30 Day's of Self Reflection & Self Care with Watercolor Art

1. Welcome to the Class: In our fast-paced lives, it's easy to get caught up in the hustle and bustle of everyday life. Leaving little time for ourselves is a form of creative expression that can help us slow down. It's a way to nourish our souls and reconnect with ourselves. Through art. We can tap into our inner creativity, release, tension, and find a sense of calm and peace. Hello everyone. Welcome back to a new Skillshare class. I'm idea of what you can find me on Instagram. Handle creating from the hot. But I share on my works too late into watercolor wash journaling as unafraid journaling supplies on my store. This class isn't just about learning how to paint. It's about taking time for yourself, prioritizing self-care. I'm finding joy in the simple things in life. By the end of the 30 days, you'll not only have a collection of mini watercolor paintings to be proud of, but you will also have developed a new habit of self-reflection and positivity. Over the next 30 days, we will embark on a creative and relaxing journey together. Don't be overwhelmed if you are an absolute path now, I will be guiding you through all the materials and the basic techniques through each day. We'll explore various watercolor techniques, such as layering, blending, and wet on wet to create beautiful and unique pieces of fat. You would just be needing ten to 15 min of your busy day to create these beautiful outcomes. Each day, even choose a positive code to include in our painting, reminding us of the importance of self-love and positivity. So grab your paint, brushes, your watercolors, and a blank sheet of paper. And let's begin this journey of self-discovery and creativity together. 2. Materials you'll Need: Before diving into the day one class project, Let's have a look at the materials first. So firstly, you would be needing in watercolor paper, I will be using this eight centimeter by nine centimeter mini size watercolor papers. This is from the brand book. It's 100 per cent part in 300 GSM paper. We are going to be creating each day the painting onto these mini sizes. You can see at the bottom of it, I've left enough space to add in the self-care code for each day, for the coming 30 days. Now, if you have a close look at the paper, you can see a little of the rough grain texture. This is the cold press paper which has a little rough, clean texture that I will be using. This paper is 300 GSM, hundred percent cotton. So you can see the paper does not buckle up after painting. It stays intact and it's perfect for working wet on wet, adding in layers as well. So I would recommend using in a paper which is at least 300 GSM hundred percent cotton. Next is going to be the watercolors that you would be needing. I'm going to be using in this PwC watercolor set of 32 shades. I'm going to be squeezing out paints directly onto my palette each day according to the colors that we would keep needing it. If any color stays on the palette, you can simply re-wet it and use it in the coming days as well. So I'm going to use this ceramic palette for mixing my paints. Using the paints directly from the tubes. Next year would be needing some paint brushes. I'm going to use in these four to five paint brushes from different brands and different angles and sizes. So it's going to be one flat brush for the washes, some round brushes and some detail and liner brushes for adding the details for each of the paintings. Next, you would be needing two jars of clean water or a single jar of water for each painting, as we're painting very many, Once you will not be needing much of water as well, but makes sure to use clean water for each class project. Next, I'm going to be using in this very small cutting mat with for taping down my paper every day for the class project using in this masking tape so that it's easy for me to rotate my board whenever I need some blending or some movement or flow between the colors, make sure you tape down your paper on a movable surface. Next, you would be needing in some stationery supplies, which is going to be some technical waterproof pens in black color and a pencil and an eraser for some pencil sketches in some of the class project. Apart from this, I'm going to be using in the spray bottle to leave it the paints on my palette whenever I wish to use them for our next class project. If they've tried out. Next, you would be needing in a rough tissue or a rough clots so as to wipe off your pains and clean your brushes during your painting process so that you can have clean brushes for each stroke. Now for this class, I'm going to be using in this code sheet from my own store, which have different positive codes or mindset codes are just some regular codes to bring in positivity or boost your self-confidence. So we're going to be using these different codes of different colors each day on different class project and paste them just underneath the painting as I showed you earlier. So like this, we are going to keep pasting them every day so as to have a positive reflection and have your 15 min of relaxation with a positive note on it. This is how we'll be using these codes sheets. You can simply print them on a normal paper through your normal printer and cut them for each day and keep pasting it. I'll be using this blocker to pluck out these quotes easily and paste them for each class project. So very simply I'm just going to peel small edge and then pull it out with the help of a blocker easily and using it, I will paste it on the painting as well. You would also be needing in white gouache, which I forgot to mention earlier. These are all the supplies that you will be needing for the coming 30 days. So grab your paint brushes and your papers, and I will see you guys into the next lesson with the davon class project of this 30-day challenge. 3. Day 1 - Be Happy: Welcome to day one of this 30-day mini self-care challenge. Let's begin with our class project. I have my paper taped down onto this small cutting board. And you can see I've kept a lot of space at the bottom area because we are going to be adding in the quotes out there. Now let's begin squeezing out the colors one-by-one. The first color for today's painting is the Crimson lake color. Now, you can go ahead with the best alternative or similar looking sheets. So you can either go ahead with any tone of pink, scarlet color, rose, Madonna, or any other thing which is available in your palette, then you need a medium tone of the yellow color. I'm using permanent yellow light, which is a medium yellow tone. Been eating a tone of the blue color for which I'm going to be using in this peacock blue color. Now in case if you do not have a peacock blue color, you can simply use in acetylene blue color or a cobalt blue color whichever you wish to. So you just need a basic sky blue medium tone of blue color that you would be needing for creating in today's class project. We are going to paint in a very simple sky. We even need a little tint of the populace belt. So in case if you want, you can mix in your blue and the pink to get a purple tone, or you can directly use in a violet color as I've just squeezed out a little tint of the while it out, you're going to squeeze out a little tint of the yellowish orange color so as to give a little blending between the yellow and the pink tones and given a little orange highlight there as well. Now there is no pencil sketch for today's class project. It's going to be a pretty simple one. And then we'll directly add in the details to this with the Payne's gray color later on. So first I'm going to begin in with my half inch flat brush to given a flat wash off the water layer before we begin adding in the pains. So I'm just going ahead with an equal layer of water to out onto this entire space. Make sure that your masking tape is taped down perfectly and you have done your fingers tightly onto the edges of the masking tape so that the paint and the water does not slip onto the edges. Otherwise, you will ruin up those clean edges. After removing the masking tape. I'm going to run my brush multiple times so that the paper stays wet for enough time and it does not dry out quickly because we are going to be painting the entire sky wet on wet, and make sure that all of the colors are blended into each other. If you're using a paper which is not 100% cotton, your paper may try out much quickly than 100% cotton paper. I would recommend you to first wet your paper, wait for it to dry around 50 per cent, then go ahead with a layer of water and then begin painting. In this video, people will stay wet for a little longer time until you walk with the wet on wet technique. Now beginning tones, I'm beginning to use a smaller sized round brush. This is a size four round brush from silver black velvet series. And I'm just beginning to add in first the warm tones, that's the pink, orange and the yellow colors smoothly. Now, leaving a little space between the blue and the orange tone, I'm beginning to add in the blue color. You can see I'm making sure to not blend the orange and the blue completely into each other because orange and blue do not go well with each other and they may form in muddy tones when blended to each other without the help of a color which blends well and does not form in the third column, seemingly with the yellow and the blue. Be a little careful as it may give you green tones onto the yellow color. Just adding in a little bit of the orange highlights. And now let's go ahead and begin adding in little more details into the sky. First layer, we just gave him the color blocking to all of the colors. And now we'll begin adding in the Cloud details and building in the sky step-by-step. I'm just beginning to add in little darker tints. You can see I'm making sure the darker tint is not spread completely all over. It is spread only are in such a way that even the lighter tones are visible. Now, I'm going to begin blending in with the pink color in between the orange and the blue tone. And you can see you automatically have a little violet color formed because of the blending of the pink and the blue tones. Now using the violet color which is squeezed out, I'm going to add in a little tender fit closer to the pink tones and blend it well. For now you can see the color has not spread in well completely. So I'm just using a damp brush and blending it well with the pink tones, giving in little highlights. Again, be careful closer to the orange color because violet and orange me again give you muddy tones. So you need to make sure that you let the violet stain only closet in the pink and not let it come towards the orange color. Now on the orange added a little bit of the pink highlights and now adding in little bit of the YA lit highlights again. And even on the blue, just adding in little of the violet highlights from the edges. Also be careful about one thing when you're working wet on wet and adding in these little details, make sure you do not have access water while adding in the details. Otherwise, the colors will begin to spread completely and they may form one single color instead of having the perfect blended look. So you can see my colors, I have not spread much. They are eaten in the space in which added. Now let's wait for this to dry completely. So this has dried completely. You can see how pretty the sky is. You can see all of the colors visible easily. Now using in these waterproof pens, I have a 0.5 and 0.1 name. I'm going to begin adding the details with this, so forth with the zero-point one name. I'm just going to forming some lines into the sky onto which we are going to be adding in Lord of the light effects. So you can see, I wanted these fine lines. That is the reason I've used the 0.1. Now I need some bigger lines as we are moving towards the bottom side. And for that, I'm using in the 0.5 nib, you can see the difference in both the size pen and nib underlying effect that comes in. Now I'm just going to keep them connecting with some violence because we're just going to be adding in the street light effect of that center has a low heat for this painting. So I've just made a little connection between all of the poles and the wires that we've added in so as to show a street light effect. Now we're going to go ahead and squeeze out a little bit of the Payne's gray color because at the bottom I'm going to fill in some spaces, but the Payne's gray color as well. Make sure you use the Payne's gray color in a bowl consistency so that you have a good ball effect of the Payne's gray follow coming. Otherwise it written transparent if you would be using in a lot of water. So on the rightmost side you can see I've just given him a small building effect. And on the leftmost side, I'm just going to give him little of the bush effect using the Payne's gray color. I'm just using the tip of my brush and dab in, in your to create this effect, you can see how beautiful and simple it is to create these silicate details. On the leftmost side here as well, you can see I'm just pulling out a very small roof which is not visible completely. So only on the edge you can see how I'm trying to ship it out and fill it completely with a thick consistency of the Payne's gray color. Now let's begin adding in the details to these lines to add in the light details. So I'm just drawing one more curvy line at the bottom of these fine lines. And in-between the point wherein both the white lines are meeting to each other. I'm giving him the loops to add in the light effect. So I'm just dropping in a small ball, the black dot, dot out there so as to show in the light hanging out from there. So undo all of the violence that you've drawn, you just need to go ahead and given the small details and adding that oh, you know, hanging point for the light, you can see I'm just adding it completely till the bottom most line that is created. Now for adding in the lights, Let's squeeze out a little bit of the white gouache. It's very important to use in a white gouache or white acrylic. Because white watercolors will turn dull once it dries out onto these bright colors. But since gouache is an opaque medium, even after you add it on this dark background, it will stay bold and be visible very easily and boldly giving in the perfect light effect. Now using a smaller sized round brush, I'm going to begin adding in the white details. I've picked up the white gouache in a bold consistency and just add those spots where we've added the connector for the light effect. I'm just adding small dots off the white color actin as the lights just below that. So keep adding this light effect to all of the connective points that you've added between the lines. So we are done adding in the light effect as well. Now, one last thing, I'm just going to go ahead with a little bit of the Payne's gray color. And I'm just going to rectify elliptical of the bush how it is looking on the leftmost side. And then we'll be ready with this class project for day one of this 30 day of class. After removing the masking tape, we are still going to be adding in the code for today into this painting. As I told you, if you do not have these Cochiti, you can simply printing or your positive codes are codes that make you feel happy, energetic, or make you feel calm and relaxed. You can pick up such codes. Just print them on a simple piece of paper in any colored background that you want or on a black background itself. I'm just cut them and paste it here and do the same exercise for the 30 days. You can hang them onto a wall altogether and see all of those positive quotes reflecting in the positivity in yourself as well. So make sure to remove the masking tape against the paper carefully. Now let's add in the code for today. So I'm going to be using in a blue color sheet for adding in the code. And the code that I'm going to use for today is, there are so many beautiful reasons to be happy, isn't it? So I'm just going to cut this code into two parts because the paper is small, the code is a little pigs. I'm going to paste it in two lines. But honestly, if you go to see and find there are so many reasons to be happy, it's onto us what to choose, whether to choose the ones, the reasons for which we can be happy, or to choose the reasons which make us sad and crave about that. So it's always in our hand to choose happiness or cribbing. So let's choose happiness for today and finding all the beautiful reasons to be happy. So these codes are in sticker format. You just need to peel and stick them directly. No need of glue or anything out there. So here's a final painting for day one of this 30 days self-care painting challenge. I hope you guys enjoyed painting this beautiful mini painting with me today. On day one. I will see you guys soon into the day to class project. Thank you so much for joining me. 4. Day 2 - The Right Door: Hello everyone. Welcome back to day two of these 30 days of self-reflection and self-care. Today we are going to paint another beautiful, easy, simple seascape. And to that we are going to give it a window view. So basically it's going to be as if you're viewing it from a window. So I'm just beginning in with a very basic pencil sketch. So even if you're not add this pencil sketch at this moment, it will be completely alright, because after you add in the colors, you can just have this light pencil sketch for marking the window grids. Now, make sure you use these grids in a very, very, very light consistency of the pencil marks because the sky and the C are going to be a very light tones. So these pencil marks will be visible underneath. And then if you do not add the black color properly into these exact grid lines, then those marks may be visible out separately. On the right side, we're just going to add in a very simple tree out there. And this is it that is going to be for the pencil sketch. The top is going to be the sky, the bottom is going to be the sea. And then the window grid area, as in we are going to show you are viewing this seascape from a window, so forth. Let's begin in with the sky. I'm just going to go ahead with a layer of photo only onto the sky area. For the colors. I'm already having the colors squeezed out on my palette from the previous class project we are going to use in the same peacock blue and the yellow color that we used in the last class project. So as I told you, since I have it squeezed out onto a palette, I can just add in a drop of water and reactivate the colors if they try out. I'm just going to beginning with a wet brush and beginning with the blue color first. Now this peacock blue color is almost like a civilian blue color. So in case if you do not have a peacock blue name tone, you can simply go ahead with acetylene, do our sky blue color very roughly. You can see I've added in the blue tones, I've left a little white strokes in between, going in very lightly. Also remember we are working on very small pieces of paper. So you need to be sure that you do not go ahead with a bigger size brush. Or if you go ahead with the bigger size brush, you need to manage to using just the tip of the brush to get into details. Try it. Now I mixed a little of the yellow, orange and the yellow color and I'm beginning to add in this talk is closer to the horizon line. Now makes sure you do not mix it with the blue tones because it may give you green tones or muddy tones. So very carefully you have to vary given very gentle strokes with very light hand on the blue tones to give him little of the yellow effect in the whitespaces, I'm very likely going to add in these yellow strokes. Now, make sure if you want, you can leave a little white gaps between the blue and the orange tones so that they blend into each other very easily. Now with the blue tones, I'm just beginning to add in little of the highlights. Now, one more thing that you can notice here is that if you have excess water while adding in the details, it will spread and cover up your entire space. So you got to go in very carefully and slowly so that you do not have a lot of water. Because again, you're working with very small spaces. More of water will mess it all up. Now I'm just blending in which love the blues, giving it a little darker depth of the blues. You can see I'm making sure I do not have excess water. So the lighter blue tones are also visible. Still. Rest assured you can just go ahead freely because it's more about just relaxing your 15 min of the day after hectic work day or beginning your mornings with this self-care routine. So go ahead freely. But with all the self-care, there should be some learning as well. So try implementing these little techniques that you need to understand between the properties of colors as well as some of the blending points. Now you can see at places because if the yellow tint mixing in with the blue, it's giving you a little lighter skin tone. Quickly lifted up the colors from there because I do not want any green tones in my sky. Now that is for a sky will wait for this to dry completely then paint the c. C is going to be the exact same colors of the sky. So we'll first read for this guy to dry out completely and then move on to the c and then do the final grid details. So my sky is completely dry it and I'm going to go ahead with a layer of water only into the z-space. Now, now we're going to add in the same colors as the sky in the sea. Then we'll just go ahead with the Payne's gray color for adding in the rest of the silhouette detail for this painting. Why you're adding in the water in the sea. Be very careful that you do not adding any water to this time-space. Otherwise, the colors will get reactivated and again mess up your horizon line and you may get in very uneven tones out there. Now in the sea at the bottom, I've given it a little darker depth using innovative than just the paints. Along with the blue color. And closer to the horizon line, I'm going to go ahead with a yellow, orange color again and just adding into those whitespaces again, while blending in the blues and the yellows, be careful that you're not getting a lot of the green tones. So you can see how lightly I have just added in a little layer of the yellow tone as well, are closer to the horizon line without having any issue or creating in any green tones. Now I'm going to go ahead with my liner brush and using the Payne's gray color, I will begin adding in little soft c strokes while this is still wet. So I'm going to give in a very fine line first at the horizon line. So you will have a perfect distinction between the sky and the sea as well. I'm doing all of this while my c is still wet. Now you can see as soon as I just added in the Payne's gray color on my brush, add a little extra water so you can see more of the Payne's gray spreading on the leftmost side. You've got to be careful about these little things. As I told you, more of water, small-sized painting, it will ruin up, it will spread, it will miss. You got to have little water control as well as pain control on your brushes. You can see I'm using majorly all the smallest size brushes itself, and mainly using in the tips of the brushes to get into these details, right? I'm just spreading this out and lifting up that excess gray which had spread on the leftmost side. So you can see using my size three brush, I could easily just get rid of those excess water or that was spreading across. Now mixing in a little bit of the blue and the Payne's gray carrying in an indigo shade. I'm just beginning to add in little cv is my c is still wet so you can see the soft edges when you are adding in the sea waves. Again, be careful you do not have excess water. Otherwise those strokes will spread and blend it with the base layer color and you will not have a different color loop. So it's very important to make sure to have water controlled by adding the details. Now let's wait for this to dry and then move to the last section. So now everything is dried completely. You can see those soft waves visible in the seat looking so pretty and beautiful. Now beginning with a ball layer of the Payne's gray color, I will begin adding in the silhouette detail. So fast giving in the bottom window pane detail using the Payne's gray color. And I'm going to fill it completely with the Payne's gray color till the bottommost space. Now, very softly and gently begin adding in these details of the window pane on the left side. Now, when you begin adding this, be very careful that you have two straight lines. In case if you're not confident, what you can do is you can first use a black pen, Martha outlines of the window panes and then fill in the spaces with a ball Payne's gray or black tone. So that way you will have a very neat layout for the windowpane. Also, if you want, you can go ahead with the different silicate for the window as well. As I told you, it's more about just giving in those 15 min of the day for yourself to do some relaxing activity. So you can go ahead with the different silicate. You can find a lot of samples for the silicate on Pinterest, along with different sky color combinations as well. So it's more about the technique, the theme for the day to be followed along. You can have your own color choices, your own solo, hate Putin. So I'm almost done adding in the windowpane details as well. Just one more stroke at the topmost area. After that on the right side, we'll just be adding in a small tree silicate as well. And then they'll be ready with this class project for day two as well. So let's begin adding in the tree silhouette on the rightmost side. Now, make sure you're using a smaller size brush and the paint color in a very bold consistency so that you get these details dry. I'm sure if you paint along with me for the coming days, giving you in just 15 min of your day for your own self giving him some relaxing activity. At the end of 30 days, you would be used to giving in time for yourself, as well as you would have built in a skill, painting with watercolors, creating a nice one. Beautiful polarize pieces. Now these polarized pieces can be used in multiple ways. You can create a big collage, fame, fire living area, or you can create in much smaller sizes and use it as 0. Or insert in your phone back covers. You can use it to just pluck it up on your laptops, your PCs, your fridge, you can just add in a fridge magnet at the behind and paste it. So there are multiple uses, how you can use this little creations as well. I'll try sharing all of those beautiful uses after the end of this class, at the end of 30 days. Now I've shifted to a spoiled round brush and using the Payne's gray in a very thick consistency and using the brush in a little dry pattern I'm just going to add in little foil is I've added in those branches using in the brush first. And now I'm just adding in the Irish tabbing in the tip of the brush holding this rash perpendicular. And you can see simply you can create in the foliage details so quickly and easily. While adding these details, make sure you do not have excess water on your brush. Otherwise, the pains may begin to spread and give you a patch of the Payne's gray color instead of giving you this spoilage look. So that is eight. We are ready with this class project for D2. A pretty simple one. I wanted to keep it minimal. I want and keep all of the paintings in under 15 min only so that everyone can manage our time from their busy schedule and get out time for yourself. Using the round brush. I've just given some finishing touches to the tree added in little foil age connected it till the window space, giving him the view from the outside window pane as well. Now let's remove the masking tape. Don't forget, we are left with the last thing for today as bell, that is adding in the code for the day. So first let's remove the masking tape and then move on to the code of the day. So since we've painted kind of a window and a door scene, I have selected the code also accordingly. Let me paste it down and then read it out for you. So quickly paste this down, you're very carefully. Now I've cut the code into two parts because it's a big code. So the code reads as the right door, you will open even without knocking. And isn't it true the right moments, the right things, the right situations happen when you least expect it. It's always said, Believe on God's timing rather than trying to put in your timing in between. And if you believe on God's timing, you will notice that the right moments happening at the right time when you least expect it. You also painting for D2. Thank you so much for joining me in to this class today. 5. Day 3 - Small Pieces: Hello everyone. Welcome back to D3. After 30 days of self relaxation and self-care. Today we are going to paint yet another beautiful green landscape with a pretty blue sky. So let's move ahead with a very basic pencil sketch. I'm just going to mark out the bottom field space and a small mountain range on top of it. And the rest of the space at the top is going to be the sky area. It's a very simple pencil sketch just so that we know which colors go in there. So I'm ready with the pencil sketch. Now for the sky, I'm going to be using in the same peacock blue color, which I already have on my palette. I'm directly first going to go ahead with a layer of photo onto the entire sky. And then we'll squeeze out the green tones while the sky dries out. So go ahead with an even layer of water throughout the entire sky. Make sure you do not leave the edges or do not have extra water on the edges. Otherwise, it will seep back into your painting and may ruin up the edges as well. So it's very important to have an even layer of photo. Make sure if you are painting small, you using a smaller size brush for adding in this layer of water. Pick up the excess water from the edges, dab it off on a tissue like just how I did it. Now, I'm going to shift into my smallest sized round brush and beginning with the blue color into the sky first. So for this guy, I'm going to have a pretty simple gradient sky towards the top. I'm going to have in a little of the darker blue tone. And moving towards the bottom side, I'm just going to begin lightening up this blue tone and tonic lighter till the mountain ranges. So you can see I'm adding in the blue color only at the top space and then using a damp brush, I'm just lightening the tone till the bottom space. Now you can see the gradient in the blue color that we're using from the top till the bottom. Now on the top, I'm still going to add in a little more of the darker tones. So for that, I'm just going to pick up a little tinge of the Payne's gray as well, along with the blue. And you can see I'm adding it to a literal near the top space, cleaning my brush and then using a damp brush to blend it till the bottom space and get a little lighter tonal consistency. We are ready with a pretty simple spine now to the sky dries, we'll paint in this bottom field space as well. Because in-between your half the mountain range, so the sky and the mountain range is distinguished well, so far that I'm going to squeeze out fresh sap green color onto my palette. And I already have a little bit of a yellow tint on my palette, so I will use it that yellow color to give it a little lighter effect in the field space along with the sap green color. So this is how you can use the colors which are already on your palette as well if you do not want to waste them, instead of squeezing out or different tones again and again for the field, since it's a very small space, as you can see, I'm directly going ahead with the wet-on-dry technique that is amusing in the wet paint directly onto a dry layer. Now along with the sap green, you can see I've picked up a little of the yellow to get enlightened, lighter green tones. So when you make sense, light green or yellow along with the dark green, you get in a light green tone like this. In case if you want, you can directly squeeze out a yellowish green or light green color. But since I already have yellow on my palette, I thought of using it so that it will give him a little bit more brighter look towards the green tones and as well as make the blending look more beautiful as compared to directly using a light green tone. I'm just a bit unsatisfied with the blending here. So I'm quickly running a **** brush so as to get a perfect blending, you do not do this step if your sky has already begun to dry in my sky was still wet. That is the reason I've went ahead with one more layer because I wanted to lighten up the colors at the bottom. Now let's wait for this to dry completely and then move further. So now my sky and the bottom field spaces completely dried. You can see how beautiful the colors are looking, the gradient, as well as the bottom field with the light yellow Tails. Now I'm mixing sap green along with the Payne's gray color to getting a darker green. Now again, it's a personal choice if you want, you can directly using the dark green color in your palette, can be a Wendy green hookers green, or any other darker green tool that's available. But I prefer mixing the colors that are already on my palette and forming in different shades then what's readily available in the tubes. So I'm just using in this darker consistency to paint in the mountain range. Now in this mountain range as well, I'm going to go ahead with little lighter tones in the center space of the mountain. I'm using a little bit of the yellow tone to get a little lighter thin effects. At the top I've used in the darker tone of Payne's gray and the green mix in center, I'm adding a little of this yellow filling to give him little lighter tones of the green to be forming on the mountain space out here. And then add the bottom-most piece again, I'm going to use in the darker consistency, blend all of this together for the mountain range as well, have gone ahead with a wet on dry or layer. So the mountain range was dry. I went ahead with a wet colors directly and then blending these because it's very less details that I have to add in an easy to get in the details. After this will again wait for this to dry and then add in the final detail on this painting. I'm defining this line quite well, distinguishing this bushy mountain from the field space. And now I'm just going to go ahead with little darker tones and blend the mountain range well enough. So I'm done with a mountain range now I'm going to just revert this white gouache, which is already on my palette here. But in case if you feel that by rewriting your cautious turning into light, make sure to space out the fresh squash so that you get an opaque look. Using this, we're just going to add in very little floral detail and the bottom field space on the bottom rightmost side. Majorly, I'm using the smallest size brush, which has a very fine tip. And I'm just going to begin dabbing in very small flower details out here to give him little floral effect in the bottom green space. So you can see I'm adding in very simple floral detail. I've just been dabbing in this white color randomly to create in a meadow kind of a detail. On the left side. I'm going to go ahead with very little of these details because on the left side, I'm going to be adding in one big pine tree. So I'm just keeping very minimal details with this white quash on the leftmost side. Majorly added all of it on the right side. This painting, you can see how small, small details put together creates such a beautiful outcome. Pretty simple small sky with a very simple field detail and a little flower details which are very minimal. Now adding in a simple pine tree, my mountain ranges also completely dried and I can go ahead with the pine tree detail. I'm going to use the Payne's gray color in a bowl consistency for adding in the pine tree, make sure you use it in a bowl consistency so that your pine tree stays opaque as well as bold enough. I'm going to begin in with a pointed tip of a brush and first add in the main stem for the pine tree. Now, using a damp brush, I'm just blending the bottom space of the pine tree into the field space, trying to show it perfectly that this tree is rooted into this Greenfield area. So just easily using the tip of a damp brush and blending that Payne's gray color into the green space, giving it a little blended look and a very light effects so as to show the perfect rooted effect for this pine tree. Now, I just squeezed out a little more of the fresh Payne's gray because my all your Payne's gray felt a little more diluted and I wanted a very bold consistency for my pine tree. Now I've shifted into my liner brush so that I can get in the final details for the foliage, for the pine tree going very slowly. Remember the pine tree has to add the end taker shape of our tree out here. A rectangular shape. At the top you beginning with very small length of the file is moving towards the bottom side. You gradually keep increasing the length of the foliage, which will automatically by the end of the tree make it into a triangular shape. So at the top, it will be very narrow, phylogenetic, moving downwards, the foliage will keep increasing and the narrowing part will form it like a triangle. So I'm going ahead very slowly maintaining the shape, giving him the violation very different format as well as you can see, I'm using a liner brush so that I can get in these fine details for the foil it. If you will try to achieve everything bigger altogether, it will be very difficult, as well as disappointing when you will be unable to achieve it. Always try putting into smaller pieces together, getting in smaller things together and making it out of big picture. You are, you can see we went in very step-by-step creating in very small details. And when all put together form such a beautiful landscape and the scenic view to the eyes. Now on the rightmost side here I'm just adding in very simple file is detail with the Payne's gray color. You can see how easy it is when you have a paper tape down on a movable surface, you can simply rotate your board, adjusting your hand movements, making it very easy to add in the details. So I always recommend taping down your paper on a movable surface because it's quite handy and makes adding the details much more easier. So we are almost done with this painting for D3 as well. We are three days through this challenge, already, removing the masking tape and then add in the code for the day. Make sure you remove the masking tape only once your edges are completely dry. Also, while removing the masking tape, Be very careful. Always pull the masking tape against the paper so that you do not tear off the edges. So you can see I'm pulling it out very carefully. Also if your edges will be dry and if you lay your finger on top of it, and if your finger gets laid onto the whitespaces, you will get driven up the edges as well. So now let's add in the code for the day. So what we've been talking around is going to be the code for the day. So again, today's quote is also a little Baker. Once I'm just going to cut it into two pieces and paste it into lines. So the court reads, as it's always the small pieces that makes the big picture in life as well. If you try to put in all the smaller pieces together, you'll be able to see live quite pig and a bigger picture in your life. Your final painting for day three of this 30-day of self-care and self relaxation. I hope you guys enjoyed painting this beautiful piece with me today. Remember it's always the small pieces that makes the big picture. And I will see you guys in the day for tomorrow. 6. Day 4 - Hardest Climb: Hello everyone. Welcome back to day four of this 30-day challenge. Today we are going to be painting this beautiful dreamy landscape. And we'll begin in squeezing out the colors first and then move on to a very basic pencil sketch. The first color that I'm squeezing out is a cobalt blue color. You can use either cobalt blue or ultramarine blue, whichever is available in your palette. Next, you would be needing a little end of the pink, which I already have on my palette. And I lifted off the violet, which also I already have on my palette from the previous class project. So the colors are already on my palette. Now let's go ahead with a very basic pencil sketch is going to be marking out the mountain ranges. So I first marked down or diagonal line at the bottom space as you can see. And now on top of that I'm going to give in a mountain range on the right and then on the left as well. On the mountain range, we are going to be hiring any ideas to depict in that shadow spaces as Bell giving in the darker depths there will be having around three mountain ranges, as you can see, one on left 101 in the center space. Now, I'm just marking out the distinction on the mountains to give him the darker spaces when we'll be adding in the colors there, I'll help you out. Finally, Let's begin with the sky. I'm going to go ahead with a layer of photo only on to the sky space. Make sure you do not add the mountain range or water space right now because we need to let it be blank because the mountain range is going to be off the lighter tones. So if we add in the sky colors there, it will be very difficult to cover it up. So closer to the mountain space, you can see I'm going in very carefully defining the edge of the mountain according to the pencil sketch that we have added in. I'm not adding in a layer of Florida. I've made sure I haven't even near afforded throughout and no excess water collected on the edges. Otherwise it will see back into your painting. And creating those are rough patches on the edges of the painting. Now, beginning with the cobalt blue color first, I'm just going to go ahead at the top space, add in a little blue thin. And then we'll be playing along with the violet and the pink tones. Now to give it a little darker that I've just picked up a little bit of the Payne's gray color to make it look like a little indigo. Hello. So half of this guy, we've gone ahead with this tone. And now I'm just going to pick up a list of the peacock blue as well, which is already on my palette. You can use a civilian blue color instead of this. Next time going ahead with the pink tone closer to the blue. Now when the pink and the blue mixed together, you can see it's already beginning to form in the violet tones directly because it's the properties of the pink and the blue mixing in together closer to the mountain range. You can again see I'm going ahead very carefully so that I do not run into the mountain range at the moment. Now, this is a very basically out of the sky that we've added. Now on top of this, I'm going to begin adding in some cloud deck. So I'm going to use in the violet color, the pink and the blues to forming different tonal values in the sky, giving you more depth to the sky, most of the blue space will lighten it up and give it a little more of the pink and the violet tones. So I'm going ahead with the Payne's gray color first at the top to give it a little more darker debt to the blue only at the top space. Now playing along with the pink, I will create a little violet tones and then use a little bit of the violet color as well, if needed to give him little more darker effect of the violet tones. Now make sure that you go ahead with paints are in the second layer with less of water. Because now if you're going to have excess water while adding in these Cloud details, the colors will spread completely and they will cover up the entire space. And you will not have that color look being visible. So you can see when I'm adding in the violet color to define the cloud shape, I do not have excess water, so they are retaining the shape in which I'm adding them. Make sure you do not have access water while adding in the wet-on-wet details to get into details and depth into the sky. I've just moved my brush in circular motions, added in little cloud effect into the blue skies as giving him the depth. And now wherever I feel I need a little blending. I'm just going ahead with a damp brush to blend. Now we'll wait for this guy to dry and then move further. My sky is completely dry it and we're going to go ahead with the details now. So I'm going to go ahead with the mountain ranges first. So I'm going to mix in the pink and the violet color and get a pinkish violet tone. Or you can directly. A red violet tone if it's available in your palette. I do have a red violet tone available, but since I always tell you, I try mixing the colors on my palette already. So I'm mixing the paint and the violet, and I'm going ahead with a very light consistency. So it's more affordable or less of pigment that I'm using in your for the first layer off the mountain ranges. Now, all the right side of the mountain ranges, I'm going ahead with this lighter color consistency force because I'm going to show more of the shadows, other darker spaces on the left of each mountain ranges. Now this right, leftmost mountain range, I've added completely this lighter tone layer because you aren't going to add in very little of the shadows and that to moving from right to left for this specific mountain. Now we need to add in the details in the mountains step-by-step so we cannot add the darker details while the lighter detail is still wet. So we'll have to wait for this to dry completely only then you can add in the detail there. Otherwise, all of the colors will blend into each other and you will not get in that distinctive look that we're trying to achieve. And for these mountain ranges, onto this leftmost mountain range, I'm just adding in little more darker there. Make sure that you're also you have a little extra water because we are going ahead with the wet-on-dry technique or paper is dry. And we're adding in the wet colors so that you have the perfect loop. Now my first year of the mountains is completely dried and I'm going to go ahead with the second layer covering in the right spaces. So now I'm going to have a little more of the violet color mixing in a little tent of the blue as well and then the pink tone. So you have a bluish violet tone which will set in well with the pink tone. Now I'm going to fill in the whitespaces with a light consistency of this color makes that we've created. So in-between you can see I added in a little bit of the ping giving him the depth and showing it perfectly in sync with the rest of the mountain ranges. But now you can see I'm going so slowly defining in the shape of the mountain here as well. So make sure that you go ahead very slowly. So that will define the mountain range well, the shape that outline, otherwise it will go all out of proportion. And then if you try to shape, it, will not give you a natural look. Now again, you are blending in the violet and the pink tones together, getting enough blend between both the colors. But you can see how dark it is from the previous color that we used in towards the right side of this mountain ranges. You can see that was just very pink color in a light consistency. And now this area, since we are showing the shadows and darker that you can see how all these colors are. Now while this is drying, I'm going to go ahead with little dry brush technique onto the lighter mountain ranges that we've added in. So I'm just using the tip of the brush and giving him little strokes onto the lighter spaces, creating in some darker depth there as well, giving in the shadow details and some dry brush effect. The given texture to the mountain. Make sure that those mountain ranges are completely dry before you add in this layer. Otherwise, these layers will spread along with the base layer color and will ruin your entire mountain space. Onto the leftmost mountain you are, as you can see, I'm giving in simple dry brush detail. It's basically I've lifted a little of the violet color and tap the excess water and pigment onto the tissue. And now just using the tip, I'm giving you a little dry brush texture onto these lighter mountain ranges. Believe in me giving you a little dry brush texture onto the darker mountain ranges that we've added. Once it is completely dry. Let's wait for the last layer to dry completely. Then we'll move ahead further into this painting. So data lakes layer is also completely dry. Then you can see the effect of the dry brush that we gave on the lighter tones and the darker color which is already dry. Now, I'm going to mix in a little tent of the violet along with the Payne's gray. And I'm just going to begin adding in the dark or dry brush technique onto the darker mountain. So you can see how we are going step-by-step. The first mountain range we painted with a very lighter pink tone on that. We gave in the dry brush technique with the darker color that we use for the second mountain range. But now we need a little more darker colors, so we add it in a little more pinch of the Payne's gray to get one more darker tone. Then the second layer of the mountains that we've added in. This is how you create your color or tonal values and for creating in the depth and the darker effects into the painting, you move from the lighter to darker color step-by-step. So I'm just going to head adding in little more dry brush technique onto the lighter spaces as well using in this darker tone. And then will almost be ready with this mountain ranges. Then we'll just be left to add in the bottom-most piece and the code for the day for this painting of A4. Now the bottoms piece, I'm going to fill it with a ball consistency of the violet colors. I've picked up the violet color. I'm going ahead on dry technique. You're as bad because as you can see, it's a very small space depending on the size of my painting. So I can fill it up completely quickly. And to that, I'm going to add in a little bit of the Payne's gray color as bell closer to the mountain range line and blend both of these colors by giving him the darker space at the bottom area. You can see how I've blended both of these colors. Well, I've made shorter violet color is still visible and not hidden completely because of the Payne's gray color. So you need to add it in such a way that both the colors of visible and the blending is also visible. Now I'm going to add in very minute pine trees on this line in-between the mountain range and this bottom dark space that we've added to actin as a field or, or forest space. Now I'm going to begin in which very small pine trees out here with a darker tone, which is again mics off the Payne's gray and the violet color. And I'm just going to begin adding in very small pine trees. Make sure you do not cover all of the mountain ranges, so they have to be quiet minute so that Eve, It's a background mountain range is still visible. So you can see I've added a few of these pine trees. It's not necessary to add it onto the entire space. Make sure these pine trees are very blended into the bottom spaces, but they do not have any sharp edges in-between. If you want, you can just add in simple spikes to add in as the phylacteries or the pine tree kind of effect so that you have a little more filled up look out there. Now next, using in the white quash, I'm going to go ahead and add in a very small moon out here. Make sure you're using either the white quash gold consistency or you can use in a white marker or a white gel pen if you're not confident about adding this small detail using a smaller brush, I'm using a size three brush, but since this has a pointed tip, it's very easy and convenient for me to add in this very small moon out here in the center of the sky. I'm just going to add in very few limited scattered star effect, very limited, not much of it, but the moon is going to be the highlight out there. We are ready with the painting. Let's remove the masking tape. Make sure you remove the masking tape against the paper. Also make sure that your edges are completely dried in. Otherwise, the colors will get lifted and you may lead onto the white edges otherwise, and ruin up the whitespace as well. So be very careful that you do not lay your hand onto the wet painting while trying to pull off the masking tape as well. So we've removed the masking tape, your final painting. But before that, let's add in the code for the day before giving it a final look. So today I'm going to select APA code from this brown color sheet because it will go well in contrast with the colors that we've used in. Not worry, if you do not have color sheets, you can simply print the quotes as per your color choice and take a printout from a color printer, cut and paste it with the help of a glue. But since mine is already sticker sheets, so I just need to pick them up, pull them apart from the sheets, and just paste it directly without any glue or without any stickiness. This placard just helps and makes it convenient for me to face these little details easily. So the court I have chosen for today is the best view, comes after the hardest client. Now keeping this mountain range view in mind, I thought this is the perfect code to go with it, but if you apply it into your normal life as well, It's absolutely the best feeling when you achieve something or when you succeed into something after a lot of hard work and effort that you've put into it. So remember, with hard work and struggle, There's always the best happiness, best feeling that you achieve after all the struggle. So you as the final painting for day four. I hope you guys enjoyed this with me today. I will see you all soon tomorrow into the next painting. 7. Day 5 - Beautiful Destinations: Hello everyone. Welcome back to day five. After 30 days of self relaxation and self-care. Today we are going to paint this beautiful seaside lighthouse painting. I know it's a very mini painting with a lot of details, but believe me, you can paint it very simply and easily along with me falling in step-by-step. So beginning with the pencil sketch, I'm just beginning to mark out the lighthouse space and the rough area on the right side. I've already marked my horizon line almost a little about the center line. So the bottom is going to be the see, the top is going to be the sky. And on the right side we're going to have in the rock and the lighthouse on top of this. So this painting will take in a little more than 15 min, but I've tried to shed unit up on a Sunday so that you can squeeze out that extra 5 min to paint this little detailed or painting for today. Now on top of this rock, I'm just going to add into simple cottages and the lighthouse detail. We're not going to be adding in a lot of details into these many cottages and the lighthouse. We're going to give him very simple details later on using the red color. For now, just given the very simple pencil markings for this, you can follow in your own reference for the cottages as well as the lighthouse. So you can see, I have my paper taped down on a movable surface and it becomes so easy even by adding in the pencil sketch to just rotate the board, I'm getting the details, diagnose the angles and the hand movement adjusted in so easily. So I've added in the Lighthouse, you can see the lighthouse is a little below the fall behind the first cartridge. So I've tried to show him that that cottage is exactly in front of the lighthouse, covering up a little bottom-right space of the lighthouse. We're ready with the pencil sketch, just a very simple, basic pencil sketch for the rocks in the sea, the rocks, the lighthouse and the cottages. And now we're going to go ahead with the details in the sky first. Make sure you have the pencil sketch very light because we are going to again be using in very light colors. So you do not have a very dark pencil sketch. Try to lighten it as much as possible. While painting the sky and the C will not be adding in the details are in the cottage and the lightest will not even be adding in the layer of water there has been. So let's begin with a little photon to the sky. Make sure you do not add the water layer onto the cottage or the lighthouse. We're going to keep them white. We're just going to add in details there later on once everything dries up. So going very carefully closer to the lighthouse and the cartridges, I'm going ahead with an even layer of water throughout. You can see I'm running in very carefully closer to the cottage and the lighthouse space. I'm making sure I do not even have excess water on the edges and spell otherwise it will be very difficult to avoid. Those are rough edges that may happen because if the water seeping back, now the colors I already have on my palette, so I haven't squeezed out any fresh color. So for this guy, I'm using in this cobalt blue color, going to give him very light consistency. And moving closer to the horizon line, I'm going to lighten up the tone as you can see, again, marking the edges of the lighthouse very carefully. So I'm going ahead with this pretty simple sky as you can see closer to the cottages as well, just filling in the inside gaps, making sure to not get the colors inside onto the cottage or the lighthouse. Now I'm just adding a little tent off the surreal into all the peacock blue color onto the top of the cobalt blue color. I'm going to blend it well and get very lighter tone closer to the horizon line again. Now only at the top spaces I'm adding in little more darker depth as you can see, I'm making sure I have a gradient sky moving closer to the horizon line, I'm lightening up the color, which is the help of a damp brush. Now on the margins of the lighthouse, I'm just going to give in a little blue tint and blend it well, because the lighthouse, we're not going to be adding in any color. We're just going to be adding in highlights using in the red and the Payne's gray color later on. So at this moment itself, bile, my sky is still wet. I'm just going to pick it up. Little color and given the borders very carefully, first, I'm just blending in the sky. Well, I added little more of the cobalt blue color again and blend it, all of it. Well, you can see I have running in so much multiple layers, even on the smallest space so as to get the plane that transition going in smoothly from the top till the bottom. So at the top you can see I'm running more of the colors moving downwards. I'm just blending and lightening up the color, fill the horizon line. Now in the cottage and other spaces we're not going to be adding in the pain. So let's give him the outline as I told you, using in the blue while our sky is still wet. So I'm just going to pick up a little tinge of the cobalt blue color. I'm just using the tape, I'm going to define the outlines of the lighthouse. Make sure you do not use a too bold color and you need to blend this well a little into the sky using a damp brush. So very closely I'm running the **** brush, blending it well into the sky. You can see the lighthouse has called the margins, as well as the blends happening in smoothly between the sky as well. Now, wait for this to dry out completely before moving ahead further and adding in the further details. So now my sky is completely dry it and I'm going to go ahead and begin painting in the sea. For that I'm going to be using in this turquoise color, which is in tan format. This is from the brand right night. I'm first going to go ahead with a layer of water into the area as well. If a little of the water goes inside the rock space, it's completely okay because the rock is going to be off a very darker tone. But make sure you do not add the water into the cottage or the Lighthouse Beans because there we still have to keep it white. Now I'm going to begin in with this turquoise blue color in the z-space. And then I'm going to blend in a little bit of the greens as well. Now in case if you do not have this turquoise blue color, It's absolutely okay. You can go ahead and just mixing a little, tend to offer your viridian green or emerald green along with your blue color to get a bluish green tone. So beginning in with this color, adding it into the z-space, into the entire see, I've just given an a base layer of the turquoise blue color. Now I'm just lifting a little of the sap green color which is all filled my palette, I'm beginning to add in little cleaner depths at the bottom space. So you can see it's giving in a very natural see color look to this. Now, I'm going to begin adding in little darker highlights with the turquoise blue color. You can see I'm just using the tip of the brush, using a darker pigment and adding in the dark or highlights. Now below the rock space area that you've mapped out, we need to add in the shadows space while this is still where we will be painting the lock later on, but the shadow to the rock in the sea, we need to add while the layer is still wet. So using in a little of the Payne's gray and the black color, turquoise, blue color. I'm just adding in Dhaka depths below the rock space as you can see. Because after we add in the rock, this area will actin as the shadow space of the rock falling into the z-space. Make sure you do not have excess water while adding in this shadow. Otherwise, the Payne's gray color will spread completely uncovered up the entire bottom CSPs, instead of just having that little shadows pays for the rock. So with the turquoise blue color, you can see I just added in little darker depth on the horizon line defining the horizon line well. And also a little of the dark Aviva effect urine there, but made sure that little of the lightest parts is still visible. Now just adding in last blend between the entire see space. Now we need to wait for this to dry completely so that we can add the final rock and the lighthouse and the cottage details. So now my c is completely dried and I'm going to begin adding in the details into the cottage and the lighthouse. I'm going to squeeze out a little bit of the yellow ocher color. First, I'm going to begin with The Rock space. When you pin the rock, you have to be careful that you do not add in the details in the cottage and the lighthouse piece. Next, I've picked up a little of the raw amber color. You can pick up yellow ocher and any shade of brown that you have in. I'm going to begin in with the yellow color. I'm going to go ahead with the wet-on-dry technique here because it's quite a small drop and there's not much details to add in. I'm just going to make sure to define in the top space so that I do not move into the pottage and the lighthouse area. So as a first layer, I just added in the entire space with the yellow ocher color. Now on to this, I'm going to add in highlights with the raw umber and the green tones as well. Defining in the workspace a little much better. On the edges. I will begin adding in this darker brown and begin blending it with the yellow ocher color. I'm adding this while my yellow color is still wet, I'm going to blend all of these well and smoothly. In case if you feel that the blending is not happening in smoothly, you can use a little pinch of water so as to make the colors flow and blend to each other easily. So in-between you can see I'm just adding in a little off the sap green color as well to give him little green depth onto the mountain chains trying to show in some bushes growing in onto the rocks as well. Now next I'm going to pick up a little of Payne's gray color and just add in little more darker highlights majorly at the bottom spaces. After the mountain will be completely dried, we may even add in a little bit of the dry brush detail if needed to give him little texture to this big rock space. Amazingly, at the bottom you can see I'm adding in this much more darker death, trying to showing that more darker tonal value. And now as you are adding in the rock, you can see the role of the reflection that is playing in there that we added in the area while painting in the sea, giving in that darker depth detail. So very carefully I've painted the rock. I'm just using a damp brush to blend in the colors in between so as to get that smooth transition as well between the colors. I've gone ahead very slowly defining in the details of the rock as well. Now, in the water, we had some of the other oxides well for which we had added in the pencil sketch, which may no longer be visible to you because of the layer of see that we've already added in. So I'm just going ahead roughly adding in some random rocks into the sea space using in the brown tones to this, if you want, you can use in a mix of the brown, the yellow ocher, and the Payne's gray color as well. It's absolutely your choice how you wish to go ahead with these details here. Now for the lighthouse and the cottage, I'm going to be using in the payroll red colors. I'm going to squeeze out a little bit of the payroll red color. I did not have any red on my palette. That is the reason I'm squeezing out fresh destined. You can use scarlet, red, crimson, whichever color of bold red that you have in your palate. It may not be with the same name as mine, but you can go ahead with any color of red of your choice. I'm going to begin adding in the details and to the cottage. So basically, I'm just going to define the roof of the cottage with this red color. In case if you want, you can first have a look as to how I'm going ahead with the minimal details and then go ahead and fill in these pieces. The cartilage area, you remember we had kept it completely white. So you are just going to define the edges of the cottage using in this bold red color. And then you can just give a little minimal window details using in the red brown or the Payne's gray color as per your choice? So I'm using the Payne's gray color and I'm just saying define the doors and the windows for this cottage space here. You can see very minimal detail keeping the entire cottage as red, as white and the roof as the read-only. Now even in the lighthouse, I've given him the details with the red and the black color. These are very minimal elements that we've added in. So very minimal details needed to make them highlight. So we kept them white as the base and just added highlights with the red and the black tones. Now I'm just going to go ahead using my permanent marker and just going to define in little more details of the lighthouse because they are quiet minute. And I do not want to ruin it with the colors. I'm using a 0.1 pen nib so that I can get in these fine details in front of the lighthouse, just adding in a small fence and in-between both the cottages as well, just adding a small fence detail. Now next I'm going to squeeze out a little bit of the white gouache and just going to add in little wave details into the CSPs. So basically I'm going to show a little of the waves form effect closer to the rock species and in the CSP is a bit trying to show the crashing wave effect. So let's begin with white gouache, not adding a lot of water. I'm using my size four round brush and I'm just going to begin adding it. Very simple DTs using in the white quash a little in the dry brush technique. So the points at which this rock is, you're not touching the C line at that space. I'm adding in little of the dry brush with the whitewash, trying to show in the waves crashing towards the rock and creating this form effect of the white color Towards the other rocks as well onto the edges you can see I'm adding in little of that crashing wave effect, just little detail with the white quash. We're almost through this painting for d5 as well. I hope you have been enjoying this mini-series so far, as well as finding these 15 to 20 min of painting exercise daily or relaxation. And yourself time-varying, you learn a new habit as well as only be focused on yourself, your creation. And B3 towards just enjoying the entire painting time. I'm almost done with the whitewash TTL. Make sure that you do not have excess water while adding in these details. Otherwise, you may get in patches of the color instead of getting in this dry brush technique. And now I'm just going to begin peeling off the masking tape. Make sure you pin it against the paper so that you do not tear off the edges, as well as make sure your painting is dry otherwise your human Leia Han onto the wet part, I'm relayed onto the white edges as well. Now, lastly, let's add in the code for the day. So today for this painting, I'm going to be adding in a quote from this green sheet. I loved the color contrast that will go along with the sea, the sky, and the tonal variations of blues and greens. Again, I'm going to cut this code into two parts because it's a bigger one and it may not fit up in one line. So the quote for the day reads, as difficult roads lead to beautiful destination. And it's the same V with your success story as well. All the difficult, hard blogs, the struggles, everything will lead you to your beautiful glory and victories. Remember, straight roads always have an end. You need to take a course, CMB, difficult roads but Beautiful Destinations. I hope you guys enjoyed painting with me today. I will see you guys soon into the next lesson tomorrow. 8. Day 6 - Be Grateful: Hello everyone. Welcome back to day six of the 30 days self-care challenge. Today we are going to be painting a pretty simple seascape painting with colors that actually may not go well with each other, but we learn to blend them easily without having any muddy tones. So now I'm going ahead with a pencil sketch. So it's going to be very minimal pencil sketch. I've just marked the horizon line, which is a lot below the center line. And that's the only pencil sketch you need. And we are directly going to beginning with the colors. I'm going to begin in with the layer of water onto the entire sky space first. Now under the sky we are going to be using in blue and the orange tones which we already have on our palette. Make sure you go in with an even layer of water throughout so that you do not have excess water anywhere. Also, make sure on the edges you do not have excess water. I'm running my brush multiple times so that my paper stays wet. And then I add in all the details, despite being a small space and using 100% cotton paper at times because of the weather conditions your paper may try out quickly. Now I'm using a mix of cobalt blue and the peacock blue, which is already on my palette. I'm mixing both of these colors and beginning to add it at the top space. So I've got a pretty sky blue kind of a tone. And on top of that later on, I'll give it a little darker details as well. Now we're going to be blending in the blue along with the orange color on the horizon line to show it kind of a pretty sunset view. I've added a little off the Payne's gray I stole onto the blue tones so as to get a little darker on the top space. Now I'm going to use the yellowish orange color, or you can use an orange color if you want. But remember orange and blue and blend it together, it forms and muddy tones. I'm just mixing in a little tint of red to get in an orange tone from this yellowish orange color. Now, as I told you, you can directly use orange tone if you want, but like me, if you need, you can mix the colors on your palette. You can see I've got a bold orange color by mixing the yellow orange and a little tint of red, orange and yellow mixed together may give you a muddy tones. So in-between the blue and the orange, you can see I've left a small white gap and now using a damp brush, I'm just going to blend both of these colors smoothly into each other that you do not have any or muddy tone forms in between. If you will try blending in any complimentary colors, they may form muddy tones are forming very unpleasant color mixes. So it's very important to let these colors blend and nationally. So I've just added a little water or little liquidity flowy color, and I've just tilted my board in all directions that the colors blend into each other smoothly and have that smooth blend between the color and the transition happening as well. You can see that little space in between the blue and the orange creating in the perfect blend happening in. Now next, I'm just going to begin and add in little more detail with a little touch of Payne's gray and blue color, giving in little effects into the Cloud as well. But makes sure while adding this, you do not have excess water. So on the top I just need a little more darker tints. I'm adding in pain scale from the top and I'm keeping my boat tilted towards the bottom side so that I have a radiation from the Payne's gray towards a little lighter tone blue for the lighter moving to the orange giving into perfect sunset. Why? Now using in little danger of this payroll red color which I have on my palette. I'm just going to add in little cloud detail onto the orange pieces, giving in some strokes to add in little more drama to the sky. Now while I'm adding this red color, you can see I do not have excess water. The red color is reading this piece is in which I'm adding them. It's exactly staying at the space onto which I've added them. So make sure while adding in these details, you do not have excess water. Otherwise, if I would have had excess water, the red color would have spread it and covered up the entire orange space. So now we have the sky is ready, a pretty simple one. And now we are going to wait for this to dry out completely before moving ahead further onto the CSPs. So make sure that your sky dries out completely. Then we'll paint the sea and then the final detail on the horizon line. So at this top left space you can see the color was turning a little light maybe because of some paper defects. I'm just trying to cover it up as much as possible. Now we'll wait for the C too dry. Or if you want, you can go ahead with the sea by leaving a very fine white line in-between the sea and the sky. So I'm going to leave the white cap and beginning if you want, you can wait for it to dry completely, then move on to the c. The reason why I'm leaving that white space is a very fine one MMR to MM line is because I'm going to be adding in details on the horizon line which will get covered up in that whitespace by adding the details. So this E is going to be an exact reflection of the sky. So I'm just going to go with the inverted color theory now. Onto the closer to the horizon line, it's going to be the orange color. And at the bottom space I'm going to add in the mix off the blue and the Payne's gray color again and create a reflection of this tie into the sea space has been. I've gone ahead very carefully. By the time I was painting the sea, my sky has also dried out completely, so I covered up that white cap as well. You can see my colors have not moved into the sky space. They're retaining the space in which I've added them. So make sure you do not connect the sea and the sky. If the sky is still wet, otherwise the colors will flow into each other and ruin up your entire sky. Now I'm just adding in little wet on wet details in the center majorly, I've maintained the orange and the red tones, reflection of the sky into the sea and on the edges as given more of the Payne's gray and the blue tones. I'm just going to add in little darker depth at the bottom space. And then they will wait for this to dry out completely now and then move ahead further. Add in the details seven, let this dry out diagonally so that the colors do not move into the sky. In the center here you can see a little of the palace seeping into the skies have just lifted up quickly with the damp brush. Now I'll wait for it to dry. Now I'm just going to squeeze out a little bit of the Prussian blue color. My c is completely dried out and I'm going to begin adding in little wavy effect with the Prussian blue color in the sea, and then move on to the details on the horizon line. Now if you want, you can go ahead and use in any darker tone of the blue which is available in your palette. It may not be exactly Prussian blue color or the same tone. I'm using my liner brush so that I can get in fine lines to actin as the vase. Now for the leaves, I'm not going to be using in too much bowl of the Prussian blue color. I'm going to dilute it a lot and use it. In the center where you have two orange space. There will be adding the wave effect with the orange color later on. So make sure you let that space be a little empty for now. Then just add in little of the wave effect with the blue color. But first we'll add in with orange color there. Now make sure you add in very fine lines. I'm just going to go ahead very randomly adding very fine strokes to actin as the waste. Now you can see how randomly I'm adding these veins. There's no specific pattern to follow along. It's going to be a pretty simple one. As I'm moving towards the bottom side, you can see the length of the waves is increasing. And as I was closer towards the horizon line, the veins land was quite smallest. So as to show the perspective view, that is, you are much more closer towards the bottom side rather than the horizon line. Because if you know the waves could to urge the horizon line look in shorter to your eyes. Now in-between, I'm just adding in little darker strokes with the blue color as well. Not much, but a little darker than the base layer, very limited. You can see. Now moving on to the orange color, I will begin adding in the details in the center space which we have left empty for now. After adding in those details with this orange color, you can add in little blue stroke so as to show perfect blend happening in, I'm mixing in a little tint of red as well so as to get that highlighted view of the waves in the center space as well. Make sure you do not use too much of a bold red color. Otherwise it will stand out quite differently. That one stroke, as you can see, I'm going to lighten that as well, but be a little careful that you do not have these thick strokes coming in. Now to blend it with the orange and the red strokes, I'm going ahead with the blue strokes again, you can see, and now all of it is looking well blended into each other. Now I'm taking the blue strokes closer to the orange strokes as well, so as to show the perfect blend happening between the visa as well. So now I'm feeling that the strokes are too dark. I'm quickly lightening it up using my **** brush. You can see very simply adjust lighting up some of the strokes, very likely, not much. Now I'm just going to go ahead with the final detail on the horizon line, which is going to be a little off the bush detail using the black color. Now makes sure you can use the black color or Payne's gray, whichever is available in your palette. But it's going to be very minimal details. And then if we need, we may add in a small moon into the sky. But it would depend. Let's first add in the bush detail also makes sure you do not add the ghost so much taller that you cover up the orange and the red cloud details completely off the sky. So you need to maintain the length accordingly so that the orange and the red strokes are visible at least closer to the horizon line. First mark the entire top space. I've just used the dabbing motion. I've just been dabbing the tip of the brush to create in this bush effect. And now I'm going to fill in the entire bottom space with this color. So I'm just filling in this entire space with the black color, as you can see giving in that bush detail on the horizon line, my orange and red clouds is still visible. When I told you that. You can leave that thin white line in between if you want to paint the sea while the sky is still wet, that would have got covered up. Now, when you would be adding in the bush detail, taking in the black layer on top of that white line and are covering it up. So now we have defined the edges as well where now I'm just going to go ahead with white quash and adding a very small moon into the sky. And that will be the last detail. Then we'll peel off the masking tape and add in the code for the day. Make sure for adding in the moon you use the right question, a thick consistency so that you get an opaque effect of the same. So I've just added in a small moon and now I'm just going to add in very small tiny stars out there randomly. If you want, you can skip this part as well and just add the moon and let it be. So that is it. We are ready with the class project now I'm just going to lighten up a little of this task because I don't want ball look of those. So let's remove the masking tape. Make sure to remove the masking tape against the paper so that you do not tear off the edges. Also, make sure that your edges are completely dried before you begin removing the masking tape. So we're ready with our painting for D6 are pretty beautiful, soothing evening seascape with those soft wave lines. Now let's add in the code before having a look at the painting closely. Using in the code from the blue sheet today. And it will go well in with the color tones that we've used in for the sky. Now if you want, you can just simply use in white or black sheet printed from your computer or a color printed sheet of the codes that you wish to add in. The code for the day leads as there is always something to be thankful for. And that's absolutely so much true in our everyday life. If you see at minute details, you can be grateful and thankful for so many things, maybe just being thankful are grateful that you woke up today to do this activity for yourself. If you were able to spend in time for yourself. Your final painting for D6. I hope you guys enjoyed painting this with me today. I'll see you tomorrow into the D7 class project. 9. Day 7 - Imagine : Hello everyone. Welcome back to day seven of these 30 days of self relaxation and self-care. Today we are going to be painting a beautiful window illustration with watercolors using in very simple floral and leaf details. So I'm just going ahead with the pencil sketch first for the window. The florals and the leaf detail that will be adding on the window is going to be pretty simple one and we do not need any pencil sketch for it. We are directly going to go ahead with the colors out there. So I'm just beginning in with very simple window outline. Now if you want, you can follow in any other silicate of your choice, you can find endless references on Pinterest. I'm going ahead with a very basic gentle one and just going ahead with an open window loop. So basically the window is open and I'm going to give him the proper great details in the window and at the bottom of it, I'm going to give him the leaf and the floral detail. Now you can see it's so easy to just tilt the board and adjust as per the hand movements to add in the pencil sketch as well. So I always recommend taping down your paper on a movable surface to make all if the process is easy. So at the bottom we are going to be having in the greenery and the floral space. And on the rest of the space, we are going to be painting of very vintage kind of a while loop. So let's go ahead with the layer of water first. Now, while painting the background, I'm going to go ahead with a layer of water on the entire paper. I'm not going to leave in any spaces, but I'll try adding in, not try not adding the colors on the windows space. So for now, for the water layer, I'm going ahead with the entire space. Now I'm using a very light consistency of the yellow tones. You can see just going ahead on the edges, I'm not adding any closer towards the window space. You can see, despite having in water there have not added the color there. So automatically it will remain towards a lighter side. Now using in a little tent off the raw umber color that I already have on my palette. I'm just painting to add and drop dark details on the edges to give that while the vintage look, we'll be adding in broken brick details once this dries out completely. So we are going to be adding in very basic details, very simple one to create a very simple window illustration. Now, I'm just adding in the yellow ocher color onto the window space as well. So I'm just going ahead with very simple details. Wet on wet right now my rest of the details are still wet, so I'm just adding this window pane detail as well. Because later on when we'll be defining the edges will automatically be having in the details coming in. So for now you can try and add in most of the details wet on wet. Now using the yellow ocher color, I'm just adding in little yellow ocher paint onto the wall space as well. All of this is still wet. That is the reason I'm able to add it. Now. Wait for all of these to dry before moving on to the next layer of the bricks into this painting. Now for the break, I'm going to be using in this brush from silver black velvet. This is a very small brush, which you know, it's a flat brush basically, but it's called as a chisel brush and the length of the bristles. So if you see they're very small. So using this mini flat brush, I'm just going to begin adding in the brick details I'm using in the brown color. I'm going to use it in different tones. And very randomly, I'm going to just add in these small brick kind of details. You can see I'm taking it all in different sizes and making it look like that perfect. How the bricks are putting our two bricks and then in the second line, one brick in-between the two and in-between, I'm leaving for the gaps as well because I'm trying to show it as a broken wall. So net certain places or, you know, the wall paint is out because of fish, the bricks are visible. So we try to not add a lot of these as well. Keep it minimal so that you have that wallpaper look as well. Now, using the liner brush, I'm just going to add a little texture as well onto the wall. So very fine lines to actin as short as some of the cracks onto the walls as well to give it a more natural look, make sure you use a very medium brown colored naught, two volt enough. And also these lines have to be very fine. You can see very randomly I'm adding them to actin as the tracks onto these walls. Now this is drying. I'm going to squeeze out the color. So I'm going to squeeze out the rows better color for adding in the floral DD. So you can use any tone of pink if you want. If you already have the pink from previous class projects on your palette, you can use that as well. Now using the rose madder color itself, I'm going to add in little of the details into the window panes as well. Now make sure that your base here is completely dried before you go ahead with this. Otherwise, you will not get in that detail. The colors will begin having a soft edge and blending and may give you a rough edges as well. Now I taught in places, I'm lightening up the rows my dark color as well, just using a damp brush and using the same color to spread it across to have a little gradient look as well. Now this window or cover as well, I'm just going to go ahead and add in the details with this same Rosemead dark color. And I'm going to make sure to lighten up this as well using in water as well as I'm adding in little brown touch to this window door so as to give him little effect to this as well. Now, since we are painting in a very many of space, as you can see, I'm not going to go ahead with much of the shadow reflection details on the window space. But if you are someone who would love to add in more details, you can go ahead with any reference on Pinterest, I mark the shadows and reflections as well on the window panes using in darker tint, giving in more detail, but so as to keep these exercises simple and within a timeframe, I'm not going ahead with that detail of the reflection, plus it's a very small space, so I do not want to cluster it up and make it difficult for anyone. Beginning in with your watercolors. Using the brown color, define the window panes as well. Now we'll move on to the floral details once this dries out. So for the fluorine and the greens, I'm first going to add the green details. I'm going to use in the sap green color and begin creating in a rough patch off the green color here on the edges. I'm going to give him the detail leaf look, dabbing in the tip of the brush and in the center, I'm going to just keep on filling it with the green color. Now to darken up the green, you can use a little bit of the brown color in-between, or Payne's gray color. Or you can use in Dhaka beans if already available in your palette. But since I have other Payne's gray and the browns on my palette, I'm going to use them to create the darker tones in this green space. So you can see the entire space around. I've added in the detail leaf effect and in the center just filled it up with the green color. So that was how the easy way to add in the details. Now onto this, we'll add in the Florence once this green layer dries out. Now at certain places, I'm just taking in the leaf detail a little more towards the bottom side, growing in very randomly at random spaces, not in a specific pattern. Now using the Payne's gray color, I will add in the darker that while this is still wet. So I'm just going to add a little darker effect using the Payne's gray color. You can see as soon as you add in the darker effect, it begins to get in a little more detail. Look as been as it has that little reflection or the shadow effect as well. Now when this dries out, I'm going to go ahead with the rest of the details. I'm going to mix in brown along with a little bit of the Rosemarie dark color. If you want, you can directly use a reddish brown tone. But as I always tell you, I'm going to try and mix the colors so that everyone can follow. So let everything just pink or rows, Madonna or crimson, along with a little tinge of brown and Payne's gray. And I'm going to mark in the edges of the window panes as well. Now made sure for these you're using in the pointed edge of our brush. So I'm using a brush which has a pointed tip. And you can see I'm able to get in these fine details easily. Now on to the window opening, you can see I'm just adding in little picture using the same color giving you that wouldn't affect out there. So to show a little reflection, you can see I'm adding in little darker tints onto this window panes as well, very randomly, not much, just adding in the yellow ocher color highlights so as to actin as the reflection of the space is falling on the window space. Now the pains of the window, I'm just giving a little darker that using a darker brown tone as you can see, it's giving you in a little more depth to the entire window. Now for the floral details, I'm mixing in the rose madder color along with the white core so as to get an opaque look. And using this, I'm going to add in just simple dabbing technique to actin as the Florida. I'm not going to go with detail florals here. You can go ahead and add in detail roses or any other floral off your wish if you want to go ahead with a detail. But since I want to keep it simple and easy for everyone to follow along, I'm going to go ahead with pretty simple dabbing technique Florida. Now make sure that your green space is completely dried before you begin to add in these floaters. So my green area has dried and I'm just beginning to add in simple tabbing details. But I'm going to use in two to three or tonal variations of this pink tone so as to add in depth to the floral space as well. So a lighter tone pink or medium tone pink and a darker tone pink. But all of them, I'll be mixing in with white quash so that I get an opaque look on to that darker green tone as well. So the next layer you can see I've added in with a darker pink color and giving in detail. Now you can see how the entire green spaces looking at leaves between the florals giving in the perfect floral effect onto that window pane. Now using the brown color, I'm going to add in little dry brush texture as well onto the wall space to give him that broken vintage effect. Now when you're adding in this dry brush detail, make sure you're using a damp brush to not pick up excess water or paint, you can see very light effect that I'm giving in randomly on the edges and giving it a very light color, medium tone, not filling the entire wall with this. So be very careful to not overdo these details because you already have a lot of details pulled up on the wall. So we have a div with the class project as well. Let's remove the masking tape and see the final painting and then add in the code for today. So for today I'm going to go ahead with a pink color sheet coat because it will go well in with a window pane detail of the pink tones giving in a perfect thing. Again, as I always say, you can go ahead with any color choice of yours for the code things. The core for the day reads as everything you can imagine is rare and that's absolutely true. You can manifest everything that you wish to and manifestations to work, but all you need is your dedication as well as working hard to make everything really yours. The final painting for these seven, I hope you guys enjoyed painting with me today and hope all of your dreams do come true. I will see you guys soon into the day age class project. 10. Day 8 - Rainbow: Hello everyone. Welcome back to day eight of the 30-day self-care challenge. Today we are going to be painting a beautiful, simple, easy rainbow into a beautiful cloudy sky. So let's pick it indirectly with the details that I'm going to directly go ahead with a layer of photo onto the entire paper. We do not have any pencil sketch for the rainbow or leaving in any whitespace for the rainbow will be adding the rainbow directly onto the sky. Once our background sky and clouds try out, first, go ahead with an even layer of water throughout spreading the water plus evenly so that you do not have excess water on the edges anywhere. So for this guy, I'm going to be using in the Prussian blue color. And then it will mix of the peacock blue color which I already have on my palette. Now, this time for the sky, I'm going to go ahead very loosely. I'm going to use in the blue color and a little liquidy consistency. I'm going to use in water to spread these colors so as to get that even white spaces in between, uneven white spaces in between to get that effect of the cloudy sky out. So you can see I'm dropping in the blue color, leaving in a lot of fight Captain, using a little liquid consistency of the blue color, a little more of the water to give him this effect into the sky. So this is just the base layer. Now I'm going to head with little darker tints. You can see very randomly I'm dropping in the dark, pertains in a little liquid consistency so they are spreading and forming in those clouds shapes wherever you feel that the color is not spreading it. You can use the damp brush again to spread it out. So now you can see slowly, there are so many colors getting into the sky with just one color by adjusting in the tonal values with the help of photo. Now Father going with one more layer, darker consistency of the same blue color. You can see you can use one single color in so many tonal values, given so much more depth into one simple painting, the sky at the bottom, we're going to add an ambush detail using in the green tones later on, once everything dries out. First we'll add in the rainbow to this one says hydra is up. So we read for this guy to dry up very simple sky, just two to 3 min to create it. So let's wait for this to dry and then having the further details. So now my sky is completely dry it on my palette, you can see all the rainbow colors already there. All the colors, that's violet, indigo, blue, green, yellow, orange shade, all of the colors that are already there. For the inequality mixing Payne's gray along with the blue color to get an indigo paint. Now I'm going to use this half-inch flat brush so as to give him this too. Depending on the size of the people who need to take the brush size and we are going to be going in a semi-circular stroke. So make sure you choose the size of the flat brush depending on the size of your paper. Since I'm going ahead with the smallest size paper, I've chosen a half-inch flat brush so that it compliments. Now I've just dip my brush into water using another brush, a smaller sized round brush. I'm going to begin adding in the colors onto the flat brush. I'm mixing in with the red color on the top side. So I've just added on very small stroke of the red color onto the brush. Make sure you do not have excess water also, but you do not have very less water also. Because otherwise it may not leave well onto the paper. So your brush has to have the perfect consistency of water to get that one single stroke closer to the head, I'm adding in the orange color. I will go ahead with all the rainbow colors like this. Even beside the sizing on the brush, depending on the size of the brush that you're using and split it into equal seven colors so that you can understand better to have these green tones. And you can see all of the colors visible on my brush when I'm adding them. So I am making sure that I have enough water while adding in the paint as well. As well as I had dipped my brush into water, just one so that even the brush has enough water for the colors to come in easily. If you're not confident about adding this at one stroke, I would recommend you to try this out on rough sheets multiple times. And then go ahead on your final painting because I times getting in this drove the water content. The wetness of the brush, the wetness of the pains may become tricky to try this method onto rough pages multiple times. And once you get in the right stroke, you will be able to understand the perfect consistency that you need on your brush to get in there tried stroke. But in any case, if you are unable to get in the right stroke and you've already tried it on your final painting. You can even connect it out there, but it's width practice that you'll be able to understand how you can correct it out. Now I'm going to add in this stroke into the sky. So I'm going ahead with the brush moving in and one angle you can see all the colors perfectly coming in your photography. I love the colors in between. That's the orange and orange color in between the red and the yellow has mixed up because the colors are of the same color family. Now I'm just going to give it one more stroke moving in so that the excess paint is lifted up. And I'm just going to define this edge. You can see the rainbow has come in if you want, you can soften up the edges as well. So using the round brush, I'm just going to soften up and lifting of the edges out yours, I'm using a damp brush and on the edge I'm just blending it with a little bit of the business ties so that the rainbow has a very soft edge. But again, if you're not confident about softening up the edges, you can leave the rainbow as it is, even with those sharp strokes, it's turning out quite pretty and beautiful. So you can see how easily you can even give him little corrections if you need, like I'm giving it a little red stroke at the top space to get in the rainbow consistency, I will add in a little tense of the audience because between the yellow and the red, the orange caught almost hidden up. And if you want, you can even add in a little of the green patches that is also completely hidden. But you need to do all of this while your invoice still wet only then it will have a well-tended loop or is it mellowed, scattered and we have in sharp edges. So you can see I'm running with almost all of the colors to get in that little more highlighted look after it, dries out. So with this one Mohenjo that I've added, you can see the colors have done so much bold and ones this will dry out. It will have a very bold effect and it will be visible. Remember watercolors dry or bone lighter. So I times it may so happen that because it's the lighter tones, it may dry out much lighter. Now I'm going to go ahead with the Bush details at the bottom space. So for that I'm going to use in Payne's gray and the sap green color. I'm beginning with the pain state was the left side and right moving towards the right, ivan, keep adding in little by little. At the top I'm just using the tip of the brush, adding in random dabbing technique to actin as the bush effect. And you can also see I'm reading the height throughout, not keeping it off the same length. So make sure you give it that differentiation so that it looks natural. So on the rightmost side you can see I've gone ahead with the green tones to adding the details and now have the bottom. I'm going to fill it completely with the pin and the Payne's gray mix. So I'm going to make sure that both of the colors are blended into each other and do not look distinctive or standout separately from each other. Now at the top, finding those little details again, you can see I'm just using the tip of the brush defining these little details. Now I'm just defining the edges a little more yellow. You can see I'm just trying to give it a little softer stroke. Now make sure you go ahead with this software stroke technique only if you are confident about not running up your sky. Because at times you may get patches into the color of Cloud space if you are unable to blend it well into the base layer. Now I'm just giving you a little more detail with the Payne's gray and green column mix. A little darker color towards the right side because I'm finding it quite this balance between the colors on the left and right. So that is it. We are ready with our class project. You can see how beautiful this has turned out. Now, I'm just going to add in a few more details as Ben. Or you can go ahead with any kind of silhouette for the bird. And then we'll remove in the mask. Dave, I'm going ahead with very simple silhouette and I'm not going to add in much of them as red because I want to let the rainbow as well be the focus, as well as the background sky which I'm in love with. I'm adding very small black strokes to actin as the board's very randomly. Make sure you go ahead with very smaller ones, depending on the size of the paper that you're using so that everything looks well and sink in balance with each other. Finally, let's remove the masking tape and see your final painting. You can see such an easy beautiful painting in just like ten to 11 min, creating in this beautiful rainbow with simple techniques to follow along. Make sure averages are completely dry before you begin to moving into masking. So you ask the final painting, but let's quickly add in the code to this before having a closer look at the painting. Today, I'm using the yellow sheet to add in the code and the code that I'm going to choose as it relaxed, refreshed, and G connect. Remember, in life, it's quite important to step back at times, come down, slow down your peers, relaxed, refreshed, and then leave again. And believe me, when you take that small break for yourself, you come back with double the energy and more the power. So you also painting for d. I hope you guys enjoyed painting this beautiful rainbow with me today. I will see you guys soon into the D9 class project time this whole much for joining me. 11. Day 9 - Live Your Day: Hello everyone, Welcome back to day nine. After 30 days self-care challenge. Today we are going to paint this beautiful evening skies treat look. Let's begin with the details directly. We are not going to be having any pencil sketch. We are directly going to go ahead with the layer of photo onto the entire paper. Make sure you have an even layer of water throughout so that there is no excess water on the edges. Otherwise, the bottom is C back into the painting and may also begin running up the edges. Make sure you run your brush multiple times so that your paper stays wet for enough time for you to add in the details. I'm beginning with the violet color. I already have a little of the violet on my palette from the previous exercises. You can see I'm leaving in little gaps in-between randomly. Now next I'm going to go ahead with this yellow, orange color. Now, yellow, orange and violet are complementary colors. So you can see I've left that fine white line in between both. Now just using a damp brush, I'm going to blend both of these so that you would not have muddy tones in between. So you can see how carefully I've blended these and not have any muddy tones, as well as have that soft blend between the sky. Now, next I'm going to pick up a little of this pink tone which I already have on my palette. And I'm going to begin adding in little strokes of the pink into the violet color, as well as a little on the yellow, orange tones to get in the blending and the transition as well happening in smoothly. At the top, I'm going to give it a little darker that by mixing Payne's gray along with a violet color at the top of the sky and just adding in little darker depths. Now with this darker color, you can see I'm adding in the cloud effect even at the bottom space, but I'm making sure that the pink clouds are visible in between. Those little yellow highlight in this in-between is still visible, as well as till the bottom you can see I've got that perfect evening sky loop with that little sunset effect of the yellow and the pink tones being visible. Now further at the top, adding in little more darker tends to add a little more darker cloud effect at, only at the top space majorly. You can see with every layer of the color that we are going one tone darker. We are making sure that the space in which we are adding, it is turning limited. So first the violet color was in the major space. Then we added the highlights with the pink and the yellow orange, which was in a confined space. Then the event with one layer darker cloud effect, but made sure the lighter tones, the pink highlights, the yellow highlights are visible. And now this darkest tone of the Payne's gray and the violet color mix to add in the funnel cloud effects. Now I'm just going to go ahead with little blue highlights as well. If you want, you can skip this blue highlights as well and just let it be completely where you left it with the purple and the pink highlights. But I just added a very little touch at the top space, not much of it. Now when you're walking layer on layer like this to get into the details, right, you need to be very sure that you do not have excess water with every layer. Because if you will have access, what are all the colors will spread out. Now using a little bit of the Payne's gray, I'm adding the next year of Taco clouds medially at the top and the edges only you can see getting in that cloud effect, but you can see my brain does not have excess water. That is the reason the blue highlight, the pink, yellow, orange highlights. All of them are still visible. Now just at the top, I feel it's a little darker completely on the right side and the left side. So I'm just lifting in a little of the color to get a little lighter tints of the violet also being visible. So while the paint is still wet, you can see I'm just going ahead with this simple lifting technique. After every stroke I'm lifting up, I'm cleaning my brush so that my brush can again lift up the paint in the next space. And now we let the sky to dry out completely and then move ahead further with further details. So now my sky is completely dry. You can see the bottom sunset effect visible because if they're yellow, orange, and pink tones that are still visible. Now using the Payne's gray color and the liner brush, I'm just going to add in the street light effect into this painting. So the major element in this painting, or the silicate you can call is going to be the street light and the light effect. So I'm first going ahead with the pole details using the Payne's gray. I'm using my fine liner brush. You can see how easy it is to get into the details here. The poll I'm going to be adding endured on the left side you can see both of them are lifted diagonal and tilted and coming in closer to each other. Now other spaces I'm going to add in a few of these white lines as parallel, so just adding them quickly. And then we'll move on to the light details for this painting. For these lines, make sure you're using the Payne's gray color in a medium-term consistency at places you can see the bottom strokes are quite lighter and not that bold as compared to the pole effect that I've added in, also makes sure that these lines looking quite natural and twisted and entangled with each other to give him the natural effect. Now, I'm going to go ahead with further details. I'm just adding in very simple details into the hole wherever I feel necessary. We still have to add in the light effect. Now I 50 to my size three round brush and using the Payne's gray color, I'm just going to add in this box detail to this poll out here and fill it completely with the Payne's gray color. So basically this will just enhance the silhouette that we are using and giving you a little more detail. Because you can see it's a pretty simple painting, just a pretty simple sky and simple celebrate off the street lamps. Same way on the left side as well. I'm just adding in this little detail here. So in between the poles randomly you can see I've added a little of the bush or the pine tree effect. You can go ahead with any detail that you wish to there. Now I'm going to squeeze out a little bit of the fresh white gouache for adding the light detail. So I'm going to add in the first place using in a white and a yellow mix a bit. And then I'll see whether I need to turn it white more or keep it a little yellowish tint effect. So I'm going to pick up the yellow orange color a bit and mix it along with the white course. You can use yellow, orange, or you can even use yellow only. And I'm mixing it with white gouache so that I have that bold effect. I've just added a little pinch as well off the red color to give it that orangeish light effect. Now using this, I'm going to add in the light first two, we'll add in the outside of this light with the black color once this dries out. But first, let's get the light color finalized. Now I feel that this color is going to be a little too dark compared to the painting space. I'm just blending it into the background to give it that background light effect as well. So just blurring it a bit onto the edges so as to show the effect of the light and the shadow of the light as well. So I've lighten it up one shade and again I'm blending in the background. So as we do it for the moon, creating in that glowing space around the moon, around the light, I want to create the glowing space. Now my growing species completely dried. I waited for it to dry completely. Now I'm going to go ahead with the final light detail. You can see that first layer has dried out. That is exactly what we wanted. Now again, with fresh white quash, I'm mixing in a little bit of the red and the orange tends to get a bright yellowish, orange, reddish orange kind of a thing. But this time it's more a fight and less of the ten so as to get this bold color effect, which will dry also bold and bright. So I'm placing this into the light space that we have added, but I'm not covering up the entire glowing effect that we have created. Now using the white, I'm just going to give him little effect on the edges and tone it a little more bright. And then go ahead with the further details into this. Now using a little tinge of the red, I'm just going to see go adding a little bit in the center of the light and see if it is giving it a nice effect. If not, I will add in a layer of white again if needed, but I'll wait for it to dry and see if it is looking very enough. Until then, I will add the other details into the sky as well. I'm just lighting up the data as well. You can see I don't want much effect, just a very small highlighting the center is, but all I need on the edges, I wonder why defect or need to stay in. So far adding the details for the moon I'm going to use in my white gel pen and quickly adding a very small half-moon kind of a detail or a quarter moon you can see. Now lastly, using the Payne's gray color, I'm just going to give him the edges of this light effect as well, defining in the box for the light. And then we'll be ready with this class project for D9. We'll just be left to add in the code and see the final result. Now, as soon as you've added those black details, you can see the details look so much more in depth just by getting in that outline. I'm just giving you a little more connection and some spring details connected to the wire lines randomly. So in between you can see I just added those two very tiny lines as well so as to give it a little more depth. And now lastly, I'm just going to pick up white gouache and add in that bold effect of the light out here because that red color is seeming a little uneven out there. So only in the center you can see the outside of the box outline is still there, so make sure you add it only in the center space. If you do not want to keep it as white, you can just add in yellow on top of the white color so it will have that bold effect. So I'm just adding a little yellow. And now this looks perfectly as an evening look under yellow light coming in from the street lamps. That's the perfect color that I need. Nor red nor Orange or yellowish one that I was planning in the beginning. Now let's remove the masking tape. Make sure your edges are completely dried before you begin removing the masking tape. Now let's add in the code for the day. So for today I'm going to use in the code cheat from my travel journaling kit, which had a quote sheet and black color like this. So I'm just going to peel up this code quickly and I'm going to add it directly. Reads as these are the days we live for an exactly in every day life. If you go ahead and see, there would be something that you would have once jumped four of achieving or having. And today you will be having that with you. I'm grateful to each one of you for joining me into this class. I will see you guys soon into the data and class project. 12. Day 10 - Inner Child: Hello everyone. Welcome back to day ten of the 30 days self-care challenge. For today, we are going to paint a pretty simple misty mountain range of painting. It's going to be a pretty simple one and very easy to achieve in details. We're not going to have in any pencil sketch directly, we are going to give him the details with different tonal values of the color. It's more of a monochrome painting that we are doing today because usually we are going to be using in the violet color and adjusting in the tonal values using the Payne's gray color wherever needed, or water. If we want to just lighten up the tones. It's more of a monochrome painting that we'll be doing today. I've added a layer of even water onto the entire paper. And now using in the violet color, I'm just going to give it a very light layer onto the entire space. But while I'm moving towards the bottom side, I'm going to just lighten it up using in water and spreading it till the bottom space. So amazingly add the bottom space. I want to keep the color tone very light so you can see I'm just using water, dropping it at the top so that the color flows automatically towards the bottom side, having in that very light radiation. I want very little tent at the bottom space or almost noting because there we are going to be adding in the misty mountain ranges with the same color tone. I've just rotated my board in all direction and you can see the smooth flow of the paint and color. Now if there is any excess water on the edges, you can lift them up so that it does not see back into the painting. Make sure you have this light gradient color looks so that you can have that misty mountain range look coming in when you add the mountains. Now let's wait for this to dry completely. My sky is completely dry it and you can see the perfect gradient coming in very light tint of the violet color. Now I'm going to pick up a little tinge of the Payne's gray, mix it along with the violet color and begin adding in the first gradient mountain. It's going to be a pretty small and simple one. I'm not going to use this color in much taco consistency. So make sure you do not have it in order to bold consistency, I'm just going to add a fine line and blend this color till the bottom again using water. So I'm going ahead with a very rough shape for the mountain, giving in that uneven edges and uneven height as well. And now using in water, I'm just going to begin spreading this till the bottom space and lightening it up completely. So this is the bottom you can see I've used in water and diluted this color so that I do not have any uneven edges. Now at the top again, I'm just going to begin adding in Victor depth and define the color flow much better and smoother. You can see how beautifully the violet and the Payne's gray color is flowing in the first mountain range, the member at the bottom to again keep it light only and do not cover it darker. Because they are going to have in the second mountain range once this dries out completely. Now one thing that I'm going to do is I'm going to lift up a little of the Payne's gray color and adding little bursts into the sky because the sky is completely dry it and we can add in the boats at this point, I'm not going to add much of ten. And remember, according to the size of the paper, go in with very fine ones. I'm going to go in with random silhouette for the board. Nothing detail, just simple viz dogs. You know, some random strokes to actin as the birds flying into the sky. You can see some of the boards. I've added them so fine trying to show them as if they are too far and just visible in a kind of a package. So very small ones is basically showing the perspective. Now I'll wait for this mountain range to dry completely before we move on to the next layer of the mountain range. So now my first mountain ranges completely dried and I'm going to go ahead with the next layer of details. So for that, I'm going to again shift into the Payne's gray and the violet color mix. This time it's going to be just one tone darker than the first layer mountain chains. You can see the flow of the first mountain range from the darker at the top lighting till the bottom edge. Now, same thing. I'm going to go ahead with this second layer of mountain range. But for this second layer of mountain range, I'm not going to take it completely to the edges. Half mountain range only. You will get to know much about it as we add in the colors you are and dilute and have that soft edges. Now you can see this is one bone darker, but on the left side, I have not added in the mountain range. I'm just going to use in water and dilute the color and getting the details there and soften up the edges. Now you're on the left side. I'm just blending it with a damp brush into the base layer and you can see that line has disappeared. Now you have the mountain range only in the right side of the second layer. The left side mountain range line is also completely disappeared by using the blending technique of a damp brush and blending it into the base layer. Now I'm just going to go ahead with a little darker tint again and define the details you're again and have the flow of the colors. Now after this mountain range, we'd have to wait for this as well to dry and then add in the final layer of pine trees at the bottom space. And be ready with this class project for data in as well. Make sure you go ahead with the perfect radiation so that you have the perfect color flow happening in, as well as the color transition from the lighter to darker tones. Now, let's wait for this to dry completely. Made sure you do not add the mountain ranges or the pine trees while any layer is wet, otherwise, it may mess up the painting. So now my second mountain range is also completely dried in and you can see how beautiful and misty look at is having in with those lighter tones in between and the radiation of the color that we've used in. Now I'm going ahead with a ball consistency of the Payne's gray and violet mix. And I'm going to begin adding in very fine pine trees at the bottom space. I'm using my size three round brush, which has a pointed tip, and I can add in fine details of the pine trees. Now, depending on the size of the paper that you are using, you will accordingly go ahead with the size of the pine trees so that everything looks in sync with each other. I'm going ahead with some pine trees taller on the left side because on the left side you can see we do not have the second mountain range coming in. So this base can be utilized for adding in the taller pine trees. Moving towards the right, I will keep the pine trees smaller so that I have in the look of that second mountain range and the misty look visible still. So you can see I'm altering between the heights of the pine trees. I'm not keeping them off the same height anywhere. I'm trying to keep them all of different heights. Now further your I'm just going to add in some smaller pine trees quickly onto this entire bottom space. You can see very simple details of the pine tree is nothing much in detail. The only thing that you need to keep in mind is using the ball consistency of the Payne's gray and the violet mix because you want these pine trees to stand out bold enough. Make sure you go ahead and slowly adding in these pine trees and do not add them in a rush or quickly. Otherwise it may ruin the delicacy of this painting. You can see how delicate those mountains are looking goes very tiny boats that we've added in giving you that Misty soft look to the painting. It's very important to keep all of this in sync with each other. You need to add the pine trees also are little delicate me and not just the added randomly or in bigger sizes because everything needs to look delegate into this painting to blend it all together. So in between you can see I took up one big pendulum, the right as well, but I made sure it does not cover or go through the second mountain range. It's below the second mountain range so that the effect of the second mountain range is also visible perfectly. So we're almost done with this painting. We've added in the pine trees as well. Make sure you have a bold detail to this. Now, I'm going to go ahead and peel off the masking tape and then add in the code. Now my pine tree is still wet. I'm going to go ahead very carefully removing the masking tape in case if your paper is also still wet, make sure you do not lay your hands on the pine trees. Otherwise, the colors may get lifted and laid onto those edges which are white. Or you may wait for the pine trees to try out completely and only then go ahead and peel off the masking tape. And always peel that masking tape against the paper so that these wet painting details on the edges do not get ripped off and do not spoil your painting. So for the quote of the day, again, I'm using from this travel journaling kit. So the code for the day deeds as travel far enough to meet yourself. I would recommend you all for this 15 to 20 min that you are painting along with me in this class, make sure you only and only focused on yourself. Look for yourself happiness. And try finding in the inner child inside you to meet your real self. Thank you so much for joining me into this data and project. I'll see you soon in the next one. 13. Day 11 - Sparkle: Hello everyone. Welcome back to day 11 of the 30-day cell can challenge today we are going to be painting a beautiful green galaxy. It's going to be a pretty simple one. We will go ahead step-by-step. There is no pencil sketch, but we'll squeeze out fresh paint. So I'm going to squeeze out a little bit of olive green color, sap green color, as well as a little of the Payne's gray color. I'm also squeezing out a little bit of the greenish yellow color now in case if you do not have this term, you can simply just mixing a little bit of your sap green and yellow to get in this green, I've gotten three tones of green color. I'm going to use in a little bit of the yellow as well as the Payne's gray, I'm forgetting in further lighter and darker tones. I'm going ahead with a clean layer of photo onto the entire surface and will directly begin painting in the galaxy. We'll add in the syllabus, but once the galaxy is completely dried directly with the pain. So there is no pencil sketch for the silhouette as well. Just make sure you have an even layer of wet water. Make sure you haven't little extra wet layer this time because we are going to play along with the flowing consistency of the paint to get into flow and the smoothness in-between the galaxy as well as the flow of colors going in smoothly. I haven't taken in from the lightest color in the center moving towards the darkest color on the edges. So I'm just going to begin dropping in these colors randomly, and I will keep adding them layer on layer again for blending as well. Next I'm moving on to the sap green color to add it closer to this light green tone. The third column shifting into the olive green color towards the edges. And then I'm using a little bit of the Payne's gray. Now this is just the first layer. You can see the blending is not there. The colors are not flowing well into each other. The smoothness between the flow of the colors is not there. So we're going to go ahead with multiple layers to get in the blend flow between the colors, the soft edges, smooth flow happening between each tonal value of the colors. So again, beginning in with the lighter color, I will begin dropping it towards the edges of the sap green and the light green color. And with this one drop, you can see how beautifully little blends have begun to happen with the second layer. Now with every little paint that I keep adding, I will keep rotating my board alone so that the colors flow in all direction and have smooth edges on all the directions. Next, begging in with a little bit of the Payne's gray on the edges as well. Now after the Payne's gray again moving to this olive green color, adding it closer to the Payne's gray. And you can see now the blending happening between the Payne's gray and the olive green color. So basically after adding in a layer of color on the edges, I'm going ahead with the color which was just previously closer to the darker tones so that you again have a little extra fluid consistency. And the paints flow and seep into each other and create a smooth blend. You can see from the first layer where we began blending till now the blending has turned out so much more smoother. The colors are flowing well into each other. I'm creating in that lighter space in the center, moving towards the darker, towards the edges. Now I'll keep rotating my board in all directions so that I have the perfect flow happening in-between the colors everywhere. Now I'm going to pick up a little of the white caution, a little liquidy consistency and using the tip of the brush, I'm just going to drop in Latin lighter tones in the center spaced closer to the lighter skin tone, so as to create a glowing space into the galaxy. You can see I'm just dropping in drops using the tip of the brush for the white tones at the moment. Now I will blend these as bell into the greens because we do not want these bite patches. So again, using the lighter green color, I will add it closer to this white color and then I will tell to my board in all directions so you can see how important it is in certain projects to have your paper taped down only and only on a movable surface only then you can get in these smooth flowing blends between the colors. Getting in that natural look to the galaxies are your night skies. Make sure you do not keep your boat tilted in one single direction for an extra long time. Otherwise, all the colors may just keep flowing in one direction and you may have a very single color, New York, or a flat colored layer later on. Now you can see how the white color has created in that glowing space, in the center space. We've gone in with so many layers of pains to get in this smooth flowy blend between the colors. So make sure in one layer you may not get it. All right. You need to go ahead into layers to see the flow happening. You can see how the colors are flowing naturally, giving in that natural look. Now I've randomly just plot a little bit of the sap green color into the whitespace so as to have that little green effect in between the white. Now we'll wait for all of this to dry completely and then move on to the silicate. I will just go ahead and add in little more of the olefin before I let this to dry because the olive green seems to be hidden because of the sap green and Payne's Grey. So just a little towards the edges. And then we'll wait for this to dry completely now, then move ahead with the further details onto this painting. So now my galaxy is completely dried and you can see how smooth the galaxies looking as soon as you will add in those splatter of stars using in this white gouache, you will see another glow of light happening in need even be creating in the glowing star effect as well into the galaxy. And then the adding in the pine trees, hello, hey, I've squeezed out some fresh white costs so as to get in that bold effect of the white stars. Now I'm just going to splatter, these are as bad. But first I'm just going to create in some glowing spaces for the glowing stars. So I'm just adding in simple white dots. And then using a damp brush, I will blend these a little into the background and create a dull white small circle. Then once this dries out, I will add in a white board dot in-between the circle or the LDL patch that we create to actin as the glowing star. As well as I've just added in the splatter of stars as well. Now those bigger dots that I've added, I'm going to use a damp brush and blend them into the background and create a little dull. Because space or sulcus to actin as the growing space for the stars. You can see these upright because compared to the normal stars that you've splatter, do not add the glowing star effect right now while these patches are still wet, wait for it to dry completely. Do then we'll go ahead and add in the pine trees at the bottom to actin as the syllabus. For that, I'm using my smallest sized round brush, which has a pointed tip, and using the Payne's gray color. I'm just going to begin adding in simple pine tree details. I'm going to add them a little tilted towards the center. So from the left, towards the right, and from the right tilted towards the left. Now if you want to experiment and go ahead with little more details, you can go ahead with two to three layer of pine trees and different tonal values. I do not want to add in two to three layers because it will create a lend the class project. And I want to try and keep all the class projects in a specific time limit so that you can squeeze out daily time to paint in these mini class projects. So that is the reason I'm going ahead with one single Payne's gray color pine tree effect. But if you want, if you have extra time, you can first go ahead with a very dark tone of a green pine tree. Leo, vague fight to try then go ahead with one more darker tone of the pine trees are using in a little darker green color. Then move on to a further darker green and then Payne's gray. So depending on the type of silicate that you wish to add, you can even change the silhouette. You can go ahead with mountain ranges, snow-capped mountains, or you could just go ahead by OC side galaxy view. It's absolutely your choice. I'm giving you various alternatives that you can try and experiment. If you have a lot of time for experimentation and adding in a lot of details. So now from the right side you can see I'm adding the pine tree is tilted towards the left. That is basically towards the center site. You can see I'm going ahead with different heights of the pine trees so as to keep it look natural as well as not make it look monotone nice with just one single height. So I'm going ahead with different height of pine trees out here. I'm going to fill in the entire center space as well quickly adding in the pine trees of different heights. So last one in the center, I'm adding it a little bigger one. After this, we'll just be left to add in the details into this task and then add in the code for the day and we'll be ready with your class project for day 11 as bad. Now, make sure you add these pine trees in a very bold consistency. So at certain places at the bottom space, I feel that the Payne's Gray was a little extra diluted. So I just went ahead and added in a little more bold detail there so that once it dries, it has that bold look. Now I've picked up white quash. I'm just using the tip. I'm going to add in very small dots into the center of those patches that we created. Make sure you only add it in the center and not cover the entire batch. Otherwise you will lose the glowing star loop. Then I'll give you a closer look of this. You will be able to see it in case if you want to know more about the glowing star in detail, you can go ahead and visit my class on galaxy painting. We painted 30 different galaxies and created today different paintings. And most of them we've added in these glowing star detail, which you can learn much more in detail and learn different 30 galaxies as well. Now using the vibe question, I'm just adding in some more random because stars randomly urine there into the galaxy so that it looks all well-balanced. If you want, you can add in two to three shooting stars are shining stars as well. That's absolutely your choice with whatever details you wish to go ahead with coming to this task perspective. So let's remove the masking tape. Removing masking tape very carefully if your edges are still wet. Also since we are playing along with the fluid consistency, you can see I'll let you off the colors coming in towards the edges because of the extra watery consistency that was there. So I quickly clean the underneath green paints that was on my mat so that it does not come back onto the painting or get laid onto my hand. Now let's quickly add in a code to this painting for today. So far today I'm going to use in a quote from the green sheet of my collection. And the code reads as leave a little sparkle wherever you go. I absolutely loved this code going in with the galaxy that we've painted. No matter where you are, what you are trying to leave a positive note, a happy note. Maybe meeting, of course, in going to a certain place, make sure you leave your little sparkle that people remember you for the little positivity or the sparkle that you left onto them. So you ask the final painting for day 11. I hope you guys enjoyed painting this beautiful little galaxy with me today. I will see you guys soon into the D2L class project. Thank you so much for joining me. 14. Day 12 - Glow in the Forest: Hello everyone. Welcome back to day 12 of the 30 day self-care challenge. Today we are going to be painting this beautiful misty forest. It's almost on the same lines of the previous class project. That is the reason I've kept this just after that so that you've already got a hang of playing along with the flowing consistency of the colors going from lighter to the top ketones getting into plants making it easier. So I'm beginning with a layer of water first. This time instead of the greens, we are going to be playing with the yellow browns. Orange tones will be creating a beautiful same galaxy kind of a background, which is basically going to be a gloomy forest. And then we'll be adding in those silicate off the trees, which are again going to be a pretty simple one. When going step-by-step. Make sure this time also you have a little wet background, a little extra weight, I mean, to say it and what we regularly keep because we will be playing with the flowing consistency of the color. So this time in the center and beginning in with a little bit of the white. And now I'll move on to the yellow tones onto the edges, and I'll begin adding in the yellow closer to the white. Do not worry at this point again, you may not see the blends happening in Wikis, but obviously we're just laying down the colors just as the previous class project, it's on the same lines. You need to add on layers, on layers as the colors to get in the blends happening between the colors. Next time picked up a little bit of the yellow ocher color and I'm adding it closer to the yellow tone. Now I'm squeezing out a little bit of the brown red color now in case if you do not have a brown red color to not worry, you can simply pick up a little of the red mixing along with burnt sienna to get a reddish brown tone. And we'll begin adding it closer to the yellow ocher color. So you can see the red tone along with a brown tone coming in and giving him that perfect glow effect from dark to light. Now next I have again shifted into the yellow ocher color, adding it closer to the reddish brown tone that we've added in. And now you can see little, little blends happening in. I'm using a damp brush along with adding the color as well to get in the blends happening in smoothly. Now in the same day, I've been keeping on moving with colors in the center. Again, I'm adding in a layer of the white color. Again, I'll move on to the lighter yellow color, brown tones, yellow ocher tones. Now I'm the edges, I'm going ahead with a little darker tint as well. We're still just kind of in the beginning of adding these details. There is a lot more to add in and getting the flow ando or smoothness and the soft blend between the entire background. So now again, just as the previous class project, I'm going to begin tilting in my board in all directions so that you can get in that smooth flowing blend. With tilting, you will have to keep adding in the layer of colors as well to create in the details. In the previous class project we had created in the glowing star effect. In this class project we'll be creating in the same glow effect, but those were acting as the fireflies. Now with every layer you can see how the blending and the color transition is happening in smoothly. Now I'm going to little bit coupon tilting in all directions so that the colors can flow in smoothly into each other. And if needed, we'll go ahead with little more layer of the colors. I'm using a little extra water so that the colors flow in naturally and I do not have to add in a lot of blending through the brushes. So on the edges as well as when I'm dropping in fresh paints now, I'm making sure to add it in a little flowy consistencies so that it can flow in smoothly. Also adding in little water droplets, you can see that the colors flow from the edges towards the center. You can see how quickly I'm rotating in all directions so that I do not stay specifically at one single point. Otherwise, all the colors will flow out to one direction and you may not get in that transitional effect between the layers. Again, wherever you feel that the colors are not flowing easily, you can either drop a drop of water out there so that the colors flow there. Or you can simply just go ahead and pick up a little liquidy consistency of the color and drop in there. Now, I'm just going ahead and adding in little more tones to get in that consistency because I feel that is more of the light yellow that is visible. And I want to make sure that we have a lifted off the darker pins on the edges as well. Now I finally got from the light to the darker tend towards the edges as Ben now I'll wait for this to dry completely. Make sure you have that glowing space in the center and then we'll move ahead further. So now you can see my background has completely dried. It has turned out so pretty especially that center glowing effect that I still have it. Now, I'm going to begin adding in the branches or the tree details major leave, you're just going to show in the branches know foil age effect. So I'm first beginning in with a yellow color. So what I'm going to basically do in the center, I'm going to have in the lighter branches because I wanted to show the light effect falling onto these trees, making the branches look lighter. And as we move towards the edges, I'll keep darkening these branches so as to show the effect of the light, of the darker light falling on the tree, on the edges. So this is how you're going to add in the details to play along with the light and shadow details of the center glowing space falling onto these branches as well. Now I'm going ahead with different movements of these branches as you can see. Also, you can see that I have, I'm adding the branches in the center, a little smaller and then little taller. Moving towards that, I'm edges as well as in the edge as well, certain branches. I will still keep it a little smaller, not all bigger ones. So first I added a few branches with the light yellow tint, then a little with a yellow ocher color. Now I've mixed in a region of the Brown with the yellow ocher. And then lastly, I will shift in with little brown details. After this will be left to add in the fireflies glowing details as well. Be ready with this class project as bell. Again, this is also a pretty, pretty, pretty simple one. As you can see, the main trick here is getting the background right and then everything will fall in place. Otherwise, you will lose onto that glowing space in the background. Then it will be very difficult to justify the whole look of this painting. Now I'm going ahead with these strokes. You can see I'm building them so slowly. I am going ahead with some darker strokes in the center as well. Not much, but very little. So as to show that the lighter strokes are in the background and then moving closer to the darker strokes are visible. Now towards the edge you can see I'm going ahead with such a bold consistency of the brown red color. Make sure you go ahead with these bold color consistency on the edge. You can also see my branches moving in so much randomly. I'm moving in soft, really crooked low strokes and those are natural looking strokes or I'm trying to add in. So make sure you go ahead with the natural look. And these are twisted and intertwined look of these branches that you are adding it. Now to some of the branches, I'm just going to add in some smaller branches. Now it's not compulsory to add this if you want, you can skip this part and just simply adding those branches and leave it there. But I prefer adding in little smaller ones, as well as adding in little darker branches in the center. But in the center, these darker branches make sure you keep them smaller in height and not two bigger ones. I've built in the misty forest globe now I'm going to squeeze out a little bit of the fresh white quash and begin adding in the details. Just as in the last class project we created in that glowing space. Same way we are going to create a glowing space first. And then we'll move ahead and add in the white dots to the center of tours to actin as the fireflies in the previous class project, those acted as the glowing star details. And for this class project they'll actin as the fireflies because we are painting a forest painting. So since this time we only need the Fireflies. That is the reason I have not added in this platter of the white gouache. I've just added in a few white dots and now I'm blending it into the background, creating in that are dull white patch to actin as the growing space. And then we'll go ahead and add in the white dots to this once it dries out completely. Now make sure you do not add the white dots until these are completely dried out to make sure that the distal patches are completely dry before moving ahead and adding in the detail. So now my white patches are completely dried. So I'll quickly go ahead and add in the white dots to these. To that. I'm just going to mix in a little tinge of yellow so that it gives in a more natural look to the fireflies. Because the fireflies look a little shining light because of the light effect that they show in. So to show that I'm adding in a little tinge of yellow to this. And now in the center I'm just adding in those dots. We're almost ready with this class project as well. So let's remove the masking tape and see the final painting. This time also be a little careful by removing the masking tape because we played with the flowing consistency of the colors. So there may be colors in-between the masking tape as well. And while peeling off, if we do not take care of that, then the colors on the masking tape, we get laid onto those clean edges that you've tried to maintain it. So this time I'm going to go ahead with a quote from the yellow sheet because it will go well with the color code that we've used for the painting as well. So in the painting we've used that yellow in the center. And this will go well showing in with the indexing, with the painting. So the code for the T reads as live a life that you will remember. Remember, life is short and make sure that you live a life that you will remember that you lifted every bit. I will see you soon into the d 13 class project. 15. Day 13 - It will all make sense: Hello everyone. Welcome back to day 13. After 30 days, health care and self-reflection challenge. Today we are going to paint a beautiful simple galaxy. Let's begin with a very basic pencil sketch. We're just going to mark out the pathway. On top of the pathway we are going to be having in little of the green details and a little of the pine tree structures. And the top area is going to be our galaxy sky. We're not going in with an exact galaxy look, but it's more kind of evening sky, night sky kind of look back, we are going to be creating in so very basic pencil sketch. I tried to keep the pencil sketch as much minimum as possible so that we do not have any charcoal marks anywhere. So we've mocked up three spaces. The sky, the sensory is going to be the greenery space, and the bottom is going to be the path. Now I'm going to squeeze out a little of a yellow light color on my palette separately. Or you can use an even or medium tone yellow color, whichever is available in your packet, that you would be needing a little bit of the pink and the blue tones. Before the blue, I'm going to squeeze out a little bit of Prussian blue this time. I'm spacing out a little bit of difference portion, keeping it in case if we needed for blending. So we have to colors ready on our palette. I already have the pink tone on my palette from the previous class projects. Now I'm going to go ahead with a little photo onto the entire sky first. I'm only going to run into this guy at the moment. We'll paint a step-by-step each section separately. Make sure you go ahead with an even new report it to work so that you do not have access. But on the edges, also make sure there is no excess water any bad. Otherwise it's tweak the ID badge and an uneven space into the painting, especially on the edges. Make sure that your masking tape is sealed properly. There is no gap for the water to seep through. I'm beginning with a little bit of the white mixing in with this yellowish orange tone that I have. And I'm going to begin in from the horizon line out here. And just closer to the horizon line on the right side, I'm going to begin adding in little of this tint out to you. I'm adding agenda is clear of the yellow color you can see, and I won't have picked up the color in a very bold consistency so that you have that ball opaque look once this dries out as well. Now I'm going to begin in with the next color into the galaxy. So I'm going to begin in with the blue color, and I'm going to add it towards the left side. If you notice the strokes, I have been pulling them out diagonally closer towards the yellow tone and now losing a little bit of the Payne's gray. I'm darkening up the edges in case if you want, you can go ahead and using indigo color directly out there. Now using the white quash, I'm going to blend in the yellow and the blue tone so they do not have any green tones. You want. You can go ahead and using some other tools as well in between, you can use an even a pink color in between so as to get the blend straight. So you can see I'm rotating my board in all directions, so that's the colors flow into each other easily. Now I'm going to pick up a little bit of the pink mixed in with little bit of whitewash so that I have a piece to pink color in between for blending this blue and the yellow color without having any green pillows phone, you will get a little purple tint in between because if the blue and the pink color meeting it, you can see I'm using a damp brush plus using in little excess water in-between to blend these colors. Because I guess there was not enough water for the colors to flowing easily. So now I'm dropping in little, little water using a damp brush and drying for getting the blend straight. Now this yellow space looks more of a very simple one layer yellow tone. So I'm just creating little depths of the yellow Asbell by using a little off. Sheet and a little bit of the pink color to get in that variations in the yellow color, I want just simple patches of the yellow and the blue tones. Now, I'm beginning to add in the blue pallor to create in that evening, night sky kind of a book. You can see I'm rotating my board continuously in all directions so that the paint is flowing easily. That's very important when you want a very soft looking evening sky, night sky, or maybe even a disguise to have those colors living in softly smoothing to each other. It's very important to play along with the flowing consistency of the paint and let them flow and blend into each other at a certain point, who even me to stop it because if you keep it tilted in it definitely one direction for a longer time, then all the pains were only and only flow in one sinful direction, which reform your one single flat layer of water color mixes instead of having it that distinctive color tonal variation. Now I'm picking up a little bit of pink color and I'm going to add it in between the yellow and blue in a very form consistency. You can see how I'm just going to go ahead and blend these again. You can see I'm just dropping in little paints water so as to make Hello, I'm just using **** brush dropping in drops of water on the pains and you can see how quickly the paints are becoming slowly and liquidy, as well as simply moving in directions and having this movement, we are almost through the sky, just a little more blending. You can see we've worked on so many layers together and then gotten this blend right. So now our sky is almost ready. I'll just add in little more pink closer to the horizon line in-between the yellow, so that I have a little thing of orangeish as well. And a little after yellow gets subsided with dark pink tone. So I'm almost through the sky. You can see it takes a little while to get in smooth blends between the color and have that evening glowy look into the sky. So now I'm going to go ahead using the Payne's gray color and I'm going to add it into the pathway space. The pathway is not connected to the galaxy. We have that little teeny space in between. So for now I can go ahead and paint that. And we will use in a mix of the pollution blue and the Payne's gray color. And paint the entire pathway. Now on to the pathway as well, make sure you have the pollutants major deal with Linda center on the edges. Make sure they're having more of the Payne's gray Carlo. So you can see I've entered with a wet on dry because it's a very small space to paint it. I first started on mix of the blue and the Payne's gray. And then on the edges I dropped more of the Payne's gray. Given that darker, that the reason for adding that little bit of blue in the center is to show the effect of the night sky falling onto the pathway has been given in the blue light effect on the pathway. Now let's wait for this to dry completely. Now my galaxy as well as the part B is completely trade. Not exactly a galaxy, but the night sky. Now I'm going to go ahead and painted into that white gap in-between there I'm going to use in a mix of olive green, sap green, and Payne's gray color. So the entire whitespace, I will fill it completely with the green tones. And then at the top, I will just be giving him little of this spiky edge loop, kind of the pine tree details. First, let's go ahead and fill this up. You are all so I'm going ahead. We debate on dry technique because it's quite a small space and not much detail to add in wet on wet. Now at the top you can see I've mixed in a little bit of the Payne's gray, giving it a darker green tone and now adding it into the rest of the space, I will make sure that I blended well with the light green color so that it does not look who's separately. Now on top of it you can see I'm beginning of giving that spiky edge loop using a mix of the Payne's gray and the darker green tone in-between few of them. I'm even adding them as simplifying JD major of them just taking in simple spikes in different height levels and in-between somewhere, just adding in little pine tree. Infrastructure. Now you're adding in these details at the top, make sure you do not cover up the entire spine depending on a very small size of a paper. So you'll need to decide all the details accordingly. Also make sure that you keep reading the height of this tree. The reason of using these simple spiky strokes are TR, is to give him that fulfilling effect as well. From far these Lucas trees of cluster together forming in that patch to low. So that is the reason I'm going ahead with this simple spikes and in-between the study in little detail pine trees. Because if you have a closer look, those detailed pine trees as bad given a different deck. But you can see I've vary the height of all of these throughout, so make sure to give it an actual love. You read it throughout in height. Now I'm just blending these and through the bottom space as well. And you can see how beautiful the green has gone down with the help of the Payne's gray. Hello. Now the pathway is looking so beautiful and gluey, kind of night sky light falling onto the pathway, giving you that blue light effect. Onto that we're going to add in literature of the details. And then let's list the details into the sky and will be ready with this class project for its happiness. Now I've mixed invite course along with this yellow color on my palette. And using the space to the yellow tone, I'm going to go ahead and add in the views out into the center of the factory. So we're going to head with very basic DT is now using the right version, using the liner brush. I'm going to give him those lines on the pathway on both the edges as spent, so as to show the structure. Nine days. If you do not have a white brush, you can use a white marker or a white gel pen to add in this white detail on the pathway. But make sure that you use in a cold or, you know, opaque color. White watercolor is built on data once they dry out. So it's important to either use gouache watercolors gel pen, which was standout, opaque and bold even once they dry out. I've gone ahead with two layers of these white lines so that they have that gold effect once they dry and stand out that white. And right. Now I squash, I'm just adding in a very small moon onto the left side of your thigh, onto the blue colored false, giving this moon a little space you can see I've blended it into the background. You did a white done. Now using involved consistency of the white color, I will add a wound into the center of this. This helps in having that growing space for the moon, giving a glowing light effect of the moon as well. Now in the center of time, I've added in that little moon space as well, and we are ready with our class project. If you want, you can even start to add in some stars before adding in the detail the pathway for covering up the pathway. So let's remove the masking tape. Make sure you remove the masking tape once your edges are completely dry. And always remove the masking tape against the paper so that you do not tear off the edges. Now, let's quickly add in a port to this before we end this class project per day Turkey, the courts are there as it will all make sense one day. And that's absolutely dried at certain days we feeling solo or be feeling so much time that we feel that everything we're doing is nothing. But, remember, all the hard work will make sense one day, one day do not give up until the final painting for the 13. I hope you guys enjoyed painting this for three today. I will see you guys soon into the day 14 class project. 16. Day 14 - Northern Lights: Hello everyone, Welcome back to day 14. After 30 days self-care challenge. Today we are going to be painting a beautiful northern sky are pretty simple one, if you are a big no, it's an easiest one to make alone. For that I'm going to be using in this cobalt green hue from Magellan mission. Now in case if you do not have this, do not worry. You can simply just mixing a little bit of your VD didn't green, along with a little hint of blue and white. Make sure to use an electric white gouache so that the blending makes easier. The pencil sketches very basic. I've just marked one horizon line. Now we're first going to begin in with the sky. I'm going to hide with a little photo into the sky area first and then the paint in the CAD. And then going with the silhouette on the horizon line. It's going to be a pretty simple class project, just 14 or 15 min. And we'd be ready with a pretty beautiful small size postcard painting off another night scene. Now for the northern lights, make sure that you have enough water sprayed onto the paper. Because if you will not have enough water, then maybe very difficult for the paints to flowing smoothly into each other and have that smooth blend into the sky. Now I'm going to head with a layer of all the new first time going through using the quotient rule and the Payne's gray to run first type is map out this pieces with this green color. So in case if you do not have that same green, you can simply as I told you, mixing viridian green, blue and a little bit into fight color so as to get this basal greenish tone. Or you can even just pick up your turquoise blue color mixing a little bit in the fight question, get a similar tone. Now I've mixed a little bit of the Payne's gray along with the Prussian blue color. You can directly use in an indigo color as well if you want, or you can mix in colors like these on your palate if you already have the colors on your palette. Now I'm going to use it while it has very, very little, not much of it. Now at this point, if we see as high, It's very dull. And when it will dry, it will be much more dull than this. So I'm going to go ahead with one more layer of the same colors that I have a bold effect once my colors dry out, they remember watercolors dry, one tone lighter than what they look when they are way. So whenever you're playing along and you know, you're wanting a little darker consistency when it dries out, make sure that you add in one more layer darker than what you need it. If you're not sure how your colors dry because some colors may dry off the same tone, some may dry a little darker. Submit dry a little lighter. I would recommend you to watch your color onto a rough shape so that you know how your colors react, whether they tried that light or of the same tone, consistency. So I've gone ahead with one more layer. Now I'm going to head with a layer of water into the CAD I spill in between the sky and the sea we are going to be having in the black colors and Oh hey, So all of the colored movement into each other will get covered up. But make sure you do not have much color closer to because it Bedouin up your sky. If you want, you can need for the sky for dry out and then begin painting in the sea. The sea is going to be a simple reflection of the sky. So you can see I'm just adding the same skylights or movement, but Justin hadn't bought it back. And in the same way, I'm going to add in the Payne's gray mixed in with low in the rest of the species. You can see both of them are looking exactly perfect reflection of each other. We'll just go ahead and add a little more darker consistencies until this is still wet. Now why am I see Eastern red? I'm going to go ahead and add in the reflection for the pine trees that will be adding on top of the horizon line. So you need to add this. Reflection while you're still bear, because you need to have that very soft look. Now make sure you add the reflection very minimal because we are going to add in the pine trees or the spiky JD, there's only a very small height. So make sure you maintain that almost equal amount of smaller height and the bottom deflection as well. I'm just using the paint straight through adding visit affliction VD. I've been at the sky and the sea, water together. But in case of you're not confident about painting the sea and not winning up the sky along with your painting wet on wet. So make sure that you read for you aside to dry then paint the C, but C is still wet. Make sure you add in this deflection for the pine trees that we've added it. Now I've got my border little tilted because I do not want the reflection too much into the sky at this moment itself. Though, we'll be adding in the pine tree detail there, which will cover up all of the colors that flowing there. But I don't want it to flow much because at times if we lose control or if you forget it, flow into much higher because my sky is still wet. Now in the reflection at certain places I'm just lifting up a little of the Payne's gray color, creating enlightened, lighter effects as well. So we're ready. These are basically now we'll wait for all of this to dry completely then adding the details are in the sky or later on once this dries out completely. So now my base is completely dried. This is the one that I feel I should have gone ahead with one more layer because I find this little notch do that, but a little darker than what it could have been. Now I'm picking up whitewash and I'm going to splatter in some stars into the sky. And if you want, you can add the middle of the stuff that goes into the sea as bad. Make sure for these styles, your forehead with a full consistency of the whitewash so that you have to perfect effect of this task. Otherwise, if you will use a diluted by forces Tasman Drive done, and even not given that effect what they should. Now using the Payne's gray color, I'm going to go ahead and add in the details of the cheese on the horizon line. I'm just going ahead with the Payne's gray color. I'm just giving in symbols. He looked to actin as the cluster of trees together on the horizon line. But the only catch again, you'll notice also I'm going to make sure that I vary the heights throughout so that they have an actual look to them. So you can see throughout the horizon line, I've tried to vary the height of these trees. Also make sure that you add these g's depending on the size of reflections that you've already added. Otherwise, it may create a kiosk. Now I'm going ahead with a little detail on the reflection space has been very attentive, not much of it, but I'm just going to go ahead with it. Oh, **** brush. And you don't make this all stock Ocala, Florida little integrate afflictions piece as bad and given little ball reflection as better. But I will not cover the entire blurry deflection that we've added in. So I'm almost done adding in the reflection as well. You can see how beautiful the reflection is missing now because of the variation side we have. Now I'm picking up some white wash and I'm going to add in some stars into the night sky. I first created in the growing space for the stars. And now into this, I'm going to go ahead and add in the white gouache to given that detail of the groin star effect out there. Just in the center of this bases that we've added in. I'm just going to go ahead and add in very simple dots only in the center spaces to actin as the glowing stars. So that is if we are ready with our class project, Let's remove the masking tape and then I'll quote for the day as well, make sure you remove the masking tape on the right. It is a completely dried and always remove the masking tape against your paper so that you do not tear off the edges. We are on day 14, RGT, and we are hardly 16 days away from closing this 30-day cells gets challenged. Month. I hope you guys are enjoying painting with me. And in case if you're enjoying, make sure to drop a review negative, positive or constructive feedback that you have for me. It would help me reach maximum students. If you're painting along, make sure to keep uploading your class projects so that we all can share it with each other. So today reads as collect moments, not things. It's very important in today's life, we are more materialistic than collecting in the moments that we live for. And another lights is one such moment that I really want to collect it once in my lifetime. I hope you guys enjoyed painting this beautiful mountains sky with me today. I will see you guys soon into the day 15 class project. Till then keep painting and thank you so much for joining me for this class. 17. Day 15 - Your Story Matters: Hello everyone. Welcome back to day 15 of the 30 days healthcare challenge. Today we are going to paint this beautiful piece of sky. Let's go ahead directly with the colors. I'm going to squeeze out a little bit of the white gouache to get into paste in Canvas. Now, many of you may already be having in pastry colors JD. So in that case, you can use your PESTEL Canvas for a few exercises. I'm going to show the color mixes that you can make for pastry colors. And then for few exercises, I'm going to directly using the pieces colored tubes that are already having a little bit of a blue color. You would need in blue, pink, yellow, orange. All of those will be turning into pasting. I've picked up a little bit of the blue, now taking out a little bit of the violet color as well again, I already have a pink and yellow on my palette, but in cases you need fresh, you can squeeze out a little bit of those colors as well. Fresh again, I'm just going to squeeze out a little bit of a pink tone this time. I'm going to go ahead with a different thing than what's already on my palette. So I'm just squeeze out a little bit of the Rosemarie dark color. Now for the yellow, I'm going to go with Naples yellow from Magellan mission. This is kind of a pistol yellow already. And I love this color. You can mix these colors. You can mix a new permanent yellow light with a little bit of whitewash and you'll get this pasty yellow color kind of a loop. But since I have it, I wish to use this because this gives it a very creamy consistency. Now I'm going to go ahead with a layer of water onto the entire sheet first. Now make sure you go ahead with an even layer of water to move out so that there is no excess water on the edges. Make sure that the layer of water is evenly spread throughout the paper so that you can walk wet on wet because the entire focus of this painting is going to be the sky that we are going to be creating. So first I'm adding in a little bit of the white gouache along with the middle color that I have on my palette, and mixing in a little bit of the crimson color as well. So basically you just need a pasted pink color first. Now since my paper is wet, you can see very light handedly, I'm just dropping in this very pivotal baby pink kind of color, living in gaps in between for the violet blues as well as for the yellows to come in. Now I'm going to head with a little bit of the yellows as pain. Now there is one thing when you walk in with these pasting colors, which have a little white contained in the blending between the colors become easier as you, because it's the white and yellow and the white that we'll be adding in blue. When you blend both of these colors closer to each other, you may not see that much of the dream content being formed because the white contend makes it paisley colors and makes the blending much more smoother and easier to know that mixed in a little bit of the blue along with white gouache. And I'm just going to add it very randomly into the sky. We are going to have in a little bit of the white caps as well visible. Now I'm using more water because of the white colors. The colors are becoming a little thick, so does spread these naturally. I'm dropping in excess water this time so that the colors flow into each other naturally and have that smooth blend amongst them. Also at this point, if you see a color tones, they are very light and then they begin to dry the mean Drive folder or a tornado, because as we know, watercolors try one tone lighter. The SDL going to build in the depth into this, the main focus of this painting is going to be the entire sky. I'm going to keep in a very simple silicate for this so that you can focus your time and spend your time onto building up the sky. So now I've just added a little bit of the pink tones closer to the blue to make it look more natural from the yellow towards the blue as well. Now in to the violet, I'm adding in a little bit of whitewash. And with this violet color mix of Fight Club, I'm going to begin adding in little details with the violet color as well. Now for the first layer of this violet color, you can see I'm going ahead with very light consistency of the violet and the white gouache mix. After this, I'm going to go ahead with one tone dark or to building the Docker depth of clouds into the sky. One important thing while working wet on wet with so many colors building in Laos and the depth you need to have water control otherwise is, say suppose if you had excess water while adding in this violet color, when you drop this excess water, the color onto the paper, the entire color will begin to spread and cover up the rest of the colors as well and give you one flat color loop. At this point you can see the violet color has retained the species in which I've added them and just has a soft blend because of the wet paper and the red pill. So it's very important to have that water control by adding in details. Now, I'm going ahead with a little bit of Payne's gray mixing it to my violet along with a little bit of the white gouache to forming one bond darker consistency of this color to add it into the sky. Now in this also makes sure you do not have excess water. It's very important to have that water control. Otherwise, it will cover up all the lighter tone of the violet that you've already added in. Now slowly you can see I'm building up that detail into the sky with this darker tone. We've gone ahead so slowly building in the sky made sure that each of the colors still say visible. You can see the clouds strokes, I'm going ahead very loose, very random strokes keeping at natural, giving him those curves. Make sure that you let it look natural as much as possible. And yet still working wet on wet, my paper has 100% cotton since I've run my brush multiple times while adding that layer of water on, my paper is still remaining wet, as well as when I was adding in the base layer colors, you could see I was adding drops of water to make the colors flow. So because of that, my paper is still wet very much naturally for me to add all of these details basically into this painting. Now I'm beginning to add in little bit of the darker blue tints as well. I'm just going to add a little more blue along with white gouache and get one tone darker blue then verbiage used in for the base layer, and I will add a little darker the episode. Sure. If at any point you feel that your paper is beginning to dry out already, I would recommend you to let your paper dry completely and then use the re-weighting technique. Now in case if you want to learn in detail about the re-weighting technique, you can visit my class on the re-weighting technique and, uh, you know, both through the class and learn the reweighting technique to apply it into a painting when you need to work a lot of wet on wet. Now I'm going ahead with one more darker consistency of the pink color and beginning to add in little darker pink depth CRS. Now I've made sure every where the colors are blending in, wherever I find the blade was not happening, I just use the damp brush and blended them. Now why wait for the sky to dry out completely and then we'll move ahead further, adding a simple silhouette and the code for the day and be ready with our class project for the 15 as well. So now my sky is completely dry. Then you can see how beautiful the colors have turned out the sky is looking pretty. Now I'm going to use in my 0.5 times 0.1 size pen. I'm going to add in the silicate. I'm going to add in a very simple power law in pool and some violence into the sky. I want to keep in the silhouette detail of this very simple and just let the sky standout. So that is the reason I'm going ahead with such a simple silhouette to just complement the sky. But the focus being the sky here as well. The 0.5 fen I added in those lines. And now with the 0.1 pen, I'm adding these fine byline details so that they give minimum in fact, through the sky, you can see these lines are looking so fine as it perfectly far away into the sky. So make sure if you're going ahead with all the color and the brush, you're using a very fine pointed brush and the black color in a light consistency to add these tours or as if you want, you can use a very pointed pen like this and adding the details easily. Now in-between these, I'm just adding in a few board a silhouette as well, using the pen directly, very fine ones and very small ones. Each of them. So make sure to keep all of these details minimum because as I told you, the focus has to be the sky. So I've just added in 1 mol call-out. Sure, and we are ready with our class project for d 15. We're already halfway through this challenge. Just 15 more beautiful paintings to go to complete this 30 days of self-care, self reflection. Make sure that you peel off the masking tape against your paper so that you do not turn off your painting. Now let's add in the port for the day before we have a closer look on the painting for today. So I'm going to use in a pink color code sheet this time so that you know, you get that perfect blend in with the pistol tones that you have in the sky. So the quote for the day that I've chosen is, your story matters. And that's absolutely true. No matter where you are, what you're doing. But remember, your story matters and it matters to you the most. Your story will surely leave an impact. Hello, wherever you are. So make sure to leave a story which is worth listening to for anyone ever. Remember, just as these beautiful clouds matter here, you can see every cloud has its own place on VOT adding to the painting. Same day your story also matters into this little world as well. I hope you guys enjoyed painting this beautiful one with me today. For day 15. I will see you guys soon into the D 16 class project. 18. Day 16 - Tell your Story: Hello everyone. Welcome back to Day 16 of this 30-day self-care challenge. Today we are going to go ahead with a pretty pistol cityscape painting. Since we already went ahead with the pastel colors in the previous class project, I thought Let's explore one loop is still painting because many of you may already have those colors on your palette, and I do not want them to go wasted. So let's go ahead with a layer of color today, a water directly. We are directly going to go ahead with the colors. You know, I try keeping the pencil sketch pad minimal because I do not want those charcoal marks as well as I like keeping it as much natural as possible directly with the paints. I'm done adding in the layer of water and I'm going to go ahead with the pastel tones just as the previous class project, I have to Naples yellow, which is all to paste in yellow with white content in it. And I have in the pink, violet and the blue tones on my palette. In case if you do not have any, you can simply mixing your white color with your base colors to get the pastel tones are in case if you have that ready colors, you can directly using the ready colors. Now I'm going to head with these colors. And this time we are going to go ahead with a very simple sky because we are going to add in a cityscape silhouette photo. In the previous class project, our main focus was on to the sky building in those clouds working layer on layer. And this time we are going ahead with a simple sky, but the cityscapes a little bit more in focus. So that is how you can differentiate paintings as well, using the same colors but different layouts. Now in between the blue and the pink, I'm going to go ahead with a little bit of violet color as well. And they feel adding little bit of the strokes with the violet color giving him little cloud effects. And those are, uh, you know, that effect into the sky. Now using in a little bit of this yellow, orange color, I'm going to go ahead with little highlights onto the yellow color as well. You can see it's just one bond darker than the basically a yellow that I've used in. This has helped me, helping me giving in this cloud effect into the yellow space. Now I'll just go ahead with such simple strokes of different colors as well. That is a little darker pink to add in little cloud strokes of the pink color as well. And then we're almost ready with this class project, sorry, will almost be ready with the sky. And then we'll move on to the seller who wants the sky dry zone. So now using in the pink color, you can see I'm just using a very smallest size brush and just using the tip, I'm adding very simple little curvy strokes, a little diagonally little or onto the yellow spaces, I add them very small ones. Now with one tone darker consistency of the violet color. I'm adding in these violet strokes out you're into the sky building in the Cloud detail for this time. Last time we had gone ahead with more of those Cloud details. And this time we are going ahead more of these. Let's talk to actin as the Cloud details into the sky. So add didn't you tell Docker tins of the blue as well? I'm just adding little more pink highlight towards the yellow color. This time. We're not going to go ahead with a simple black one we are going to use in the violet color. And we live in try showing in little of the light and shadow effect onto this silicates as well. So first let's go ahead and complete in the sky. We are almost through it just a little more, and we are happy with it. Now we need to wait for this to dry completely before moving ahead onto the silicate body weight for all of these to dry. And actually, and then we'll move on adding the first layer of the silicate. So now my sky is completely dry. I'm going ahead and mixing invite along with the purple color. So as to beginning with the first pair of the silhouette, I'm even adding in a little tinge of the Payne's gray color, very little. For the next layer, we'll go ahead with 1to1 darker to give him the light and shadow effects. I'm going ahead with this first tone and value of this mix of the violet white gouache and the Payne's gray color. And I begin adding in a very simple city silhouette. You can go ahead with different types of buildings structures, different type of roof structures. It's absolutely your choice how you wish to go ahead. You need not copying the same solo here. You can go ahead and forming your own celebrate as well. So I'm going to go ahead with different rooftops, as well as different heights of the buildings outflow to form in the cityscape. So go ahead very naturally and keep filling in the entire spaces with this photosphere of the color in-between, I'm going to add in some tall towers as well out here like this. I'm just going to give him little more detail to these towers. So this is just the first layer of heat that we are going ahead to add in. We'll be going ahead with one more layer on top of this to build in the details. Now you can see I'm going ahead with so many different shapes of the solute to add in your when we go ahead with the darker color consistency, I may further add in some more solute with the darker colors as well. But for now, for the basically all let's build in the entire space till the left end. Also, I keep emphasizing this in every class project that how convenient it is to tape down your paper on a movable surface and to just move your paper according to your hand movements and getting the details right. So we are ready with the first layer. Let's wait for this to dry now. So my first fear of the silhouette is dried. Now I'm going to go ahead with one darker consistency of the same color mix. To that same mix, I'm going to add in a little bit more of the violet and Payne's gray and getting 1to1 darker color to add an OH to the cityscapes, a low heat and building the depth out. You're now I'm just giving you a little shadow effects towards the right side of the buildings, major leaves. I'm trying to show that the sunlight is falling from the left side because the fish, the shadow reflection is falling towards the right side in certain buildings. I'm just going to put it a little towards the left side as well, but very little, not much along with that in the frontend, I'm building in one more CDC low hit a little one, not much bigger one, but at random places adding in some extra buildings with this darker tint. So now this second Leo can seem to be as the shadow part to some of the previous layer that you've added. And in some cases it may seem an additional building or a solo heat added to your in France space. So you can see as soon as you have gone ahead with this one darker layer, it has toned everything so much more in depth, as well as giving in that realistic look to the entire cityscape, trying to show that the front layer is darker because of the shadows off the backside Neo falling in because of the sunlight effect. Now in-between the Zillow hate towards the back side you can see I'm adding in some additional structure so as to give it a little more depth and a little more detail, trying to show in some darker That's onto the background. Now I'm going to mix in a little tent of the pink along with the white quash. I'm going to add in a few pink highlights onto these buildings at certain places. So as to show the effect of the sky color falling on these paintings are buildings as well, giving in that light effect of the pink sky falling onto these are buildings. So I've just added in that little details to some of them. Now I'm going to go ahead using the white gouache and add in a moon into the sky as well. Now, using a damp brush, I'm just going to blend the moon a little into the background first and then add in a little ball color in the center so that the Moon can have in a glowing effect as well. So that does it. We are ready with our class project for day 16 as well. Let's remove the masking tape and see the final painting. Make sure you remove the masking tape only once your edges are completely dried and remove it against the paper so that you do not tear off the edges. So you can see I laid my hand onto that whitespace and that got lead into the whitespace ruining up that white edge. So that is why I tell you you need to be very careful when your edges are wet. Now what I'm going to do is I'm going to use in a little tinge of the fresh white gouache and place it there so that I can cover up that patch or little. So let's try using indigenous fresh white quash and cover it up. Before that, I'll just quickly add in the code first I'm going to use in a violet color sheet this time because, you know, it will go in perfect with the heat that you've added it. And it's just going to be a small Coats. I'm going to quickly add it here. So you remember in the last class project, the code that we had used, your story matters. This one goes again in sync with that and it reads as live, create and tell the story. So remember I told you yesterday in this little world, your story matters. So make sure to live, Create, and tell your story because your story matters. So here's the final painting for this. I hope you guys enjoyed painting this beautiful one with me today. I left the basis chi and the silhouette in this one as well. I will see you guys soon into the day 17 class project. 19. Day 17 - Explore: Hello everyone, Welcome back to day 17. After 30 days self-care challenge. Today we are going to be painting this beautiful, easy sunset view is going to be a pretty simple one in under 15 min. Let's go ahead with the paints directly. We're not going to have in any pencil sketch. But this time we will be working wet on wet for creating a legend, blurry details into the background for the main focus silhouette. So first I'm going to squeeze out a little bit of the permanent violet color. And next year would have been eating a shade of pink. These are the two colors that we'll be using in for this guy. I'm just teasing out some bold colors so as to add them directly. For the pink color. I'm going to go ahead with the crimson lake color and I'm going to just pays out a little bit of the crimson lake color as well on my palette, you can go ahead with anything that is available in your palette. It can be crimson or it can even be scarlet color, Rosemarie, dark color, quinacridone, rose, rose color. And use the things that's available in your palette. I have pulled the primary colors for this guy squeezed out. Let's go ahead with a layer of water onto the entire sky. First. I'm adding in a little flatter onto the entire sky. Make sure you haven't even Nero for the cloud, especially on the edges, make sure you do not have excess water. Is water lifting otherwise by painting that excess water may create rough patches and given very rough edges because it takes us water coming in, seeping back into the painting. Now I'm forced beginning in with the violet color on the top, moving towards the bottom side. And then I'm going to begin in with the pink tone. So now in the rest of the half space, I'm going to go ahead with the pink. Now, in this first query, if you see the colors seem to be a little dull as of now, we need to add in more layers to get in that, right look to the colors. I think I had with one more layer of the violet. And you can see how Voltaire stone now, now I'm going to go ahead and run in and blend both the colors well into each other and give him one more layer of the violet because I feel a while it will drive one more tone lighter. And I want to have opposite easing, bold, look. Next at the bottom. I'm going to go ahead and add in little of the lead down bones while the sky is still wet. So my pink and the purple tones have blended well into each other. You can see the smooth transition happening in-between the colors. Now I'm mixing a little of the red brown color which is already on my palette, along with a little tent of the Payne's gray color. And I'm going to begin adding it at the bottom space here. Now, we are adding this wet on wet, so you need to make sure that you do not have excess water in this brown tone. Otherwise, the paint will spread up and cover up the entire pink color completely, which we do not want. So we need to make sure that we do not have excess water by adding in these Payne's gray and the brown tones. Now I'm just picking up a little more of the Payne's gray, adding in more of the Payne's gray. You can see I'm going in very loosely create again, a very blurry effect for the bush details that we'll be adding in Santos. This is just the base layer onto this. I'm going to add in little detailed ones also wet on wet right now. But cos I'm just giving it a perfect here of the brown and the Payne's gray mix. Also, if you notice, all of these are having in a soft edge, my paper's still wet and I'm still working wet on wet. Adding in these details, make sure that your paper is wet only then you will have that soft blurry effect for the bottom Bush space. Because that's going to be a little highlight as well into the painting. Now I'm shifting into my liner brush, or you can just fill to a smaller size brush for adding little details leaf effect as well while this is still wet. So now using the liner brush and using the Payne's gray color and be nimble adding these little leaves details while the background is still wet. Can you all see you need to be sure that you do not have excess water. If you will have any excess water, it will cover up the space rather than giving you that blurry effect of the bushes that you're trying to add in. After we are done adding in this, we'll wait for this to dry out completely. Then I didn't little bush details with the Payne's gray color once everything is tidy, and we'll add in a small son and will be ready with the class project. It's a pretty simple blurry effect class project that has kept in for today. So now you can see how slowly I'm adding in these blurry details. I'm not going to add much of them very little and little in the center and on the edges. Now we wait for all of these to dry out naturally, I won't be using a hairdryer to speed up the process. I will let it dry naturally. Hey, everything is completely dried and I'm going to go ahead using the Payne's gray color and just begin adding in the details of the bush out here. I'm using my liner brush so that I can get in the fine details. When you begin adding in the details for the bush in the focus space, make sure you use the Payne's gray color in a gold consistency so that you have that opaque ball look come in off the silicate. Do not add in a lot of photo. Because if you will add in a lot of photo after these dry out, they even have a dialogue and will not give you that bold effect of decelerate that you want to add in. I'm going ahead with simple branches of the bushes. You can go ahead and add in different leaf silhouettes. You can even go ahead with the dead leaves. Or you can even create it simple Bush detail or simple fine She's are palm trees. Whatever you wish to go ahead with. I'm going to go ahead with kind of those green leaves the data in the field. I'm just going to go ahead with those details. So I have one bigger branch. And from that I'm pulling out the smaller branches and pulling out the foliage details from them. So from one big branch you can see I've pulled out so many smaller branches and add it in the foil age detail. In the same way, I'm going to add in a few more of these branches and then I'll go ahead and add in one small sun, setting sun, you in the center at the bottom space. And then they'd be ready with this class project. So on the right side I've added two of these bigger branches now. One I'll add on the left side and in the center, I will keep it very empty and light so as to have that ball effect of the sunset as well. So now you can see how the background details that you had added wet on wet or acting in as the glory details for these details that you've added now using in this bowl, consistency of the Payne's gray color. Now so adding in the sun, I'm going to squeeze out a little bit of the white bar so that I can have an opaque look for the settings and view. I'm going to be mixing it with a little tinge of yellow to have that little yellowish sunset effect. And then we'll be ready with this class project. So let's quickly add in the sun and peel off the masking tape. Mixed in my gosh, along with the yellow color which was already on my palette, you can mix it in with any yellow color. You just lead a world peace dull yellow color. And now I'm going to add in a very small sun out you're in the center space and creating that effect out here. So I'm almost done adding in the sun. I'm not adding in any blurry effect or glowing effect this time just as simple sun creating in that sunset view. So that is it we are ready with the class project. Let's remove the masking tape. I kept a few of the class projects, very simple like these in-between so that you don't even have to walk in with any details. It's just plain simple, ten to 12 min class project which you can create it in just on any day when you have hardly any time. Now let's quickly go ahead and add in the code for the day. So I'm going to be using in a pink color code sheet this time because it really going well with the color tones that we've used in the sky. And I'm going to quickly build out from here. And the court is going to be never stop exploring. For everything in life. Never stop exploring are coming to myself. As an artist, I started with what colors. I thought it's everything that I need to do. But then when I explored other mediums available, say gouache, acrylics journaling. So much more in art itself. I realized there is so much to learn, to explore, so much to experience. So keep exploring in every aspect of life. Because remember again, your story matters. So tell your story, your story, create your story. I don't see you guys soon into the day 18 class project. Thank you so much for joining me in today's class. I hope you guys enjoyed painting this with me. 20. Day 18 - Trust the timing: Hello everyone. Welcome back to day 18. After 30 days healthcare challenge. Today we are going to be painting a beautiful night Skype, kind of a view, evening, night sky. So let's go ahead with the details that has no pencil sketch for today as well. We're going to add in all of the details with the paints directly. For this guy, I'm going to squeeze out a little bit of the permanent yellow, orange color. Or you can even use in the vermilion color. I'll go ahead with the vomiting you because it's a little colder than the yellow orange tone. You can go ahead with orange color, yellowish orange color. Or if you do not have either of them, you can mix in your red and yellow and get an orange tone. And the next color that you would be needing is the Payne's gray color. I already have the Payne's gray on my palette, so I'm not going to space out more until needed. There is no pencil sketch. Let's directly go ahead with a layer of photo. Again, as I always say, make sure you have that even hear of water. We are going to be working wet on wet to build in the sky. And then the details of the silicate will add in wet on dry. But for this guy to add in the Cloud details to get in the plain sight, it's very important that you add in a perfect layer of photo. Makes sure that the water layer is even throughout and you do not have any excess water on the edges. Or it will see back into the painting. I'm done adding in the layer of photo and now I'm going to go ahead with the orange color force at the bottom space. We are going to build it a very bold evening sky, just mixing in a little off the yellowish orange color as well, which was already on my palette. Now in the rest top area, I'm going to go ahead with the Payne's gray color. Before that, I'm just adding in little yellow tint if you have it on your palette, even if you do not use the yellow tint, It's perfectly okay because once you add in the Payne's gray color, it will all blended. Now I'm going ahead with the Payne's gray colored the top space. I'm beginning with a bold color at the top and moving towards the orange, I'm just lighting up the Payne's gray, getting it till the orange. I'm going to run in with the same method a few more times so as to get that bold effect of the Payne's gray color. This is just the base layer of the sky that we're building in getting in the plains of two color. One is the orange and the other is a Payne's gray color. I'm just running top to bottom, bottom to top. Blending in both the colors will make sure if you are running from top to bottom, then you clean the brush off the Payne's gray color that was dated. Now, while this is still wet, I'm going to go ahead with a smaller size brush and add in a cloud detail with the Payne's gray color closer to the orange space. I'm going to mix in brown along with the Payne's gray, so I'm using that light red color. You can go ahead with red brown tone, burnt sienna color, or any reddish brown tone that is available in your palette. Mix it with a little of Payne's gray and begin adding in the clouds. Now you can see excess water makes the color spread across and cover up the space. So you can see I'm just adding in all of the excess water onto the tissue so that all it takes is water is absorbed by the tissue. And you can add in simple details of the clouds out here. This is just the first layer of clouds. Now using the Payne's gray, I'm adding in little darker depth into these clouds as well. I mentioned it going to be keeping in these cloud effect closer out here at the bottom space of the sky. And then we'll be adding in a very simple cityscape kind of a silhouette using the Payne's gray color later on. By not adding in these clouds, make sure you do not use too much of a bold Payne's gray color also, because we need to keep it lit in light because the silhouette that will be going ahead with is going to be off the ball Payne's gray color in the rest of the edges. I'm just adding in very simple Cloud silicates like these. Now at the top I'm going ahead with little mobile consistency of the Payne's gray color so as to get the darker effect at the top space, I'm just going to add in little clouds at the planning point of the yellow orange tones as yellow and the Payne's gray tones as well. Now at the top, make sure you have that bold effect of the Payne's gray color because once these dry out, they will further be turning lighter. So make sure that if you're not confident about your colors, you first swatch it on a paper, see how it dries. And then decide how many layers, what darkness you need while it is still wet. So be ready with a bold and beautiful sky. Now we'll wait for this to dry completely and then add an SLO hate. Once this is completely dry, This guy's completely dried and you can see how beautiful this cloud is looking out on the orange space. Now, we're going to go ahead with the Payne's gray color and building the silicate into the sky. So we'll go ahead with the ball consistency of the Payne's gray color. Make sure you do not add excess water. Use the Payne's gray color in a bold consistency so that you have that perfect effect once it dries out as well. Now I'm using a smaller size brush and add the top. I'm beginning in giving in middle of the detail, bush detail. I'm just dabbing with the tip of my brush creating in that bush facilitate out here. And I'm going to take it taller as I move towards the right side. You can see I'm going ahead with very simple details. I'm just giving you little detailed leaf details as well. I'm using a size two brush so that I can get in these fine details. Make sure you're not trashed with these details. And also make sure you do not cover up the entire sky. Because otherwise, cloud detail that you've added in, we'll get hidden up. So make sure you do not cover that Cloud completely with these ball details in-between, I'm just going to add in sample of the cityscape details as well. And the rest of this space is I'm just going to fill it completely with the Payne's gray color. So basically I'm just marking the outline first wherein we are going to have that detail. And then the bottom spaces, all of them are to be filled in with the ball consistency of the Payne's gray color. Now our tour, I'm just going ahead with a little detail. You can see I'm creating a fence with a little curvy edge. And I'm going to fill this as well with the Payne's gray color completely. Then on top of this, we'll add in a little poll as well as some byline details once we fill in all of the bush details as well. Now I'm just going ahead and adding in simple silicate out you are. And I'm going to fill in all of these perfectly with the Payne's gray color. So you can see I'm using in such a bold consistency of the Payne's gray colors so that once it dries out also, it has this bold effect. Also you can see how I've covered up the cloud space and made sure that the cloud is still visible. You will even have two orange highlights visible at the bottom space. On the left side here as well. I'm going to quickly fill in this space with the Bush details. So in-between you can see I'm adding in little of the detailed ones as well. And now I'm going to fill in the rest of the bottom space completely with the Payne's gray color. After this, once this will dry out, we'll add in little of the light effect in between the silhouette trying to show in some light effects visible in the cityscape will even be adding in simple pole details as well as byline details here. Now just adding in simple roof details your so as to make it a little more detail, very simple details, but still you can see so much more depth it gets to your painting. Now using this technical pen, I'm just going ahead and adding in these details. I'm using a 0.1 pen because I want to keep these details very light. I do not want to give them too much bold effect. So you can see how light the lines I'm keeping them as well as they are very thin because of the 0.1 pen that I'm using in. And I'm just going to add in a simple pole detail here as well in-between the violence. So you can see some simple connections that I've given in between the lines as well as giving them those simple connection to each of the violence with each other. Now, I'm going to squeeze out a little bit of the white gouache, mix it with the vermilion color that we've been using in, I'm going to create in a pasty, basically an opaque orange color to give in that light effect. If I use him directly the bold orange color, it will not give in that bold effect because of the Payne's gray background that we already have in. That is the reason mixing it with a little bit of white gouache will help us in giving in that effect. But before that, I'll just quickly adding the moon with the white color before mixing in the orange tone. So I've given you a pretty simple moon you can see now I'm going to mix the white along with a little hint of orange color. And I'm going to begin adding in the light effect into the bush. And those are bottoms cityscape silicate that we've added in. But makes sure that you add in this color only once your Payne's gray color is completely dry. Otherwise you will not get in that effect. So you can see very simple details to actin as the light that I've added him. Now, all of this is seeming as a cityscape wherein some of the light is peeping out. So now let's remove the masking tape and see the final painting. Make sure that your edges are completely dried before you begin removing the masking tape, the edges may begin to peel off along with the Payne's ruining up your edges as well. Finding up for day 18, let's quickly add in the code to this painting for today. So far adding in the code I'm going to be using in the brown color sheet. It will go in perfectly with the sink of the painting. And the code that I'm going to be choosing for today is going to be just the timing of your life. Always remember, God's plan is much better than your plan for yourself. Everything will fall in place at the right time, at the right moment, at the right place. So here's the final look at the day 18 class project. I hope you guys enjoyed painting this one with me today. I will see you guys soon into the D9 class project. Thank you so much for joining me. 21. Day 19 - Love Yourself: Hello everyone. Welcome back to D9. After 30 days, self-care and self-reflection watercolor challenge. Today we are going to be painting a beautiful sunset by the sea. So let's begin with a very basic pencil sketch. I'm just going to mark out the horizon line that we can have, the sea and the sky distinction. We are going to be going along with very pretty sunset colors for this class project, which is going to be the tones of yellows and pinks. And then we'll be adding in little greenery effect just about the horizon line for which we'll be adding in the reflection while the paint the sea. So when we think the sea wet on wet, we'll add the reflection, but the top bushy area in the sky will add once the sky is dry it out. So let's first go ahead with the sky and add in the colors into the sky. I'm going to go ahead with an even layer of water to move out. And I'm just going to make sure that I only stay into the sky area and adding this layer of photo. So despite using 100% cotton paper, I run my brush multiple times so that my paper stays wet for enough time. Now for the yellow, I'm spacing out a little bit of Naples yellow color because Naples yellow has a little bit of the white content. If you see the pigment numbers closely, it has a white and yellow pigment makes, which makes it a little opaque, as well as the basal tone of yellow. Now in case if you do not have it, you can simply mixing a little bit of white to yellow, yellow, yellow, yellow tone. So beginning with this pasty yellow color into the sky first and then we'll go ahead with the other color tones into the sky. Make sure you use the color in a bold consistency because we want a very bold sky. We do not want very dull colors. Once they try out, I've added in the entire sky with a yellow color layer first. Now I already have the vermilion color from the previous class projects. I'm just mixing in a little vermilion to the yellow to get a yellowish orange tint. And I'm going to begin adding in little detail with this. Now when you begin working with the vermilion on the yellow color, make sure that you do not have excess water. Even then you begin adding in this pistol pink, which is a mixture of the crimson as well as a little bit of the white quash. Make sure you do not have excess water on your brush. Otherwise, the paint will begin to spread and cover up the entire space. So you need to make sure neither do you have excess water nor excess pigment. I'm just beginning adult. Let's look. The violet and the pink color mixes well to create some little cloud effect. You can see I mentioned it walking in with just the tip of the brush to create this effect. I'm still working wet on wet, my sky is still wet onto the wet layer. I'm going ahead with all of these tedious. Now I'm mixing in a little bit of the white along with the violet color to get a pistol violet tone so that I can add it onto this color without farming in any muddy tones because of the white content when you mix it with a violet color, when you add it onto the yellow or the orange tones, it does not forming any muddy color. You can see it's giving a beautiful lavender lilac kind of tone instead of giving in any muddy tones. So very softly, I'm just adding in little more of the orange clouds out here. Very basic style with obesity or yellow color. And on top of that building in the sky details. So we're ready. A sky almost either. Just go ahead with little more pink highlights before we let this to dry out. The C is going to be a reflection of the sky colors only majorly. And then we'll add in the bush details, but in the C will add the bush deflection while that will be still wet. So first we'll wait for the C2 sky to dry completely and then move on to painting the C and the reflection. And then move on to the bush on the horizon line. So let's wait for this to dry. Now my seat sky is completely dry. I'm going to go ahead with a layer of water into the sea as well. And then beginning the wet on wet technique here. This time the reason of going ahead with a layer of water into the seas because I have to add in the reflection for the bushes as well why MSE is still wet? I want to stay wet for a little time so that I can add in all the details. That is the reason I'm going ahead with one year of water previous than the yellow color so that my paper stays wet for enough time for me to walk all the details wet on wet. After the yellow color, I'm just adding in little pink highlights on the edges. I'm going to keep the sea very basic, very limited color tones. And then now we're going to shift onto the greens to add in the reflection. You begin working with greens, make sure you do not have any excess water. Because when you're adding in this reflection, if it will have in excess water, it will cover the entire CSPs which we do not want. We just want to add in little deflection to the bush that we'll be adding at the top space. I'm going ahead just dropping in the greens, creating in that soft brush effect. You can see I'm going ahead with random heights throughout waiting it so that it has a natural look to the reflection as well. Now put up liens and mixing in a little bit of the brown and the Payne's gray, not randomly and just adding in little darker. Because at the top space as well we are going to be using in the browns and the Payne's gray color to add in little details. So I'm just going ahead with very simple strokes here. I'm still working wet on wet. You can see my green and the browns are retaining the space in which I'm adding them. They're not moving anywhere except for the place that I've added them and they're retaining gas phase and the detail as well. Now, with my liner brush, I'm just beginning to add in very fine strokes of the green color in the sea to add-on to the reflection that we are painting. Now make sure these lines are very fine, very limited, very small ones and very thin ones. Do not add them to match orbit to darker tones. You just need to give him that cuts to the reflection to show the moving effect of the water. Now I'm going to go ahead and paint the top bush detail. My sky is completely dry. We first had to paint the reflection because I the area was bad. So we had to paint that wet on wet. But this TTL at the top, you need to paint once your sky is completely dry. Now when you begin adding in this push detail, make sure you do not cover up all the clouds that you've created. Otherwise, you will have one flat color look in the sky. So at the top you can see I'm going ahead with very random structure for the Cloud details as well. And just beginning to add in very simple details to create in the look for the bush here. Now I'm going to mix in a little bit of the Payne's gray and the brown, your Asbell, closer to the horizon nine. And given that depth. Now at this point, if you see the reflection and the bush does not have any distinction, they both are looking just joined to each other and does not giving in that realistic effect. But we'll wait for this to dry completely. And then given that distinction point in-between both of these and create the highlights space. But we need to wait for this to dry first. So now that everything is completely dried in and we're going to begin creating in that distinction point in-between the bush and the reflection of the bush. So I'm going to be using in this angular brush. You can even use a smaller size flat brush. Or you can even use your fine round brush but an angular brush heads and getting the angle better for this, I've just dip the tip in water and now I'm just lifting up the colors out from your horizon line point to distinction or to mark the distinction of the bush and the reflection. So you can see that space, but I'm running this damp brush, it's turning out light is green in color, marking the distinction between the top bush and the bottom reflection space. So this is how we are going to create in that distinction point. Now. Starting in little more reflection details as well using the liner brush once this was completely dried. So just very simple details you are as well to add in more depth. So I'm just going ahead with little more details. I'm just using the angular brush, just using in the mix of the greens and browns marking in this highlighting points at certain places in the reflection as well. Using in the damp brush, I've just lifted up smallest torques out there to create in that debt. Now if you want, you can even show a little movement into these bushes as well. I'm just adding in little branch effects out here. For this, you can even simply use in your white gel pen or white quash to give him the details? I will just using my white gouache or white gel pen. Sorry, I'm just going to add in little details here, very little, very minimal in this ear as well, just adding in little white highlights to shoulder moving effect of water. Now you can see these talks that you've added with the greens and byte is acting as the moving effect for the waters and creating in that deck. Now I'm just going to go ahead with a little off the darker green, that is the Payne's gray and green color mix. I'm just adding in little darker strokes at random places wherever I felt that. So we are almost through the class project. Just a little more highlight and we'll be ready to remove the masking tape. So using the brown color, I'm just adding a very fine line closer to the horizon line that we've created to show him little mud effect. Very fine, but make sure you do not cover that lighter space that you've created. So again, I'm just running my angular brush to create that highlighted space again a bit because it was covered a little bit the brands. So now let's remove the masking tape and see the final painting. You can see in just under 15 min, we could create in such a beautiful landscape with such beautiful colors into the sky, as well as learning a new techniques to create in those highlights. So smaller steps, but still learning something new every day. Now I'm quickly going to add in the code for the day. And for that I'm going to be using in the yellow color sheet this time going in perfectly with the colors of the sky and the painting. And the code that I'm choosing for today is I like who I am becoming. So always be the best versions of yourself and always love yourself for whatever you are, however you are, because nobody else will love yourself as much as you can. So make sure to laugh like who you are, what you are, and whatever you plan on becoming. So here's the final painting for the 19. I hope you guys enjoyed painting this with me today. I will see you guys soon into the data entry class project. Thank you so much for joining me into this class. 22. Day 20 - Life is one time offer: Hello everyone. Welcome back to day 20 of the 30 days self-care challenge. Today we are going to be painting another beautiful northern light. It's going to be a pretty simple one with very soft blends. So let's go ahead with a very basic pencil sketch. I'm just going to mark out the horizon line so as to distinguish the sky and the sea, as well as the sky and the C are going to be reflections of each other. So fast we're beginning with this guy. Now this time I'm not going ahead with those Covey's talks for the northern lights. Rather, I'm just going to lay out the colors randomly and try to blend them out. So first I'm going ahead with an even layer of water throughout so that we haven't even read. Please make sure you run your brush multiple times. Now first I'm squeezing out a little bit of this cobalt you, which I already have on my palette, then you would need a shade of pink, violet and blue. And a little of Payne's gray to darken up the blues and violets at certain places. So I already have all the colors on my palette. Now let's begin adding in the beans. Paine's also, I'm going to add them in a little liquidy consistency this time because I want the paint to flow into each other and create that softer blend into each other. Now makes sure that, you know, the blends of the pains may not go right, Justin, one goal, you will have to run with multiple layers so as to get the smooth soft blend into the pink. I'm just adding in a little bit of the white gouache, Asbell analytical liquidy consistency so as to get there then between the green and the pink is going smoothly. Onto the right side here, I've mixed in the violet along with white gouache and given in here in the rest of the space. And now I'm just going to go ahead and begin adding the blue color at the top space on the left corner. Now along with the blue, I'm even going to add in a little bit of the violet as well, mixed in with a little stint of white so that it blends smoothly with the green color that we already have it. Now, as soon as we are done adding in one layer of each of the colors will begin rotating the board in directions and begin adding in the second year of colors so that the colors now begin to flow into each other and creating the smooth soft blend. If you have seen the final class project in the beginning, you can see these are very light tones. We want a night sky, kind of another light. So we are going to go ahead with lots of colors onto this and blend them. You can see I've been using the colors in a liquidy consistency, making them flow and float into each other smoothly. Now on the edges that tripeptide also you can see I've added in little of the Payne's gray mixed in with blue. Now going ahead with violet again and rotating the board in directions so you can see how the color is floating closer to the cobalt green hue color. And I'm rotating it in all directions, but very quickly I'm changing the directions as well so that there is no one color collected at a specific point for a longer time. Now I'll just squeeze out a little more off the colors, whichever are empty on my palette. And beginning with further layers on this so as to get in more depth into this. Now, with the smallest size brush, you can see I'm beginning to add in smaller strokes towards the right side to create more depth into the northern sky. We're just basically working with the same four colors in different consistencies again and again to build into depth into this painting. Now using the Payne's gray, pulling out a little bit of the strokes from the left edge as well. Now I'm just going to splatter in a little bit of the water droplet so as to create a little texture. So very little, not much of it as you can see. And again, I'll rotate the board in all directions again so that it blends in all of them as well easily and does not create a bigger patch of that lighter spaces because of the water droplets. Now slowly you can see on the edges I'm beginning to add in more of the Payne's gray on the left and more of the violet on the right. And again, I'm just going ahead with blending these colors because I want to build in a little darker depth into the sky. I do not want it light or a soft color. So that is the reason I'm going ahead with multiple layers building in the depth and the intensity of the pains. But one thing that you can notice is after every color space that I'm adding and I'm rotating my board so that the colors swiftly move into each other and have the blends. Now we'll wait for this guy to dry completely. Now my sky is completely dried and you can see the bold effect. You have the pink color visible, the violet tones, the blue on the edges, and the green in the center space. Now we're going to go ahead with the c. So for the CF first picked up a little bit of the white and the violet color mix because in the sea I want more of the violet and the pink effects and very little of the green effects. I'm not using the blues at all for the Z space. So I've just added a little blue because I felt blue would go in much better rather than just the violet tones. So I've just picked up blue, but I have converted it into an indigo color majorly using the Payne's gray color. Now if you want, you can directly using the indigo color as well. And in between, I'm just giving you a little bit of the green things by adding in little stalks off the cobalt green you in-between the violet and the blue tones. So I'm just going to pick up a little more of the alkene you and add it. You're in the center space to give him little more effect in the sky. Also on the right side you have motive to cobalt skin. So even in the CF, given more of the cobalt green on the right side, and now I'll just give it a little more darker depths and blended with the Payne's gray color. Now next I'm going to go ahead with a little bit of the fresh white gouache. And I'm going to begin adding in the stars into the sky. So I'm just cleaning up the violet color from the whitespace. And now I'm just going to add in little more fresh white gouache. I'm shifting to a smaller size brush. I'm just going to add in the stars only into the sky space. So in case if you're not confident about adding them without ruining up the C, you can cover up the C with a rough paper, but wait for that to dry and then cover it up or else the pains me get lifted off. I'm even going to go ahead with a little bit of the glowing star effects. I'm just going to create a little depth. I'll first begin adding in with the moon so that we have the space for the moon already determined. Now I'm going to begin adding the splatter of the stars. Make sure that you use the right question. A thick consistency for this, as well as make sure that you're not adding a lot of it. Also makes sure that your CSPs is covered or you have that controlled splatters of the white paint. Now next I'm going to squeeze out the Payne's gray color and keep it here so that we can add in the mountain range detail on top of the horizon line. Once the sea is completely dry, then he's completely dried. And I'm going to beginning with the Payne's gray color using in this smallest size brush and begin adding in a very simple range on the horizon line. As I keep repeating in every class project, you can see how easy it is to just tilt your board and begin adding in these details by just adding in building your board and getting your hand angles adjusted. So I'm just going ahead with very basic layout for the pine trees, not going in with the detailed ones because it's a very small space. And I just want that effect of the trees on the horizon line. In a similar way, I'm adding it onto the left side as well. On the left side you can see I've taken them a little taller, but I've made sure I do not cover the entire pink lookout to make sure that pink sneak peek is still there into the sky to give him that effect of another light strokes. Now in the center, I'm just going to make both of these meat, but with a very small range of mountain effect. Also make sure that you've used the Payne's gray color in a very bold consistency, only then you would get in that bold effect once it dries out as well. Because remember, watercolors always dry or tone lighter. Now using a damp brush, I'm just creating little reflection of this into the area as well. So I added one more layer of the Payne's gray color while that was bad, just using a damp brush, you can see I'm giving in that little effect into the sea area at the bottom by just creating that blurry effect. But make sure that you blend it well as well into the sea area. Otherwise, it may give you patches into the sea this week taking a little practice, but it gives a beautiful blurry reflection effect of the trees into the ASI space. I'm just running in with a little damp brush and a little of Payne's gray color. And you can see I'm adding in the reflection, but I haven't made sure that this deflection is very blended into the sea. So you can see how using the damp brush, I've blended it all well. Now, I'm just going to even add in a small short kind audit or a space at the bottom space. And then we are ready with this class project for day 20 as well. We are just ten days away from closing this beautiful self-care challenge. So let's remove the masking tape and see the final painting and then adding the code for the day before we close for Day 20. So now let's quickly add in the code. So today I'm going to use in this dark navy blue kind of a code sheet. So I'm just going to be love this quote quickly and I think it's a good fit in, in one line. So I'm just going to add it to your. Now the code reads as life is a onetime offer, use it well. Remember you only have one life, so make the most of it, live it well and always remember your story matters. Here's a closer look at the painting for day 20. I hope you guys enjoyed painting with me today. I will see you guys soon into the next class projects till then. Thank you so much for joining me into this class and painting along with me. I would love to see your class projects into the project section. 23. Day 21 - Beauty in Simplicity: Hello everyone. Welcome back to day 21. After 30 day challenge. Today we are going to be painting this beautiful field illustration. So let's go ahead with a very basic pencil sketch. I'm just going to mark out the horizon line. The rest of the details will directly be adding in with the pains, as always, uh, with the other class projects. On the left side of the horizon line, we are going to have in a little greenery Bush space. Then we're going to have in three or these powerline poles into the painting, which will directly be adding in with the pains for the sky. We are going to be going in with an evening thing, sunset, sky. The field is going to be off the green tones and then this time the power lines and the silicate will be adding in with different tones of greens and browns instead of directly using the black color. So fast I'm going ahead with a layer of water only on to the sky. And then we'll go ahead painting in the sky first. I'm beginning to add in the colors. Now. I'm forced beginning in with a little bit of violet mixed in, along with a little tint of white. And next color that I've picked up is the Crimson lake color, which was already on my palette. And now I'm just going to blend both of these colors bleed into each other. We are going to be having in a pretty simple sky this time that's going to be a blend of both of these colors. Even in the bush space for now I'm adding in these colors, but in a light consistency later on, we'll be using in darker tones of green. So all of this will get hidden up completely. Now I'm just blending in both of these colors well into each other. So you have that purplish pink sky coming in. Your, if you want, you can go ahead and add in little details to the Clouds as well. So I'm just going to pick up a little bit of this crimson lake color and adding little cloud depth or closer to the horizon line. But I'm just going to go ahead with a very medium tone consistency of this color and create it. So as you can see, I'm just running my brush and drown circular motions to create that cloud depth into the sky. Nothing in detail or complicated, just simple darker strokes to give in that depth into the sky. Now using a very light tint of the Payne's gray, I'm just giving some darker cloud effect. You can see I'm using the Payne's gray in such a liquidy consistency, making sure that it's very light and not too dark. If you're not confident about handling in the consistency of the Payne's gray directly. You can mix in a little tent of the Payne's gray along with the violet and then begin adding it so that you have that control over the color tone of the darker depths that you are beginning to add into the sky. From both the edges you can see I'm creating in very base or clouds or with this darker mix. But also you can see all of these colors are still visible, the pink, violet and then the darker strokes. Now let's wait for this to dry completely and then move on to the field space. My sky is completely dry. You can see it's a very basic sky that we've gone ahead width. Now we're going to go ahead painting the base layer of the field. For that, I'm beginning in with the yellow ocher color, which is already on my palette in the field space. I'm going ahead with the wet-on-dry technique because we don't have much details to add wet on wet. We're just going to create an a base layer of the field using in the yellow, green, and the brown tones. So I'm just going to mixing these colors alternatively and creating the depth. Now I'm beginning with the greens on the edges and even on the horizon line a bit and just blending it well with the yellow ocher tones. Now I'm going to begin adding in little darker That's using in the browns. So I'm just going to mix in the brown which is already on my palette and use it out here. Make sure you can go ahead with any tones that if you already have some tones on your palate or if you want to freshly squeezed out, then you can either go ahead with a burnt umber, burnt sienna color. Now, I'll make sure that once I began adding in this darker Deb, I still have the yellow ocher and the green tones visible. Otherwise it will cover up all of the green and the yellow ocher tones. Summation here, I'm just adding these on the edges. Now I'm blending all of these. Well, you can see every time for blending, I have to go ahead with two to three layers of the same colors so that the blending between the colors happen smoothly and the colors flow into each other naturally. Now using a little bit of the Payne's gray at the bottom, I'm adding in little darker effect areas as well to actin as the shadows. After this in the field, once it dries out completely, we are hardly going to be adding in details, just little floral details if needed. And then we're going to have in the bush area. Now I find that is a lot of green space, so I'm just lifting up little of the color creating in the lighter tones. Or you can simply use in little lighter green tones and adding there. Now let's wait for the field also to dry completely and then we'll move ahead further. So now everything is completely dried and I'm going to go ahead with further details. So I'm going to just squeeze out a little bit of olive green color first because I'm going to begin adding in the bush details. So using the olive green color, I'm beginning to add in the bush details at the top space here you can see going ahead with very rough random strokes and with different heights throughout creating in the space out here, it's going to be only till the left edge, not taking it even till the center, because we are going to be adding in the details of the violin poles in-between. So at the top of the bush, I'm just dabbing my brush at the top to create in that rough space for that space and give it a natural look. Now I'm squeezing out a little bit of the yellow ocher color fresh and I'm going to add in a little tint of the white goes to this and begin adding in little grass strokes into the field space. So I'm just going to squeeze out a little bit of the fresh white gouache as well. Now the reason of adding in just a little bit into fight goes to the yellow ocher is so that you can get in that opaque strokes for the class talks that we are going to add in. They're going to be very limited, very simple ones this time. Using the liner brush. You can see I'm just adding in these simple strokes out here to actin as the grass strokes. I'm just going to keep adding in a lot of these at the bottom space. Now you can see I'm adding them kind of bunches together out to your painting in the depth into the bottom space. Then if you want, we'll just add in very simple floral details here and then move on to the last and the main focus element of this painting. That's going to be the powerline pools. I've gone ahead and added in these grass strokes, you can see they're standing out so brightly on to the Greenfield because of the white colors that we mixed in with the yellow ocher color. Now, on the left side you can see I've taken them taller as well. Now let's go ahead with the further details. I'm just going to pick up a little bit of the pink color mixed in with a little bit of the white gouache and add in the floral details here. So I'm going ahead with florals of different pink tones. I'm just using the tip of the brush and dabbing it simply too often as simple floral. I'm not going to add much of these, just adding in very simple little ones closer to these grass strokes that are added in. So I've just used into tonal variation of the pink color, mixing it with white gouache in different quantities and ratio so as to get in these floral effect. Now using a little bit of Naples yellow color, I'm just adding in little more yellow florals as well. Now Naples yellow already has a little of the white content, which makes it an opaque color. That is the reason I'm directly using in the Naples yellow here. But in case a few who do not have Naples yellow, you can simply mixing white gouache to your permanent yellow light and go ahead and add in little of the florals with this opaque yellow tint as well. Or you can even directly go ahead and using the white quash and adding little off the white florals directly. I'll just go ahead and add in little white florals if needed later on. Now for the power lines pools this time, I'm not going to use in the black color. I'm going to use in this reddish brown tint that I have created. Now, I'll just see if this color is standing out well, or I need to darken it up a little bit more. So this then seems to be a little on the lighter side. So I'm just going to further add in little more depth into this by creating in the highlights space. So this time you can see the power lines also I'm trying to create in sync with the sky and try to give it like an animated movie kind of a scene. Now I'm going ahead with Taylor, little darker tint of the brown, adding it on the one edge so as to give it that impact and debt. So now you can see this is acting as the shadows piece of the power poles that you're adding in. On the left side of these, I'm giving you in a very light thin so as to show in that light effect falling onto these power poles, because of which you have the shadow effect on the backside. Now using the darker brown tint, I'm going to give him little details out here. I'm just first going ahead with the lighter team to mark out the spaces and then again adding the highlights using in the darker tint. So very simple PowerPoints but with different color combination this time, as well as acting, acting in playing along with the shadows and reflection, giving it a little more debt. Now for the y lines I'm going to use in my 0.0, 0.1 pen. And go ahead and adding these violence using in a pointed tip pen so as to having those very fine, fine lines coming in, you can see I'm just going ahead with simple connection between all the three power poles that you've added in using in the violence. Plus you can see these violence are not exactly off the black color in a very light consistency because of the very fine pointed tip pen that I'm using, it's only 0.1 MM. Now before we remove the masking tape, I'm quickly going to go ahead and add in little more details out you're in the field space and then removing the masking tape. So we're ready with our class project for day 21. Let's removing the masking tape and see the final painting with those clean edges. Make sure you remove the masking tape against the people so that you do not tear off the edges. Also make sure that your edges are completely dry before you begin removing the masking tape. Now let's quickly add in the code for the day. And I'm going to use in the violet color sheet because it will go in perfectly with the sink of the color tones of the painting. So I'm just going to paste it out in one line and read out the code for you. So the quote for the day reads, as there is beauty in simplicity and it's an absolute fact. We tried to find comfort and happiness in complex or costly or stuffs. But if you have a closer look at life, you will be much more happier with simplicity and with simple little things in life. So we've playing along with the light and shadow reflections in this one. I hope you guys enjoyed painting this with me. I will see you guys soon into the day 22 class project. 24. Day 22 - Be Kind: Hello everyone. Welcome back to day 22. After 30 days healthcare challenge. Today we are going to be painting another beautiful faces, sunset with a beautiful city scape rather than a novel cityscape. So let's go ahead with the pencil sketch. How far the cityscape I'm just going to mark out the roofs of the cityscape roughly. And then we'll go ahead with the rest of the details with the paint. Now you can go ahead with a different layout for the cityscape. As I always tell you, you can go ahead with your own celebrate your own references. It's more about learning the technique, the method rather than copying in the same stuffs. The tree of the houses, our chore for which majorly, I've given more a focus onto the roof. And now we're just going to beginning with the sky first and then onto these silhouettes spaces will be adding the details this time. So we won't be having in simple black silhouettes for this rather we will be going ahead with a lot of details on this, this time. So this class project maybe a little bit longer than 15 to 20 min, but you don't pay so much more to learn into this one as well. Now, all of the pencil sketch, I'm just going to lighten all of this up because I do not want charcoal marks to be visible because we are going to go ahead with very light details here. Also make sure you do not have any excess lines in the pencil sketch. We're first going to beginning with this guy. And this guy. This time I'm going to use in the pastry colors which I already have. So first one is the royal blue color. Now if you have a look, It's just a mix of pigment blue and white. It's PV 29 with the pigment PW six, which is PW six satisfied. You can simply mixing of blue oh, a white tint. So you can use in our cobalt blue mixing and editing to fight this is PV 28 and your wrist pigment. So when you mix it with white, you will get a royal blue kind of a tone. Next I have two pink tones. One is pink peony, and the other one is magnolia. I'm going to squeeze out colors directly now again, for the pink tone, you can simply mixing your rows middle with white and get up Pistol pinkish tone. Now since I have a few colors readily available, I'm adding them into my palette and using these pastel tones. But in the previous class project on days stdin 16, if you remember, I had created all of the pastry tones with the help of fight and the primary basic colors. So there's always a possibility to create your own colors. And if you already have paisley colors, you can simply even use them. So I'm going to go ahead with the yellow, pink, orange, blue, violet. All of these pasting tones for the sky this time. Now I already have Naples yellow on my palette, so I've not pleased that out. I squeezed out the royal blue and the pink tones, orange. I will mix it with a little bit of Naples, yellow and created. Or you can mix in white version theater pistol orange and see him before the while it has been. Now I'm going to head with a layer of water only into the sky. Closer to the cityscapes area. You can see I'm going to hit very carefully marking out the outline out. Now, beginning in with the royal blue color, I'm just going to begin adding the colors roughly and blend them into each other. Also, since these colors all will be having in white component in it because of the pace of consistency, you will notice these colors will be more opaque than your basic colors. Now after week, the royal blue color, I've moved ahead with the pink tones, adding in the pink tones in between the blues, as well as blending it with a little bit of the blue tones. You can see a little of the bluish pink or violet color being formed because of the blending of these colors. Next time moving on to the yellow color and I'm going to begin adding in yellow in-between the pinks and blues. Now this time has picked up the pink and a little darker consistency and adding it closer at the bottom species into the white gaps and blending each of the colors well into. Now on lineages onto the pink, you can see I'm adding in little blue tones, blending them so as to create more depth into the color tones, as well as creating more of the color variation that spaces rather than having single color spots at specific places. Now, I'm just going ahead blending these colors, getting in little of the cloud effect, overlaying the other colors onto each other. So laying the pink over the yellow, the blue over the pink and blending all of them creating in that deck. Now I'm going to head with little more of the blue tones you are getting in the darker death, you can see that every near the colors are turning more darker, more brighter, giving in more depth. Now lastly, I'll just add in little moping debt. Before we let the sky to dry out completely, we need to wait for the sky to dry completely and then move on to the cityscape area. So we XOR the sky to dry completely and then now we'll paint in the cityscape. Once the sky is completely dry, the cityscape be going ahead with a base layer and then the details. So let's wait for this to dry. Now. My sky is completely dry it and we're going to quickly go ahead with a layer onto the cityscape. So for that, I'm going to mix in the royal blue and the paste helping and use it in a very watery consistency. So I'll just drop the color here. Now I'll just use water and blend it. You can see it's such a light, just kind of a wash layer that we are giving you. So this is a mix of the pink and the blue tone of both the face-to colors, but in a very light consistency. After this base layer color will try. We will give in depth using in a pistol grip or pistol black tone that you can call it. We'll give him the details into this, as well as we use one themed darker tone, violet color to give him the shadow effect into the cityscape and create a cityscape. Look this time. Now, why is this cityscape is still wet? I'm going to go ahead and add in little more darker depth. Right now it says, I'm using it one tone darker consistency and open spaces I'm going to add in these aka depth so as to show in the shadow effect falling in your, not all of those pieces. I haven't gotten them darker, so you need to make sure where you need to show the light effect. So I'm trying to show that the light is falling from the left so majorly on to the right sides of those pieces that are visible. I'm going to add in little more of these darker deaths to create in that shadow effect. Now why is this is drying? I'm going to go ahead with my round brush. I'm using this brush. I'm just going to begin losing in the Payne's gray mixed in with a very light tint of green if needed, and begin adding in little bush effect on top of the cityscape, it's going to be very little menu. Go ahead with this technique. You need to make sure that you do not have a lot of water or pain plus your brush, you didn't as much water. You can even use a hard brush or a fan brush for adding in these details. But the round brush, which has while prisons because if acrylics, this gives him the best effect ICU because I use this postnatally and leveraged up. Now into this as well, I'm beginning to add in little detail or paint strokes here. You can see I'm just giving you little detail look to the leaves out here as well. So just losing in a smaller sized round brush and dabbing in the green strokes to add in here. So very carefully closer to the roof space on the left side you can see I'm defining the Rufus. Do not bloody the roof is going to be awful paste in gray tone and not the Payne's gray color directly this time. So these bushy area will stand out differently from the roof as bad in the center. Then I'm just giving him the title of the detail effect of these bushes out. You're not going to take the bush all throughout the left. So I'm just adding little, little details in between and a little detail is needed. On the rightmost side. I've just defined a little more of the detail out there. Now my VCR for this cityscape is completely dried, so I'm going to go ahead, begin adding in the further details. So I'm going to mix in a little bit of the royal blue along with the Payne's gray to have a grayish PESTEL tool. You can call it a bluish, please pay or bluish gray tone that we're having in your kind of steel gray color that gets formed by mixing in the royal blue along with Payne's gray, you can simply mixing white black and a little tint of Prussian blue or any darker tone blue to get in this effect. Now using this grayish or the steel gray color, I'm going to begin adding in the roofs and the windows to each of the houses. So you can see because of this deal gray color, how the bush and the roof are standing or separately from each other. And an odd-looking much because as I told you this time, you're not using the Payne's gray for the roof. We are going ahead with much detail. Look for the illustration this time. Now the houses that are in the front edge here, even to them, I'm going to go ahead and add in the roof with this color. So you can see how much more of the deaf coming into this painting just by adding in these different colored details. Now to this rightmost pace, I'm going to use the Payne's gray color and fill this entire space trying to show in one bigger of a roof or any other kind of a detail out during the fence piece off those back houses that we've added in. Now using my liner brush, I'm just beginning to add in very fine lines onto the house to give him little texture. I'm using the same steel gray color, but in a very light consistency, I've added more affordable and picking up very less of this color and giving you these light strokes. I will quickly go ahead and add in these strokes to each of the houses that I've added in some way, you can take them horizontals and verticals and diagonals. That's absolutely your choice. So I'm done adding in these strokes into each of the houses now shift into my smallest size brush and using the Payne's gray color, I will begin adding in the window details. If you want. You can add in the window details using the same steel gray color, or you can using the Payne's gray color, That's absolutely your choice. I'm going to head with a little bit of the Payne's gray and then I may add it to the highlights using in this team gray color as well. The lines that we added using in the lighter tone of the steel gray color is getting into much more depth to the entire illustration of the cityscape that we are going ahead with. That is the reason I told you this class project is going to be a little detail one, because this guy was also a little detail once eating in the pastel tones discussing the fellows as well as the old DVD and our cityscape or the silhouette illustration. The sky you can see is looking so beautiful because of the smooth soft blend between the colors are different colors peeking out, the yellow ping lose orange. All of them peeking out so well into the sky, giving in so much, much wider look under depth into the sky. So I'm just giving it a little more shadow effect with the Payne's gray color as well onto the roof spaces on the edges defining it much more better. Now using the steel gray color, I'm just going to add in little highlights into these windows that I've added in one of the edges. I'm going to create a little lighter effects for that. You need to make sure that your Payne's gray color window panes or forced completely dried in? My opinions, are completely dried in. So I'm going ahead with this teal gray color adding in the shadow and light effect onto the window panes as well. So I imagine you're adding in this lighter tone towards the left side because I'm showing the light is falling from the left side onto the left side of the window panes. The light is falling in making it look lighter in color. Now using my technical pen, I'm just beginning to add in these lines into the sky has been giving him some of them. You can see I'm adding them overlapping onto the house as well, giving in the depth out. You're now using the zero-point one nip pen. I'm just adding in very fine lines into the sky above the house moving in from in-between the bush as well. If you do not have a fine tip pen, you can simply go ahead using the Payne's gray color and a very fine pointed tip brush and adding these details very limited as you can see, not added matches it. Two of them added crossing across the house rules and then in the top space of this guy. Now using in the white gel pen, I'm going to quickly add in a small moon as well into the sky. So that is eight. We are ready with the class project for D22 as well. Let's remove the masking tape and see the final painting. Make sure you remove the masking tape once your edges are completely dry and especially that you do not lay your hands onto the wet spaces. Now I'm adding in the code from the pink sheet because it will go in perfectly with the sink of the sky colors as well. And since it's a smaller code, it will fit in perfectly in one line. So the quote for the day leads as more kindness and less judgment. Remember, kindness never hurts. And it's always better to not judge anyone because you do not know their story, you do not know what you feel in their shoes. So always be kind. Being kind will always help others to be better with themselves. And it will always help you in feeling better off doing good to others. I hope you guys enjoyed painting this class projected me today for d 22. The final look of the painting. You can see how we've paid along with the light and the shadow effects in this finance. But thank you so much for joining me into this class and painting along with me. I will see you guys soon into the next one. 25. Day 23 - Storm in her Eyes: Hello everyone. Welcome back to day 23 off the 30-day self-care challenge. Today we are going to be painting this beautiful seascape. So let's go ahead with a very basic pencil sketch. It's going to be a pretty simple one. We're just going to show in the reflection of the sunlight falling on to the waves part of the Sea area. Also at this time, the sea you can see I haven't taken it into a straight line. I've tried to show the wavy movement. Now I'm just marking out the sun space exactly closer to the sea waves line. You can go ahead and use any tool that you want to mark out the sun space. So we have the sun, the sea, and the sky. The sky is going to be dark night sky kind of loop. But to show the sunset effect, we are going to use in little pink tones. Now while painting the sky, I'm not going to add in the layer of water into the sun space. So closer to the sun space, I'm going to go ahead carefully and mark out the water lines. So very carefully closer to the sun area. I'm marking out the water lines as you can see, making sure to give in an even layer of water throughout the rest of the spaces so that the colors blend and flow into each other smoothly. Make sure on the edges you do not have excess water. Or it may begin to sit back into your painting and do an upper edges. Now shifting into my round brush, I'm going to begin in with the tones. So first I'm using the payroll red color closer to the sun space to show the warmth of the sun and showing in the perfect evening sky effect. So very carefully just adding in this payroll red color with chairs are little mix of the white tone because of fishes is a little lighter but very little of the white that is there inside it. Now next I'm going to use in the Prussian blue color and then the Payne's gray color to add it closer to the head and blend this pair. You can see I'm going ahead in a so-called motion this time. The blending is going to be circular, so make sure you go ahead accordingly. At this point, if you see the planning of the red and the blue is not that great. So we need to go ahead and blend these two. So again, I'm going to add in a layer of the red color after adding in the Payne's gray only on the edges first. Now I'm going to head with the red tones again, and I'm going to make sure to make the blending goes mood. At this point you can see the blending isn't that great? So using a damp brush, I'm going to go ahead with the blue tones again first and then using a damp brush, I will blend the meeting point of the red and the blue. Now I'm using a little bit of the pink mixed in with white in-between the blue and the red tones so as to make the blending going smoother. Now you can see as soon as I'm beginning to add in this white color layer, the blending is turning out so much more smoother and having the perfect transition. But you need to make sure while adding in this color, if any of the blue color comes onto your brush, clean it, and then move again with the same layer. So again now I've picked up red mixed in along with the white goulash, giving in this lighter tint, making the blending go much more smoother. Now just using the damp brush, I'm running it the blending point so that everything fits well into each other and has the perfect transition from the red to the blue tones. Later on when this dries completely, we'll be adding in the sun with the mix of the white gouache and the yellow color to give the perfect sound effect. So I'm almost done with the blending. You can see I've gone ahead with multiple layers. I'll just lift up a little more red and add it here. That is red mixed in with white. Since the first player I've been using a red mixed with white so as to have that little soft touch to it. Now we need to wait for this to dry completely as sky is ready, let's wait for this to dry. So my sky is completely dry. Now let's go ahead into the sea area. Into the sea, I'm directly going to go ahead with the blue tone and not going ahead with a layer of water because there's not much detail to add wet on wet. So I'm just going to be playing along with the blue and the Payne's gray color into the sea, wet on wet. Now with the Payne's gray, you can see I'm beginning to add in these darker depth, adding in the darker patches, but making sure the blue is still visible at certain places. So you need to add it in such a way that you have different tonal variations of blue as well into the sea. Now I'm just using a little bit of the brown and adding in a little brown into the z-space very randomly. Not much of this will be visible. I will blend it well again with the blue, but the result of adding in this lifting or bonds in a kind of a color is last two given little effect of the red space falling into the sea giving him those brown tones in the reflection. So very little you can see is now visible because I've blended most of it using the Payne's gray color and just let a little of it being the center space closer to the circle area. Now using the smallest size brush, I'm just lifting up some strokes to actin as the lightest P wave effect. So you can see I'm just using a damp brush, lifting up the color that cleaning my brush, and then going ahead lifting in the next row, I'm still doing all of these wet on wet. My layer of color is red. That is the reason I'm able to pick up these talks. You can see the whitespace is being formed as soon as you begin lifting up the colors. So that is eight. Now we will wait for this as well to dry completely and then go ahead and add in the further details. So let's wait for this to dry. Now my sky nc is ready. Now we are going to paint in the sun first and then simply using in the red and the yellow tones. We're just going to give him little sparkle effect in to the area to show the reflection of the sun. So the sun I'm going to be using in the mix of white quash along with a yellow color. First beginning in with the orange color to add in little reflection so that they can dry. Then we can paint in the sun space. So in the reflection, we're going to use in three tones, yellow, orange, and red, now vary randomly and marking out these pieces to actin as that's shining reflection on to the water because of the sunlight effect. So not much of it with every color going quiet little by little, step-by-step. So with bold red color as well, I'm just adding in little of these strokes as you can see majorly, you will see all of these only in the center that I'm adding because the sun is in the center. So I want to show the reflection of the sun as well, falling only in the center space. Now I already have Naples yellow on my palette, which already has the white competent in it, making it an opaque color. But in case if your yellow is not opaque, you can simply just adding a little bit of the white gouache to make an opaque yellow. So now in-between, I'm beginning to add in little of the ripple effect shining with a yellow tones as well. Now I'm using a little bit of the base to orange, a reddish tone. So I've mixed in a little bit of red, orange, and white, and I'm beginning to add in little reflection with that as well. So basically in the reflection part, if you see I'm going ahead with different bones of yellow, orange, and red. Because the sun is going to be off the yellow color around the sun. You can already see the pinkish red tone that we have. So I'm just going to show the reflection of these two colors. Now if you want, you can just simply splatter in a bit of the palace as well to show the natural ripple effect as Ben makes sure while splattering you cover up the sky or is that splatters me go into the sky area as well. Now, I feel that, oh, you know, these reflection part is a little extra. So I'm just going to blend a little of the reflection quickly. So I'm just adding in little of the Payne's gray strokes in between so as to cover little of the reflection and turn this yellow, orange, red reflection space little minima because I feel this is looking too much for the reflection part. So simply just using the Payne's gray color, blending it well again, now I've squeezed out a little bit of fresh white quash. I'm going to mix in a very literal thing, but the yellow mortified, I'm just going to begin adding in the subspace now into the entire sun area. You can see I've just added in this paste in yellow color to show as the sun effect, makes sure that you add this very carefully. Now with this bowl yellow color as well, I'm just adding in little more details, very little. And now I'll just go ahead blend these are little into the background before we removing the masking t. So just using a damp brush, I'm lightening up certain spaces because the reflection is a little extra. So that is how you can correct it with the help of a damp brush. Now, let's remove the masking tape and then add in the code for the day. Make sure that your edges were completely dry. Otherwise you may lay your hand over there and went up the edges by peeling off the masking tape. So today I'm using a quote from this dark navy blue coat cheek. And I'm just going to paste it in one line because I know it will fit in your, the quote reads as storm in her eyes piece in her smile. And I hope every one has that willingness and their eyes to achieve what they G. And with the US mind, they are so mattered, so much art piece that anyone looking at their smile can feel the peace within 2 h the final painting for D2 and D3. Thank you so much for joining me into this class. I will see you soon in the next one. 26. Day 24 - Universe is Yours: Hello everyone. Welcome back to day 24 of the 30-day self-reflection self care challenge. Today we are going to paint this misty night sky. It's going to be a pretty simple one, just under 15 min. So let's beginning with the color. The color only that you would be needing is going to be Payne's gray and a little bit of white gouache to add in that glowing moon. We are going to be creating in the entire sky with only the Payne's gray color. So let's go ahead and add in a layer of photo onto the entire paper. Make sure that you add in an evenly refer to throughout. Run your brush multiple times so that you can have that clean water layer which will not dry out quickly so that you can add in all the details wet on wet as well. Also make sure on the edges you do not have excess water. Now for the Payne's gray color, I'm first going to go ahead with a light tone. And then we'll begin adding in darker tones, creating in the depth as well into the sky. Now in case if you do not have the Payne's gray color, you can take in a neutral black color. You will have to just dilute it a little extra to use it in a little lighter consistency. And then building the layers. So you can see for the first layer, I've given in a very light base layer. Now I'm slowly going to begin adding the darker debt increasing in the tonal values step-by-step. But when I begin adding the darker tints, I will make sure that I do not cover up the entire lighter tints. We need to have a lot of color variation in the sky. That is the reason I'm going ahead with different tonal values of the same color building in the sky. Also make sure that you go ahead very slowly. The next layer that you keep adding one, make sure you do not have excess water. Otherwise, the darker tone will spread out completely and cover up the lighter tones. This is just a very basically are still, which we are at. I'm still going to go ahead with multiple layers, but makes sure you do not use the darkest consistency of either the black or the Payne's gray color. Because using the same color we are going to be adding in the leaf silhouette as well to this. Now, before we move ahead, what I'm going to do is I'm just going to drop in a little water on the right side to create a glowing space for the moon. So using the tip of my brush, I'm just dropping in very light layer of water. You can see how beautifully it's creating in that patch out there. And that will act in as the growing space for the moon once everything dries out. If you're not confident about going ahead with this method, then you can again go ahead using the white brush created I'll background and then adding the moon. But I'm just showing you a different technique this time. How you can use a patch of water to create a net lighter space for the glowing area. I'm just adding in a little more again, your eye because you could see that fellows was seeping in there again because of water content. So I'm just creating in that growing patch again, using the same **** brush and maintaining it in a so-called sheep will add the moon only in the center of the space, or later on once everything dries out. For the growing space, I want that smooth blend. That is the reason I've just deleted my border bit so that the colors flow naturally into each other. Now using the Payne's gray, just quickly add a little more of the cloud effect. You can see the different layers of clouds forming in the different tonal values of the Payne's gray color. Now after this, I'll wait for all of this to dry out completely. And once it has completely dried, I'll add in a silo hate using the Payne's gray color. That is going to be a simple leaf silhouette. And then I'm going to go ahead and add in the moon into the center of the flowing space that we have created. Now we will wait for this to dry completely and then add in the details of the moon as well as the foliage on the left and the bottom side. So let's wait for this to dry. Now my sky is completely dry it and you can see the glowing moon space which is still preserved. Now using in this point round brush, I'm going to begin adding in the base year for the foliage. For that I'm going to be using in the Payne's gray color in a very thick consistency so that you get in that bold effect. Holding it perpendicular, I'm just beginning to add in the base layer for foil. Once this dries out, I'm going to go ahead add in detail leaves using in my smallest sized round brush. So for the first layer, just let's begin adding in these foil age. Make sure you do not have any excess water or excess pigment on your brush. So you can see I'm removing all the excess water from my brush onto the tissue. So all the excess water is getting absorbed by the tissue. And now with very limited pigment, I'm beginning to add in stem. You can see because of the excess water and pigment, I'm just getting in patches of the Payne's gray instead of the foil age effect. Now here you can see how quickly I'm adding in the base year of the file. It just dabbing it around and creating in that village effect. Now whatever shape you want to give into your village at this stage itself, you need to begin defining the shape as well off the foliage. Now this is just the base layer of the foil age. Now using the round brush, I'm going to begin adding in the detail foliage. I'm using my size three round brush with which I can get in the smaller kind of foils detail as well. I'm just going to begin dabbing in from the tip of my brush and creating the shape of the foliage. And then at the bottom you can again give it a little more darker depth. Now when I'm beginning to add in these details for English, I'm making sure to use the Payne's gray color in a very thick consistency. Wherever at the bottom you can see because of excess water in the last earlier of foliage, there is little light effect. I'm just going ahead with one more layer using in this round brush and giving it that dark effects so that it stands out onto the entire background sky that we have painted. Now in the same way, I'm going to go ahead even on the left side of this and quickly add in the foil HDD after this will only be left to add in the moon detail. We'll be ready with our class project. But when I begin adding in the detail out here, you can see I'm going ahead in such a way that at the top you have the detail for each loop. And at the bottom I'm just giving in the filling detail using the Payne's gray column on the left side. When I'll begin adding it, I'll make sure I give him little more details to the foil age and created more detail. Look for the leaves that we'll be adding in. You can go ahead with any kind of shape for the foil is in-between. You can see the randomly I'm adding in just some grass strokes as well. I'm even going to pull out some of the leaf branches as well to give in a little detail look on the left side as we begin adding in the detail for college. So I've created a detailed file, as you can see now, on the leftmost edge, I will just fill it with a thick layer of the Payne's gray color. You can see with just giving in this little detail look how much more debt comes into the painting, as well as it gives the entire sky a beautiful detailed look. Now at the bottom here, I'm just giving you a little more detail look and pulling out little more violet and random strokes. You can see just pulling out simple strokes to give him little grass structure out here. So we are done with the leisure as well. Now we'll go ahead and add in the moon out here. For that, I'm going to pick up a little of the white wash and mix it along with a little tinge of yellow. In case if you want, you can directly add in with the white color itself. I'm just going to add in a little bit of the yellow color. It's going to be mortified. Less of yellow, just a small tend to create it like a creamish tone for adding in the moon. So I guess this yellow moon is not standing out that wealth IV, I'll just go ahead and add in white layer onto this so that it has that much better glowing loop. So quickly pick up my white gouache and add it on top of the yellow, creating that glowing effect. You can see the whitespace that we created. Viola background was wet, is giving in such a perfect glowing effect to the moon out here. So now let's remove the masking tape and see the final painting. You can see a little extra water which has seep through, through the masking tape. That is why on the edges you got to be very careful that you do not have excess paint or water because it may create such effects onto the edges. Now I will quickly add in the code for the day. I'm using a pink sheet because our entire painting is black. And pink will go in quite well with this entire team. So the code that I've used for the day is shine like the whole universe is yours. And that's absolutely what we all should believe in yours. The final painting for the 24, I hope you guys enjoyed painting this shining moon. And remember, shine like the whole university is yours. I will see you guys soon into the day 25 class project. 27. Day 25 - Kindness: Hello everyone, Welcome back to day 25 of the self-care challenge. Today, we are going to paint this beautiful clouds sky. So let's go ahead with a very basic pencil sketch. I'm just going to mark out the Cloud space so that we can fill in the rest of the sky area. I'm taking the Cloud space on the right side. You can go ahead with any other placement, size, or shape of the cloud. It can be as natural as possible. So I'm just going to mark out a rough Cloud space to which I'm going to give him the cotton candy cloud effect. And the rest of the top area is going to be the sky. I have given in a very light pencil sketch because I do not want it to be visible. For the cotton candy or cloud I'm going to be using in the face still colors. So I'm going to squeeze out a little bit of the royal blue color for the sky first and for the Cloud I'm going to be using in more of the shades of yellow, orange, red, and then a little hint of this royal blue color again. Just squeezed out a little bit of the ultramarine blue color as well, so as to use it in the sky along with the royal blue color, I'm False going to go ahead with a layer of water onto the entire sheet. I'll go ahead with a little further into the Cloud space as well. But I will make sure my lighting in the paints, I do not add in the paints out there. If you want, you can avoid adding in the mirror further into the Cloud space and just add it into this guy's face first and then move on to the Cloud space. But since the cloud shape is such random and it's so many calls, it will be very difficult to maintain in the water they aspect there. So that is the reason I'm going ahead with the little photo onto the entire sheet. Now let's beginning with the royal blue color. Make sure you go ahead very slowly building in the details for this one. So the default blue color you can see I've given in this piece of the cloud, I'm making the sky, I'm making sure to not let the color go into the Cloud space. So adding it only closer till the pencil lines so that it does not see as much into the Cloud. The Cloud area also is going to be off Paste Cell colors. So it will be very opaque layer of colors which will cover up any of the blue details, if any, go inside the Cloud space. At the bottom left side, you can see I've taken the sky into the Cloud area to show it well blended cotton candy Cloud. Now using the ultramarine deep color, I'm just adding in little more details into the royal blue color sky that we are painting. Now one more layer darker tints that I'm adding into the royal blue color giving in Dhaka dips into the sky, creating in the depth into the sky before we move on to the cotton candy clouds. Now at this point, if you see the entire shape of the cloud is not visible. As well as a little of the blue colors have come in by landing in the details, the Cloud, we'll try to cover up all of these and creating the cloud look. Now using the logit of the violet, I'm just going to give him little highlight into the sky with the violet color as now, I've just picked up a little bit as the white gloss on the tip of my brush. And I'm just going to add in little lighter effects into the sky randomly putting in some glowing spaces so as to have the effect of the cotton candy cloud coming in. Using the white and just using the tip you can see how I'm creating a little of the glowing spaces at the top space. I'm still doing all of this wet on wet, that is, my sky is still wet onto which I'm adding in these details. Now, we're almost ready through the sky. I will just go ahead with a little more blending and colored spaces of the blue tones to blend the white well. And now we'll wait for this to dry and then adding the cotton candy Cloud. So my sky is completely dry it and I'm going to begin squeezing out the colors for the cotton candy Cloud. First one, I'm going to squeeze out a little after Naples yellow, which is already a pasty yellow and opaque color because of the white content already in the color. Next, I'm going to squeeze out pink tones, red tones. And for the orange, I'll mix it with a little of the Naples yellow to get in one tone.com. Now slide the cotton candy Cloud and false beginning in with the white gouache. Because you can see we have a little of the blue tones that have come in. Into our Cloud space. So to cover them up a bit, I'm going ahead with the white gouache. They are to define the Cloud area again. And you can see I'm going ahead with a very random shape as we had with the pencil sketch to define that cotton candy Cloud space. This will help him covering up the blue layers underneath and let the other colors, that's the yellow, orange, and pink stand up vibrantly into these edges as well. We did. He feels yellow color. I'm going to begin adding in closer to the whitespace. Blend it with a little of the widest. Go ahead very slowly. Make sure you do not run much into this guy's face because then the color in the sky will begin to get reactivated because these are watercolors and they get reactivated with water. So go ahead very carefully because if they get reactivated, it will give you green tones mixing in with the yellow was. So undo the edges I've added in yellow at certain places you can see little lighter yellow tones because if the white color that we used on the edges. Now next I'm going ahead with a little bit of the orange closer to the yellow. This is just the base layer Coloring that I'm trying to add in. And then we'll try to blend these together and creating the depth as well. Now again, after the orange going in with a little bit of the yellow and then I will move on to a little after red tails. You can see how slowly the Cloud is coming to effect the shape of the cloud is also natural. The blue color tones that had entered the Cloud space are no longer visible and covered up with the help of the white gouache easily. Now mixed in a little bit of the white along with the violet color. And I'm adding in a little while in detail at the bottom space. This bottom space will have in a little of the green leaves are Bush detail that we'll be adding it. So I'm just going ahead and adding in this violet clear out. You're covering up the entire space so that now we can go ahead with the next layer of details onto the Cloud area. Now slowly using in the violet mixed in with bite, you can see I'm adding in layers on the yellow and the orange tones as well, creating in the depth into the cotton candy Cloud. Now, when you use in the violet color over the yellow and the orange, you have to go in a little carefully because it may form in muddy tones, but it does not form much because you already have white mixed in with violet, yellow, orange, all of them. So it will not give you those muddy tones, but you got to go instill carefully with a very light hand so that it does not create party tones even by mistake. Now I'm going to further lighten up a little of the violet along with the white quash and add in further details as well. All of this, I'm still going wet on wet. So while the Cloud is still wet, I'm just beginning to build in this layer. Now I'm just giving you a random half C strokes to give him little linings into the clouds. Now using in a little bit of the yellow, I'm going to give him little yellow detail at the bottom as well so that if a little of this cloud is visible in-between the bush space, you have little color effects at the bottom of the cloud as well. To just add a little yellow on top of the violet space and blended it. Well. You can see it did not give in muddy tones because of the white contained in all after or colors that we're using for the cotton candy Cloud. Now into the Cloud space, wherever I feel that there is a little excess of the violet. I'm just going ahead with a yellow blending in hiding in little of the violet spaces. If you feel now that the yellow is a little more, you can add in a little orange as well. And given little highlighted spaces. I turn the yellow little more light and extended a little of the Cloud space more time mixing a little more white gouache to the Naples yellow color to add in little more spaces, the Cloud. Now I'm going to go ahead blend these edges into the sky space. I'm using a damp brush blending in the edges so as to show that this cloud is perfectly into the sky. That is the reason added this lighter layer. Now you can see the soft edges that are happening. The sky and the clouds are looking very blended into each other because of these soft details that you use right now with the yellow column. That is the reason I mixed in a little white added in the yellow line on the edge of the cloud. Then using a damp brush, I just blend it into the sky to have that soft edge between the sky and the Cloud as well. Now, just adding little more orange highlights as well. And on the edge again, on the right side as well, you can see using a damp brush, I'm just blending all of these. So to build in depth into the cotton candy clouds you can see you will have to work with layers. Now, let's wait for this to dry completely. So now my cloud is completely dried and I'm going to go ahead with the green bush TDS. You can see the cloud is having such a soft edge very blended into the Skype. Now using in the olive green color, I'm going to begin adding in the reasonable Bush TTL this time. Now you're all set. If you want, you can go ahead with multiple colors of the greens. I'm going to go ahead with two to three different color variations of the greens to give it an actual effect. So first on the edge, I'm beginning with little darker green tone, just defining in the detail bush. Then I will go ahead with this lighter green onto the right-most edge. I'm going to have the bush on the right and the bottom side. And I'm going to keep all thing the color with the help of Payne's gray and the white wash. Now with the Payne's gray color and creating in lifted off the darker depths at the bottom space at the top, I gave him little of the darker green detail. On the rightmost side, I will go ahead with a little lighter green by mixing in whitewash along with the olive green color. So this is how you can go ahead with random color variations of the green and building this bush space. But make sure you do not cover up the entire sky on the right with the lighter green as well. I'm beginning with little detail leaves onto the darker spots, but making sure to not cover up the entire darker spaces because they will act as the shadow to these lighter green details that you're adding in now. Now at this point you can see this is feeling like a patch of green on top and looking very untidy. Now on top of this, I'm just going to go ahead with this lighter green given these GDM, nice. Now, this will help you in filling up the space faster. So with that in Bio green layer on the edge, the entire space got covered up. And now you can give him the detail look off the leaf using in this lighter and the darker green holes, just dabbing the tip of the brush giving in. Struck to us. Seem VM going ahead with darker greens here as well. On top of the lighter green, the creating international look for the leaves out to a similar vein. We are going to go ahead at the bottom space of the Cloud as I'm giving this greenery area for this class project. So now I'm beginning with this in details at the bottom space as well and creating in the same greenery. First going ahead with this lighter green patch at the entire bottom space. And then I've been given the darker, lighter strokes to show in the perfectly natural looking bush area. Now if you notice closely, I have tried to maintain the difference. That is, I've tried to maintain the leaves in different angles, different heights, different lens so as to make them not sure. I haven't kept them off the same height throughout. Neither have I kept the bush area in a state single line looks I've tried to vary the height and look throughout now with the light of being giving in details at the bottom. And then I will move on to the ductus three, which is going to be mixed up the Payne's gray and green color and adding the final details in the bottom layer as well. So with the darker green just adding in the details now at the bottom you can see I've just mixed in the green with the Payne's gray color to give him this details here. Now you can see as soon as you've added this green it is phase the effect that the cotton candy cloud is having in the background with that beautiful glowing blue sky. So I will just quickly go ahead with a little detail. I'm just going to pick up little white gouache and just add in smart stars into the sky. Now that's absolutely your choice. If you want to add in little star into your sky, I did post go ahead and just add in a small moon onto the blue space. Using the white gel pen. I'm just adding in little shining stars, very tiny ones if you want, you can directly add this bit pipe wash as well. I wanted to give this painting the beautiful Do possible with these by D, D is to just going in with very little d does not match along with the cotton candy cloud look. So let's remove the masking tape. Make sure that you remove the masking tape very carefully. The gene details are still bad. If you lay your finger on top of those colors, it may only onto the painting. So be very careful by removing the masking tape so that you do not clean up the edges. Now after this will quickly add in the code for the day and will be ready with your class project for day 25. Yeah, just five days away from closing this 30-day challenge. So I will quickly add in the code for today and we'll have a closer look at the painting. I'm going to use in a violet color sheet today because it will go in well with the details. So we use religion of the violet in the cotton candy Cloud. And you can see the color code and violate details into the cotton candy clouds are going perfectly well with each other. I'll quickly cut the code in two parts because I think it wants it up in one part. So as quickly or cut them into two parts and add it to the port for the day reads as through kindness around like confetti. It's very important to be kind, to be gentle no matter how harsh the person situation is. If you'd be kind, everything else will come back to you and be kind to you as bad. So here's the final painting for D 25. Thank you so much for joining me into this class. 28. Day 26 - Everything is Possible: Hello everyone, Welcome back to day 26. After 30 days self-care challenge. Today we are going to be painting this beautiful sunset by the field. So let's go ahead with a very basic pencil sketch. I'm just going to be mapping out the field space, a small mountain on top of the field. And the remaining is going to be this guy space. So beginning with the mountain, I'm keeping me just pays for the sky. As you can see, the fill and the mountain space is quite a small one. Plus the fuel. You can see I've taken a diagonal moving from bottom left towards a little top tilted right side. Now, we're first going to go ahead with this guy. So I will go ahead with a very multi-colored sunset sky giving in tones of yellow, pinks, and blues. I'm going to go ahead with a layer of photo onto my entire sky space for now, I'm going to go ahead with the colors which are already on my palette. I have Naples, yellow, I have pink tones, orange tones. I have to close by or less everything available on my palette. I have been using the same palette since day one. It's quite easy to just add in few drops of water and reactivate the colors on your palette and use them. Now, I've just added in a layer of photo, makes sure that you have a good even their photos so that your paper stays wet for enough time. Now shifting into my smallest size brush, I'm beginning with the Naples yellow color first. Beginning from the left. I'm going to begin in with yellow, orange, pinks, reds, and then move on to the blue and violet towards the right side. I'm going to use in these colors in quite a bold consistency. As you can see, that I have a very bold effect of the colors closer. And once they dry out, they standout bold enough. I do not want the colors to dry transparent. I'm going to make sure to use in bold consistencies closer to the orange. I've added a light layer of the payroll red color, which is also already on my palette. And now I'm moving on to a little bit of the pink. For the pink, I have a little bit of white mixed to it. And after the pink, I will move on to the blue color. This is just the first layer. I'm just adding in the layer of colors here. We're still going to go ahead with Furthermore, layers blend all of these well into each other and have perfect blend and transition and smooth movement between the flow of colors as well. For the blue, I'm using the ultramarine blue D, which is already on my palette. Now I'll beginning with the orange again because you can see there is hardly any orange visible between the red and the yellow. So now I'm leaving a little of the orange over the yellow so that there is a little furthermore transition from the yellow towards the ping. Now closer to the orange again, I'm going ahead with a little hint of pink and making the colors flow. So now with every layer that I keep adding, I will keep tilting my board slowly in directions so that the colors flow seamlessly into each other. You can see how smoothly the colors are flowing, but make sure to not keep your paper tilted in one specific direction for a very long time because it may cover up all the other colors in the bottom of it. And me give you one flat color looks, it's very important to have quit movements so as to have that flow and, or transition between the colors happening. Now further violet, I'm going in with a little bit of violet mixed in with a little tint off white and in-between the pink and the blue, I'm going to go ahead with little violet tones as well. And even on the pink color, I'm just going to give him little violet highlights as well. Little, not much of them. So you can see how bold colors are already looking in. We're still going to go ahead with further more colors to turn these small bowl because they want a pretty dark evening looking Sakai. Now slowly you can see I'm getting in the pings over the yellow as well, as well as taking a little of the yellow towards the pink so as to show much more smoother transition happening between the colors of the sky. You can see I'm rotating it in all directions so that from every angle the colors flow smoothly into each other. Now once we are ready with the sky, we'll wait for it to dry. So make sure that you have good enough bold colors and why you're working with every layer of the sky. Make sure with every layer you have the water control. Otherwise, the base layer colors will all begin to spread completely and give you one flat color loop as they may flow a lot. It's very important with every layer for depth that you keep adding new half the water control. So let's wait for this to dry now. My sky is completely dry it and for the mountain, I'm going to go ahead with very light consistency of the sky colors in the same kind of placement and giving a very light highlighted Look to the Mountain Range first, I'm first going ahead with the yellow on the left, then moving to the orange, pinks and blues. And then we'll define the top of the mountain range, giving in the edge. So right now you can see I'm using very light consistencies for the base layer of the mountain range. I basically want to reflect the light of this guy falling on the mountain range as well, giving in the same Look to the Mountain area. Now to define the top of the mountain, I'm going to mix in a little tint of Payne's gray and the blue and gave it onto the edges. So now you can see the mountain ranges looking distinctive from the sky and it is having that edge separating it from the sky. And now I blend all of these well as well. On the left side we want that little of the highlighted look of the yellow and the orange colors. So make sure you're not hide them while giving in the glazing of the blue colors. On the left side, I'm going ahead with a little darker pink color to define the edge of the mountain. But I'm making sure that, you know, you have that little yellow effects still there. So make sure you do not cover up the entire yellow with the ugly border of the pink tones will still go ahead and define the left side match. Well. So as soon as you begin to drop the darker tones at the edges, you can see how beautifully it separates from the sky and gives a distinctive look to the mountain. Now I will go ahead with a little tint of blue onto the right-most side and given little darker effect to show the darker side of the sky falling on the mountain range as well. But you can see how beautifully all these colors are blending into each other having that smooth blend. Now let's wait for this to dry as well. Now, even my mountain ranges completely dried and we're going to go ahead with the field space for the field I'm going to be using in the olive green color for the field. And first beginning in with the yellow ocher color closer to the mountain range. And now using in the green, I will fill in the rest of the space. Now since we're painting in sort smallest pieces you can see for these smaller details where you do not have to work a lot wet on wet, you can simply directly go ahead with the colors, just as in the mountain range, also be directly went ahead with the colors same day even in the field space. I'm going ahead directly with the color tones. I'm going ahead with a yellow. Now. I'll go, sorry, I'm going ahead with the green tones. I'll further darken this up using in Payne's gray brown, whatever color it is available on my palette to mix in and create the darker tones. To create darker greens. You can either add in a little tint of blue, brown or black to your sap green, orange, yellow, green color. And given getting different tonal variations of the greens as well. Now I'm just adding in a little brown at the bottom and again, using in the greens, I will blend the browns. When you blend in green and brown and Payne's gray together, you get a green color, which gives a very natural effect to the field space. So at the top you can see I've given in a darker depth of the Sapien again now I'm just adding little yellow ocher again in the center. Now, reasonable fusing in yellow is to show a little effect of the sky yellow falling onto the field space as well, giving you that very little highlighted space, not much. Most of it gets covered up again with the green tools. So via through the field space as well. Now let's wait for this to dry then we'll go ahead with another smaller mountain range. So now my sky, my mountain, my field, everything is completely dried and now I'm going to mix in a little of the Payne's gray along with the ultramarine blue color. And I'm going to add a very fine second layer of mountain range in front of the first mountain range that we've added in. It's going to be a pretty small one and a pretty or thin one as well. Because we want the background mountain range also to be visible as well. So this time towards the left, I've kept the mountain range a little broader and moving towards the right, I've got taking the mountain range quite thin and, you know, taking it towards the smallest side. We are ready with the second mountain range as well. And now using the white quash, I'm going to go ahead and quickly add in a small moon into the sky. So I'll just shift into my smallest size brush, which has a pointed tip so that I can get the details right in case if you want, you can even use a white gel pen, white acrylic, white watercolors if you wish to use, you need to make sure that the watercolor does not contain a lot of water and we'll stay opaque after drying. So it's always recommended to use gouache or acrylic so that it stays opaque and stands out even on the darker tones that you have in the base layer. So I'm using a very fine tip brush and I'm just creating a moon, but I haven't filled it completely with the white color, the other in the center of the moon. I've given a little blurry effect trying to show him or very little texture onto the Moon using in the white directly. Now let's remove the masking tape and quickly add in the code for the day. Before we have a closer look at our painting for the 26. So far the poor today I'm going to go ahead with the violet color sheet again. It will go well with the colors of the sky as well. So it's a big ones. I'm going to quickly cut it into two parts. The code for the day reads as when nothing is sure everything is possible. Isn't it true when you are unsure about whether something is really possible or not? And rather than having that negative thought as to whether you will be able to achieve it or not. Always have a positive thought that when it is not sure you can still achieve it, go ahead with that positive thought that everything is possible, nothing is impossible. You, it's always important to give that tried to give that chance. So when nothing is sure everything is possible, move ahead with that positive attitude. So you always have final painting for D26. I love how this guy turned out in this one. Thank you so much for joining me in to this class. I'm painting along with me. I will see you very soon into the day 27 class project. 29. Day 27 - Sunshine & Good Vibes: Hello everyone, Welcome back to day 27. After 30 days, self-care and self-reflection challenge. Today we are going to paint a beautiful orange sunset with very simple kind of coconut trees. So let's go ahead with a layer of water. There is no pencil sketch. We're definitely going to go ahead with the paints and we'll be adding in the palm tree silhouettes directly with the Payne's gray or black color, whichever you wish to use. So make sure you have an even layer of 42 out. And as you would have seen, we are going to go in with very warm tones to give him the sunset effect. Some force beginning in with the vermilion orange color here beginning in very randomly. I'm going to be using in the shades of orange, brown, and yellow. It's going to be very less of brown that I'm going to be adding in. It's going to be more of orange and yellow. And if you want, you can give him little tensors. Now I'm going to head with the Naples yellow along with the orange color. You can see I'm going very randomly placing in the colors to give in the warm sunset effect. I'm done with the first layer of yellow and orange. You can see very randomly around. Now on to the yellows. I'm going to add elitist in the fire engine onto the orange added little tender skin wound. Now, moving on to the problem cargo. So I already have this brown color from the previous class project. In case if you want, you can go ahead using burnt sienna or a red brown tone and begin adding in little cloud details with this color. Make sure you go in very lightly. Also make sure that you'd not have excess water or pigment on your brush. Otherwise, the brown color will begin to spread completely. Uncover all the yellow and the orange tones that you've added in. So it's very important to make sure that you do not have excess water so that you can still have to orange and the yellow tones visible. So whenever you feel that the color is spreading or covering up, you can go ahead with the layer of previous color or quickly lift up the color tones from there. Like in the center, I lifted a little bit of the brown because I thought it was covering up the entire orange and the yellow tones. Now I'm going to keep shuffling in-between these three colors, creating textures into the sky. I'm going to just go ahead, go ahead with the orange yellows. And I'm just going to pick up a little hint of pink as well to give it a little more warm effect. Now, make sure that you are have a very opaque layer of colors you are. That is the reason I'm working with so many nails so that you have that warm look. I do not want a transparent look to these colors. So walking layers, you can see as soon as you added that, let's love to pink tone, it's giving you such a warm look. And remember what color is dry or tone lighter gives you all of this time accordingly such that after it dries, you have stint that dark warm effect of the calculus. Now listing the Naples yellow, I'm just going to go ahead and keep adding in little more often, Naples yellow set randomly and just giving little more lighter tones. There is too much the dark tones overpowering. Now going to head with little more off the browns. You can see the building in this ties so slowly because that's going to be the main focus in the painting as well. So using the brown now I'm just using the tip of my brush and creating in this cloud effect to go ahead very slowly building so that you have that boy looking sky. We're truly sky now. I'll wait for this to dry completely and then we'll go ahead with the silhouette. So let's wait for this to dry first. My sky is completely dry now I'm going to quickly squeeze out a little bit of the Payne's gray color so that I can have a ball look to the Payne's gray color as well. And I'll begin adding in the palm trees as the silicate for this sunset painting. After adding in the palm trees, we'll go ahead and add in a small son Asbell if needed. Then lastly. Go ahead, add in the code for D and will be through the painting for day 27 as well. It's very simple painting in just under 15 min. Now using the Payne's gray color and phosphocreatine in little bush effect at the bottom space, make sure you do not have excess water. You can see since I feel that is excess water not giving me the dry brush effect, I'm dabbing all the excess water onto the tissue. And then going ahead with a very simple dry brush layer, our chart at the bottom space to create a little bush effect. So I'm using my spoiled round brush holding it perpendicular. Given that both stroke, you can even use any brush which has the prisons are spread across. You can even use a hub brush or you can even go ahead using a flat brush without dipping it into water and trying to use it in a dry brush practice. Now shifting into my smallest size brush, I will begin adding the details for the pine tree. So she shifted into my fine tip pointed brush and I will begin adding in the palm leaves and palm trees to lead. When you have your paper taped down on a movable surface, you can see how easy it is to just rotate your paper and adjust according to your hand movements so that you can get those strokes very smoothly and easily. Now I'm beginning to add in details into the entire bottom space somewhere. I'm just going to pull out little of the palm leaves somewhere. I'm just pulling simple brush strokes out from the bush area that we've added in. And in the center we are going to be adding in detail palm trees as well. So adding in the main stem to the palm tree, and then from these, I'll be pulling out the smaller branches. Remember, we're painting on a very small size piece of paper. So maintain your silicate also according to the size so that everything looks in sync with you. So I'm just adding in the palm leaves you can see using in a smaller size brush, the details are coming in so fine making the painting look so delta G, because we are painting small to the details, also need to look delicate and small so that everything looks pretty good. So in between your, again, I'm adding in a few of these palm leaves only. I'm not going to show that all of the cheese or out you're together somewhere. I'm just going to show some of the palm leaves, a structure coming up from the bottom space as well. And make sure you're on the edges. I've tried to show him that the palm trees are not enough view just a little of the branches which are visible onto the left side yard. I'm just giving you in a little detail look to the bush space that we've added in just using the tip of the brush, giving in little detail leaves. At the bottom you can see I've given in another layer of of the Payne's gray colors so that once it dries, it has that bold effect. Now using the Payne's gray color, I'm going to quickly add in some bodies as well into the Skype, very simple silicates. So quickly just adding in some birds you can see, I'm just going ahead with very simple details. Are not detail exactly, but oh, you know, better looking ones that didn't the simple ones place trying to give each of them a different slide motion. So I added four to five weeks, very tiny ones. Now to the ripples, yellow, I've added a little bit of white gouache, and I'm going to add in a smile, Sun in-between these bush out here. That is the reason I had kept a little of this base out there. And I'm just trying to show in the perfect setting sun out, you're giving him the perfect sunset, warm vibe. I have gone ahead with a very simple silhouette. I've added a little bit more white because seeming a little extra yellow. Now, I'm going to go ahead and remove the masking tape and then just go ahead with the quote for the day. I will just quickly blend this quite a bit before we removing the masking tape. So let's quickly removing the masking tape and see the final painting, a pretty simple one, but a beautiful, gorgeous, warm sunset. Look. Be careful of Texas water around the edges so that you do not lead over the white edges. Now, let's quickly add in the code. I'm going to use this yellow coat. She'd going in perfectly with the sunset. And the quote reads, as sunshine and good vibes, remember, you create your own sunshine. And remember you are the one who can fill the world with sunshine. You also find in painting for D 27, I hope you guys enjoyed painting this beautiful bond sunset. I will see you guys soon into the last three paintings of this 30-day challenge. 30. Day 28 - Fly with your own Wings: Hello everyone. Welcome back to day 28 of the 30 days self-care challenge. Today we're on the third last painting of this challenge, and we are going to be painting a beautiful seascape. I'm just going ahead with a very basic pencil sketch that's distinguishing the sea and the sky area. Now we're first going to beginning with the sky. So I'm going ahead with a layer of photo onto the entire sky space. We are going to have a pretty sunset sky with the warm tones of yellow, orange and giving in the blue sky effect as well. The area is going to be a reflection of the sky colors. And then we are going to be adding in very simple silhouette into the sea area and giving into details into this. It's going to be a pretty simple class project and just less than 15 min, having a beautiful painting with us. So first beginning in with the blue. So I have to ultramarine blue, a little of the Prussian blue as well. So I've just mixed in the blues on my palette and giving in the detail at the top of the sky first. So using the blue I disliked in it a bit, and now using in the yellow color, I'm just beginning to add in little strokes closer to the horizon line of the yellow and the orange tones. Now go very carefully because the yellow and the orange color when mixed with blue, may given muddy tones or green tones. So why the blending both of these use a damp brush so that you can see a transition from the light blue, from the dark blue at the top towards the light blue in the center, and yellow on the horizon line moving towards a lighter yellow closer to the blue color. Now shifting into a smaller size brush, I will begin adding in little details as well. So I'm mixing in a little off the white, along with the yellow orange tone, which is on my palette. I haven't begun adding in little cloud detail on top of the horizon line while the sky is still wet. So we are working wet on wet giving into details into the sky. Similarly, I've mixed in a little bit of pink along with the white quash and beginning to add in little details. So when you're working with wet-on-wet details, make sure you do not have excess water on your brush. Otherwise, the paintbrush completely and cover up the previous pieces as well. It's very important to have in the water control so that these pins stay at this pace that you're adding them at the same time because of the wet layer underneath, they just have this soft edge. Now I'm just going to go ahead, build in a very bold Cloud closer to the horizon line, using in the bold color of orange mixed in with a little bit of white and begin creating in the cloud shape. You can see I'm going very slowly, but my paper is still wet because I'm using 100% cotton paper. So make sure that you go ahead very slowly and carefully building in the layers step-by-step. Now, I'm mixing a little of the violet along with the White Claws. And I will begin adding in little violet detail as well into the sky, mentioned into the Cloud space. So in the sky measure of the top space is going to be the blue color space. And closer to the horizon line, this tie that we're building in, the Cloud that we are building in is going to have in all of these multicolor tones that we're using to create in the depth of the cloud. Now using a little of the bold pink, I'm going closer to the horizon line, giving in more details. I will quickly go ahead, add in little more depth into the Cloud before we wait for this to dry. So you can see every step I'm blending all the colors well so that they have well blended look with each other. Also in every step you can see I'm making sure I do not have excess water. Otherwise the paint will spread out completely. Now I'm just building in a very rough cloud shape. You can see I'm just giving in very simple half C strokes to define the Cloud in a little more detailed manner. So you can see we've gone ahead with so many layers building in the detail into the Cloud step-by-step. Now we'll wait for this to dry completely. So my sky is completely dry it and now I'm going to go ahead into the sea area. I'm going to go ahead with a layer of photo into the sea. We are going to go ahead with the same tones, but it's going to be majorly blue with a little highlights of the orange and the pink tones. So first I will go ahead with the pink color and add it into the center space for adding in the highlight area. We are going to go ahead with a yellow, orange color as well, closer to the pink tone. Now on top of this, we are going to go ahead with the blue color and given a kind of a glazing technique, so fast on the edges, I'm adding in the blue color. And then over the yellow, orange, and pink tone, I'm going to give it a very light layer of the blue in such a way that the underneath yellow, orange also still remains visible. Now very carefully you can see I'm getting the blue color over the yellow, orange color and the pink tones using in the wave method, just adding in light ways so you can see the underneath pink and the yellow orange colors are still visible, despite having in the blue color being overlaid on top of it. I've just mixed in a little of the Payne's gray as well along with the blue. I'm just giving you a little of the wet-on-wet wave details. Now you can see we've built in a very bold dark cloud. That is the reason I've gone ahead with ball detail of blue. Now we'll wait for the C2 dry as well. So now our sky and the c both are dried completely and I'm going to begin adding in first a little of the driver effect. So I'm mixing in a little of Payne's gray along with the blue on my palette. And I will begin adding in very simple strokes to actin as the vase. So closer to the horizon line, I'm going to keep the length of these waves quite smaller as compared to moving towards the bottom side. So after when we are done adding the ways, we'll just add in a small shorts, a low heat at the bottom. And we'll just give it a little more silicate details to give in depth to this painting. Now for the waves you can see I'm going ahead with very rough lose wave effect. And I'm even going ahead with little dry brush techniques in between to give it a little more depth to the waves as well. I'm using a very smallest size brush. It's a ten by zero brush, so it has a very fine pointed tip because of fit. You can see, it can hold very little color, but it's giving him very fine details, giving in the depth to the painting. Now you can see as I've moved towards the bottom side, I've increased the length of the waves, as well as the leaves are overlapping and crisscrossing each other. Given that natural look. Now using the same color that I'm using for the waves, I'm just giving a definite line to the short horizon line as well. So it's a mix of the blue and the Payne's gray color. Now in-between randomly giving him little more darker depth to the waves trying to show in some crashing wave effect with this color itself. Now I've shifted to my biggest size brush. I'm using the Payne's gray color. I will begin with a short space at the bottom. You can see I'm going with a very rough outline. I'm going in with a very random detail out your two beginning. And then we'll go ahead with little splatters of the Payne's gray color. On the right side here you can see I've taken a very fine line closer till the center space as well. And now using the Payne's gray color, I will splatter in a little of this giving into detail are trying to show in little drop details closer to the shore line. Using the Payne's gray color. You can see I'm just adding in little splatters now in case if you're not confident, make sure to cover up your sky space so that these platters do not go into the sky. I'm having the control over the splatters. That is the reason I've not covered my Skype. But make sure if you're not confident, you cover your sky so that these platters do not go into the sky. Now I'm going to add in a very small human figure silicate on the shore space. It's going to be a pretty simple one. No details, no features or anything, just a pretty simple silicate out here. So just a small human figure in very simple block format. So I've just added a small body, two legs, and a small face. And now I'm going to add in a few buds into the sky, very many ones using in the smallest size brush itself, the pins gray color. Now some of the boats I'm adding on the lower side as well, trying to show them flying over the area as well. And I'll give you a closer look of the silicate as well. Just give me a moment until we add in all of these bonds first. Now lastly, I'm just going to add a very small, tiny mountain range. On the left side, I'm mixing in the Payne's gray along with the brown out your, I'm going to add a very tiny one. And then we'll be ready with this class project for day 28. And we'll remove the masking tape and have a closer look at the painting as well. So I've taken the mountain range completely to the right side, and I've just gone ahead with a little taller mountains towards the right and very fine one towards the left side. So let's remove the masking tape and see your final painting and adding the code for the day, make sure that your edges are completely dried, especially the bottom shelf space, and do not lay your hand over the colors if they are wet, otherwise it may ruin up your edges as well. Now let's add in the code. I'm using a white sheet because it will go in well with the dark colors that we've used into a painting. The quote reads, as she flies by her own wings, remember to be your own reason of happiness rather than your happiness being dependent on anyone else. So here's the final painting for d 28 of these 30 day challenge. I hope you guys enjoyed painting this beautiful sunset silicate by the sea with me today. You can have a closer look at the silicate that we've added, a very tiny one. Thank you so much for joining me into this class. 31. Day 29 - Dream a New Dream: Hello everyone. Welcome back to the 29. We're on the second last painting of this 30-day challenge. And today we are going to be painting a beautiful simple galaxy in just in almost 15 min. I'm going to be using in the pink and the violet tones, some squeezing out a little bit of the brighter color. Now in case if you do not have a brighter para color, you can go ahead with any neon pink, or lighter pink tone. The next color that I'm squeezing out is the quinacridone red. You can go ahead with the Quinacridone Rose as well. Or you can even go ahead with any different tones of pink that's available in your palate and a little tint of violet. You can either use red violet or violet. I'm going to use in both the red violet, violet and all the different things that are available in my palette. So I'm squeezing out a little bit of the permanent violet as well. Now I'll first beginning with a clean layer of water. Now this time we are going to be working a lot wet on wet to get in that depth into the galaxy. So make sure that your paper will stay wet for enough time. So Daniel brush multiple times so that your paper will stay back and you can get in all the details, right, wet on wet while adding in the layers are so that you can get that soft edges and soft blending as some then adding in a layer of photo. Now I'm going to begin in with the brighter para color. As I told you, if you do not have a brighter para, you can go ahead using any lighter tone of pink or a bright pink color, or a baby pink color, shell color, whichever color that's available in your palette. The shell pink color I meant you are, I've just added a little bit of this bright pink. Now, I'm going to go ahead with the little quinacridone rose kind of a color closer to this. And I am just beginning in with the first layer adding in the colors randomly false. And you can see I'm going ahead with a little diagonal motion so as to create that spiral look into the galaxy as well. Now I'm going to add in little bit of violet color as well on the edges. So this is just the first layer, as I told you, we're still going to be creating in a lot of details to create a little spiral effect. Not exactly a spiral effect. I just want the violet tones as well in-between the pings. So I've just added in little of the violet in a quick spiral pattern. And we're still going to be adding in a lot of details. This is just a base layer that we're beginning in weight on the edges. I'm adding in a little bit of the Payne's gray color to give him the darker depth onto the edges. At this point of time, I know this looks like a clear mess, but we are going to blend in. All of these get in the smooth blends happening in. I'm going to pick up a little of the white quash as well. I'm just going to begin adding in little white gouache. So that had a little blues. I'm taking it out from the other side, wherein I have pure white color. And now I'm going to add in little off the white as well in a spiral motion randomly. So basically in the center, I want a perfect blend between pink while it's lighter tone of the things I do not want, or just to lighter pink in the center, then moving to darker towards the edges. Rather, I want a hint of each color as well in the center space. So I'm just randomly adding in all of the color tones. They're in little spiral motions. Then I will use in the liquid consistency and make them slow and float into each other. So right now, I'm just randomly adding in the colors and now using in a little of the excess liquidity paint or you can call in extra watery consistency, I will begin adding and making them float. Now using in the light pink as well, you can see I'm adding a spiral till the end and just moving in downtown circular motions over the darker colors as well. So that you have the lighter as well on the edges as well as the darker tones in the center as well. I hope you're getting the point that I want a blend of each color everywhere. That is the reason at this point, I'm just randomly adding in the colors everywhere, but I'm moving in circular motions so that you have that little color breaks in between each of the colors that we're using in now using the Payne's gray as well. I'm just going to add in little darker strokes in the center. So I'm using the paints and a little liquidy consistency. That is the reason you will see they're spreading and blending into each other. Having in the soft edge, I'm still going to sprinkle in a little of the water and then make these move into each other and make them blend with each other very smoothly. Now I've taught in places where I'm feeling towards the edges. You know, there is more of the darker tones. I'm just adding in a lighter layer as Ben. Now again using in a little white giving him little highlights onto the edges again. Now, all of these you can see how smoothly It's blending because there is a lot of water and wet paint onto my paper, which is helping in the colors blend and flow into each other smoothly and having that soft, smooth blend happening in. Now using the right again, I've just added a small spiral and now using a damp brush, I'm just lightning this up so that it has a well blended look. Now I'm going to splatter in a little off the white color and then I'm going to blend a little of t's into the background and create lighter spots randomly. So you can see right now the paints are in such liquidy consistency. As soon as they've dropped by, they begin to spread. And you can see the dispersion happening because of the liquid consistency. If at any place you feel the dispersion is not happening, you can simply just use a damp brush, blend them into a little of the background, creating in the lighter tones as well. Now I'm going to just pick up little water on my brush. I'm going to splatter a little of the water as well, and so that the colors be more flowy and you have those little glowing spaces happening. So as soon as you add in these water droplets, you can see at certain places the blooming effect happening in because of the water. So that is a texture that will come in. So in the base layers, the colors that you've used and which are hidden with the top layer colors, you will see the transition and the bloom happening. Now we will wait for this to dry completely. So my galaxy is completely dry. You can see the effect of the blooms, that spiral motion that you kept adding the paints into giving that little spiral effect as well. The white patches that have come in because it's the white paints, the water droplets giving in so much depth and glow into the galaxy. Now when we add in the stars into the galaxy, it we'll get in more glow. So let's begin adding in the star as well. I've picked up some fresh white gouache and I'm first going to go ahead splatter these. I'm making sure there is no excess water, so I'm dabbing my brush onto the tissue first so that excess water is absorbed by the tissue. Now I'm first going ahead with little splatters. Now when you're going ahead with these platters, be a little careful. It will mess up your space around. Now I'm going to go ahead and add in some of the glowing spaces. So I'm just going to go and brighten up and make a blend little off some white dots into the background and creating some dull white spaces. I'm sure by now, if you have been following me through my classes, you would be knowing this technique of creating in the glowing background space for adding in that glowing star effect, I'm going to shift into a smallest size brush so that I can get in little finer details for adding in these tasks. This time into the galaxy. I'm not going to be adding in any silicate. I'm just going to keep this glowing star galaxy we have. That is the reason spending a little time on this small piece while creating in the background. And we went into so many spiral motions of the different colors back-to-back. And then giving it that little texture effect with the white splatters and the splatter of water because I was not going to add in any silicates. So I wanted the galaxy and these tasks to be the main focus. So now I'm just creating in random spaces these whitespaces to actin for the glowing start background. Now make sure that you do not add a lot of these as well. I'm just going ahead with a scattered look for all of this. So that there's not excess of these is better and not too less of this as well. Remember, you can always go ahead and add in more after adding in the star detail if you feel that you need a little more of it. But once you add them, then there will be no going back. So you begin by adding in little of these and then go ahead and see if you need more of these. Now once the background glowing spaces are dried, I'm just adding in the smallest stars into the center of these whitespaces or dull spaces that we've created. And you can see how soon these stars are looking as the shining stars. Because if the dull background that you've added in, I'm shifting into my ten by zeros size brush and I'm just going to begin adding in little tiny or shining stars as well. So that is the reason I'm using in this very fine tip brush. This is a zero by ten size brush and it's a very fine detail brush from the brand Princeton Heritage Series. I'm just adding in little of these shooting stars as well as little shining star details. Now I'm just adding in little of these are shining stars as well. And then will almost be ready with this class project for d 29. Just one more painting for this 30-day challenge. So now I'm done adding in the details. Now let's remove the masking tape and see the final painting beyond little careful this time because since we are playing along with the liquid consistency and a lot of layer of pains, you may have a lot of pain collected on the edges. So going very carefully and make sure that you do not touch the edges wet paints. Now let's add in the code. So I'm just going to use in this violet color sheet, It's a tone between violet and pink. So it's going to go perfectly with the color tone of our galaxy. It's a big coat. I'm just going to cut it into two parts. And I'll quickly paste them into two lines into the center space. So the code reads, as you are never too old to dream a new dream. And it's absolutely right, and I guess we all should be falling this, you are never too old to dream a new dream, dream and make it possible. So yours, the painting for day 29. Thank you so much for joining me into this class. I will see you guys into the last class project tomorrow. 32. Day 30 - Your Heart will Show you the Way: Hello everyone. Welcome back to the last day of the 30 days self-care challenge. Today we are going to be painting this gorgeous sunset by a desert look. So let's go ahead with the pencil sketch first. It's going to be a very basic one. Basically, I'm just going to mark out the sand dunes. Are those Rocky Mountain kind of details or you can go ahead paint in a desert kind of look as well. I've just given a basic outline to the Rocky Mountains. Now we're going to go ahead with a layer of water into this guy. First, we are going to go ahead with bold pink evening sky with some warm tones of purple as well. So make sure to go ahead with a layer of water evenly onto the entire sky. If a little off the water goes inside the top of the mountain space, it will be okay because we are going to be painting the mountains with dark tones of brown and the sky colors are going to be lighter than that. They will get covered up easily. But as far as possible, a wide adding in those colors into the mountain change. Now I'm quickly going to squeeze out a little bit off the payroll red color because I want fresh red effect into the sky. Next I'm squeezing out a little bit of the crimson lake color. Now let's begin adding in the colors. So I'm first going ahead with a bold red closer to the mountain range. I'm going to go carefully closer to the mountain range and define the edges as much as possible with every step. Now next I'm going ahead with the crimson color at the top space. And then I will blend both of these and then begin giving in details. At this point, if you see it's looking at flat sky with just two colors which are almost similar to each other. One on a pink side, one on the red side. I've gotten the pink tone at the top, the red at the bottom. Now I'm going to go ahead with the violet color and begin adding in the strokes and defining the darker details into the sky as well as given the depth into the sky. So for that I'm directly using the violet color this time I'm not adding in any white to it. Now makes sure you do not have excess paint as well onto your brush because, oh, you just want limited strokes. If you will have to bold consistency of the color, it will give you a black law, which we do not want to just need the violet color as a highlight into the red and the pink sky. After this, I'm going to pick up a little of the pistol yellow color by mixing in a little white to the yellow and add little highlights to create little lighter and glowing spaces. So I'm going to pick up this yellow, orange color which I have here. And I'm going to begin adding it into the sky. I'm just going to mix in a little Tinto fight cost to it so that it has a pistol bold loop. And once you add it onto this wet layer, it will still stand out on the darker tones. So I've added these yellow highlights while my sky is still wet now using a damp brush, I'm just blending it well with the red tones so that it has a soft edge. Does not look standing out separately from the red or as a patch of a color. I'm just mixing in a little more lighter tone of the yellow and adding it at the top of it. And again, I'll blend these as well. You can see how swiftly using in that color we created little glowing spots into the sky. Now we'll wait for this guy too dry then move on to the Rocky Mountains space. Now my sky is completely dry. You can see that effect of blowing space at the top center space because of the white and the yellow color that we used in. Now, I'm beginning in with the burnt umber color, which is already on my palette. And I will begin adding it into the entire bottom space, which is byte. At the moment. I do this, I'll keep adding in the darker. Violet is still wet and then later on you can just give him little dry brush stroke. And lastly then I will just add in little greenery strokes at the bottom once the mountain range also dries completely. Now I'm mixing in a little of the Payne's gray so as to give him the darker death and getting in the darker brown at the bottom space and blending both the light and the darker browns together specifically, you can see at the top I've gone ahead and define the shape. I will further define a little more shape and give it a listen better shape than what it is right now. So at the top here you can see I'm using the darker tone and just defining this rocky mountain space, giving in those spiky kind of look and giving more definition to the mountain shape. Now I've picked up Payne's gray color and I'm just adding little darker strokes, but I'm making sure I do not have excess water or pigment. I'm just going ahead with little strokes are given the darker debt while this is still wet so that it has a little soft look as well. In the same way, even on the right side, I'm just defining in the mountain space, well, giving in that little detail look onto the edges, as well as making sure that the lighter and the darker tones are well blended into each other. So we've given little of Payne's gray strokes at the bottom as well to give him the Docker depth at the bottom space. So we're ready with the mountain range as well. I will give you a quick close view of the mountain, details of the Payne's gray color giving in that depth and that little texture to the mountain range. Now we'll wait for this to dry completely and then add in the final layer of details. So now the base layer of the mountain ranges completely dried. And now I'm going to begin a head moving with the yellow ocher mixed with a little bit of the white color to give him some grass strobe details. So the reason that I'm not going ahead with the greens is because so as to show everything well in colors, sing and I want that summer look, giving in that dry grass kind of a detail out here. So that is the reason I'm going ahead with the yellow ocher color mixed in with a little bit of fight so that it stays opaque onto the darker brown layer that we've already added in. In the entire bottom space. I'm just giving in simple grass strokes. I'm using my size zero by ten brush, which is very fine tip. So I'm getting in these fine strokes you can see it cannot even hold a lot of pain because it's quite a smallest size, Brazil. So I'm going to quickly add in a little more of it only this that I'm going to add in at the bottom space. Now after this, I'm going to quickly be adding in a moon. So for that, I'm first going to create an, a glowing space using in the white gouache. And then moving further, I will add in the moon to this and then we will move on to the code. So first let's quickly create in that glowing space out here. So I've added a small white patch now using the damp brush, I'm blending it into the background and creating in the lightest space. Now to the center of the moon using in the bold white quash, I'm just adding a small moon effect. So you can see the outset space is now acting as the growing space for the moon. So that is it. We are ready with our class project. A pretty simple one. It had the two colors, 11 to 12 min to create this beautiful simple painting. Let's remove the masking tape. See the final painting, adding the code for the last D, which is the most favorite code after the entire 30-day series that we've painted. So since the 30 days we've been using all the positive codes, learning something new. Just thinking positively, taking everything around us in a positive way, being more kind, learning to be more, trusting ourselves a little more. So today's code finally reads as listen to your heart. And it will show you the way. So no matter what, how you feel, your heart will always show you the right way. At times it's always a struggle and a juggle between the mind and the heart. But your heart will show you the right way always. I've quickly pasted the code into lines because it's a bigger one. But I'm absolutely in love with the code that has come in for the last day saying listen to your heart. It will show you the way this series might have ended here. But remember, every day in life you have something new to learn, something new to dream, something new to achieve. So always listen to your heart and it will show you the right way. I hope you guys enjoyed painting this last painting with me today. In the next lesson, we will have a quick run through of all the 30 paintings of the self-care challenge. And thank you so much for joining me for this class. I'll see you guys into the next lesson with a run-through of all authority paintings together through the 30 days. 33. Glance through the 30 paintings: Thank you so much once again for joining me in to this 30-day challenge. Here's a quick view of all the 30 paintings we did so far in this study, days of self-care and self-reflection challenge. Every day we painted a mini painting in just under 15 to 18 min, created in a beautiful watercolor painting, learning some new watercolor techniques, as well as at the end, getting in a beautiful painting through every day. We added in a positive code to deflect onto ourselves to bring in that positivity and giving those 15 to 20 min just for ourselves. Creating in something to cultivating a hobby, as well as learning new things at the same time. I hope each one of you enjoyed this 30-day challenge with me and enjoyed painting all of these mini 30 paintings. If you've loved this class, make sure to drop a review and upload your class projects with us. Thank you so much once again for joining me into this class.