these wildflower kind of a patch that we've created. We haven't added in detailed floral structure, as you can see. That is the reason very randomly I'm placing these yellow ochre dots mixed in with a little bit of yellow, which was on my palette already. And that is it. We are ready with our simple class project for day 29, a simple carden view with simple details. Now across the pathway line, I'll just add in some darker brown details and wheel peel of the masking day. So, that is it. Let's peel off the masking tape and see your final painting. You can see I made sure below the fence area, there is still little yellow oka highlights visible. And along the green side line, I gave in the darker details to show in that shadow effect. Use a closer look at our painting from day 29, you can see the simple greenery field that we created and simple floral patches, the branch of white flowers that we created along the fence side. I hope you guys enjoyed painting this with me today. I will see you guys soon into the last class project of this challenge and then wrap up for this challenge. H 38. Day 30 - Bright Day: Hello, everyone. Welcome back to day 30 of the 30 days of Cass Challenge. We are on the Last class project, and this challenge has been very close to my heart. For the last class project, we are going to go ahead with a simple cityscape view. We are going to go ahead with a beautiful blue sky, no pencil sketch, nothing, just a simple painting that we're going to go ahead with. I'm beginning in with this bold bright sky blue color at the top of my sky. You can simply mix in white to your Cerlean blue or to your cobalt blue color and use this pastel color. Or if you readily have a sky blue colour, then go ahead and use such a bold, beautiful, bright sky color at the top. Moving downwards, I'm going to move on to the shades of yellow, and then I'm going to add in some pink highlights for the clouds. Now for blending in the yellow and the blue, I'm going to use in this very light blue in between so that we do not get in the green tones because remember, yellow mixed in with blue will give you a complimentary green colour, which we do not want. Hence in between, you need to use in white for blending or light or pastel tones of the color. I'm going to add in the light peach tone which is in my palette in between before I move on to the yellow tones. That will help me in blending and creating in that smooth transition between the peach tones that I'm going blue and the yellow tones that I'm going ahead with. You can see this peach tone is almost equal to a bite colour. You can simply use in white as well if you do not have a ready peach color. I'm blending in well with the blue tones, as you can see, so that we have that smooth transition and blends happening throughout and we do not have to worry about the blends later on. At the bottom space, I'm going ahead with this pastel naples yellow color. You can simply add in a lot of white to your bright yellow color and get this naples yellow color. We're just adding it at the bottom space. And I'm going to pick up a yellowish orange color and add in little highlights at the bottom area. For the yellowish orange color, you can add in a little hint of yellow, orange and white and get this yellowish orange color as well. Using this light pastel pink color, I'm beginning to add in some cloud strokes into the sky. So from the left to the right, moving diagonally towards the bottom side, I have created in this one patch of cloud in the center. Now on the edge using in my damp brush, I'm trying to blend it into the base layer of the sky that we have in. You can even use a damp brush like this, so I just clean my brush, a picked up a little hint of water. Not much dust damp brush with very little water. Or you can use the base layer color. So I picked up the baselyer peach color and blending in with this pink cloud to give it that soft blended effect into the sky. I don't want bold cloud effects into this one, so just creating in that soft blend as well. Now using in the white, I'm going to create in little more highlights of clouds at the top of the sky. On the blue colour space, you can see I'm blending the pink color with the white to create in that smooth blend. And at the blue color, you can see the white clouds are standing out so bright and beautifully. If I'm moving my brush diagonally, you can see the clouds are in a little dry brush stroke that I'm going ahead with, not adding in much of the bold cloud details, simple clouds creating in the depth. Now, next, using in little of the pastel lilac color. I'm going to add in little cloud details towards the bottom of the sky. So you can simply mix in a lot of white to your violet color and get in this lilac tone and begin adding in some cloud details with this color at the bottom. Now, I'm moving from the bottom left to the top right and then to the bottom right as well, creating in simple strokes of the clouds from left to right. And at the bottom of it, I'm going to give this as well a soft blend. So you can see at the bottom, I'm just running with the damp brush and blending in with the pastelier colors. So that, again, I have that smooth soft cloud effet. O And at the bottom of space, I've picked up the same blue color that we use in the sky, mixed in a little white and adding in some cloud highlights. Now remember, on the yellow, when you go ahead with the blue, go ahead very gently. Otherwise, the blue and the yellow mixed together will give you green strokes there, which we do not want. That is the reason I added white to my blue so that we can get in that pastel effect and the colors will not give you any green tones coming in. At the top here adding in some grayish blue cloud color, I readily have the grayish blue color. You can simply mix in a little hint of black and white to your blue to get in that grayish blue color. So we are ready with the cloud details into a sky. Now let's go ahead with the silhouette detail. The father silhouette, I have picked up the black color, and I'm first going to mark out the outline at the bottom space so that you can have a rough idea. Again, as I keep telling you for each class project, the silhouettes can keep wearing for each one of you. You need not follow the same outline for the Cityscape silhouette. You can choose your own reference and create in your own Cityscape layout. I'm going ahead with some bold details first and then we'll fill in these spaces with the black color. Using in a bigger size brush, currently, I'm using my fine liner brush to create in the fine outline first. So you can see I'm going ahead with huge blocks for the cityscape this time. But on the left side, I'll make sure we have that little of the yellow cloud also visible. Yellow sky basically also visible. Even on the right, you can see I have that little yellow sky still visible. This is just the outline. As I told you, on top of this, we'll be adding in the black color, then creating in some highlighting effect with the gray color. And moving further, we'll also create in little more depth with the greenery details. And on the sky, we'll add in simple leaf details popping in. Now, as I told you on the left side, you can see I'm going ahead with smaller details. So we have the yellow part of the sky also visible. Otherwise, it would make no sense to add in so much of the yellow and the blue clouds and blending all of it. So I have the outline ready. Now quickly using a bigger size brush, I'll go ahead and fill in all of the bottom spaces of the outline with the black color completely. Now, first before that, I will just add in some fine details again. So I'll just add in some pole details simply and some chimney details as well to the houses that we've added so that I do not have to shift into my detail or brush again. So you can see I'm simply creating in some chimney details on top of the house, added in a few poles as well. And now using in my bigger size brush, I'm going to go and fill in all of these spaces with the black colour. Now, carefully using in the black color, I'm filling in this entire space using in a bigger size downtrag, but I'm making sure I do not cross the outline that I've already addited. So you can see simple cityscape coming into life with the black color filling in. Saying there on the left side as well. I'm just filling it in completely with the black color first. Now, when you're adding the black color, make sure you use a bold consistency of the plaque. Otherwise, it will activate the baseler yellow, and the yellow and the black mixed together will give you a light blackish tone which we do not want. We want a bold black color effect to the cityscape that we are adding in. So here you can see it was turning out a little light, so I'm just adding in one more layer of the plaque on top of it so that we have the bold black effect. Now on the left side here, I'm going to add in one pine tree using the black color. So using in my detailer brush and the black color, I'm adding in a pine tree, a simple one that we are going ahead with. And then on the right side, we'll be adding in some leaf details popping out from the top of the sky. I'm adding a simple pine tree using a detailer brush, which is helping me give in some detailed foolage effect simply just moving my brush left to right, going ahead with a triangular shape to form in the pine tree. Now on top of this center house, I'm going to go ahead with a street light detail, so just adding in a thick pole out here and then pulling out the hand for the right. In between these houses as well, I'm just going ahead with simple street light details. For these, I'm adding in the light details with the black colour itself, one center light that I'll be adding in with the white wherein I have just added the hand and not added in the details for the light out there. Now, using in my black fine liner pen, I'm going to add in some By line details into the sky. If I'm using my 0.0 0.1 nib pen, which is helping me add in these fine lines, make sure you use a waterproof pen so that if you have to by any chance, overlay anything on top of these, these should not fade out. So that is the reason I used in my 0.1 nib pen. You can directly add these with a black color and a fine liner brush as well. Now on the right side, I'm going to pull out simple leaves. For that I'm using in my round brush and the black color and pulling out simple branches and simple leaves. For the leaves, beginning with a pointed tip, press the belly of your brush and lift up wherever you are satisfied with. At the top, as well, I'm going to pull out leaves in the same manner. So I'm adding simple leaves as you can see, and I'm going to lay over some leaves on top of these as well. So you can see the leaves are overlapping each other. Somewhere they are visible perfectly. I'm going to pull out one more thicker branch from here and add in more details of the leaf or pull them a little more towards the center of the sky. So here, I'm pulling out one fine branch and adding in one leaf detail hanging out separately into the sky out there, creating in the drama action of the leaf details that we've added in. Now, using in the yellowish orange color, I'm going to add in the light detail here because the white would not be visible that pole and I needed a little beautiful yellowish light effect. So I've added in the light detail. Now at the top, I'll give in a thick black line again to show in that outline for the lamp Area again because you can see that's hidden by the yellowish color that we added in. Now using in the gray stone, I'm going to create in some highlights onto the houses that we've added in. So I have the redy gray color on my palette. You can simply mix in a little hint of white to create in that detail. So using the pointed tip, I'm just adding in some lines onto this cityscape outline that we created. Now, not to each one of them, I'm going to add in. I added a little hint of yellow to my gray, so that we have that grayish yellow color so as to reflect the color of the sky, that is the yellow color closer to the cityscape, falling onto this cityscape area that we've created. So majorly on the left side of each of the silhouette that we've added, you can see I'm creating in these outline spots to show the light falling from the left side, that is the reason the highlights are happening on the left end majorly. Yeah. Now at certain spots, I'm going to give in some thicker lines with the same grayish, yellow color. So I mix in yellow to my gray as I told you. You can simply mix in white, yellow, black, cretin. Black will be very less, white would also be a little more, and yellow will be just a little highlight to give in that yellowish effect to show the color of the spy. Now I'm mixing in a little of the light green to this dark green color which is on my palette. If needed, I'll add in a little hint of black. You can simply use a neutral tone of the green color, which will be visible on the plaque and just simply add in simple bush detail in front of the city scape. You can see it's a neutral kind of a green. It's not a bold, bright green that I'm using, nor a very dark green color. So I simply mixed in black, light green and a little of the saptren color. So the black and greens were already on my palette. I just added a little light green hint to this, and adding in simple bush detail at the bottom area here, Throughout the bottom space of the cityscape, you can see I added in simple bush detail, which is perfectly visible on the black color as well, giving in that greenery detail. Now, let's peel off the masking tape and see our final and the last class project of this challenge. So here's a closer view at our painting from day 30 of this 30 day challenge. You can see the simple bush detail in front of the cityscape and the gray highlights creating in so much more detail and depth to the simple Cityscape Siluete that we added to a beautiful pool bright sky. I hope you guys enjoyed painting this. And in the next lesson, let's have a flip through of all the 30 paintings of this challenge and see what we created so far through each day. 39. Wrap to the Challenge: So let's have a flip through of this 30 day challenge and see all the beautiful bold landscapes that we created throughout this 30 day. We began in with simple sunsets. We went ahead with bold, beautiful skies, night skies, creating in cityscapes, garden views, seascapes. Through each class project, we went ahead, learned in so many new techniques, different ways to blend in clouds, creating in textures, giving in depth, creating in shadows, giving texture to the mountains, creating in that glueing spaces for the moon. We learned through a lot of it through summer landscapes to winter landscapes. I hope you guys enjoyed painting each of these paintings with me through this 30 day challenge and love creating in your own masterpieces. Thank you so much, once again, to each one of you for joining me into this class and painting along with me. I will see you guys soon into my next Skillshare class till then. Make sure to drop a review and upload your class projects if you like this class so that it can help me reach maximum students. Thank you so much, once again, to each one of you for joining me.