30 Days of Unwinding With Watercolor Challenge - A Creative Reset

1. Intro: Have you ever noticed how watercolors have a way of calming your mind, how the simple act of watching pigment flow through water can soften the whole day. Hi, everyone. I'm OmashiTapaa, a chartered accountant, a watercolor, and a gouache artist, and a creative business entrepreneur. And welcome to this 30 day Unwind with Watclour challenge. There's something almost meditative about the way colors bloom, how they drift gently across the paper, and how every unexpected blend creates a tiny moment of magic. It slows you down, it brings you back to yourself, and it gives your heart a quiet place to rest. This class is all about embracing that feeling. For the next 30 days, we'll paint together, not to chase perfection, but to unwind, release, and find moments of peace through art. Each day brings you a small calming project, mostly under 20 minutes, a few stretching gently to 25 to 30 minutes designed to help you relax into the flow of what colors. At the beginning of every session, I'll share a simple color palette so you know exactly what shades to keep ready. After that, you are invited to just follow along, breathe, and let the water guide your painting in its own beautiful way. This class is meant to be your daily ritual, a space where the world slows down, your thoughts soften, and you reconnect with the quiet inside you. Whether you are unwinding after a long day, beginning your morning with a moment of stillness, or simply carving out time for yourself, these 30 days are here to support your peace and creativity. I hope this journey brings you rest, ease, and a little bit of soul soothing magic. Let's unwind together one brush stroke at a time. And with that, I'll see you inside the class. 2. Materials: So before we tie into the project, one of the unwinding challenge, let me guide you through the art materials that I will be using for this 30 days of unwinding challenge. First and foremost, the watercolor paper. I will be using this archis 300 GSM, 100% cotton, cold pressed paper. Now, this is a block of 20 sheets. Each sheet is of the size seven inch by ten inch. I will be cutting each sheet into two equal halves like these and paint on each of these sheets. I'm using 100% cotton paper. Hence it will support for a more wet on wet um working with watercolors and cold pressed. So it has this little texture you can see. And if you use a rough green, it has more of the texture. Hot pressed paper has a flat surface. For watercolors, the best recommended is cold press, which gives you a beautiful grainy texture and makes the pigments stand out much better. Now, this time, I won't be using in any masking tape for the paintings. So as you may have already seen, I'll be using the paper directly without any clean edges. So for that, this time, I will be using this wooden block on which I will be laying down my paper, and I'm going to be using in a different technique that is wetting the back of my paper and laying it flat onto this, so it will get completely stuck to this bore. And it will also help us paint for a longer time, giving us a good smooth finish on the edges as well without any water seeping back through. And it will also save our paper from crawling up or, you know, having those buckles in between while painting. So at the end, you will have finished look like this with clean edges and, you know, beautiful, um, finish on the edges as well without any use of the masking tape. That's about the papers. Coming to the paints, I'm going to be using this custom palette which I have made from different brand paints that I own. And here's the color that are there into this palette. So it has colors from Michomssion, ShinanrtPfessional watercolors. It has Winsor Newton, it has white knights. So it's all from different brands. All are professional grade watercolors. I've noted down the brand names in code words so that I can refill them easily. I also have a color swatch always in front of me so that I know which color I'm picking up. So here I have the shades of yellow, orange, pink, red violet, all the shades of green, bottom here, all the shades of blue. Here are the pastel colors, and here are the shades of brown. Of course, I go ahead with a lot of color mixing as well as we keep on painting each class project, you can go ahead with a basic set of 12 colors, and I will be guiding you through each of the color mixes that you can follow for any shade that I'm using in the painting. That's about the palette that I will be using. Next, coming to the brushes. I have a lot of natural hair and synthetic hair brushes as well. The most brushes that I will be using is one is this silver brush, italia brush. So this is perfect for giving in that entire background wash and painting the skies as well quickly. Next up is going to be this round brush, which has a good fair pointed tip. And then you need a detail or brush. I will be using this, this is a very generic detail or brush that I have. But as soon as it's dipped into water, it has a very fine tip, and it is perfect for adding in fine details into your painting. So this is the brush that I'll be using for adding in the details. Apart from that, I will even be using in some other few smaller round size brush. And if needed, you can keep some flat brush also handy if, um, you feel comfortable working with a flat brush. So that's about the brushes. Natural hair brush works best for watercolors because they retain a lot of water and help you work longer with one stroke. But with that also comes the complexity that since they hold a lot of water and pigment, you need to have more control while adding in the details. You need a simple pencil and an eraser for some simple outlines. You will be needing in some technical pens which are waterproof. Make sure that these are bleed proof so that if you ever have to overdo any colors on top of these, it will be easy for you without any colors, you know, spreading out here and there. For one of the class projects, we are going to go the reverse way. As in your, we are first going to begin in with the outline of the silo heat using in this waterproof pen, and then on top of it, we are going to create the entire painting. So in case if you don't have one, it's perfectly okay. You can go ahead the other way, which I discussed while painting this painting in the coming days. That's about the basic stationery that you need. Apart from that, you need jar of water, one jar for cleaning your brushes, and one jar of clean water for giving in the background washes and mixing in your paints. You either need a rough cloth or a tissue for cleaning your brushes while painting, and you will also be kneading in tissues or the rough cloth because we are going to be creating in a lot of cloud details into your paintings by dabbing in some spaces, creating in beautiful, soft cloud effects. So you need a paper towel or a cloth towel handy. So that's about the supplies you will be needing. It's all very basic a set of watercolor palette, some watercolor papers, a few brushes, and some basic stationery and a jar of clean water. You will notice in most of my paintings, I'm only working with these three brushes. That is the reason I've shared only these three main brushes here. In fact, in a few of the paintings, you will even see I only work with one brush and the painting throughout, even adding in the details with a bigger brush like this. So that's something that you can challenge yourself with to work with limited supplies so that you know how to multi use your supplies available with you. And for the color mixing, I already told you, I'll be sharing in the color palette before each class project. So before each of the paintings, you will be getting in a color study of the colors that you need for that class project. And I will be doing the colors watching and showing you alternative colors also that you can use in case if you do not have the specific same shades. So that's about the materials that you need. Go ahead, grab all your supplies, and I'll see you guys into the first painting of this challenge. 3. Day 1 - By the Sea: So welcome to the Class Project one of these 30 days of unwinding with Watercolor challenge. And this is the painting that we'll be creating in today's class project before we begin with the painting, let me give you a quick guide about the color tones that I'll be using. First, for the sky, I'll be going ahead with the naples yellow. It's a beautiful pastel yellow. You can simply mix in white along with your yellow to get a pastel yellow if you do not have a ready pastel yellow. Then for the top of the sky, you can either use serelin blue or Pecock blue color, which are almost similar tones. So I'll be using a mix of the Cerlean blue along with a little hint of the peock blue. If you see both the colors close by, they are almost the same tones, that they are from different brands, so a little pigment variation, but they're the same tones. So in case if you do not have a Pecock blue, you can simply just go ahead with the erlean blue. And to begin adding in depth into the sky, I'll be going ahead with the Prussian blue to give in the darker tones into the sky, the clouds here. And then for further darker effect, I'll be going ahead with the indigo color. My indigo is from white knights, my most favorite indigo till now. So that's about the sky colors that we'll be using, shades of blue and yellow to give that little sunset hue. For the sea, it's going to be the same colors of the sky that we'll be using in. And for this sand space here, I'll first be using in the light red color. Alright, you can use a burned sienna color if you don't have such a light red color. This is basically a reddish brown color that I'm using. And then I'll be going ahead with the paints gray for the darker values. So pains gray for the darker values in the field and on the horizon line. Now, in case if you want, you can even use a little bit of the Vandic brown color along with the brown here to give in some darker depth. So you can use burn Sienna light red color, or you can even use in the vindic brown color. So here's the bon Siena. So you can use any tone of brown that you wish to. And then we'll be building in the darker depths, using the pains gray, but you can see the browns also visible. So that's about the colors that we'll be using for the class project one. So go ahead, get your palette ready, and let's begin painting in this project for day one. So let's begin in with our first painting. As I already discussed with you, I'm not going to be using masking tape this time, so we are going to begin in with the paint directly. And before that, we'll just go ahead with a little wash of the water on the back of the paper so that it helps keeping the paper intact and will, you know, prevent the paper from wrapping up while we are painting. So when you are painting in without masking tape or if you're painting up on larger sizes of the paper, and if you want your paper to stay wet for enough time, go ahead with a good layer of water on the back of the paper. This will prevent the paper from curling up and give you an ease of painting. This also helps the paper to stick to the surface, and now we'll go ahead on top of this. So first, I'll just mark out a small horizon line. So say roughly, this is going to be our horizon line space. And at the bottom here, we are going to have in the simple water and the sand space coming in. So we'll begin in with the sky going ahead with a layer of water. You will notice when you wet the back of the paper, it will help your painting stay wet for a little longer time and help you work wet on wet much better. So just went ahead with a layer of water, beginning in with the paints now. First onto the horizon line, I will go ahead with the yellow color. So I will pick up a little bit of the yellow ochre this time and not just a simple yellow. So going ahead with a little hint of the yellow ochre on the horizon line. At the top, I'm going to go ahead with a little bit of the Cerlean blue mixed in with the pecock blue. You can simply choose to go ahead with a Cerlean blue color and avoid the peacock blue if you do not have it in your palette. They are almost similar shades just with a little tonal variations. So you can use any whichever is available in your palette. I'm intentionally leaving in these white spaces, and there I will go ahead with a little mix of the indigo along with the Prussian blue in a liquidy consistency and just drop in some cloud detail closer to the horizon line at the base here. You see how my brush is moving in circular angles to create in that cloud shape. Now, layering over the yellow ocher in such a way that we have that beautiful sunset highlight visible, and we still have that horizon line depicting it. Dropping in some darker hints of the same makes of the indigo and Prussian blue color. Creating in the smooth blend here using in a damp brush. I just use the dabbing technique a bit to create in little, you know, dry details into the cloud at the top here. Similarly in the center space here as well, very random dabbing and you see the random cloud shapes that you get in. For every dabbing, you know, the look will be different for each one of us because of the method and the way used to dab it out. So that is for the sky. We've got a simple easy sky ready. We'll wait for the sky to dry completely and then move on to the bottom space further. So my sky is almost dried, and I will begin in with the sea space. For the sea space, I will go ahead with the Prussian blue color. I'm going ahead with a wet on dry layer. That is, I've not added any layer of water into the sea space. I'm going ahead with this color closer to the horizon line. I'm intentionally leaving in a little white cap on the horizon line because there we'll be adding in the details on the horizon line later on. Now mixing in a little hint of the Prussian blue into the water as well. In the center here, I will just use a little hint of the yellow ocher again to show the sunset effect into the sea as well. And you see, for the sea this time, I'm going in very loosely with just some loose textures and just jabbing my brush. We've got a simple C movement. Now, into this, using a smaller size brush, we'll quickly add in some wet on wet details. So I'm shifting into this smaller size brush. This is a size two brush using in the mix of the indigo and the Prussian blue. Let's go ahead just create in some flow and wave details into the water. You see, very random strokes. You can go ahead as loosely as you wish to, and, you know, this class is all about play, and it's simple, easy to follow along, no pressure, no detailing, and no specific thing to follow. It's just your intuition where you want the water to move, how you want it to move. So that's a simple water space that we've added in. Now, into the water space as well, I will quickly use this and at certain spots, just do some simple dabbing. You see, this creates so much more of a realistic water wave detail coming in. So this is a simple technique what you can use. And now we'll move on to the sand space here. For that, I will first begin in with the Bonsiana color, again, wet on dry only because not much details to add in wet on wet. So going ahead with a wet layer of the paints, I will next move on to the vindic brown color. Now, in case if you do not have the darker brown hints, we've already discussed the color mixing, so you can use the color mixing best available in your palette and create these easy color mixes for your landscape. And while this is wet, picking up a little hint of the indigo mixed in with the paints gray color. And I will begin creating in some darker details into the sand space. Moving on from the edges in a way such that we still have the browns visible. See into the water space. Once it is dried, I'm just giving in simple dry movement of the sand, creating in some rock kind of details. Just going with little splatter as well, closer to this space. Make sure you do not go into the water or the sky. It just has to be closer to the sand area that you're adding in. Now, here as well, you can just go with simple dabbing to create in some dry patches, giving in that, you know, realistic effect while drying, giving in that patchy spaces into the sand area. Now, onto the horizon line, let's go ahead and add in little details. So I'm going to keep it very simple on the horizon line as well, but we'll just pick up either an indigo or a Pain's gray or a black color. You can even go ahead with browns and greens if you wish to. I will keep it simple and we'll just add in simple detail. Easy to follow along bush detail. You see, I'm going very slowly, peacefully, adding in tiny little details on the horizon line. So make sure on the horizon line you vary these bush details that you're adding in. Just giving you a close or view. So that is it. We are ready with our first painting of this watercolor challenge, and we created this beautiful landscape in almost 12 minutes, and my paper is still wet enough, and I can still work wet on wet because and you can see, we are ready with our painting. My paper is still wet at the back. That is the reason the paper didn't wrap up, and now I will let it to dry completely. I hope you guys enjoyed painting this quick and easy landscape for Project one of this challenge. I will see you guys into the next painting. 4. Day 2 - The Sky Story: Welcome to project two of the 30 days of unwinding with watercolors challenge. Today, we are going to be painting in this beautiful soft pastel sky with a simple field and some dry brush texture into the field to give in the muddy effect and simple bird silhouette. So before we begin painting, let's quickly dive into the color palette for today's class project. So the colors into the sky first for the blue shade, I'll be going ahead with the serle and blue color. Then you see the pastel tones into the sky. Firstly, I'll be using this naples yellow, which is a pastel yellow color. You can simply mix in white to form in your pastel yellow. I will be using the orange as it is from my palette. My palette contains colors from different brands like Mijello Mission, uh, White knights, Shenan PWC, Winsor Newton. So next, I'll be using the permanent rose color from Windsor Newton, which is a beautiful pink tone. You can use scarlet carmine, whichever pink available in your palette. Next, I will be using in the violet mixed in with a little bit of the lilac. So I have the violet color and the lilac color. Now, in case if you don't have the lilac color, you can simply just add white to your violet and get the beautiful similar looking tone. And lastly, a little bit of indigo for the darker highlights. So that's about the colors for the sky, beautiful pastel tones that are coming in. The pink is already beautifully light, or orange will be mixed in with the yellow, so it will automatically form in that little pastel effect. Or blue will be using aztsF the violet, I already told you the mix with the lilac that I'll be doing, but you can simply use white to mix in. You can use whiteqh or white watercolors, whichever suits you because we don't need a lot of an opaque consistency for this color. So even white watercolors will do the job. Coming to the field space, there the colors that we'll be needing is. First, we'll go ahead with the orange color. So we'll be beginning in with the orange color to reflect the sunlight effect. Then we'll be going ahead with a light layer of the yellow ochre color to show that beautiful golden artifect. Then you can just move on to the shades of brown. I'll be playing along with the light red color, vindic brown color to give in the darker depth. Then to give in some little green spots, I'll be using in the sap green color. Along with the sap cream to create some darker values, I will just be mixing it with Pains gray to create darker values. In case if you have a darker green color, you can simply use in that color or just mix in Pains gray, and you see the dark green that gets formed automatically. Onto the Horizon nine for the grass details, also, I'll be using sap creen along with Pains gray mix. For the birds, we'll be using the Pains gray. For the dry brush texture, again, we'll be using in the Pains gray color. So these are the colors that we need in for the sky and these are the colors that we need in for the field. So these are the color tones that you need for class frijec to. Grab your color palette ready. Now, in case if you don't have some shades, these are all basic palette shades. But in case if you don't have the violet color, you can simply mix in pink and blue to get a similar violet looking tone. If you don't have the light red color, you can use burned Sienna, or you can simply mix in red to your tones of brown to get this lightish, reddish color, or you can even mix in orange to your burn sienna color to get this light red color. You see, the orange and the light red color are just this is more towards the early side and this is more brighter side. So that's how you can just mix in and use your colors. So once you have the color palette ready, let's begin creating in this class project for day two of this unwinding challenge. So let's begin our project for this watercolor painting challenge, and we'll begin in with the wetting up of the back of the paper first. If you're following the same process of wetting the back of the paper so that your paper does not wrap up or curl up while painting, plus giving you enough time to work wet on wet. And if you're not using a masking tape, I find this the best way to, you know, paint the watercolor painting without the paper wrapping up. So just add a clean layer of water on the back, and this will make your paper stick to the surface that you're using in. I'm using a wooden board so that it just taste perfectly. Now, I'll just mark out the bottom space here. We'll begin with the sky. So going ahead with the layer of color. Sorry, the layer of water first. So as discussed, we'll be going ahead with beautiful sunset tones for this class project as well. This class is more towards aiming on completing paintings and under ten to 15 minutes so that you can get into our daily practice with just ten to 15 minutes, and these also act in as good warm up exercises. So just going ahead with a good layer of water. Moving on to the paints. So. Moving on to the paints, first, going ahead with the blue color. I will use the erlean blue into the sky. Next, moving on to the yellow colour on the horizon line. So this time, I'm going to be using in the Naples yellow color. A little bit of the orange. I'm using the permanent rose color from Wincor Newton. You can use scarlet, carmine, permanent rose, whichever pink in your palette. And now into the space in between, I'm going to pick up the violet color. Mix it in with a little bit of the lavender color. If in case you don't have a lavender color, you can just take help off a little hint of the white to go ahead with this and just going to add in a loose cloud in between the blue and the pink. Then pick up a little bit of the violet as it is. Now, at the top here, I will just go ahead with a little bit of the dabbing to give in some dry details. And now when I'm adding in paints, you will see some loose bold strokes. Again, you can dab in a bit to give them some softness. So you see if we get the light hint Now I'll pick up the violet with a little hint of the pink or violet with a little hint of the blue and just add in some cloud details with this mix of the blue and the violet. See where I want the smaller cloud details. I'm just using the tip of my brush to get in these details. And you can see the softness in the sky that we have. Go ahead with little dark pink. And lastly, just going to pick up little bold orange. Very carefully lay the orange over the blues and the violets because you don't really want any sort of muddy tones coming in. Just some little highlights. Again, little dab dap to turn it little lighter. Now going to use in a little hint of the indigo. I haven't cleaned my brush on purpose because I just wanted that little violet of my brush to mix in with the indigo and given this soft dark violet shadow kind of a color. Alright. Just some further cloud details that we've added in. And you see now the glow that we have here. So that is for the sky a simple easy sky. Again, just 5 minutes and you're ready with the beautiful sky. Now we'll wait for the sky to dry out. But my horizon line is almost dry, so I can begin with the details in the base here. For that space, I'm first going to go ahead with a layer of orange this time. I'm following a very different technique, what I usually wouldn't for a field that is beginning in with an orange color, but I really want a good, bright sunny effect falling into the field. Now into the orange, let's go ahead with the yellow ocher, wet on wet. Moving on to the light red color. You see the light red color, which is like a brownish red, basically. I am just using in my brush from an angle and in a tilted way so that we get in these little textures, maintaining the highlights as well into the field. Now, just some simple dabbing to turn lighter spaces. And we'll go ahead with the green color. You can use sap green, olive green. Just drop in some light green spots into the field space. Basically, it's a dry barren field with just very little of the greeneries visible. Along with it, just going to pick up some darker brown details as well. And I'm going to drop the dark brown in a very limited space, not going to cover up, like, you know, the major field with this color. Mixing in a little hint of the paints gray to the brown. See in such a way that here, the sunset thing is maintained. So we have a simple field as well ready. Now, again, on the horizon line, we'll be adding in the details once everything dries out. But till then, just going to drop in some green highlights more. So I'm picking up the green in a very dry kind of a consistency without any water and just adding in simple details. Wherever you want to turn things lighter, a quick tab will help you. So that is it. Let's wait for everything to dry out here, and then we'll add in the final details on the horizon line for this painting. So now my horizon line space is completely dried and I'm going to go ahead with the green color on the horizon line and create in little details out here. So you can go ahead use in any greens that's available in your palette. I will be going ahead with a mix of the sap green and then mixing it with little hints of the indigo or the pains gray color to get in, you know, some darker values. So first, pigging in with the normal green, that's the sap green. As I told you, you are free to use whatever green is available in your palette. All right, so it seems that there is inside wetness of the paper, making sure everything is completely dried. Yeah. Just as in the previous project, we created in the bush detail using the pains gray color. This time we are just using in the green color instead of the pains gray and just going to go ahead, create in simple details. I'm taking help of the pains gray between to create the darker values. You see how I'm wearing the lens throughout and not keeping them of the same height? It's not necessary always to cover up the entire horizon line with the bush. You can leave little gaps in between. So here I will just leave this fine gap. All right. This side I've added in a very fine detail. And now onto the field space, I will just add in some texture. So just picking up a little bit of the ndeg brown and creating in some dry brush texture. If it is a cold pressed or a rough grain paper, these textures will come out beautifully. In case if you're using a hot grain paper, these textures will be very difficult to come in because, you know, the texture of the paper helps in getting these dry brush texture much more smoother and giving in that grassy effect. So the type of paper will make your dry texture very same way, just going to go ahead, use in some darker values. See? I'm using the dabbing technique along with adding in some details. Just some light darker details that I've added in, and using the dabbing technique, I've tried to blend them into the base as well. And lastly, now, we'll just quickly add in a few words into aski before we see our final painting. So for the birds, I'm using in the paint's gray color. The simple flight of the bods that I'm adding in. To some of these, I will quickly dab in and tone them little one tone lighter. And that is it. I won't overdo anything here. And we are ready with our second painting from this watercolor challenge. You can see another pretty beautiful sunset sky in under 15 minutes. We've added in all of the details, turning it into a beautiful painting to hang up onto your walls. I hope you guys enjoyed painting this with me. I will see you guys into the next painting soon. 5. Day 3 - The Snow Mountains: Hello, everyone. Welcome back to day three of the 30 days of Unwinding with Watercolor Challenge. And today, we are going to be painting this beautiful snow caped mountain. This painting will stretch approximately to 25 minutes, but you can see the details that you get into the snow area of the mountain and how beautifully and lively it turns out. Coming to the colors that you need for this class project, first is the yellow. I majorly use naples yellow in my painting. It's a beautiful pastel yellow. If I ever want some warmth of the yellow, I go ahead with the permanent yellow deep. But for this painting, I'll be using this naples yellow color closer to the mountains to show the sunset effect. For the colors into the sky next, I will be going ahead with the Prussian blue at the top into the sky here. This is the entire sky with the Prussian blue color. And then for building in the depth, I'll be going ahead with the indigo color. On the right of the sky here, you can see how beautifully I have gone ahead, giving in that darker depth of the dark night sky coming in, and closer to the mountain, we have the sunset effect, the light of the sunset from the left, falling onto the mountain out here. Alright, so you will see this space is light because the light is flowing from the left edge. Now onto the mountain, the first color for the first leo that I'll be using is going to be the ultramarine blue to show the snow effect. So we'll be going with a wash layer step by step, part by part into the mountains, dissecting the mountains in different spots. You're showing the darker values and the darker values and in the center, showing the sunlight effect, making the snow of a very light color. Then for adding in some darker depths into the mountain, again, we'll just be going ahead with some indigos. So, um, we'll be picking up the indigo color, and you can see just going to be blending in with the ultimate in blue at spots to give in some darker values. Into the mountain, we'll even be using a little bit of the naples yellow to just show some very light warmth of the sun falling in. And lastly, for the tribush texture on the snow, we'll be using in the pains gray color in a bold consistency. All right. So this is the colors that you need some shades of blue, yellow for the sunset and pains grey or black to give in that darker values for the dry brush detail. Now, one important thing that you need to understand for the dry brush technique is going to be the water control on your brush, which plays the major role when getting in the dry brush texture, right? So I've picked up the brush. There is no water on my brush, dipping it at the tip, picking up the color in a very dry consistency and let you see how this watch turns out. You can see the textures that are coming in. These are the kind of textures we are going to be using to depict the rocky spaces of the snow caped mountain. Of course, the flow of your brush determines the texture flow. So here I moved my brush horizontal. Now, if I move my brush diagonally, you will see the textures come in diagonally. From top left to bottom, right, the textures come in accordingly. So this is the important dry brush texture that you need to know to get in these beautiful rocky looks onto the snow caped mountain. In between, we will even be going ahead with some patches of the paints gray. For that, you can just dilute the paint, and you will see you get the dry brush along with the patch of the color. So that gives it the natural effect. So here, if you see, we have a patch first and the dry brush following along naturally. So this is one important thing that you need to know that is water control for the dry brush texture. I hardly dip my brush in water, directly picked up some dry pigment. If you feel that is excess water or pigment, you can dab it onto a paper towel or a cloth towel and get rid of the excess pins and then go ahead. Second most important thing will be the flow of your brush, how you want the textures to flow. So in this painting, if you notice, all my textures are flowing from top right to the bottom left. So I need to move my brush and hold it at an angle and move accordingly to get the textures flowing in. And again, water control is important when you want the dry brush textures to come in right. So that is about the details and the basics for this class pro check. Now, I will see you guys, and we'll begin painting the final painting together. So let's begin in with our project. I have marked out a very rough mountain outline, and I have given in little sections to the mountains so that we can define the shadow areas and understand where the values will be darker. So we are going to be painting a simple sunset sky and then we'll be painting a snow caped mountain. Now, this spot here that is one, two, three, four, and this area here as well. All of these are going to have the reflection of the sky basically so I have marked out a simple outline for the mountain here, and we're going to be painting a simple sunset sky. And for the details of the mountain, I'm going to show this huge space out here. As the light of the sunset falling onto this area, making this space brighter, and the rest of the spaces are going to be darker. So in this space, we are going to show the reflection of the sunlight falling, making this space more brighter. And then onto the entire mountain, we'll even be giving in the dry brush texture. So first, we'll begin in adding in the base values. So, beginning with the sky, we'll be going ahead with a simple sunset. So let's begin with the layer of water first in the back of the paper. All right, pigging in with a clean layer of water. Now, into the front space, we'll first go ahead painting in the sky. Let's just go ahead with a layer of water into the sky. For the mountain range, we'll add once our sky is completely dried out. So going ahead very carefully closer to the mountain outline. Also make sure that the pencil outline that you do for the mountain is very light because these marks will become permanent once you add in the layer of water. So just went ahead with a good even layer of water. And now into the sky, I'll begin with a little hint of the yellowish orange color. Very little highlight closer to the mountain, along with a little mix of the naples yellow. And this side as well, we'll just give in the little highlight of the sunset. Now, for the sky, I'm going to go ahead with the Prussian blue color at the top. So at the top, the values will be darker, and moving down, I will just blend it with the layer of water. And as I reach closer to the yellow, I will let the colors blend naturally into each other. So I'll just go ahead with one more layer. So you see, as I'm reaching closer to the yellow space, I'm just lifting up my brush, letting the colors blend naturally. Remember, watercolors dry or tone lighter, so you go ahead with the layer of the paints accordingly. Just running up a layer of water. If little of the pins move into the mountain space, it's okay. We'll cover them up as well. Go ahead with darker values of the flutianblue at the top. Majorly on the right side, I'm giving the darker values because here we have the sunset effect and this sunlight is falling onto this mountain space. I'm only maintaining the darker effect on the major right side of the sky here. I picked up a little bit of the indigo as well to give a little more darker depth. If you want, you can further still darken it up at the top. So we are still working wet on wet into the sky, giving in all of the darker values. And again, you will notice it's majorly on the right part of the sky that I've gone ahead with the darker values. On the left, I've maintained the sunset effect to show the values falling onto the mountain as well. Now, I'll wait for everything here to dry out completely. Now there is water seeping in from this edge here into the painting. That is why making it lighter on this edge. So I'm going ahead with another layer to maintain that, you know, so that the water does not seep and turn it into a very light space. Okay. Now, we'll wait for the sky to dry completely and then we'll move on into the rest of the details of the mountain. Now, by the time my sky is drying out, what I'm going to be doing is the area closer to the horizon line is almost dry, so I will paint out this lighter space as well with a very light So the area closer to the mountain is almost dried out. So I will go ahead and paint out this lighter space first, and we'll have to wait for that as well to dry. So for the lighter space, I will just pick up a little touch of the naples yellow. Very little, you see, little highlight to show the effect of this. And next I'm going to pick up the ultramarine blue colour. For the snow space, but it's going to be a layer of water with just a hint of the color, you see, we need very light detail for this space out here. If it goes out into the other spaces as well, it's okay. But maintain the lighter details at this space because the rest of the space will be of the darker color. All right? So just giving in a very light wash, as you can see, of the ultramarine blue color. I will just add in little highlight of the yellow again. All right. So you see, we just have that little yellow highlight of the sky falling in and the rest of the space is covered up. Now we'll wait for this to dry and then move on to the darker dips and then the dry brush technique for this mountain space. Now, this space is also completely dried. You can see we've given such a light wash. Basically, it looks like clear water, but it has the hint of the ice color or the snow color that we needed. Now, into the rest of the spaces where we have to add in the darker highlights, we'll go ahead with the ultramarine blue color. If you do not have the ultramarine blue, you can go ahead with a bluish gray color or a very light wash of the indigo or Prussian blue, whichever suits your color palette. And now into the rest of the spaces, we'll go ahead given the darker values.'s see going ahead with a very rough outline. And here also, you will see the indigo is not too sorry, the ultramarine blue is not in a very dark consistency. It's in a medium tone that I'm using in intentionally leaving in some white patches, as you can see. Now, while this is wet somewhere, I will just go ahead, drop in some more darker values so that you get in different tonal variations. Defining this outline in a very rough manner. Right? At the turning points, giving in more of the depth, wet on wet because of the turns, which gives in more of the shadow on these turning points. So following the perspective. So you see, because my back of the paper was wet, that is the reason even when I've gone ahead with wet paints, I'm able to add in these details wet on wet without adding in a layer of water first. All right. So we're done adding in the details onto this part. Now we'll move on to the left side of the mountain and go ahead with the same technique. So on the left part as well, I will just mix in a little hint of the indigo as well to my ultramarine blue, and we are going to follow the same method. Again, make sure not excess dark clear of the pain. Go ahead with a medium tone consistency so that you can build the values wet on wet and create in the details, giving in different tonal variations. See very carefully. I've gone ahead, added in the detail. And now just going to go ahead, pick up some darker hints and create some further twists and turns into the snow space of the mountain just as we did on the right side. Now, if you see on the right side here, the colors tried out very light. So while this is also wet, I'll just go ahead with some more darker value details as well. In between going with a little bit of the dabbing so that it creates that natural texture. The only thing here is that you need to work a bit quick while adding in some details so that, you know, you get in those turning points, the shadows, the light effect all coming in together. Now moving on to the small spaces that we have marked out. So See? Just dabbing a little bit while things are wet, gives in more of the texture layer. Now, this space out here has dried out very light for me, so I will quickly just pick up a water layer of the ultramarine blue color and just go ahead, add in some values. See? This is adding in the values to this space. And just dabbing in so that we get in the lighter tones. It's okay if you get some dry edges because that is adding into the beauty of the space. I will just quickly add in the details here. So you see, ultramarine blue color in itself is a staining pigment. So when I picked it up in a very bold consistency, it left a good stain and even the dabbing technique didn't work out well. How randomly at this space, just adding in a few darker highlights. I lighter dabbing to make it look blended and seamless. You see, we're getting patterns. You're also adding in some more and just giving in simple dabs to make it all look blended. Dab in with a very gentle hand so that little color gets lifted and little is left onto the space that you're adding them onto. You see? Simple technique. Just going to pick up a little hint of the blue color. Now, we'll wait for this space to dry out completely and then add in the dry brush detail. For the dry brush technique now, we are going to go ahead and begin adding in the texture details onto the mountain space. So for that, let's go ahead. I have picked up the size two round brush and I'm going ahead with the pain's gray color without much of water. And we're just going to begin adding in simple lines like these. Okay, that was a slip of the brush, but we'll try to just blend it in into the mountain space and get something meaningful out of this stroke that happened. So you see, I'm just going ahead with very light lines of the pains gray color. All right. Simple textures. Most important thing here is your paper should be completely dry to get in these textures right. If your paper will be wet, you will not get in these dry brush textures. In fact, you will just get patches of the paint's gray color, making it look very weird. So just go ahead with a very dry paper. The paints on your brush should also not be too wet. And if you're using a rough green paper or a cold pressed paper, these textures will turn out more beautiful. Now, somewhere I'm going to show in more textures that is trying to show in that more of the mountain space on these darker spaces which are not having in the light effect of the sun. So there's no fixed pattern basically to follow for the dry brush technique. You can place the mountain look at the spaces that you wish to. It's not exactly important to have the mountain visible on the same spaces as mine. You can, you know, show the snow at whatever place you wish. But you just need to strike a balance so that it does not look like an overdone space, or nor does it look like an underdone space. So striking that balance is important. Depending on how you are trying to achieve it, whether you want to show it more of the snow cape look or more of the mountain look. So at the peak here, I've given in more of the mountain look, as you can see, and in the rest of the spaces, I've given in little of the dry brush as well. All right. Same way, we are going to go ahead onto this side as well and add in little textures. I know this project is going to take approximately around 20 minutes for us to complete it, but that's okay. We just went ahead with a little more detailed one, and I just didn't want to skip any of the detail because of the time constraint of this class that I had decided. But if you go ahead quickly and do things, it can even be done under 15 minutes. But since I'm discussing every step in detail, it is taking up a bit of a time. So you're just giving in the dry brush. Very roughly. Somewhere I'm going ahead with some strokes of the pains gray color. Somewhere I'm giving in good patches, somewhere very dry, somewhere some lighter colour trokes now here, I'm giving in very dark space of the pains gray as a patch area, giving in the depth of the mountain. I We're almost through the project. It's only the tribush technique that we have to get it right, and then we are ready with our painting. Now, if you see, I have given all the tribush moving from the top right to the bottom left. That is the flow of the mountain that I have followed. You can even take it vice versa, that is from the top left to the bottom right. Now, I'm just giving in some small, you know, tip of the color using in the paints gray. All right, we are almost through the class project. I will just go ahead with one last detail. That is, I will pick up a little hint of the blue, that is the ultramarine blue and a little hint of the indigo mix. And I just want to put in some darker patches. Just creating in some more. This is kind of a glazing effect that we are giving on top of the dry brush again. Just some spaces that I want to really give in some more bold values. This just little uplifting that gives in more of the shape. Seem way onto the left edge as well. We'll just go ahead. See? That is it now. Since I went ahead with this layer, I'll just darken up little of the dry brush again at spots so that they also look vibrant giving in that mountain look from between these spaces. It's very important to use vibrant colors because after drying out, if the colors don't say vibrant, I hope you guys enjoyed creating in the details into the mountain. The sky was pretty simple and quick, but the mountain detailing took us a little time. The shape can go better or different for everyone. But I hope you guys enjoyed painting this Snow cape Mountain with me today. I will see you guys soon into the next painting of the series. Thank you so much for joining me into this class and painting along with me. 6. Day 4 - The Mist: Hello, everyone. Welcome back to the 30 days of unwinding with Watercolor challenge. And today, we are going to be creating this beautiful misty painting. You can see the mist that we'll be creating with the plea of water and pigments and a beautiful reflection C along with simple silhouette and a reflection to the silhouette, as well. So this is going to be our class project for today. And the colors that you need for today's project are very simple and easy, two colors. One being the indigo color. Using the indigo color, we are going to be creating in the entire mist into the sky, the top of the sky, the bottom of the sea. Everything will be just using in this one color indigo, and then using in the pains gray color, we are going to be creating in the silead detail. If you do not have a Pains gray, you can use black, neutral black, lamp black, whichever color available in your palette of a darker tone light black. All right, so these are the two colors that you need for today's class project. Now, before we begin painting, I just want to give you a little quick run. We are going to be painting this painting together on a wet on wet surface, we'll begin with an entire wet layer. We begin by adding in the first layer of the sky and the sea together. Then we begin creating in the misty effect slowly step by step, and we also add in the waves detail, wet on wet. Both of these details that we are going to be adding made with the mist or the water, we need to be careful about two things. That's the water control because we are working on a wet surface. So water control will play a very important and vital role because depending on the water control, your um, waves and the mist will have that effect of realistic view coming in. If your paper will be too wet and paints will be too wet, when you add in this wave, it will completely disperse and not retain the space in which you're adding it. So it's very important that while playing along with the mist and the water space, you need to have the perfect water control. For the mist, we are going to be playing along wet on wet. And with that, we'll even be adding in small blooms of water to create these beautiful blooms coming in. You can see the sky and the sea is all connected through the mist out here on the right side. There is no harsh line distinction that we'll be going ahead with. Coming to the silhouet part, we are going to be adding in simple pine trees and bush structures and wet on wet, while our base will be wet, we'll add the reflection to these first, and then at the end, once everything dries out, we add in the siloet. And just to give a little more detail, you can see in the reflection, I added a little dry brush at the end to give in that more realistic and bold effect to the reflection. So that is about how our class project will be structured. The entire play will be on the wet on wet technique, the water control, and your brass strokes being loose and careful to get this entire misty look together. The silhouette path is very simple when we add it wet on dry. But the entire play of wet on wet technique is going to be the game changer and the magic. And for every person, it may come out different because how you let the water play, how you let your paints consistency be will depend person to person, and that will create the beautiful misty effect and uniqueness into your painting. So with that, let's begin creating in this project together now. So let's begin in with our project for now. First, I'll begin in with the wetting of the paper at the back. As discussed for this project, we are going ahead with a very soft, misty landscape, and all of the details will be like wet on wet that we'll be creating. And only after everything dries out, we'll be going ahead with some pine tree look. But rest of all of the details we'll be working wet on wet. Alright? So just gone ahead with a good layer of water. And now we are going to just go ahead with a layer of water on the front as well, completely. To create the mist, you will need a paper towel or a rough cloth so as to go ahead with the dabbing technique creating in the lighter soft details. Going ahead with an even layer of water throughout, picking up the indigo color, going to begin in with a very light wash. If you don't have an indigo, you can do the same project with any blue. That's a Prussian blue, serlean blue, or thalo blue color or a picock blue color, whichever blue you wish to use, you can go ahead with that color. Now, the top is the sky and the bottom is the water, that is the reason at the water space as well. I'm going ahead with the darker values, and at the top, I went ahead with the darker values. Now in the center here, we are going to have in some misty bush detail. So while this is wet, we are going to go ahead with a smaller size brush and just create some wet on wet bush. For that, I will just take up help off a little bit of the paints gray as well. Now, when you're adding in this detail wet on wet, it's very important that you have the water control while adding in this layer because if you will have excess water, our paper is already wet and it will all spread out. But right now, if you see it's maintaining the shape in which we are adding them, having that soft blend across. So just some simple bush detail on the horizon line, and you're creating it more in a light lighter way. Now, for this project, there is only one thing that you need to be a little quick with is working in with the details because it's all wet on wet. So just adding in some more depth into the water space, creating the details of the waves moving on the right side majorly. Now here, to give in that misty foggy effect, I'm going to just go ahead and take up water on my brush and pull water towards the top space and you can see the texture that's beginning to form in giving in that foggy effect. Now I will pick up a little hint of the pains gray to give in some darker values, but not in a very dark consistency, in a medium tone consistency, just add in some darker values with the pains gray. See just giving in some rough pinetree structures as well in the background. And again, I will just pick up water, drop in here. And you see I'm dragging the water towards the top space so that at the bottom here, we have that mist coming in. The sky is very light. This wave details we've added with the darker tones. So it's important again, while working wet on wet to maintain the tonal variations, dropping in some more of the indico just at the tip, you see, again, pick up some water, drop it in between to create in that misty effect. Now I will pick up the darker value and just create in some soft wet on wet pine tree looks here. Again, water control will play a very important role while adding in this detail as well. Now, onto this side here, we are going to be having in the pine tree. For that, we'll already be adding in the reflection while this is still wet. Let's go ahead and add in the reflection to that first. So first beginning in with the indigo, I will create the rough space where we'll be having in the pine tree. All right. On top of this, we'll have the pine tree and at the bottom, I want to create the reflection. While my sea area is still wet, I will just go ahead and create this detail. Picking up the dry brush situation on my brush and just pulling out little strokes like these. We are not going ahead with a detailed reflection, just going ahead with rough shape outlines to act in as the reflection. We are working wet on wet. You will see that the shape takes all the soft blends. For this project, it's very important that your paper has to stay wet for good enough time. Now at the top here, just creating in the bed for the pine tree that we'll be adding at the top. You will see how the colors are automatically seeping in, giving in that soft blend. That's exactly what we need, pulling out very rough shape, picking up a bit of the indigo along with a hint of the paint screen now and dropping in some daco values as well, at the top space, not in the reflection at the moment. So you see the softness will come in automatically. And now into the reflection, just going to go ahead with some dry brush texture. You see in between, dabbed a little of it. Now at this pace here, you see everything it has dried out very light. So I'll just quickly go ahead with a little more of this wet on wet. Now giving in some darker values just in the front of it. And at the bottom, tabbing and creating in that misty effect. That is it for the background that we wanted to work up on. Now we'll wait for everything to dry out, just adding in the water to give it all the soft blend and the foggy effect. All right. Now we'll wait for everything to dry out completely, and then we'll go ahead with the details of the pine tree here. Oh. So now everything is completely dried, and we are going to go ahead adding in the details of the snow here So now everything is completely dried and we'll begin adding in the details of the pine tree here. For that, I'm going to pick up the indigo color in a good bold consistency. I have picked up my pointed tip brush, which will help me given the details of the pine tree. Alright? And we'll just go ahead create in some very simple pine trees at the top here. I'm pulling out the branches, and from that, giving in some smaller foliage detail. You see, my brush is a very fine pointed tip. It's basically a calligraphy brush, which gives you this fine tip and the detailing. So added in one of this, and now same way, I'm going to go ahead and just add in some detail along with it into this base here as well. So this line, we'll be defining in better at the bottom, going with little dabbing so that it looks blended into the base as well. See at the top, I'm just going with very rough outline. There's no specific shape or pattern to follow along, but we just wanted to give it a blended look with the base. So at the bottom, you can either go ahead with a little of the lifting technique or grabbing like this so that it looks blended. And on the same go, I will even add in some dry brush texture. All right? Not much. Very little. And now we'll just go ahead, add in the next set of pine trees. See, I'm pulling out the branches towards the top, and then from that, I'm pulling out the smaller foliage detail. You can go ahead with whatever shape of the pine tree you are comfortable with, not necessarily to follow the same shape or the same movement of the foliage for the pine trees. Oh. Now, make sure about one thing. The reflections that you've added. So here, my reflection was taller. That is the reason at the top, the pine tree also. I have maintained that height in between, just giving in some dry brush. Now, here you see the foliage the reflection is small, so I will just give in some simple strokes to act in as the far off pine tree and just dabbing to act in as the foliage. Quickly going ahead with the next few pine trees before we see our final painting. You're just giving in some simple bush detail. H Okay, so we've given in the details of the pine trees and the reflection to which was already added in. And we've just followed a very simple technique. And you see, we've got our painting ready in almost down to 15 minutes. Now, one last thing, you can either pick up white quash or any light pastel colors, so I'm picking up the Petersburg cha that's in my palette. You can even pick up white quash or white gelpinO you can go ahead with some lifting technique. I'm just going to add in little flow of the water into the reflection spaces. So just going to given very small strokes in between. They don't have to be too bold. That is the reason I'm using the Pettersburg ocher and not the whitequah because whitewuah will be like, you know, drying out very opaque. And if you're using whitewash, then you can just, you know, add them and add little dabbing like this. So this is basically giving the flow of water in between the reflection. So that is it. We are ready with our painting for day four as well. A simple misty painting that we've created with some background blurry fog effect that we did. I wish the details could have been a little better, but nonetheless, I'm still happy. The wet on wet water details, everything, all having in that misty effect and the blended look, we can still fix this up and just give it all a very soft blended effect. All right. And at the top here as well, I just want to get rid of this bold line. So just giving in a layer of water and dabbing in, and we get rid of that line as well. So same way, say, if you want to get rid of any of the bold lines of this, just go ahead with a layer of water and dab it all in quickly. So those two lines also we've corrected. I love how simple this patch is, but adding all of the highlight and depth into the painting. So that is for our class project four of this unwinding with watercolors challenge. I hope you guys enjoyed painting this, and I will see you guys into the next lesson. If you're liking this class, make sure to drop a review so that it can help me reach maximum students and help the right people reach this class. Thank you once again for joining in. 7. Day 5 - Day view: Hello, hello and welcome back to day five of the 30 days of unwinding with watercolor challenge. Today, we are going to be creating this simple fluffy cloud with a little dry texture looking clouds and a simple feel. And into the field, we'll be working majorly on creating in these reflection to the trees which are towards the left, not visible to our perspective, but we have the reflections to them coming into our field space and creating in this simple cloud and the sky. So let's begin in understanding the colors that you are going to be using in. First and foremost, we'll begin with creating in the cloud effect. We'll first begin with the clouds, then move to the rest of the sky. For the cloud, naples yellow. Then next, I'll be using an orange to create pastal consistency of the orange, I will be taking help of white goh and the same yellow color so that the colors stay in harmony. Next, I'm going to be using in the Cerlean blue color to add the cloud details at the bottom of the fluffy cloud and into the rest of the sky here as well, it's going to be the Cerlean blue color majorly. Next, I will be picking up a little bit of the violet color and mixing it with the serle blue color. So you see these little bluish violet cloud effects into the sky that are there. That is going to be using the mix of the Cerlene blue and the bright clear violet. And that is how we are going to be creating in our sky. Then we'll be using little white gouache to give in just little highlighting spots like these. That is about the sky. We first begin in with our fluffy cloud, then add in the rest of the cloud. We give in some intentional bold strokes into the clouds this time. Coming to the field, I will begin with a layer of the naples yellow as a base layer. And on top of that, I will go ahead with my cadmium light green color. The reason to go ahead with this is to maintain the lighter spaces into the field. So that is the two colors that we begin with, and then you just need some darker tones of green. So I will be taking help of the sap green olive green. And I will be taking help of pains gray to create in the darker greens for both of these greens. You can go ahead with the shade green, olive green, hookers green, whichever greens in your palette. And you can even create in the darker tones of the greens by just taking help of the pains gray, brown or indigo color. Now into the field, when you go ahead and begin painting, you will notice to create these lighter spots, water control will be a very important and vital role because if you add the darker green strokes with a lot of water, they will cover up the entire space, and then you need to rigorously keep on moving ahead with the lifting technique, putting in the lighter strokes again. It took me multiple attempts as well to go on lifting and creating in the lighter values in the field stay there to show the reflection perfectly. But nevertheless, I'm just guiding you and giving you the tip in the beginning that water control will play a very important role again into the field part for this painting. And the rest of the painting is a very simple, easy, quick run. We begin with the fluffy cloud first, moving on to the rest of the sky, maintaining beautiful lighter tones of the blue with the help of water. Then we paint the base of the field completely and then add in simple pine trees on our horizon line. So that's how our class project is structured for today. It will take us around 20 to 25 minutes to build in all of the details step by step, especially working on the field will take us a little time to get those values right. So get your colors ready, and let's begin creating in this simple field sunset effect today. So let's begin with our painting now. So I'll begin with a pencil sketch first. So I will mark out the field space, which is going to be at the bottom here. So this is going to be a field area. On top here, I'm just going to be marking out a very rough outline for the cotton candy clouds that we'll be painting. A very rough idea as to the layout of the clouds, you can go ahead with any movement of the clouds as you wish to make it as much random and realistic as possible. All right, so we have the rough outline to the clouds. The top is going to be a simple blue sky and the bottom we'll be having in the field. We're showing the light effect falling from this space, which will give in the shadow of the trees which are not in our vision. It will give in the shadow of those trees here into the field space, giving in the darker values. That we'll directly be adding wet on wet with the panes. Let's begin in first by wetting the back of our paper. And Now, I will begin adding in the details first into this cloud space. I'm just going to go ahead with a layer of water only into the cloud area, a very rough outline. And into the rest of the sky at the top, I will add in the layer of water. Closer to the cloud, I will let the gap be there for now. So let's begin with the cloud first. For the cloud, I'm going to begin with a little hint of the Petersburg ocher moving on to the naples yellow. On the tips of the cloud, giving in the yellow, then moving on to a little hint of the orange blending in with the yellow you see. Now, I'm going to pick up the blue color, that is the serlean blue that I will be using. And to that, I'm going to mix in a little hint of the violet color and very little of the pains gray as well. So we get a bluish violet grayish stone, and using that we'll be adding in the cloud in front here. Most important, either have a paper towel or a cloth in your hand to get in these blends smooth and easy. Even if the little of the cloud spaces already begin to dry out and you get some dry strokes, it's perfectly okay that will add on to the realistic effect of the clouds that we are trying to paint in. So see, we've added a small cloud detail. Now to add in more depth, I will pick up more of the yellow color. Going ahead with one more layer of the mix of the blue paints gray violet. And see the little dry strokes that you're getting at the top, that will add on to the shape and the flow of the clouds further. The main part of this class project is basically getting in this cloud, and then rest of the details will simply fall into place quite easily. Now I'm mixing in a little bit of the orange and the yellow together and just going to add little highlights at the base with the blue. Same way, this space is also dried out. On top of it, I'm adding in some dry cloud details with the orange color and just going to dab it swiftly. Now let's move on to the top of the sky. Before that, I will just pick up the yellowish orange color and add in little cloud here. Make sure you are dabbing also from a very clean edge because that will also play a very important role, basically, because if your paper towel or the cloth that you're using will have some dirty paints that will get laid over onto the wet spaces and that will make it, you know, a very shabby thing at the end. So it's important that you maintain that cleanliness of the cloth or the paper towel that you're using in. Now moving to the top Again, just going to go ahead with a layer of water very carefully closer to the cloud space. Now, moving on with the serle blue color mixed in with a little hint of the ultramarine blue. So at the top, we want the darker values and moving bottom, we're just going to create in the lighter tonal variation. Now, closer to the cloud, you see, I'm running my brush, and we are going to go with the dab dab technique so that it has a soft blended look and intentionally closer to the cloud space, I'm even leaving in some white caps, giving in that more realistic effect. See, very simple strokes closer to the cloud, which define the cloud shape much better. Now at the top again, picking up the same mix and just going to drop in some darker values. Again, on the right, I'm maintaining the darker values towards the left, I will keep them a little light because the light is falling from the left side is what we are showing in. This Again, closer to the cloud, just dropping in some darker values. Now, I'm just going to go ahead with a little more detail into the sky first. So I'll just pick up the yellow color. And onto the tips now, I'm just going to add in this bright layer of the yellow again. This had a little hint of the blue on my brush, which made it go S. Just some highlighting points. I'm going to pick up a little hint of the Cillian blue. And add in the cloud. And as I keep adding in, I'm just dabbing in. All right. So that is for the sky and the cloud details. I will just pick in a smaller size brush and pick up the naples yellow in a bold consistency. Just adding in some smaller cloud details. Okay. Highlights. Now, we'll wait for everything to dry and then move to the field area. So let's move on to the field space for that. I'll go ahead with naples yellow. In the entire field, just go ahead with a layer of this color. You can use any regular yellow as well if you don't have a pastel yellow. You just need a very bright color. You can even use a cadmium green light, which I'm using now. You can directly use this color, in fact, if you wish to. But since I wanted more colors into my field, that is the reason I first went ahead with a layer of the yellow color. Now I've created in the lighter green highlights, and now we are just going to go ahead and add in the darker green values. Now for adding the darker green values, you have to be careful about one thing that your paint shouldn't have excess water and also that, you know, it shouldn't be too dark as well. It has to be a medium tone that we'll be using in. So I'm going ahead with the sap green mixed in with a little bit of the hookers green color. You can just use in a basic green also that's available in your palette or mix in a little of the viridian or the emerald green if you wish to. Now when you're adding in the darker green details, our base is wet. So onto the best weight, onto the wet base, you will be going ahead with a medium tone consistency of the paints that is not too thin and not too watery because you want to maintain the softness yet given the darker shadow effect of the trees which are on the left here, not visible to our view. All right. Very carefully such that it retains the shape when you are adding them, and it still has that soft blend. You will see I'm leaving that fine gap in between both the shadows, and now I will even turn the shadows a smaller I will just go ahead with a little lifting technique between these two. Now I will pick up these greens in a little more bold consistency by just adding a little hint of the pains gray, and I will just go ahead with another layer on top of these. Again, your also water control will be important. And these I will add in much less space as compared to the previous dark green that we added. Basically just another value addition that we are trying to do. If you want, you can add in a little hint of brown to the green or indigo or the pains gray, or any color of your choice is fine. Again, I will just go ahead with a little lifting technique between these two. Now, you see here, we have the yellow highlights, and at the top, we have the lighter green values. All right. So this will give the shadows the softness, yet the shape will be maintained. At the base, dropping in more darker values. Mm. Again, one more layer of the shadows, defining it much more prominently. Now onto the horizon line, we'll just add in a few pine tree details and we'll be ready with this class project. For the pine trees, I'm going to pick up the paints gray mixed in with a green colour. You can mix in sap green, olive green, Huckas green whichever you have. I will first begin with a lighter value of the green and then move to the darker values. Again, in between, I will just go with the lifting techniques so that these paints don't spread out much. Now, just going to add in simple foolish detail. My space here is completely drying out, spreading those shadows. So I'm quickly using a dam brush, doing in some lifting technique, going to add in little hint of the yellow again. And on top of it, I will again just go ahead with dry paint and just get those shadow to the trees again. So you see while things are wet, you can still correct them and get the values right. So these are the kind of shadows that I need, and they were spreading out a lot. So I just redid that entire space with the help of the lighter color and now added the shadows to the trees. Now again, I will just continue adding in the rest of the pine trees. We're not going to be adding in much of the pine trees onto the entire space, but a few here and there. Now as I move towards the bottom space and towards the right side foliage, I'm just darkening up the colors. Now, let's quickly add in the final pine trees, just a few small ones here and there. For that, I'm using a dark indigo color. You can use paints gray or black or a very dark green color as well. We'll just add some small bush detail on this side. And from this left side here, I'm going to show a few pine trees peaking out. So just some foliage of the pine tree. Basically just half of the tree is visible. Is just some simple details that we've added? Now one last thing is I'm going to pick up the white wash and using the white Koh, I'm just going to be creating in some details into the cloud. So picking up the white sh you see these pencil marks that are visible? See how swiftly we could turn them lighter. But I'm even going to add in some bold white clouds from the back. If you're dabbing using your finger also, be careful that your finger does not have any sort of previous pains. Now, along with this, I will just pick up little orange. See how with the help of white and orange, I've just got rid of that pencil mark. Using the white, adding some highlights. Okay. That is it. We are ready with our painting for today's class project, as well. I absolutely love. It took me two to three times to get the lighter values right, but I'm loving how everything has turned out, how the shadows have turned out. I wish the yellow space could have been more lighter. But nonetheless, I can still see the differences and see the shadows of the tree coming in. And I love how I could correct this cloud as well and get the detail simple and right. I hope you guys enjoyed painting this with me. I will see you guys into the next lesson of this series. Thank you so much for joining with me and unwinding with watercolors. 8. Day 6 - Windmill View: Hello, everyone. Welcome back to Day six after 30 days of unwinding with what colors. And for today's class project, we are going to be creating this simple, pretty pink, cloudy sky with a simple windmill field. You see the colors in the sky are just moving towards beautiful pink sunset tone. So the two colors that I will be using for this class, one is, um, violet pink color. So this is like a mix of a violet pink color. Now, if you do not have this, you can simply use a pink tone, say carmine, scarlet, or you can use permanent rose. And the next color that I will be using is the bright clear violet. So for the first layer of the clouds, I will be going ahead with a very light tone of this pink violet color. Then as I move to the second layer of clouds, I will be darkening the color tone of the same pink violet color. And for the third layer of darker clouds, I will be mixing a little hint of the clear violet to the pink violet color, and you can see these dark clouds at the edge. They are going to be a mix of these two colors together, and A Sky is just using these two colors, leaving in the white caps for letting the natural cloud effect be there. We are going to go ahead with a lot of dabbing technique here as well to create in the cloud look that we've achieved in this one. Coming to the field, you will see the field has three different color variations, a little lighter, a medium tone, and then this is being the darkest, closest to our view. Same for the wind meal also, it is that this is going to be the farthest wing meal. Automatically this is visible in a very light color tone consistency, and these two turn darker as they are visible much closer to our view. So first, let's determine the colors of the field. So you don't need to follow the same color pattern for the field. You can choose the colors from your palette. First, being the yellow ocher color that I'm going to use in here, along with the yellow ochre, I will be giving in little hints of the light red color, and with the light red, I will be going ahead with the sap green color. This is the colors that I will be using in the first layer of the field here at the top. As we move downwards, we'll just move to the darker tones of greens and browns. I'm going to take help of the hooker's green color. Which is a beautiful green. And to darken up this green, I will be taking help of the pains gray color as well. You can take help of Pains gray or you can take help of indico to darken up your greens and get darker green tones. So I'll be using Pains gray and darkening up my green and then for these wind meals as well, we are going to be using in the pain's gray color in light to darker consistencies with the help of water, creating in the tonal variations. Coming to the greens, you can go ahead with whichever greens are available in your palette, need not necessarily be a sap green or a hooker's green. You can begin with a medium to light tone of green and move to a darker green as you move towards the largest area of the field. For darkening up your greens, you can take help of brown, indigo, paints gray, whichever color is available in your palette. Not necessarily that the color tone of greens need to turn out same. They may all be different. And if you observe any nature, there are various tones of greens which we can't even capture. So go ahead and, um, bring out your basic color palette and mix up the colors that are available. Even if you do not have a light red color, it's perfectly okay. You can simply just mix in a little hint of red and brown or you can directly use a little hint of born Sienna. You see there are very little hints of the browns that we need here, but you still need them to give in that variations. So go ahead, grab your color palette, and we'll begin creating in this class project now for day six of the 30 days of unwinding challenge. So let's begin in with our painting now. We are going to go ahead with a layer of water at the back first. In case if you're not following this process, you can simply go ahead with the wet on wet technique in the front. One thing that I've noticed doing this technique of wetting the back of the paper is that even after my paintings have dried out, they have not buckled up or wrapped up and neither curled up on edges, or they've stayed intact, even on drying. And that's one of the things that I always used to struggle with because then I had to put them under the bed or something so as to get the paintings are, you know, not being wrapped up or cold up. So let's begin with a simple pencil sketch. Just going to add a simple green field kind of a space here. On top of it, we'll be giving in a few wind meals. And we'll be having in two here as well, very light. I'm not going with a pencil sketch, and a simple green field that we'll be adding in with different tonal variations. So just marking out outlines so that we can have in different variations coming in for the field. Okay? And the sky is going to be a pretty simple one that we are going to go ahead with. So let's begin in with the layer of water. Now, for the sky this time, I'm going to be using in the red violet color, which is like a pinkish violet stone. But in case if you don't have that color, you can simply just mix in pink and violet or just go ahead with a violet sky or just a pink sky. So that's absolutely, you know, you have the choice of freedom to choose for the sky, whichever color you wish to and I'm just going to go ahead with the red violet color. My red violet color is from a yellow mission. So this is the color that I'm talking about that I'll be using. You can see it's a pinkish violet tone, just going ahead with a good layer of water, making sure it's evenly wet throughout. And now just going to begin with the red violet color. Along with it, I'm just going to go with water on the sides because we are going to leave in white caps into the painting to act in as the cloud spaces. So we're going to let the natural white of the paper play the cloud part. So you see, for the first layer, I'm dropping the paints in a very light liquidy consistency. Now, along with it, at spots, I will even go ahead with the dabbing technique, which will give him the natural effect. Now, I will shift to a smaller size brush so that we can have more control over the clouds that we add now. Now picking up the same color, just one tone darker. Let's begin forming in some cloud details. So just, you see, small cloud shapes that we'll be putting in. You can mix in a little hint of the violet to the same color more to create some tonal variations. I will do it as a last layer for just some highlights. For now, just going with one tone darker of the same base color that I've used in and creating in these darker highlights into the sky. You see how very gently I'm dropping in these tones, without much of pressure or movements. You just need to drop them in a way such that they retain the space in which you're adding them, but they still have that soft blend with each other, giving in that softness into your sky. Now, if you feel that your paper is beginning to dry up at any spot, you can just run a little wetness of the brush. Now, to this color, I'm mixing in a little hint of the bright clear violet to get just one tone darker consistency. And on the edges, I will just create in some darker values like these. Now, when you're adding this, it's very important that you have the water control in the paint because if your paints will be excessively wet, it will spread across the entire space and you will lose the control over the previous lighter layers that you've maintained in. So when you're working wet on wet, the water control and the paper wetness, all of this is very important to be taken care of. You will see I'm majorly adding in these darker highlights onto the edges, only See where I want just smaller highlights I'm using in the tip of the brush, and that is it. We are ready with our simple Sky. It took us 5 minutes, three to four layers of different tonal variations. Now we'll wait for this to dry completely, then move on to this field space here. Now let's move on to the first part of the field here. So in the first part, I'm going to keep in a little of the brown highlights and some lighter field highlights. So for that, I'm going to go ahead with the yellow ocher layer first. I'm going ahead with a wet on dry layer because there's not much details that we'll be adding into these fields here. So you can work layer by layer wet on dry so that the paper also dries out quickly for you to add in the details. Alright. I'll pick up a little hint of the light red color as well. You can pick up burn Sienna, burn tumber any brown tones. There's no specification of the brown tones that you need to follow, just dropping in little highlights, and now moving on to the green tones, I usually work with sap creen and olive green for my greens. For lighter greens, I like using the cadmium yellow or cadmium light green color. Now, when you're working in with the green, you need to make sure that your green does not have excess of water because otherwise it will cover up these light spaces of the yellow ocher that you're trying to achieve in. So very carefully, I'm just dropping it in such a way that we still have the yellow ochre and the brown highlights. Now I will shift into a further smaller size brush so that we can get more control over the detail, picking up a medium to dark tone of green with the help of the indigo color mixed to it. You can use Pains gray black to mix in the darker green tones. As I always say, you don't always need a lot of colors in your palette. You can simply learn a lot of color mixes with your base palette and create in different tonal variations, different tones, and use them into your paintings. So now using this darker green, I'm adding in further highlights, but you will notice this darker green has more of the pigment and less of the water so that when we add them, they don't spread, but they retain the softness that we need in the space here. While working wet on wet, I keep repeating this that water control plays a very major role because that will, you know, determine how your paints will flow and which color will retain its spaces. So it's very important that you have good water control. Now while wet on wet, you can see I've just added in a few darker strokes in such a way that they kind of create in little textures into the field as well. Now we'll wait for this layer to dry. By then I will paint this front layer. So for that front layer again, I will just go ahead with a green layer. So I'm picking up the hooker's green this time and just going ahead with a green layer. So as always, I begin with a medium tone. If you want lighter values here as well, you can begin with a lighter tone first, but I don't need much lighter values. So just going ahead with a medium tone this time. And now, we'll begin adding in the darker values. Again, to the hooker screen also, I will just add a little hint of the indigo or paints gray and just begin dropping in some darker values at the base. Now, again, shifting into a smaller size brush, creating in one more darker value of the same color. And just as in the previous one, we gave in little textures and movements, same way we are going to do in here as well. So this layer you see is extra wet right now, so that is the reason you will see the paints are not retaining the space in which I'm adding them, and that's okay. I will go ahead with another layer once it's a little more dried out. Till then, what I'm going to do is now I'm going to begin working in the center layer as well. So basically, I don't want all the three layers to be quite separated from each other, and neither do I want them to, like, look blended into each other. So you can work once your layers are a little dried out. So in this layer as well, at the top here, I will just give in little lighter highlights. So just going ahead with the yellow ocher here. I will just add little light red colour hints. If you want, you can wait for this layer to dry out a little and then move to this layer first and then to the last layer. That is also a personal choice. For this layer, I'm going to use the same colours that we used as in the first layer. Now you may feel that all of the layers are blending into each other. But when we will give in some dry details, we'll separate each of the layers again. So as I told you, we don't want too much of a highlighted differentiation, but we want a little distinction. So now at this line, you will see I'm going ahead with a darker pain which will create that distinction from the first space. I Now shifting into a smaller size brush, picking up a little more darker color value. At the top here, I'm just creating a little uneven bush kind of detail on the right side. Now, we'll wait for this space to dry out like, you know, approximately a little more than the 50% dry. And then we'll add in some details. So now these spaces have dried out much. So now I will just begin creating in that differentiation between the mountain spaces as well. So just using in the darker hint of the green such that it gives in that distinction, but still maintains that soft blendness into this entire fieldspot now into this bottom space, we are going to go ahead with a Dako mix of the hooker's green or any darker green that you wish to and just create in another differentiation point here. So you see now you can see three different variations of the field. Your field can be as natural random as possible. Each stroke will only and only add beauty to the field because nature, everything is uneven, everything is unpredictable. And no matter how you add them, what you add them in a way, they will only and only given that beauty. So now using the pains gray, I'm adding in the darker highlights in the last field here. Now, you can see we can see three different field variations, but all of them still have that soft blend and not a distinctive sharp differentiation between each of them. Now I will just use a little hint of the cadmium light green and add in at this spot here. And on top of it, I will just go ahead with some darker greens again. Creating in simple flow textures. We're almost through the painting, these last details, and then we'll move on to the wind wheel details, dabbing, lifting up some colors, creating in some lighter values. Just picking up the color in a little bold consistency and going to add in some values from the base. Now, into this base field here, I'm just going to sprinkle in a little bit of water using in this smaller size brush so that the splatters are controlled only into the base area to give in little natural blooming textures. You see how the textures are coming in with the lighter values. So I just want them in the base area here. Make sure your splatters are very small. If you will add big patches of the paints, you will not get this effect, so you really need to splatter from a little distance and just into this bottom space that I want this natural texture to come in. That is it. Now, we'll just go ahead quickly with the wind meal details. So for the wind meal, I'm going to pick up the violet mix along with the red violet color that we used in the sky. And to that, I will just add in a little hint of the paints gray. And first using it in a very light consistency, I will create one windmill here, which is going to look like a very far off light glory one. Now, as I add it, I will just dab in to tone it lighter. Okay, so a very light one, dabbing it, blending it into the clouds, basically. Now, one that I will be adding in between these two will be a one ton darker color of the same previous color combination that we used. You see, this is one ton darker than the previous one. And now this one we are going to add in with a bold color. Now, in the front of each one, let's add in little fine details. So here I will just tab it so that it turns lighter and looks settled into the sky. Now, while my field is still wet, I'm just going to go ahead with this little darker colour hint and create a little separation point here. In case if your field has dried out, you can skip this part. Since my field is still wet, I'm just going ahead with this little detail here again. And lastly, just a few birds at the top in the sky. So at the top here. All right. And that is it. We are ready with our painting for today's class project. So here's a final look at our painting from today's class project. You can see the little water splatters that we added has given such a beautiful texture in here. I hope you guys enjoyed painting this easy landscape with me. I will see you guys soon into the next painting of this unwinding series. And thank you so much once again for joining me. See you in the next lesson. Oh 9. Day 7 - Winterscape: Hello, everyone. Welcome back to day seven of the 30 days of unwinding with Watercolor challenge. I hope you guys have been enjoying the class project so far. And for today's class project, we are going to be exploring a snowy landscape with a simple blend of colors into the sky, simple light washes to depict the snow and some detailed pine trees in the foreground to get the entire painting together. Let's begin in noting down the colors that you will be needing in. So beginning in with the sky first. So at the top of the sky here, you can go ahead with the tone of blue. I will be using in aquamarine mist color. You can simply use in erlean blue, Picock blue, or sky blue, whichever is available in your palette. Up next, coming to the area of the sky closer to the horizon line, I will be going ahead with a naples yellow first to give in the yellow wash. Then move to slight shades of orange mixed in with naples yellow, and very little highlights of the pink in between, so as to get the blend from the blue to the yellow all smooth and fine because blue and yellow mixed together may form green tones, and orange and blue mixed together may form in muddy tones. So in order to avoid those, we're just going to use a very light wash of the pink in between so that everything looks moving together easily. So let me quickly watch the sky colors first, beginning in with the aquamarine mist color. This is a granulating color from white knights, but does not show much granulation very little. Hence, it feels perfect to use in into the sky. Next up, I shared was the naples yellow color. Up next to give in the highlights of the orange, I'm going to pick up the pure orange color, mix in with little hints of the naples yellow, and get those shades. And for the pink, I'm going to go in with a light clear of the permanent rose color. Feel free to use whichever pink is available in your palette, not necessary to have the same name, same colour brand. Coming up next to create this background foggy effect of the snow pine tree effect, I'm going to be going ahead with the ultramarine color. So the ultramarine color in the background here, and then using in little splattering technique of the water to create in that little texture out here. And into the snow spaces, we're just going to go with, like, a water wash of the aquamarine and the ultramarine blue color. The same two colors here, we are going to use them in a very light watery consistency and given little textures to form in the snow effect. And for the pine trees, finally, I'm going to go ahead with the pains gray color and a very dark consistency of the ultramarine blue to create in that beautiful glowing effect into the pine trees because of the snow covered on top of the foliage. So that is about the colors that you need for this class project. A simple tone of blue works fine. You can go ahead with serle blue, peacock blue, as I told you, if you do not have the same aquamarine mist color, you can even go with the turquoise blue color or if you have that, it is almost similar to the aquamarine mist color. For the yellow, you can use any pastel or a light yellow. Orange, as I already told you, we'll be mixing in, so you can use a yellowish orange color if readily available, a shade of pink, ultramarine blue for the snow space, a little important color. But in case if you do not have one, you can use lighter tones of the indigo color mixed in with a little hint of the, serlee blue color to create a similar looking effect. It won't be like an ultramarine, but it will give you a good effect. And lastly, the paints gray for the darker highlights of the branches. So these are the colors that you need for today's class project. Go ahead, get your color palette ready, and we begin creating this beautiful, snowy landscape together. So I'll see you guys and we start painting. So let's begin with our painting now. I'll begin in with our simple pencil outline. So here at the bottom, we'll be having in our snow bed, and here we'll be having in another kind of curve to our snow bed. From this curve, we'll be adding in a few trees coming in and few branches coming out as well. In the background here, we are going to give in some soft background blurry effect of the pine trees, far off, misty effect, and the sky that we'll be painting first. So let's begin in with the sky. Before that, I'll just begin in with the wetting of the back of my paper. All right, so I'm done with a layer of water on the back. Now moving on to the sky, I'll begin with a layer of water into the entire sky first. Now, closer to the horizon line in the sky, I won't be adding in much colors because there we are going to give in those beautiful background misty trees effect. At the top, I will begin in with the aquamarine mist color. This is a little granulating color. You can use a turquoise blue or a simple Cerlean blue, peacock blue. If you want, you can even go ahead use in Cobalt blue colour. Now I will move on to the pastel orange color. So for that first, I will pick up the yellowish orange color and just go ahead with a little hint of the yellowish orange. And now I will pick up the orange color from my palette to that, I will just mix in a little bit of the naples yellow. You can even simply just go ahead and mix in white to your orange, but I just preferred mixing in the naples yellow. Now to create the smooth blend, I will just use a little light hint of the pink on my brush. So you see very light highlight of the pink that I'm adding and blending the yellows, blues, and the orange. You get that little transitional effect, which is very light, but makes your transition and blending seamless. So I'm using the permanent rose color. You can just go ahead use in any pink that you wish to. Remember what colors dry or tone lighter, so you accordingly lay down the layer of the colors in such a way that after drying, they are vibrant and in the consistency that you are looking for. So we are done with a simple sky. I will just pick up a little mix of the orange and the yellow again. And using the tip of my brush, I will just create in some highlight blends into the sky. So so you see, just some simple strokes to add in more character to your sky. And that is for the simple sky that we are going to paint in. Now, while this area is still wet, let's quickly go ahead with a little mix of the ultramarine along with the indigo color. Indigo will be less, ultramarine will be more. You can even use cobalt blue if you don't have an ultramarine and just going to create in the wet on wet background here. Now, water control is very important. Because if you will have excess water, these spaces will, you know, completely spread across and will not retain the space in what you're adding them. So I'm shifting into a smaller size brush so that I can add in a little bit of the details as well. So first, I'll just add in the layer of paint. Defining the horizon line well. All right. Now while this space is still wet, we are going to go ahead add in some blurry effects in the background, like simple pinetree structures. So just go ahead with simple strokes in between this blurry misty thing that you're trying to create in the background. While you're doing this also, water control on your brush will play an important role. If you will have excessively wet pigment, they will spread out completely and not give you this soft background tree effect. So you see, not everywhere that I'm adding in the pine tree, somewhere I'm just pulling out some background glory strokes. Now, to give in little more of the realistic effect, what I will be doing is to these, I will just add in little water splatters. You can even use the sand the salt texture to create in more of the depth. I will just go with little splatter of the water just in this bottom space where you've added in the pine trees. So I'm going with a very small size brush, as you can see, and trying to be very controlled so that I don't move into the sky space. And you see the little textures, blooms that are coming in. So again, the water control, the space in which you're adding the blooms, do not move into the sky because our sky is also still wet and they will also have patches otherwise. So that is it. Now we'll wait for this entire space to dry out, then move to the snow area. So now you can see the textures that have come in because of the simple blooms that we gave in. Now moving on to the first layer of the snow bed. So for the first layer, I will just go ahead with a layer of water onto the entire space. So paint both the snow bed spaces together for the first layer. And you can either pick up the same aquamarine mist color with just water or a little bit of the cobalt blue or the ultramarine blue, and we just need a wash of the color. So I'm picking up a mix of the ultramarine along with a little bit of the aquamarine mist because my sky I had used in the acumarne mist color. So you just need like, you know, layer of water with just the hint of pigment. So now I'm just picking up a little tamarin towards the top bed space. Now, while the top bed is wet, I will just go ahead creating little depth by giving in some darker hints of the ultramarine blue. Okay. Now we'll wait for this to dry, then paint this second bed layer again and then go ahead with the tree details. So now this thing is completely dried and I will go with the same color. That's the ultramarine blue and a little hint of the acamarin mist and go ahead with the second layer of the snow here. Now, this is actually very dark at the moment, so I will quickly pick up water and lighten this up in the entire space. I just need simple hint of the color to distinguish the bed space, but I will quickly just go with the dapping technique. This will automatically create in some snowy textures and the lighter hints so now you see you have two layers of the snow bed that is being formed with just a simple layer, and then quickly dabbing it all in. So that is about how we just painted a quick second layer. Now it's time to go ahead and add in all of the tree details. For that, I will begin in with the indigo color first, not in a too dark consistency, or medium tone consistency, and going ahead with a pointed tip brush, I will just begin adding in some details of some dried kind of branches in the background first. So these background details that I'm adding in will be very little and delicate ones because we are not going to add much in the background here. And it's not necessary to add them throughout the horizon line. You can just add in a few randomly here and there. But make sure they are very light because they are far off, so they're not visible in that bold consistency that we'll be adding in the foreground. So you will see I'm just going with very random strokes and creating in some simple highlights into the background trees that we've added in. Again, if you anywhere feel that the colors are coming out dark, you can just simply just use the dabbing technique and create in the lighter effect. So these are very little details that we'll be adding in the background. If you notice, I've gone ahead with very random details throughout nowhere or specific pattern that I've followed. Okay, so that is it for the details on the horizon line. Now let's go ahead with our main tree first. For that, I will begin in with the Pain's gray color in a bold, dark consistency. Now, for the foliage effect, I will first begin in with the ultramarine blue color. You can begin in with any lighter blue colour that will act in as your little snow collected foliage detail. So go ahead and paint your tree with patience and you can go ahead with a simple tree if you don't want to go ahead with such a detailed foliage detail. It's not necessary to follow the same silhouette. I'm pulling out branches first from the main pains gray branch stem that we added. And then from these branches, I'm pulling out small, small foliage detail, giving in the depth and a detailed pine tree here. And you can see the ultramarine blue color is acting in as little snow and the snow is of this color because of the skylight color or reflection that's falling onto the snow. And then we'll just add in some darker shadow effects with the pains gray color into this foliage as well. And at the top, we began in with the smaller length of the foliage and moving down, you see, I'm just increasing the length of the foilage. Now. On this street self first, I will pick up a little hint of the indigo color and drop in some darker values from the center space into the ultramarine blue color foliage that we've added. So I'm just dropping in the center closer to the main stem, and you will see the color is automatically moving into the branches of the ultramarine blue that we've added and giving in the darkness in the center and the light variations of the foliage on the edges. All right. Now I'll just pick up a little of a darker tone, and we'll just be adding in some simple dried branch effects as well. So we'll go ahead and add those. Make sure these details are very fine, delicate into our winter landscape. Same way here as well. Pulling out some fine branches from these. Now, we'll just go ahead with a few more of these dried branch details. Be careful about one thing that is to vary the lengths of these throughout and not keep them of the same length everywhere. Okay, we've given in some dry details there as well. Now here, I will just go ahead with another small pine tree. But into this, the foliage as well, I will be adding very less limited. So for that, I'm going to go ahead with the ultramarine blue. You see, very simple foliage, leaving gaps in between that I've added for this one. And now, while this space is wet, pick up the darker hint, either a indigo or pains gray, just drop little darker values in the center. Now, lastly, into the snow space here somewhere, I'll just go ahead with some simple branches and simple grass strokes. Very little and with a damp brush, I will just blend them into the piece of the snow giving in that softness effect as well. And using the indigo, I will just create little texture into the snow space as well. Again, when you need lighter ones, you can quickly dab them in as well. You see, simple textures that are coming in. Again, if you're going ahead with this dabbing method, be careful of one thing that the cloth or the tissue that you use for dabbing is clean. My cloth may look with a lot of stain of the pigments, but it is washed thoroughly. So those pigments have quite like, become a permanent one onto this cloth towel that I'm using. So that is the reason. The paints are not coming onto the paper, but they are there onto the paper the cloth, basically that I'm using to clean my brush or use for dabbing. So almost after every two to three paintings, I wash my cloth and keep it for drying. So that is the reason it's a non staining one here. Does giving some darker ones? All right, so that is it. We are ready with our painting. I hope you guys enjoyed painting this spina landscape with me today. I loved how the tree details have turned out. If you want, you can even add little white gouache highlights on top of these two main pine trees. But I will leave it here because I'm not giving a snowfall effect, so I don't want to show a lot of snow onto the trees for now. But in case if you wish to, that's another tip that you can follow. Thank you so much for joining me into this unwinding with Watercolurs class, and I'll see you guys into the next painting. And if you're painting along, make sure to upload them into the project section so that we can cheer up each other onto each paintings. Thank you once again for joining in. H 10. Day 8 - Northern Lights: Hello, everyone. Welcome back to Day eight of the 30 days of unwinding challenge with watercolors. And today, we are going to be creating in the simple easy Northern Lights with simple sil heat, as you can see, and we are going to be playing along with the flow of pigment and water and creating very much natural blends and this flow in the Northern Lights. Before I move more into the details of the techniques, let me quickly show you the colors that I will be using. So the first color is going to be this cadmium light green color. Now if you do not have this color, you can choose to use yellow color or you can mix in yellow along with green and get this pastel green color. Next color is going to be the cobalt green color that I will be using. Now, in case if you do not have a cobalt green color, you can create a mix of the cobalt green. I will quickly show you the mix as well. Before that, the next color that you would be needing is indigo. Into the Northern sky. And lastly, for the dry brush texture and the mountains you would be needing in the pain's gray color. So these are the four colors that you need for today's class project, and then of course, you need the white gouache for adding in the platters into the Northern sky. Now, let me quickly show you a mix to the Coval green color. You can begin in with any green and blue in your palette. All you will have to be doing is adjusting the ratio of the green blue along with the help of white quash. So cobalt green, as you see, is a beautiful pastel color, which is completely, as you can see, a good opaque color covering up the whiteness of the paper. So I will begin, say, with the sap green color in my palette. All right, I'm beginning in with the sap creen color, which is a very common color in most of the palettes. And next to this, I will begin in with the cerulin blue color, which is, again, a very common color in most of the palettes. You can see just by mixing in the satrene and the cerulin blue, we've almost come in to equal color of the cobalcrene that we are working with. Now, just that you need it in a pastal consistency along with the opacity to build in. So I will add in white gouache to the same. Let's just pick up a little more of the colors. I'm picking up the Cerlean blue along with green and white. If you have a ready turquoise blue, you can choose to go ahead with the turquoise blue color mixed in with white or a turquoise green mixed in with white. You see, as I told you, you will have to keep on adjusting a little bit of the ratios of the green and the blue. And then with the help of white, we get a similar looking cobal green color. You can just add in more white to create it in for the lighter consistency. I will just go ahead, add in a little more white. We've got a beautiful pastel cobal green color. When I watch it close, you can see it's almost the same color. So you can form this color with your basic colors in the palette. As I always tell you, you don't always need all the colors readily. Same way for this, as I told you, you can mix in yellow along with sap green and take help of white to create in the opacity. Whitequah does the job better instead of white watercolors. So this is about the colors that you need. We'll be going ahead with the flow of water into the sky and creating in this entire Northern sky lightning effect with the help of water and brushes. And then we'll be adding in the dry brush texture onto this snow caped mountain and creating in mini pine trees on top of it. So let's begin creating in this together now. So let's begin with our Northern Light painting for today's class project, beginning in with wetting the back of the paper. For the Northern Lights, as discussed the colors that you will need is a medium yellowish green color or greenish yellow, cobalt green deco. If you don't have a cobalt green, I've already shared the color mix that you can go ahead with and moving ahead for the mountain space, we'll be creating in the details. The Northern Lights is majorly going to be the wet on wet flow of the colors that will happen in. I will just mark out a rough mountain space at the bottom. So moving from the bottom, left, towards the top, right, giving in very curvy, uneven shape to the mountain. All right. And the top is going to be non sky. Let's go ahead. For the Northern Lights, it's very important the layer of water that you add into the sky because it's going to be a play of water and paints. And if you are going ahead with the taping down method of the edges, make sure you tape it down on a movable surface that will help you get the flow of the colors and create in that natural Northern light. First, beginning in with the cadmium green light color, which is a beautiful pastel green. If a little of the paints move into the mountain space, it's perfectly okay because the mountain is going to have the major dark highlights. Now moving to the cobalt green color. You see, giving in flow to the color. For the Northern Lights to dry out vibrant and, you know, very glowy, you need to make sure your paints are really vibrant enough, the layers that you add in, moving to the indigo, You see, I've not blended them because I will do the natural blend of the colors. I don't want to make my brush to the magic. I want the paints and the water to do its magic. So I've laid down the colors. Now I will go with the same layer of colors again. First is the yellow, the cobalt green. And here also, again, the light color. Thank you. Again, the hint of indigo. Now, I will just begin tilting my board, and you will see the magic of watercolors. But you need to keep it tilting in all directions quickly and swiftly, otherwise, in one direction, if you leave it, it may create a very uneven blind. Now moving from the top, giving in these flow here. Now I will just pick up little indigo color. I wanted to flow towards the downside here. See the excess water pigment all coming out. Now, this space blends have turned out triol pretty for now. But this side, I will just go ahead with the darker values of the cobalt green. Layering it over the indigo as well. Now, here, I do not want to mess up with this lighter green value, so just clean my brush and running over Now, just going with some natural strokes into the sky with the cobalt green color majorly. You see, these simple strokes that will beautifully create in the textures. Now, one thing that I'm going to be doing is I will quickly pick up my fan brush in a driveway and just pull out little strokes from this cobal green colour moving towards the top space. Make sure after that you clean your brush before you use it anywhere else. Adding in little highlights of the lighter green again. Same way for the indigo as well. Just going to pull out. Now, after pulling out this, again, at the top, I don't want those sharp lines going ahead with a bold layer of indigo. And just to make sure everything is seamlessly blended, just some soft strokes again. So this side, I want majorly very lighter effects. Just dropping little indigo highlights from the back here. You see? A simple technique of a fan brush creating in those strokes into the Northern Lights. Thank you. Just going ahead with some more bold indigo. Again, till the time you are not done with the layer of paints. Make sure you keep tilting in direction so that the soft blend still keeps happening. Just a final run through over the indigo. Just pick up a little of the cobalt green colour under the indigo. I am quite satisfied with how the blends have happened here. Just once again, a little run with the fanbush oh All right. Now I will wait for this to dry. I don't want to overdo it, and then we'll move to the mountain space. So now everything is completely dried, and what I'm going to do is I will just pick up a very light layer of the cobalt green color and add it into this mountain space. So this lighter value will act in as the snow space, and then we'll just go ahead with the darker details using in the browns and the pain's gray color. So this is kind of the snow wash that we've given in here. If you want at spots, just go ahead with some indigo highlights as well. All right. Now we'll again, wait for this snow layer to dry completely. And then we'll just add in the other details. Just giving in little more darker depth so that these dry out, you know, perfectly. Now, by the time this is drying out, let's pick up some white quash, and we'll go ahead and add in the snow details or the star details into this Northern sky. I'm just going to pick up a good bowl layer of the white quash. And I will begin splattering it from the little distant. Oh. All right, that is it. Now a few things to keep in mind. If you want, you can cover up the nearby space because you can see the splatters move everywhere around. Make sure to use a whiteqh or a white relic. Only then you will get in these bold and opaque stars. Once they dry out, white watercolors will dry out dull and will not give you that opaque look. Another thing to keep in mind is add these before you go adding in the details of the mountain space because otherwise the splatters will go in here and it would be difficult for you to control. Now we'll wait for everything to dry out and then add the final details. So now everything is completely dried. The snow area is also tried out, and we are going to go ahead with the details in the mountain. So for the mountain, I'm going to begin in with the pains gray color. You can even use little hints of the wendic brown or a tuck up brown. So I'm beginning in with the pains gray and beginning at the top, defining the outline. So now what we are going to be basically doing is major of the mountain will be covered up with this huge or, like, a huge rock and a mountain detail with the darker hint. And in between, we will leave in the gaps so that these lighter snow spaces show up naturally. And you see I'm going ahead with a very natural rough outline for the top of the mountain. Now at Tuten spots just going to define some peaks. Now, as we keep on moving downwards, we are going to go ahead and fill the space, but in between, we will naturally randomly leave in some gaps like these. You see this will act in as the snow space there. See, I'm naturally leaving in some random white caps in between. So these will act in as the snow collected on top of the mountain. Now moving downwards here, I will first go with some loose dry brush strokes. Now again, going with this darker color only. So you can naturally select any random spaces for the snow. You see I'm going very unintentionally just moving across, leaving in the lighter values of the Coval green and the indigo highlights that we lived in as the snow space. So you will see I went ahead with the dry brush texture, and now just adding in simple random patches of the color, letting my brush dance as it wants to. There's no specific or a fixed pattern to follow that I'm leaving major of the bottom space as the snow and at the top, I've covered it all up. Just defining the outline much better. You see, as random, you will keep the top of the mountain. It will look more realistic. Okay. Almost through the details on the mountain. You see very randomly now, just so that to make everything look well connected, going to go ahead with little textures and some darker values on the snow spaces as well. So as I told for this space, there is no specific pattern or a specific way to follow along. You can go with whatever instinct you feel like wherever you want to leave the snow spaces, wherever you want to add in the mountain look. And now, lastly, I will just pick up my pointed tip brush and using the paint's gray color itself in a good bold consistency, I will just drop some small tree like structures here. Not everywhere, in some spaces. Okay. Just some little details, adding to more of the So that is it. We are ready with our Northern Light painting for today's class project. I hope you guys enjoyed painting this. The main technique here was painting in the sky. The details in the mountain were easy or wash off the snow and then just some simple details with the pains grey color. You could even go vice versa. That is, you could have added in a complete layer of the paint screen the entire mountain space and then used in white quash to give in some dry brush snow detail anyway that you prefer, right. So I hope you guys enjoyed painting this simple Northern sky with me today. I will see you guys into the next painting of this unwinding watercolor challenge. Thank you so much for joining me into today's class. 11. Day 9 - The Palms: Hello, everyone. Welcome back to Day nine of the 30 days of unwinding with watercolor. And today we are going to be creating in this simple landscape with the palm tree views. Let's go ahead with the colors that you need for today's class project. It's a pretty minimal color painting that we are going to be going ahead with. So the first color that you need is a red tone. I'm going to be using in this permanent red color. It's a beautiful bright red, as you can see. Next up for the blue, I'm going to be mixing in the Cerleen blue along with a little bit of the pains gray. So these are the two colors that I will be mixing in. So you see the Cerle blue and the pains gray. Now I'll show you a mix of these two colors, what we are going to be actually using in. So this is the color, a bluish gray color that we will be using in different tonal consistencies to create in the cloud details. Now, if you do not have a paints gray, you can add a little hint of black, or you can directly choose to use the Prussian blue color with a little bit of the black for the darker hints. So this is the Prussian blue color. But I'm going to be mixing in these two colors here, which is the mix of the Pains gray and the cillin blue, and I will be using it in different tonal variations. And then you would be needing the pains gray color as it is for the silhouette details. For that, I will be using the pains gray color in the bold consistency for the bottom and the palm trees, and then white uh for the moon. So this is about the colors that you need. As I told you, a very minimal color project. We'll be going ahead first with the red bright spaces into the sky, moving on to a lighter mix of these two colors and then darkening the colors as we begin adding in the cloud details. And then once everything dries out, we move on to the silhouette part and then the moon. So this is about how this class project will be flowing. I've already shared the alternate color mixes that you can follow. If you do not have a Pains gray, you can take help of a bit of black. Or if you want, you can choose directly to use a Prussian blue. And then you can take help of Indigo for darker highlights or take help of pains gray to darken up your Prussian blue for the darker highlights. That's about the colors that you need for today's class project, very simple, very minimal. So let's begin creating in this painting together now. So let's begin with our painting now. I'll begin with the wetting of the paper on the backside. I'm going ahead with a layer of clean water. Now, in the front side, I'm not going ahead with any pencil sketch. We'll directly begin in with the layer of paints because the silhouet is all going to be with the black color as it is. So just let's go ahead with a clean layer of water and paint a beautiful bold, fierce sky. Oh. Make sure you have an even layer of water throughout. First, beginning in with the permanent red color. You can go ahead with scarlet, permanent red, any other red tone that's in your palette. Now for the top space, I'm going to be mixing in the Cerlean blue, along with the pain's gray color and get a good grayish blue color. Right now I will just darken up the top of the sky with some cloud strokes using the same colour mix of the pains gray and the Cerlean blue, mixing in more of the pains gray now to darken up the color at the top. On the go, adding in some clouds over the red spots. Now going to pick up the red color again and just going to give in more bold strokes. Whenever I want smaller highlights, I just use the tip like this keeping my brush at an angle, and easily, even with a picker size brush, I can just add in the bold strokes. And now, lastly, picking up the mix of the paints gray and the blue, I will just create little cloud details at the base here on the red colour. So for this, I will just keep another damp brush in my hand and just keep blending things out, softening it up. M See, using the tip, dropping in some paints to act in as soft clouds and water control is very important when you do this because if you will have excess water, they will not retain the shape in which you add them and you want these clouds to retain the shape in which you're adding them, yet have that soft blend into the sky. Now I will just pick up a little darker tint and you can either use an indigo as well for this and just add in some more darker highlights into this wet on wet. Again, water control will play a very pivotal role. See very little pigment that I'm dropping in here, giving in the darker values. And lastly, just going to pick up the red color and just give in some darker values closer to these cloud spaces, giving in some darkness of the red color as well into the clouds, overlapping over the blue clouds that we added in. Very gently, run your brush. Don't apply much of the pressure. Let the colors blend naturally. See? I want them to be well blended into the red color. So just running very gently I'm even overlapping over the blue spaces, if you notice. So that is creating a good violet color as well, but giving in the soft blend of the clouds over the red as well. Alright, so that is it for our sky. We'll wait for it to dry. Then go ahead with the iluhd space. So now my sky is completely dry, and we are going to begin with the silhouette part. So for the silhouet, let's go ahead with the pains gray color. You can use black, neutral black, or a little mix of the blacks and the browns to give in a little more depth. I will just go ahead first with a layer of bold pains gray color. Just adding more darker values, filling this entire space up. Remember, watercolors dry or tone lighter. So you pick up a tone taker so that after drying also it has that bold effect. Now on the entire top space, moving on to a smaller size brush, we are going to go ahead with some bush and some loose palm trees. So picking up the colour in a bold consistency, I will first go ahead and add in the palm trees. You see, giving in a very natural shape to the bark of the tree. And now for the foliage, just going to be pulling out very fine strokes. You don't really need a lot of definition or details to these leaves of the palm trees. You can just go ahead with loose strokes. All right. Same way, we are going to be going ahead, adding in a few more. As I told you, for adding the foliage effect, you can just go loose and easy. Adding another one here. And the foliage of this, I will give it overlapping to this huge tree on the left. See we're creating very quick trees, not much details and nothing, you know, a detailed technique or anything to follow along. And one last pine tree that I will be adding in now. Sorry, the palm trees. Now, if you want anywhere, you can just redo any of the foliage if you want to just pull out any more details. And now onto the rest of the horizon line space going ahead with the same dark color paints gray, I will just create in some simple bush detail. So you see at the top, I'm just dabbing my brush in random shapes and filling it up. In between, you will see fine gaps that is showing the back of the sky. That's the beauty of the grass that you add in. There's some small far off trees in between. Some grass strokes. Now, in between here, I will just pull out some simple leaves. So you see, we are giving the entire ground a beautiful blend and detail. From this left edge, you're just pulling out some loose leaves coming in from the left end. See? Just pulling out simple strokes and then dabbing in the tip of my brush. Se simple details adding in so much of the delicacy to the painting. And now, lastly, we will just pick up some white quash and add a small moon into our painting. So now using the fresh white quash in a good fool consistency, I will just add a small moon at the top of the sky here. Make sure for this you use the whitewash in a good bold consistency. Otherwise, you will not get the opaque effect to the moon. All right. So here's a final look at our painting from today's class project, a simple landscape with the palm tree silhouettes. And the palm trees also that we added were quite quick in the easy ones, and we used other silhouettes on the rest of the bush and the silohat space. I hope you guys enjoyed painting this minimal colour palette project with me today. I will see you guys into the next painting of this series. Thank you so much for joining me into this class and painting along with me. 12. Day 10 - The Orange Sunset: Hello, everyone. Welcome back to day ten of the 30 days of unwinding with watercolor. And today, we are going to go ahead this landscape painting. This is one of my favorite from this 30 day challenge. You'll see the warmth of the orange, the calmness of the violet, a simple mountain space, a simple moving water wet on wet effect. That is how this class project is, you know, going to flow. So let's begin in determining the colors. As you can see, the bright orange into the sky. I'm going to begin in with the orange color. This is a clear orange color that I will be using. Next up, as you can see the violet tone, I will be using the bright clear violet color. And then to this same color, I'm going to be mixing in a little bit of the Prussian blue. So it's going to be a mix of the blue and the Prussian blue and the bright clear violet in almost equal consistency. I will just draw a swat of that color. You see, for the darker values to get that little blue hint, I will be mixing in Prussian blue to the same bright, clear violet to add in the cloud details, the darker highlights. You see the glow we're maintaining here for the moon. And the water is going to be a reflection of the sky. So same three colors we'll be using in the water as well. These are the three colors that you will be needing. One is the orange. Second one is a bright clear violet, and third is a mix of the Plucian blue along with the violet. Now next coming up to the mountain range, you see on the mountain as well, we are going to show the little light effect of the moon falling here. So basically the moonlight falling into the sky and then coming onto the mountain, that's what we are going to be doing. So first up to maintain little brighter spot, I'm going to use this Pettersburg ocher color, which is a pastel color. Now, in case if you do not have this ready color, just go ahead with a little bit of yellow ocher with a lot of white, and you'll get this yellowish brown color. It's like a beige color or an off white color, you can call it. So that's the Petersburg ocher that I will be using. Next up, I'm going to go ahead with some orange highlights here, as you can see in the mountain as well. And then next, I'm going to be using in the shades of brown. So first up, I will be using this light red color and then the ndic brown color. And lastly, the paints gray color for adding in the darker values and the dry brush texture. You can see the dry brush texture, the darker values at the bottom and top and on this side as well. So these are the colors that you will be ding in first for the sky, we'll begin with these three colors, orange violet and the Prussian blue, build in the sky, wet on wet. Then we'll be going ahead into the seascape as well, which is going to be a wet on wet. Water control will play a major role. You can see we've got the wet waves effect coming in, but they all have a soft blended look because of the water control. And also, we are going to be using the same three colors as we used into the sky. For the mountain, we'll begin with the highlights of the Petersburg ocher and the orange color, then move to the light red color and the vende crown color. And while everything is still wet, we'll take help of the pain's gray color and build the darker edges on the spots. And then once everything dries out, we given that little dry brush texture that you can see. Even a little adds a lot of character to your mountain. And then a simple glowing moon effect that we'll be adding. So that's about this class project, the colors, the flow, and the process. You just need to keep a few things in mind. Orange and violet mixed together creates muddy tones. So blending of this, you have to go very carefully so that you do not get any muddy tones and to maintain the glowing effect into the mountain. With that, let's begin creating in this painting now. So let's begin with the pencil sketch first. I will just mark the horizon line a little below the center line, and on top here we'll be having a huge rocky mountain. Right? Just trying to give it a rough outline. Again, a small mountain space here. The top will be a sky, the bottom will be the sea and these small details, and then we'll add a small slot highlight of the boat here if needed. We'll be beginning in with the sky first and the sea as well with the wet on wet layers. And in the sea as well, we'll just be adding in some wet on wet details for the waves. Our main detail and time consuming part for this painting, we'll be creating the details on the rocky mountain. So beginning in by wetting the back of my paper first, Now, I will go ahead with a layer of water into the entire sky space. If a little of the colors go into the mountain, it's okay, but try to avoid as much as possible. For the sky this time, we are going ahead with a beautiful violet and orange blend of the sky. For that, I'm picking up the bright clear violet from my palette, beginning at the top. Almost till the half of the sky we are going to be having in this violet color. And a little from behind this mountain space here, I want the violet highlight. To this, I will pick up a little bit of the Prussian blue colour and blend in with the violet. And run on top of it so that it gives that little bluish hint as well. Now, into the rest of the sky space, I'm going to be going ahead with the orange color. I'm picking up the orange from my palette, beginning from close to the horizon line. Now remember, orange and violet when mixed together will give you a muddy tone. Till the meeting point, I'm taking this orange color, and for blending, I will just pick up a little hint of pink and lay here so that the transition looks smooth. See? It just makes your transition easy. Now, picking up the violet, moving on the top, again, giving in some darker values from behind the mountain towards the left. I picked up the violet shadow color, which was just near my bright, clear violet by mistake. I will quickly lift up that violet shadow and lay it over with the violet color again. Now, again, picking up a mix of the violet and the Prussian blue color, I will just create some highlights. Now, over the orange just closer to the horizon line, I want to give in little details of this color mix of the blue and the violet, very little cloud highlights. Be very careful and lay this color gently because if you will apply in a lot of pressure, this color may become muddy, so you need to lay it with a very soft, gentle brush. So just as I told you, very little cloud kind of a highlight. Now I will pick up the orange again. Make sure if you're using the same brush, you clean it first because if you lift up the orange with a purple color brush, it will give you those muddy strokes. Uh, very gently getting in some strokes over the violet with the orange. You see I'm moving diagonal towards the center, creating in that little blend. But again, I've tried to make sure that we don't get in any muddy tones. So my brush strokes have been very gentle and soft. That is for our sky. Now our water area is going to be a reflection of the sky colors only. I will just go ahead and paint in the water space now. Going ahead with a layer of water, picking up the orange first. And then the same violet and blue mix. Closer to the horizon line, be careful such that you don't run into the sky or you can wait for your sky to first dry completely and then go ahead with these details. Now onto the orange also, you will see I'm gently laying down some violet strokes, giving in the water movement and wet on wet wave details. So we started with a center orange space and then just went ahead with the violet color. Water control in which plays a very important role because if you will have excess water while laying the strokes over the orange space, they will spread out completely and create a muddy tone. Your brush strokes need to be gentle, smooth, very delicate, you see. I'm keeping my hand very loose, and, um giving these strokes very quickly and swift or not applying much pressure or pressing the brush much, just giving a smooth glide. Now using a little darker hint, giving in some darker waves at the bottom. As I told you, we are not going to be adding much details in the waves. It's going to be quick, wet on wet. Mixed in a little bit of the paints gray to the same blue and violet mix. See closer to the horizon line, the violet color that has moved into the sky is blending with the cloud of my sky, so that's perfectly okay. You see, wet on wet only we worked onto the water space, giving in some wet on wet waves in a controlled manner so that we have complete control over the flow of the waves. And that is for the wet on wet details. Now we'll wait for all of this to dry then move to the mountain spaces. So now my sky and the sea both are completely dried. So we'll begin with the first layer into the mountain or the rock because after that, we will have to be going ahead, adding in some wet and dry details for which we'll have to wait for the space to dry out. So I'm beginning in with the Pettersburg ocher, which is a very light pastel sand color. You can just go ahead and use in yellow ocher mixed in with white, or you can create a lighter sand color by mixing in brown, yellow and white quash. Now, next, I'm just going to first go ahead, lay in some browns. Major details of the rock will be once this space dries out, we'll be giving in the dry brush texture. For now, just going to go ahead, form in a beautiful outline and bold detail into this rock space. Now at the top here, you will notice I'm trying to give it a rocky outline. And So here, I've maintained little glowing spot to show the effect of this glowing sun sky space falling in here. Of course, on top of that, we'll be adding in some darker textures and details later on. But for now, just maintaining that little glowing spot for the reflection of the sky falling onto the mountain as well. Now onto the horizon line, going ahead, defining it. When? Make sure you're using this brown color in a very dark bold consistency so that you don't see the whiteness of the paper, and even after drying out, it dries out bold and opaque. You see, I'm just giving it such an uneven outline, creating these bumps onto the mountains. Here, also, I've just gotten little color moving onto the lighter spaces, but very controlled way. You see they are not spreading. They are yet letting the highlighting spots be there. O h now I will pick up a little bit of the pain's gray color and just add in some darker values at the base. See, I'm just dropping in the color wet on wet onto the brown. So automatically, somewhere it will create the darker patches and somewhere the lighter brown shades will be visible. While going ahead with this gray color also, the entire thing will depend on how much water control you have onto your brush because if you will have excess water, it will cover up the entire space and you will lose the brown areas. So it's important to have water control when working wet on wet with watercolors. Same way on the edge at the left here, just dropping in some darker hints. Alright. You see, with every stroke, if your mountains will get defined much better at the top, let it be as much crooked and natural as possible and just maintaining these little highlighting spots to show the reflection of the sky colours. And onto this side here, we had a small little bumpy bush or a mountain rock kind of spot. So just adding that For this, I'm directly using in the paint's gray color only. So this has defined our horizon line as well and given in the detail. Now we'll have to wait for the mountain to dry and then go ahead with the dry brush texture. By then I will pick up some fresh white uh and just add in a small moon. For that, shifting into a smaller size round brush, picking up fresh white uh without water so that we get in a bold look. And I'm going to add in the moonlight also towards the right side. So the moonlight is reflecting into the sky and from the sky, it's reflecting onto the mountain. So I'm first adding in a small space, and using in a damp brush, I will blend this into the background and create a dull glowing space for the moon. You see, using a damp brush and running on the edges, giving in the blends into the sky. Make sure the edges are very well blended into the base. So just running on the edge so that it has a soft inscribed look into the sky. And once this spot dries out, just pick up some fresh white gosh and just add to the center of it, which will create the moon. So you see now you have the moon and the moonlight surrounding the moon. Now we'll wait for this mountain to dry and then add the dry brush detail for our final painting. Is now you can see the mountain space is completely dry and I will pick up some pains gray color and add in some die brush texture now. Not much, just little texture details that we'll be adding. For that, pick up the pains green a bold consistency, dab all of the excess pigment and water gently, and just begin slowly creating in some textures. You may feel that this space is already dark. How will the darker colors still be visible? But if you pick up the pains green a good bold consistency, you will get in some textures and that's exactly what we need in. You see on the lighter spaces, how the texture is beautifully adding in and the highlighting spots are being maintained in such a beautiful manner. Make sure when you're adding this on top of the spaces where the highlighting spots are there, you go in very gently and not add a lot of bold strokes there, go in very gently so that you maintain that glowing spot. Now at the bottom here, I'm giving in bigger patches of the pains gray to define in as the darker spots. So picking up bold layer of the pains gray, adding in here. You see the texture, the details are adding in so much character to the mountain. Now, I will just pick up a little hint of the Pettersburg hawker. Now, Petersburg Hawker is a pastel tone, so it's opaque color. And with this opaque color, I will just create a few highlights. And you see I'm dabbing it in so that it looks blended into the mountain space. You see just some highlighting spots that I'm adding in. This is adding so much more depth to the painting. Now, make sure for this you pick up either a pastel color like the Petersburg co or mix in white quash to create such a pastel color so that it, you know, is visible even on the darker paints gray tones that we've used. And just some highlights. Right? And that is it. We are ready with our painting. So here's a final painting from today's class project. As I told you, the difficult part would be just getting in the details and the color tones on the mountain. We have the sky color and the moonlight reflection coming on the mountain, a little texture with the dry brush technique, and simple wet on wet waves detail into the water space and a simple sky. I hope you guys enjoyed painting this. If you're liking this class, make sure to drop a review so that it can help me and others also understand what's going up in the class. Thank you so much for joining me into this class and painting along with me. I will see you guys into the next painting. 13. Day 11 - Cityview: Hello, everyone. Welcome back to day 11 after 30 days of unwinding with Watercolor challenge. And for today's class project, we are going to be creating in this simple cityscape view with the wire lines and the Power pole details. First, moving to the sky, the colors that you will need. You can see it's a pretty beautiful pastel and then, um or, you know, bluish violet sunset. First up, we are going to be using in the pastel yellow color. By now, you already know the yellow in my palette is a beautiful pastel palette, which is naples yellow. Then we'll use the orange color for some warm highlights. Moving on to the pink, I will be using the permanent rose color from Winsor Newton. If you do not have the permanent rose, you can simply go ahead, use in scarlet, carmine or any other shade of pink in your palette. Up next at the top in the sky, we are going to go ahead with the bright clear violet, along with which I will be mixing in the Prussian blue color to get the bluish violet highlights. So here it's going to be a mix of the two colors, and the same mix I will be using for adding in the cloud details at the bottom. At the base here, the foliage and the busch effect that you see is a mix of different tones of greens for which I will be using in the sap green, with the help of Pains gray, I will be darkening up the colors. And alternatively, one thing that I usually do is when I want to mix in darker greens, you would usually see on my palette, there is a lot of pains gray, indigo, blues, which are on my palette. So I don't think much. I just mix in my greens with this leftover indigo. So then also I get a darker green highlight. If there is brown, I mix it with brown, so I get that brownish green or the tone. So there's no specific dark green process that I follow of mixing of color. Usually go with whatever color is already on my palette so that I don't have to waste that excess color on my palette already and use that itself. Coming to the other details of this painting, we're going to use the whitewash to add a small moon at the top here. Now, for this class project, you are going to be needing either some technical pen or waterproof marker. So say, I'm going to be using in this technical pen. So it comes of different brands, UIBal microman many different brands available. You can use any technical pen if you are following the same process, which has to be waterproof, which is a very, very, very important thing. So what we are going to be doing for this painting is we'll first build in our silhouet with the help of a pen. So you see these crisp lines which have come in, and all of the details, the silhouette details so crisp and delicate. It's because I've used a technical pen along with the help of a ruler and created in these details out here. So we are going to first build this detail and then paint the sky. So that is the reason if you're following this process, it is very important for you to have a technical pen. Only and only then will you get the effect same because if it is not a waterproof pen, then the black ink will begin to spread out and will create a mess into your painting. So only and only if you are having a waterproof pen, then follow the same process that I'll be doing in the next minute. Or else, what you can do is first paint the entire sky, then use a simple paints gray or black color to paint in this silhouette with the brush itself. But you see with the pen, you can use different size nips. I have used 0.1, 0.3, 0.5 and got in these fine details altogether. So that is about the color palette and the simple process that we are going to be following. Now, let's begin painting this together. So let's begin in with our painting for today's class project. Before beginning to wet the back of the paper, I'm going to be giving in some details with this um black permanent pen first. Now, make sure if you're using a permanent pen like this, you are using a waterproof one. So I'm going to begin a little reverse this time. So what I'm going to be doing is I'll be adding in the silhouette detail first with a waterproof black pen. In case if you do not have a waterproof pen, make sure you don't go ahead with these details before your final painting because then these ink may spread out. But since I have a waterproof pen, I'm first marking out the outline to the silhouette that we wish to add in later on. So basically, a simple city scape is what we'll be painting in. So just going ahead with a simple sil hit outline. Now I'll go ahead with another one here, which will be smaller. Make sure you're using a waterproof pen because once we go ahead with layers of water and paints, if it is not a waterproof pen, the black ink will spread throughout and create a mess into your painting. So in case if you don't have a waterproof technical pen like this, what you can do is you can skip the silloud part for now. You can paint the entire background first and then go ahead with the regular paints gray or black color and add in these details. So that's the other way that you can follow. Now, this last one far off, Now I will just pick up a smaller size pen along with this, which is the NIP size three. I will just add in some more details. Alright same way here as well. So Now next, I will go ahead add in the power lines connecting all three of these. So first one beginning in from the edge here. For this, make sure you use a very fine tip pen. All right. So first one we've added here. The second one moving from the center spaces. And the last one from here. All right. And another one from this space here moving towards the top here, from the bottom line here, top. Okay, now into this as well, we'll go ahead with some more details. So just adding small tower details, some details into the lines here. You see simple dots to give in those details and the screw detailing all of those. I'll just add a board here. So you see the simple silhouette that I've added, you first begin in with a small semicircle or semi oval actually at the top, add a small circle and at the bottom, just add a little triangle shape to act in as the feathers of the bid. And I'll just add another one here. Okay. Now I will quickly fill in these spaces with a black ink completely like this. You could even do one thing. After marking out the outline, you can leave these spaces blank, paint the entire sky, and then use paints gray or a black color to fill these in. But I will use a technical pen, which is waterproof. Hence I'm going ahead with this technique. It is very, very important to make sure you use a pen with a waterproof ink only then this technique will work out. So filling all of these spaces. You can even choose to fill these spaces after adding in the paints with a pen also. That also works fine, but I chose to go ahead first and fill these spaces. I've just shifted into a bigger size pen so that the process can be a little quicker. Now onto this one as well, I will quickly just add a small bird. Now, this is first closest to our perspective. So the birds that you add onto these lines will be quite fine and smaller ones compared to the size at the top. Alright, so just another two birds here. I fill this also quickly, and we are ready with our silo here. Now let's begin in with our same technique that we have been using so far, beginning to wet the back of the paper first. Okay. Now, let's go ahead with the entire sky. You see the magic of the waterproof ink. There is no bleeding, no black colour moving in anywhere. So gone ahead with a layer of water to paint our entire sky. Beginning in with the colors. I'm going to go ahead with orangish, pinkish sky with little hints of the violet. So first, I'm beginning in with the yellow orange color. Moving on to the pure orange. Next, moving on to the pink tones. I will begin in with the permanent rose color. Now, I want the orange and the yellow highlights to be quite less, so I'm just going to, you know, lay over the pink from the edges and create a blend of these colours as well. Picking up the violet for the top. To this, I will just add in a little hint of the Prussian blue. You can mix in Prussian blue, Cerlee blue. Now, picking up a little hints of the pink again. At the bottom, we'll still be adding in some silhouette with the paints gray. That is some bush and some trees detail. So for now, I'm just going ahead, creating in a simple sunset sky. Now at the top, let's go ahead with a mix of the violet and the blue again, more of violet, less of the blue, and just going to add in some cloudle structures at the top. Now moving to the pink, I'm adding in very small cloud details with a violet, just using in the tip of my brush. Again, the important thing here will be the water control and the wetness of the paper, the water on the paper, all of this will be very important to have a controlled layout of these clouds. You see, I'm just using the tip of my brush and very gently dropping in the pans to form the cloud highlights. Now, picking up a little more of the blue, Just going to be dropping in some mini clouds at the base here as well. You see how even with such a bigger size brush, I'm able to achieve the smaller details by using the brush at a good tilted angle. A huge cloud here. Now, picking up a bit of the indigo to mix in with the same violet mix, and at the top, just going to give in some more darker clouds. So you see the darker color that I'm dropping is at much lesser spaces as compared to the main colors that I dropped in so that we get the color look of each colors. Now, at certain spots here, I'm just overlaying the base colors so as to give these clouds a little subtle and blended effect and blending them into the base. So that is for our sky as well. We'll wait for everything to dry. You can see the black is popping out so bright even despite all the layer of the paints and the water. So that's the important technique that is using a waterproof technical pen to add in these silhouette details before picking the painting. So let's wait for everything to dry and then move further. Now my base of the sky is completely dried and we'll just go ahead with the details of the bush. So for that, I'm first going to be beginning in with a little hint of a dark green mix. So I'm just picking up some sap cream and adding in little hints of indigo to it to get a very dark shadow green kind of a color. You can simply pick up instant dark green if you have one, and we'll just begin in adding in simple details here. I've shifted into my fine tip brush so that I can get in simple details of the bush as well here. If you want, you can directly even use a pains gray color. But at the top, I'm preferring to use in little green highlights, and at the base, I will give in the dark pains gray look so that I get good tonal variations to the foliage detail. Just pulling out some simple leaves. And And again, we'll pick up the pains gray color, fill it at the bottom. Make sure both these colors or even if you're just going ahead with a pains gray color, you use it in a good bold consistency. Just pulling out some detailed leaves using the tip of my brush, you can see the details that have come out. Same way, we are going to go ahead, fill in this bottom space here as well. In between here, I will just go ahead with a loose kind of pine tree. You see, not much of a detailed one, some simple strokes. There's no fixed pattern that I'm following here, just going with my instinct, whatever I wish to add in into a slouhet here. So you can choose the placements of these siloeds as per your wish and feel free to just play along with different iluhed options. H Now across this larger pole, I'm giving in some details that the pole is coming out from in between these bush detail. At the bottom, moving with the paints gray again. Now on this side as well, I will just go ahead add in some detailed leaf kind of structures. Again, these also I'm pulling out very randomly. I'll add up another loose pine tree with very less foliage. No, just trying to vary the lens throughout. Lastly, let's go ahead, add in a quick moon using in the white quash or a white elpin whatever you prefer to use in. I'm using white quash, picking up fresh white quash. Just adding in a crescent moon. So that is it. We are ready with our painting for today's class project, a simple sunset with a simple silhouette, going the reverse method, adding the main silo heead first, and then moving to the layer of water and the paints and all the techniques. And if you noticed, I just use these two brushes for the entire painting, adding in the smaller details or the details into the sky was everything through just one painting or one brush. So sometimes it's good to go ahead, challenge yourself with limited supplies, limited colours and see how things can be used in multiple ways. I hope you guys enjoyed painting this with me. I will see you guys into the next painting of the series. Thank you so much for joining me into this unwinding challenge. I hope you guys are enjoying it well. See you into the next one. 14. Day 12 - The Golden Hour: Ho. Hello, everyone. Welcome back to day 12 of the 30 days of unwinding challenge. Today we are going to be painting this beautiful misty warm sunset. It is by far, one of my another favorite from this 30 days painting that we are painting along. I absolutely love how the glow out here, the warmness in the sky, and then the misty effect, the color tonal variations, light, dark, and the dark silit all of it coming in. I'm absolutely in love with how this painting has turned out, and you can paint this too with me step by step, and believe me, it's very, very, very easy to paint. All you need is a little patience and a little water control to create this easy, simple sunset painting in just under 20 minutes. So let's first go ahead and see the color tones. So as you can see in the sky, the color tones are all warm. So first, I'm going to be using the naples yellow color. Next up, I'm going to be using a color called as Indian gold, which is from the brand white Knights that I'm using. Let me just watch this color for you and show you. So you see this is a beautiful brownish color. It's on the tone of brown, but it is in the shade of orange as well. So you can simply mix in your orange along with burnt sienna to get Indian gold color. This is perfect for painting such warm sunsets. Next up, I'm going to use in a little bit of the orange color as well. Then moving to the bright red color to create this brightness into the sky. And then up next, I'm going to move in to the light red color, which is like a brownish red color. Now, again, if you don't have this color, you can simply mix in red along with your brownish tone. So these two colors, if you see, the Indian gold and the light red, they're almost similar tones, just that this has undertone of orange and this has undertone of red, and both come into the family of browns majorly. Up next, we are going to be using a little bit of the vende brown color as well. And then for the back silhouet, we are going to be working only with one color that's the paints gray color. But we'll be using different tonal variations of this color. So we'll be beginning in with the sky first wet on wet. There will be no pencil sketch that we'll be following. We'll begin with a wet on wet sky. This time we are going to be moving in circular motions and create this beautiful effect. For the sun area, we'll let that space be white while painting. If you want, you can use a masking tape to cover up and create a white circle for the sun. But I'm going to go without the masking tape, maintaining the whiteness of the paper naturally. We'll begin with these shades, moving from light to the darker ones on the edges, building in the sky. While the sky will be around 50% wet, we'll go in with the first layer of the mountains using a light tone consistency of the pains gray color. Water control plays a very important role at this step because if you will have excess water, the pains gray will spread out and will not retain these soft shapes of the pines that we've added. For the next layer here in the background, you can see we'll be going ahead with the next medium tone of pain screy and putting wet on wet, creating a misty background range. And then once everything dries out, we add in the sun detail, wet on dry. You can see it's a bold detail altogether. And then we add in these detailed pine trees using in the pinscrey the darkest consistency once everything dries up. So that's how this class project is going to be flowing along with these colors that we've already listed. I've already shared the alternate mixes, pastel yellow. You already know by now the mix for red. I've shown you the mix for the Indian gold color. Go ahead, mix in orange with the born sienna. You'll get a similar tone. Light red, mix in red and Bn sienna, you'll get a similar tone, or you can even directly use Bern Siena if you don't have a light red color, it's absolutely fine. So these are the colors, and here's the painting that we'll start creating now. So let's begin in with our painting. I will begin in by just wetting the back of the paper. So going ahead with clean layer of water at the back, there is no pencil sketch for this one. We are just going to go ahead with the colors directly. And now moving to the front going ahead with a complete layer of water. Now, in the right side at the top here, you have already seen the painting, we'll be having a sun here. So if you want, you can lay a circular masking tape there and preserve the space white or use masking fluid. I'm later on going to be using in white gouache to create in that spot. I'm not leaving any spaces for now. But of course, while adding in the paints, I'll try to maintain a little lighter highlight around that space. First, pinning in with the naples yellow. So I will maintain a lighter naples yellow space here. Next, I'm moving on to the Indian gold color. Now, this is a beautiful, you know, sunset color which is like an orangish, yellowish tone. You see I'm moving in circular motions into the sky this time to create that glow around the sunspace. Next, moving to the orange color. You see, just around the sun space, I'm trying to maintain that lighter area, and across the space, I'm just going ahead with the colors. Now I will move on to a little reddish color. You see, gently, I'm moving all the colors with each other so as to maintain that softness and the blend and maintaining that glowing space for the sun there. Now, just going with one more layer of the colors so that we get in a good bold sky. Remember what colors dry or tone lighter, so you work first only with dark or bold colors. Now the red is more towards the left side and towards the right side. I will just be a little hinge on the edges. But you see the blending between the red and the orange is a little sharp. So we'll just soften those up. That is the reason you need to keep on moving to and fro with the colors so as to get the blends smooth and right. And on the edge, I will just pick up a little bit of the pains gray and the light red color. So just picking up little pains gray, blending it with the red. And at the bottom, just going ahead with a layer of this color for now. So you see at the top, you've got a good circular flow around the sun space, and then you've maintained in the bottom space. So I've maintained the glowing area for the sun as well, where I'll be adding the details of the sun later on. That is for our simple easy sky. Just lightening up sorry, darkening up this yellow spaces a little with a little hint of the orange. Now, while this thing is still wet, we are going to pick up the pains gray color and going to be adding in some background pine tree details across this space. So for that, going ahead with a layer of this light pains gray color. Now, when you are going ahead with this, a few things to keep in mind, water control on your brush. Your paper shouldn't be extra wet. So if it is too wet, you can wait for a few minutes for your paper to dry out and then go ahead with this detail. Now at the bottom, I'm giving in the layer of the pains gray and blending it all in All right. And at the top of it, I'm going to be giving in some silhouette with the paints gray. So for that now, I will just go ahead with a smaller size brush, pick up the paints gray in the same color consistency, and just add in some loose background soft foliage of pine trees, some simple strokes like these. You see, it's all looking well blended and retaining the shape because my paper is not too wet and also I'm not picking up the paints in an extra wet consistency. In between, you will notice I'm using simple strokes to fill in the spaces as well. Now using a little darker hint, I will just add some values while these things are still wet. Remember, you have to add all of the wet on wet so that the softness is maintained. So you need to be a little quick. Your paper needs to support this entire wet on wet layering to build in this background layer. From here, pulling out a little of the blends into the bottom color so that all of it looks well blended. Okay. So this is a background layer that we've created. Now, in between these, I will just go ahead with some more detailed ones. Oh. So at the base here, just given in a medium tone pains gray layer, not completely use the color in its darkest color tone because we'll still be adding in some more details wet on dry once everything dries out. And at the top here, I'm just going ahead with a very uneven bush layer. Not much of the details to add in. And once everything dries out, we'll be adding in some detailed trees into our sky, which will be wet on dry. So once everything dries out, we'll add in those detail. For now, we'll wait for everything here to dry out and then move further. So now everything is completely dried and I will begin in with the layer for the sun first. So picking up fresh white quash, I will just mark out the first layer so that by the time it dries out and then if we need another layer. So just picking up fresh white quash and just going to go ahead and mark out a small circle here for the sun in the glowing spot that I've maintained. Now, while this layer is still wet, I'm going to pick up the beautiful yellowish orange color picking it up in a good medium bold consistency. And I will just begin adding it from the edge of this white circle such that in the center, we'll blend it and maintain the whiteness. And on the edges, we have the warmth of the sun coming in. And since we've already maintained the glowing space at the back, so we have that beautiful glowing effect, so, if needed, just run with a white in the center and blend things in. And I will pick up a little hint of the Indian gold color and just add it at the bottom end at the top, just giving a very fine outline. Blending it with the yellow. So you can see we've got our beautiful sun space ready in the color of the sky that we have. And we already have a background glow to our sun. Now in the center, I will just add in a little hint of the white again while this is wet and create that little glow. All right. So we have our sunspot ready. Now let's go ahead with the details of the trees at the pace. For that, we are just going to be walking in with the pains gray color. So for this detail now, go ahead, pick up the pains gray in a good pool consistency. And I will begin in with at first. And just using the tip of my brush, going to be adding in simple foliage. You can even use another technique which I will use in for the next tree and show you a simpler way if you don't want to go ahead with this method. I'm pulling out branches and pulling out the small foliage. So just adding in these small details into the tree, giving in the depth All right. Just giving in some small details at the bottom. That is it for the first tree. Now for the next tree, let me show you a quick technique. For that, I will be using in this spilrowd brush from the top here. First, I'll just begin with the pains gray, mark out the main stem for the tree. Now, using in this spoiled round brush, just pick up the paints gray. I haven't dipped my brush in water, directly picking up medium consistency of the paint and just going to go ahead and dab it. Make sure for this you pick up the paint in good bold consistency. You see the dry brush texture that I'm getting, which is creating the foliage effect for the tree. Now on top of it. Now on top of it, I will just go ahead with some detailed one. Going up with another huge one on this side. And we'll just go ahead with some quick foliage. Mm. You see I'm going very randomly and just dabbing in tip of my brush, giving in random detail, pulling out some branches, and giving in some simple foliage detail. So go ahead with a mix of different techniques. There's no specific way to add them. It's on you how much detail you wanted to look and how much loose and crisp you wanted to look. You see, some of the branches I pulled it moving towards the bottom space, not all moving towards the top. Just giving in some dry brush, and that is it for this tree here as well. So this one got a little spoiled because of the wetness at the back. We'll correct it later on once it dries out. By then now we'll just go ahead, add in some loose branches with very less foliage. I see very quick, just random left and right. Another one here. I'm not going with a straight line on purpose to give in the beauty of nature. Just pulling out some dried hands from this. And at the bottommost layer here, just some pine trees. Quick ones. Giving in some loose details. Just going to add in some very fine twig kind of details in between the foliage as well. Another one here, just adding in a simple pine tree, creating in the simple foliage effect. You see, I'm just moving quick left and right, giving in the details, not going ahead with a lot of detail technique, just simple movement of the brush to create in the depth into the painting, and just going to be pulling out simple foiage, creating in all of the details at the pace here. Just pulling out simple details. So We're almost through the painting. I will just pick up a little hint of the green to correct this one, mixing it with the paints gray. I will use the dabbing technique, dab the space so that it's completely dried. Just pulling out simple detailed branch. You see how I could correct this one as well? Because of an extra layer of photo, it had become a little messy, and that is it. We are ready with our painting. So here's our final class project for today's Sunset painting. I love, love, love everything about this class project. Love how the sky has turned out so beautiful, the peeking out sun, the background misty Olos that we've added, and the front detail trees that we added. I hope you guys enjoyed painting this with me. Make sure to keep uploading your class projects if you're painting along so that it can help others to be motivated to try, paint, and share with us. Let's keep the momentum high and see you guys into the next painting of the series. 15. Day 13 - Snow Camping: Hello, everyone. Welcome back to date 13 of the 30 days of unwinding with Watercolor challenge. And for today's class project, we are going to be creating this beautiful, cozy cabin in the winter landscape. So let's go ahead with the colors that you need first. In the sky, you can see it's a beautiful night sky coming in, and the colors that we will be using is going to be Prussian blue. And along with the Prussian blue, I will go ahead with hints of indigo to create some darkness at the top into the sky. And then to add in the cloud highlights, I will be using the violet color. So I will be using the bright clear violet. So these are the three colors we'll be using into the sky, and the same three colors we'll be using to put into the snow space as well, wherein we'll have more of the indigo to show the darker areas of the snow. Coming to the mountain, you can see it's a very small light blue wash mountain with some dry brush texture in the background. And then the pine trees all using in the paints gray color. Coming to the colors of this warm cabin that we'll be painting, first, we'll be beginning in with the yellow color. I'll be using the naples yellow. Then to add in the warmth, I will shift to the orange and the red tones. So I will be using in the orange color from my palette and the payroll red color. Up next to add in more warmth into the cabin, we'll go ahead with the light red color. You can either choose to use the light red color or you can go ahead with the Bn sienna color, whichever you wish to. Up next, we'll be using the vindic brown color to add in some darker values. And lastly, we'll be needing the pain's gray color for the pine trees, for the highlights into the cabin here. So up next last, we'll be using in the pains gray color. I will just watch the Pain's gray color here for you. Okay. So these are the colors that we need into this project. We'll also be using in a little highlight of the pink color. You can either use permanent rose, scarlet, carmine, whichever pink you wish to. The only reason is to just add this little glue highlight into the snow space. So basically, to show the effect of the light from the cabin falling onto the snow area. So because orange and the blues mixed together will directly give you muddy tones. So in order to avoid the muddy tones, we'll be taking help of the pink color so that we can have in the, you know, transition between the pink and the blue and the orange in the snow space going smooth and easy. These footprints will be wet on wet using the indigo color. So we'll begin with the sky first. Wet on wet, then move on to the snow space where we'll be adding the details again, wet on wet. We'll leave the cabin space empty. But while we paint the snow, we'll add the light glow details into the snow as well. Then once everything dries out, we go ahead with the details on the horizon line, the details into the cabin, and simple star and moon detail into our beautiful winter night sky. So that's how this project will be flowing along. It's a little lengthy project because adding the details here will take you time, but it's an easy one to go ahead with. So let's begin creating this together now. We'll begin in with the pencil sketch first, going ahead with a horizon line. On top of it here, we'll be having then pine tree details. At the top, we'll be having in a beautiful night sky. And our main focus of the painting that is here, we'll be having in a small camping tint, wherein we'll be giving in a glowing light effect. Now into the tent, let's mark out some spaces which we have to show in on the dark curves, basically the folds of the tint and, you know, the wires of the tent, basically, which are holding the tent together that need a little dark and definition. So these lines will be of the darker color that is of a black or brown tone. All right, a few here and there to show all of the wires inside the tint that are holding the tent together. And these few fold lines, these one, two, three, these will be of little dark or orange shade. Having these will help you, you know, add the colors also with ease when you just add in. So the main wires will be only like, one, two, three, four, and Sorry, and all of these thin lines will be the folds wherein we'll be giving in the darker depths. In the snow space, here will be showing the light falling in from the tent reflecting onto the snow, and then rest of the snow will be of a lighter color. And this side, I will just give in a small mountain range, snow caped one. So I'll be going with a light layer and then adding in dry brush texture. And here, we'll be having in lots of pine trees coming in. Again, here, I will just give in a small connection to this mountain range, and then we'll just add in little pine trees around this. All right, now turning it to the front. With the Prussian blue color. A bold, beautiful, dark sky. Along with the Prussian blue, I will now pick up a little bit of the indico So the top of my sky is going to be the darkest. Moving down, I'm creating a simple variegated gradient wash. Onto the mountain, we are going to add in the same blue color but maintain the lighter effect only. Basically, the snow is blue colored because it is reflecting the color of the sky and then we'll be adding in the dry brush texture to define the texture on the mountain. Now into the sky, I will just pick up a little bit of the violet color, mix it to the same blue mix here. Running with the mix of the violet and the blue. Now, picking up Russian blue, mixing in a little hint of the violet. And we are going to create in little cloud strokes into the sky. First, I'm just giving in a layer. And now using this color, let's create small cloud details. For this, you need to be sure no excess water onto your brush, no excess pigment. Your paper shouldn't be excessively wet either. Just giving in some simple curves majorly from closer to the mountain space. All right, maintaining the lighter tones in the mountain area, though. If any color seeps in, you can quickly just gently lift it up. From behind the pine trees here, peeking in a little more of the violet highlights. So at the top, you're maintaining in the darkness of the sky and at the bottom, giving in these little violet highlights into arc sky. So that is for our sky. We're ready with our simple easy sky. We'll wait for this to dry completely and then move on to our bottom space. Or rather what I'll do is I'll move and paint the snow space as well so that all of this can dry out together. So I will go ahead with a layer of water. Into the snow area, leaving the tent camping tent space completely blank. That is something that you will have to be careful about, right? And in the rest of the space closer to the horizon line, just be a little careful. If the colors move a little here and there, it's okay because on the entire horizon line we'll be having the pine trees, so that will get covered up. With the mountain dry brush texture, things will get covered up. Now for the snow area as well, I will first begin in with the ultramarine blue color. I picked up the wrong sheade Okay, just going to lift it. Okay. And going ahead with a layer of this Closer to the tent at the bottom, leave the space empty. There we'll be giving in the effect of the lights of the tent coming in. Wet on wet right now itself. So in those spaces now, pick up a hint of the yellow first, add it underneath. Picking up a little bit of the orange. Very careful because closer to the blue, you would not want it. All right. So what you could do is if you are not sure about adding in these colors directly first, you can begin in with first the yellow and the orange tones and then move to the blue tones. I've picked up a little pink laying it closer to the blue so that the blending goes easy because orange, yellow mixed with blue will give you muddy tones. So pink will be like a blending color and given that little violet highlights on the edges, which we already have in the sky, so will be a perfect color for blending. And you see we've just created the glow light effect of the tint that we'll be adding across the entire tint space, running with little more bold colors because after drying, these will look very dull, and we want real bold effect. Picking up some pink. You can go ahead with any pink from your palette, not necessarily to use a bright opera colour. That's right, glowy kind of a pink. That is the reason I'm using that. You can use carmine scarlet. Any other pink in your palette. All right, we've created in the glowing effect. Now we'll again move on with the ultramarine color and add in some darker highlights. Into the snow space. Now I've picked up a little bit of the Prussian blue as well. The top of the tent area will be darker because of the dark night color, but the bottom will be lighter because of the glow of the tent light that is making this space go a little lighter as compared to the rest of the space. I'm still working wet on wet into this space, and very gently, I'm moving over with some, uh, blue strokes over this glowing effect so that it looks like that glow coming on the sand and not a complete separate light, right? So that is for the snow area. I will just go with a little bit of the indigo now and add in at the top here to give more darker values because once it dries out, you won't be able to do much over here. And now, while this is still wet, I'm going to be picking up a smaller size brush. Just pick up some indigo in a medium to dry consistency, tap off the excess pigment, and just show some footprints wet on wet, giving in the footprints, moving towards the cabin space. Picking up some darker values, creating in some wet on wet, darker strokes into the snow as well, majorly coming in from the edges. And across this cabin, as well, giving in the darker shadow effect. Blending it on the edges. All right. Now we'll wait for everything to dry, then move ahead further. So now everything is completely dried. We'll begin adding in the details into the tent area first. So for the tent, I will go ahead with the pastel yellow, which is my naples yellow color. Beginning at the top with the naples yellow. If you don't have a naples yellow, as I always say, you can just mix in white to your yellow and get a beautiful light yellow color. Next color, I will be picking up a little bit of the yellowish orange color. You can simply mix in yellow and orange. So at the top, we maintain the lighter spot, and moving downwards, we are creating in the darkness. Moving to the orange now. Go very carefully, make sure that your snow space was completely dry before you move ahead with this. Now, this side here, I will go ahead with the Indian gold color a bit, which is like a brownish orange color. You can simply even use burnt sienna or a light red color. And towards the bottom space, I will go ahead with a little hint of the red colour. I will blend it with the orange. You don't need such a bold red. It's gone too dark, so I'm quickly lifting up and blending in, turning it lighter. You see? Go very carefully slowly take in all the time that you need to build in this. Now, I will pick up the Indian gold color in a bold consistency. Without much of water. You can pick up on CNI if you don't have an Indian gold, and I will just mark a bold outline to the entire tint giving it a definition. Make sure this color that you pick for the outline is very dark and bool and does not have excess water, but it is still creating that soft plane. All right. So we've got that highlight. If you want, you can just soften up the edge at the spot so that it looks well blended. And it has got that definition as well. Now, while this area is semi wet, I will pick up the dark color tones of the orange first and given the fold details that we had added in. All right? One, two, you see how these folds will add in so much more depth. You can use burnt sienna. Now, at the top, as well, to all of these lines also, I'm first going with this light layer. Now, it's not necessary for you to have the same silhouette for the cam area as well. You can go with your choice of the shape or the silhouette of the camp space and accordingly at the colors. Now picking up a little bit of the red in a bold consistency, adding it over the bottom spaces here. Just dabbing and toning it a bit lighter and then moving with the darker color to show the fold effects. Now I will pick up a little bit of the pains gray color. A few of the wires that are there holding the tint together. I'm adding in this fine pains gray line. Not to all of it, just a few lines. And to some, I will add very little highlights of this color, maintaining a little of the brown spots, add in some, you know, the fold screw kind of details to these as well. Right? So you see, we've just gotten some fine, soft details along with simple highlights. Now at the bottom also, just going in with some fine lines. And this fine line, I will blend it in, tone it very light. Okay? So we have that glowing area into the base of our camp. We have added in the details, and we've given little fold details. It took us a good five to 6 minutes to just add in these details, but it's absolutely worth it. Now let's move on to the details at the top here. Now, let's begin adding in the texture into the mountain first, using the pain's gray color. Just going to be adding in some dry brush texture. I'm moving from the top right towards the bottom left to create these textures. You can go from the top left towards the bottom right as well. You can even put the mountains to the left side and the pine trees to the right. It's absolutely your choice. Now I'm adding just dry brush texture in such a way that the blue spaces turn out as the snow and the mountain visible in between is the dry brush texture. Along with it, going to give it some bold lines of the pains gray as well. Right, going ahead with a mix of some patch and the dry brush. Now, let's go ahead with the details of the pine trees. I'm going with a detailed pine tree first, moving the foliage towards the top spaces. Now I will quickly just add in a few pine trees in front of the mountain range here as well. Quickly using in the same brush, I will just add the highlighting strokes to a few of the wires here, right? At a little glowing highlight into the tint here. The colors have turned out to dark, just using white uh, blending it on the edge and creating in that glowing spot here of the light in the tint. Same way, we'll just add a little glowing spot here. Make sure to blend these into the background. By using a damp brush, blend it into the base yellow orange tones. Okay. Now let's add in a glowing moon. So for that as well, we'll go ahead with a layer of the paint first, create in a dull background. So add it in a layer of white. Now I'm going to blend this. All right. Now, by the time this layer dries out, let's just add in a few stars here and there. Make sure you're using a pointed tip fine brush so that you can get these details. If you want, you can use the splatters as well, but I just want to add a few of them. So that is the reason I'm not choosing the splatters. You see, some have added very fine tiny ones. So are a little bigger. So the tip of your brush will play a major role in doing this. Just adding a good cluster here. I will just add in a layer of the moon again because this seems out to be dull, right? So that is it. I hope you guys enjoyed painting this with me. I absolutely love how we've been working with different landscape layouts, and this one is one of my favorites again because of the sky details and the cam details. I hope you guys enjoyed painting this, too. I will see you guys into the next lesson. Thank you so much for joining me and painting along with me. H 16. Day 14 - The Fence: Hello, everyone. Welcome back to day 14 of the 30 days of unwinding with watercolors. And today, we are going to be creating in this beautiful field pastel sky. The colors that you would be needing first into the sky, you can see it's a good range of pastel colors that we'll be going ahead with Biting in with the pastel yellow. Then blending in a regular orange along with a little bit of the John brilliant color so that we get this beautiful pastel orange. So I will be using this John brilliant color. But in case if you do not have this, you can just go ahead, mix in white to your orange and use the pastel orange there. Up next for the pink, I will be going ahead with a light layer of the permanent rose color. You can choose to go ahead with scarlet carmine or pastel pink like shell pink or pink peoni whichever you wish to. Next up at the top into the sky, I'm going to be going ahead with a mix of the blue and violet. For that, I will be mixing in the serlene blue, along with the violet color. So I will be mixing these two colors together to add the details into the sky. Beautiful violetish blue color for the clouds and the sky details. And then I will be using a little hint of the indigo for some darker highlights into the clouds as well. So that is about the colors into the sky coming to the mountain range. This background mountain range will be of the indigo color. And for this second mountain range, we'll be using the greens. So first, we'll swatch out the greens of the field that we'll be using. This time, I will be using in this greenish yellow color. If you do not have this, you can simply mix in a permanent yellow deep along with your green to get this greenish yellow. Up next, I will be using the sap green color. You can use any green that's available in your palette. For some highlights, I will be going ahead with the hooker's green as well. If you do not have a hooker's green, you can choose to use the dark green color, viridian green, emerald green. Any green is fine. And for making in darker greens, I will be taking help of the paint's gray as well to create the darker values of the green tones. So three to four color variations of the greens that I will be using into the field and this mountain range. For this mountain as well, I will be beginning in with the lighter value of the greenish yellow. You can see the highlighting spot here. If you want, you can directly use a pastel yellow instead of the greenish yellow if you wish to and directly create in this glowing space. So basically the color of the sky reflecting into the field, creating in the lighter glowing spaces in the field and this fountain space, that is reflection of the sky falling that we are depicting then for these fence areas, we'll be using the pains gray along with some dr details of the white quash. For the greens, again, you can just choose a light green or dark green, and you can vary the tonal variations of the greens with the help of pains gray, indigo, brown, and create in multiple tones of the greens to create the glowing spots, some texture details and simple spots into the field. So that's about the colors that you need for this class project. Pretty simple one. I'll take us around 25 minutes to create this, but you can see how beautiful the outcome is. Alright, so let's begin creating in this now. So let's begin in with our painting now. So I'm first going to be beginning in with the pencil sketch. So we are going to be having in a background mountain range. So a little below the center line, I've marked out the first Background mountain range. Then in front of it, we'll be having in a good greenery mountain. You see, I'm purposely not going with an exact straight line, giving it a little dimension. All right. So the bottom of this will be dark green, and in the center, we'll have little lighter green highlights. This will be a darker blue mountain, top will be the sky. And in the bottom, we'll be painting a simple field along with some wooden log detailing. So let's just go ahead and mark the outline to these wooden logs. Now under these wooden logs, we'll already be adding in some darker highlights while we painting wet on wet so that we have the shadow to these logs coming in. Now, you can see I'm going with a very rough layout for these wooden logs. And as I'm moving towards the top right here, you will see I'm going ahead with much smaller sizes because these ones are closest to our view. And as we move towards the top right side, because of the perspective, the, you know, fence areas are becoming smaller. So just go ahead with random fence detailing. All right. I've kept them moving crisscross or not a specific pattern to follow along. So that's for the fence area. Now, underneath this fence space, when we add in the greens, we'll add in darker green values here so that it acts in as the shadows to these fences later on. Now we'll begin in with our painting. So let's begin by wetting the back of the paper first. I will just get my brushes ready. So I need this bigger size brush for painting the back and then a smaller size brush and a detailer brush. So let's begin with a layer of pao on the back of the paper. All right, a generous layer of water. Now, let's begin in with the sky first. So going ahead with a layer of water into the sky Even if a little of the colors peek into the mountain space, it's okay, but try avoiding because, you know, when you go ahead with a layering, the previous lines become visible, but a little herein there can easily be corrected. So I've gone ahead with a good layer of water, and now piging in with the colors. So first piging in with the naples yellow, Now next, I'm going to pick up the yellow, orange color or you can pick up the orange color, and I'm going to mix it with a little bit of the naples yellow so that I get a pastel orange kind of color. You can even mix in white. Now moving on to a little hint of the pink. So I'll go ahead with the bright opera color for the pink. And at the top now, I'm going to be going ahead with a little mix of the Cerlean blue, along with the violet. Now to darken up the pink, I will be going ahead with a little bit of the bright rose color, the permanent rose from Windsor Newton in my palette. Now I will pick up little orange. So that's gone too dark, so I will quickly just clean my brush and just use that much color to blend it all in. And to blend in with the naples yellow, I will just go ahead with a damp brush there. Now I will shift into a smaller size brush and add in some wet on wet cloud details. So for that now, I'm going to pick up the ultramarine blue color. I'm shifting into a very smaller size brush and using the ultramarine in a little medium to light consistency. So you see excess water, it completely spreads with the color. So water control is very important when working wet on wet with the cloud details. Very loosely, I'm dropping in these clouds. Over the orange, be a little careful with the blue colors as well. So go very loosely and just pull out strokes like these to act in as the clouds. After every laying down, if your brush has picked up any of the pigments from the base, make sure to clean your brush because then the orange color on your brush may mix in with the blue and give you muddy tones there as well. So after every lifting and layering, I'm cleaning my brush and then picking up fresh pigment. Just adding in small cloud strokes at the bottom. You see, despite the blue colour layering over the orange, it's maintaining in that colour lo because of the softness of the brush stroke that I'm using in. Now picking up a little bit of the indigo, dropping in some darker hoovering clouds at the top. If you don't have a ready indigo, just mix in a little bit of the paints gray to your blue. You'll get a beautiful dark blue color. I see simple cloud details? Picking up a little more of the ultramarine. Make sure no excess water. Just some small clouds. Topping in some darker values into this top space of this cloud. Again, the size of the brush, the water control will all play a major role. So that is for the sky. Now, by the time the sky dries out, we can go ahead and paint the bottom field completely. So for the field as well, I will go ahead with a clean layer of water into the field. If the water goes into the logs, also, it's fine because the logs will be of a very dark grayish black color. Beginning in with the greens. So I will first go ahead with this green here using a medium greenish yellow color. Now I'm going to be using in a little bit of the Petersburg ocher to create in more lighter highlights in the field here. Now, if you don't have a Petersburg ocher, you can just simply go ahead with a little bit of yellow ocher yellow mixed in with white. All right, creating this lighter highlight. Then going to the sub green color. Now we have to darken up the values here. Create in darker greens by mixing in either brown pains gray or some values of indigo to your greens. This side, I want to maintain the lighter green spot. So we'll just go ahead with little fine strokes. Water control is very important for all of this, make sure you are using the colors in a good bold consistency. Now I'm picking up Pains gray, adding in from the edges. Now remember, at the bottom of the area for the fence space, we have to already add in the darker values. For that, I will go ahead with a smaller size brush, pick up the paint screen more with very limited green, and I will pick it up in a little thicker consistency so that it does not spread out much. See, creating in that depth. You see the colors are not spreading. They're retaining the space in which I'm adding them. But now, if you see the fence space looks completely off because of the darker values, I will just blend the darker values towards the bottom space. At the top as well, just giving in some darker values, maintaining little lighter spot into the center of our field. H Now, going to pick up a little bit of the pains gray directly without any greens and just going to darken up this space a little more, but less as compared to the previous layer that we added. You see this will give the inrooted effect to these fences that we've added in. And along with that, drop this pains gray randomly at spots and create in some more texture into your feel. Just very randomly, you see, I'm moving my brush in very irregular motions. Again, use the same brush at the top to blend in spots. That is for the field as well. Now we'll wait for everything here to dry out and then move to the next layer. Now, my sky is completely dried, so I'll quickly paint the background mountain range. For that, I will pick up first the ultramarine blue color. If you don't have the ultramarine blue, you can pick up a little bit of the Prussian blue for the first layer and then just add in the darker values with the indigo color. I've already mixed in a little hint of indigo to my ultramarine blue and going ahead directly with a wet on dry layer because there's not much details to add in wet on wet. So this layer can dry out quickly so that we can paint the last layer as well. Filling in this entire first mountain range going carefully because the second mountain range is going to be of the green color, so not adding in the darker values there. Now I will just pick up the indigo color without the mix of the ultramarine and just drop in some darker values defining the mountain better. You see majorly at the top, going very gently, dropping in the dark or wet pain, automatically bleeding towards the base, and towards the bottom, creating in that more depth, you see the center glow that has been maintained. All right. Now we'll wait for this to dry, then move to the next mountain. Now, by the time this space dries out, this space is completely dry, so I will go ahead and add in the details into the fence. For the fence, directly picking up the paints gray in a medium tone and going with the first layer, so. I will add in a little hint of blue to this to create it like a grayish color. This is too dark, so just lightening up this value a little Mexican blue and water. And for this first layer that I already added, I will just dab in and tone it a little lighter. Once this will dry out, I'll give in the highlights with the white quash. Go ahead very carefully. These shapes can be very uneven because these are wooden logs. They did not need to have the straight lines or the straight patterns. You can just be as loose and random as possible to maintain the natural look. And as you go far away, the things are to be more lighter. So I'm just quickly dabbing them in. Now into these front ones, adding in some darker values at the top. Now, once everything will dry out, we'll give in the white highlighting details on top of it. And once this range also dries out, we'll paint the second area as well. So now my fence is completely dried, so I will begin using in the white quash and create highlights, some little dry brush strokes and some highlighting onto the fence. Make sure you're using the white quash in a thick consistency and just drop in some highlighting lines like this. Simple textures. Not necessary to add to all of them. It is very important that your white gouache has to be in a good thick consistency to get these highlights. As we move far away, they will be very less and just some little touch ups. So you see, as I move toward that space, I have lightened them up quite a bit. So just some highlights that we added to the fence. And now let's move on to the last mountain space. So for the last mountain space, I'm again going to be pgning in with the greenish yellow color that I use. You can use any medium to light tone of yellow. That's in your palette. Going ahead with this layer of the color completely. Now I will pick up some darker values of the green. So I will just pick up sap green, mix it with paints gray so that I have a good dark value of the green. Now, this dark value, make sure to use it in a bold consistency and a thick layer. And at the top here, see, excess water will make the paint seep into the lighter space completely and cover up all the lighter space. That is what I mean by the water control importance when adding in the details wet on wet. So make sure to pick up the paints in a good thick bold consistency with very less water. At the base, it's going to be the darker value to just filling it up. Towards the right, even if the lighter greens cover up, it's okay. Majorly in the center, you want that glowing spot of the green, giving the peak of this as well with a dark color. Oh Just picking up some very dark paints gray value for the tip and a little towards the right side. Now, just making sure that the blends are smooth and they don't look uneven or matched. So just running gently and blending spots in. So that is for it. Now picking up the pains gray, I will just do one more step. My fence looks a little extra light. So using the pains gray, I will just create in some textures so that the things darken up a bit. So you see watercolors or tone lighter, and here I wanted a lighter tone. So I went ahead with a lightish gray color. But then while drying, they've dried out too light. So to some of the fences, I'm giving completely darker color, and some I'm just giving in some dry brush texture and strokes with the dark pains gray color, which will automatically create another layer of depth and detail. You see just running with the tip of my brush as we went ahead with the white. And again, as I move towards those smaller ones, they will be less and just gentle dabbing this time. So you see, I just darkened up the fence, also giving it one more layer of tip, so the lighter color, the white, and now the darker highlights as well are maintained. So that is it. We are ready with our class project for today. Another easy, simple sunset sky. I love how this patch of ultramarine blue clouds have turned out. And most importantly, over the orange and the yellow, the water control that you had to keep in mind so that the colors don't bleed into each other while layering and the simple field that we've added with the fences or the wooden lots. I hope you guys enjoyed painting this with me. I will see you guys into the next painting of the series. Thank you so much once again for joining me into this unwinding challenge. See you guys into the next one. 17. Day 15 - Glowing Lights: Hello, everyone. Welcome back to Day 15 of the 30 days of unwinding with watercolors. And today, we are going to be creating this beautiful pink night sky view with the city light effect coming in along the sea view. So the colors, as you can see, are beautiful tones of pink violet. First, I will be beginning in with the John Brilliant color closer to the mountain range to create that glow into the sky. Up next, I will be moving with the shell pink color to create little pastel effect, easier for blending. You can simply choose to go ahead with a pastel pink color if you do not have the shell pink color. Next, I'm going to move on to the tones of pink. So I will be using in three different tones. First one being the permanent rose color. Next, being the pink violet color that I will be using. This is a beautiful pink and violet tone mix. If you do not have this, you can simply go ahead with a mix of the violet and the pink color. Then I will be moving to the violet color. And at the top, you can either use indigo or the violet shadow color. So this is the violet shadow color. You can see it's a dark violet color. So at the top here, you can either mix indigo with your violet or use the violet shadow if you have. So these are the colors of the sky, beginning from the lighter tones here from behind the mountain, moving in a little arc this time towards the top of the sky. For the first mountain range, we'll be going ahead with the indigo color. And the second mountain range will be of the Pain's gray color. I will just watch it out here for you. Paine's gray. Into the sea, we are going to be using the same colors of the sky, creating in the highlight of the John Brilliant color that is here, creating the highlight here, moving to the pinks, violet and indigo, working wet on wet into the sea. And then lastly for the lights, I'm going to be using in the naples yellow, white quash, and a little bit of the orange as well to create in the highlights. All right. So these are the colors that you will be needing throughout. For the sky, basically you just need shades of peach pink, violet, and the same colors into the sea for the reflection for the mountain, indigo, and pains grey. And for the lights, we'll be using white, yellow and orange. So that's about the colors that you need for this project. Now let's begin creating this together. So let's begin in with our pencil sketch first. We are going to go ahead with a simple seascape. So going ahead with the pencil sketch for the mountains on the horizon line, going ahead with very random peaks. Always try to keep the highest peak of the mountain off centered so that it does not just create the focus of your painting onto a mountain range completely. This is the second range and going ahead with the horizon line. All right. So the first range will be of a light to medium tour of an indico. This will be of pains grey. Here, we will give in the city light effect, and here will be the sea area and the sky. So that's how our project is going to be. Let's begin in with a layer of water at the back of it. So I'm going ahead with a layer of water on the back of the paper first. Now, moving on to the front. Let's go ahead into the sky first. We'll paint the sky and the sea as the first layers, and the mountain ranges we'll add once everything dries out. So for now, beginning in into the sky. Now in the sky towards the left side here, I'll just have a little glow. For that, I'm going to go ahead with the John Brilliant color. All right. Now moving on to a little hint of the orange. Very little highlight. And I will move on to the pink. Firstly, I will just pick up a little pastel pink. And now I will pick up a bold pink colour. I'm picking up the red violet color, which is like a violetish pink color and a little bit of the permanent rose. A towards the top, I will move on to the violet, using the bright clear violet. I know the blending right now seems quite off, but we'll get it all and sorted. And at the top, I'm using in the pains gray color. You can either use Pains gray violet shadow or a darker violet color, any color that's available in your palette. Alright now I need to get the flow into my sky. So I will begin in with the layers again, beginning in with a Jan Brilliant color. Moving on to the pink to the violet layer. So you see I'm getting little curves into my sky now. That is the flow of my sky that I'm trying to determine and moving on to the paints gray at the top. Now, this is still very light because I know once these dry out, they will dry out dull. So I'm going to be dropping in the colors again. I'm hardly adding any water, just picking up your pigments, laying them down at the same spots first in a good bold layer. Now I will pick up a little bit of the onland color, lay it here, pick up the orange color, and just go ahead and blend this from top to bottom. I will just use a dam brush with very less of water and just begin blending from here and keep moving towards the top. Now if you see every color in between has a good transitional color that we've used. So from the Jon Brilliant, it is mixing with the orange, then to the pink, and then the violet. So nowhere will you have any uneven tones or any unpleasant colors. So that's the beauty of color blending. Now I will just increase the pink space here and lighten up the John Brilliant spaces. So just laying over here. Now again, clean up your brush, and then you move from the Jon Brilliant towards the top. So I've just laid on a little more pink. And now again, I will just go ahead and blend everything smoothly. You can see the smooth transition that we've got between the colors, picking up a little paints gray at the top again. Now on the John Brilliant, also, I want little pink highlights because this is, like, staying very, you know, uneven. So just going ahead with little shell pink color, blending it with the John Brilliant, maintaining a small glowing light in between. Alright, so we've got a beautiful glow into the sky as well. Now, just picking up a little bit of the violet shadow color and going to drop some darker highlights from the top here. Now, again, to blend these as well, I will just begin in from the bottom here and just run gently. You could have actually dropped the darker color also in the first layer itself when we dropped in the paints gray, but I just missed onto that part. So no issues. I've just maintained that little glow here and the rest of the sky is ready. Now we are going to go ahead with the colors here. Before that, I will just darken up this space a little more on the edge. Remember what colors dry or tone lighter? So you let the colors dry such that after drying, they have that pool look. I just added a little more violet quickly, and I will just go ahead and blend everything in from the bottom to the top. And that is it for the sky. I won't overdo it now. And now moving to the base, that is the water space. So in the water also, we'll just have little glowing highlight on the left because of these light effect coming in here. So I will begin in with the Jon Brilliant A little hint of the shell pink or a pastel pink or you can even use bright opera or any regular pink in your palette or mix in with white and get your values. Now next moving on to the pink tones. I'm using the permanent rose color first. Now, in the rest space here, I'll first go ahead with a dark layer of the violet. So you see the reflection of the sky that we've tried to create in. And now wet on wet itself, we'll just go ahead with some waves detail into the water. I'm shifting into a smaller size brush to get some precise details, pinning in with a layer of the Prussian blue mixed in with the violet so that we get a dark color hint. And I will just begin creating in some waves, wet on wet. Not moving to the left right now, just working towards the right, so that on the left when everything is completely dried out, not completely, but a little dried out, we can get in some soft wave details in between picking up little darker values at the bottom here. You see how I'm creating the flow and the movement of the water. For the darker values, I'm just picking up indigo directly. All right. We'll just go ahead now here on this side, very carefully using in very less water. Just go ahead with some fine strokes in such a way that major of the pink and the John Brilliant highlights are visible. Now picking up a darker colour, paints gray, mixed in with little hint of the violet and going to create in some more darker waves. So all of the waves you see, we are working wet on wet. Giving in some smaller waves detail at the bottom. Water control plays a very important role while adding in all of these details wet on wet. So make sure you have that water control. Just keep on adding some darker values to the same color mix with the help of indigo or pains grey. And while it is wet, you can just create more and more depth with the waves wet on wet. So at the base here, again, just putting in some more darker value, moving towards the top left as you see. So the longer your paper supports the wet on wet technique, the longer you can get in more details, right? And because I had the wet of my sorry, I had the back of my paper wet. That is the reason it supported me with more of the wet on wet layering here and just get in some details. Now that is it for the waves as well. We'll wait for everything to dry, then move to the mountain spaces. So now my sky and the water is dried, we'll move on to this first mountain space here. There, I'm going to begin in with a layer of indico mixed in with very little hint of a violet color. That's going to be our first layer. Don't go ahead with a very dark color altogether. We'll be creating in little flow into the mountain with the darker tones, wet on wet. Giving in the first layer into the entire space. Now I will pick up a very bold consistency of the indigo. You see the pink highlights that are being visible from the sky. They will all get covered up when we go with this darker highlight now. All right, creating in some darker flows, letting some lighter spaces in the center be there light because there as it is, we are going to be giving in the light effects. Now, I will pick up a dark consistency of the pain's gray color. And using the tip, I will add in some darker values. Yes you see wet on wet taka values with a control layer of water. Water control is very important while adding in these layers because if you will have excess water, they will not retain the space in which you add them and will not give you the dual tone effect. Now again, we'll wait for this to dry completely, then move further. Now, once your first mountain range is completely dry, pick up some layer of the paint's gray color. And just paint in the second foreground mountain range. Defining the horizon line well? Now, we'll again wait for this to dry out as well and then move on to adding in the light details of the city light. Now, by the time this mountain dries out completely, I've picked up some fresh white gosh, and I'm going to just lay over some white here randomly for creating in the dull background flowing space and cleaning my brush using a damp brush, I will just blend this on the edges, creating in the dull space for the glowing lights that we'll be adding in. So just blending it on the edges and you see creating in the tull spot. Now on the edges, use a little extra water and blending it into the back of the base so that, you know, it has that well blended effect into the mountain and does not stand out sharp and uneven. So you see. And just very gently, we've gotten this glowing spot for the lights that we'll be adding in. Alright. Now I'll just wait for this to dry completely along with the foreground mountain, and then we'll go ahead with the light details. Okay. Let's wait for this to dry, then move further. And now everything is completely dried, so I will begin in with a pointed tip brush using in fresh white gouache and just drop in some small dots to act in as the lights. Now I'm going to randomly be dropping in these. Some will be picker, some will be very tiny, close to each other, creating a lock of city space together. A few lights on the top as well. I will still be adding in some yellow and orange lights in between. That is the reason I have left in some gaps between the whites as well. All right. Now I'm going to add in some lights on the horizon line. So for that first, I'm just adding in some white dots. Now going to take a damp brush and blend these as well. So you see these will act in as the background glow to the lights that we are adding. Now, picking up the naples yellow in a thick bold consistency, which is a pastel yellow already. In case if you don't have a pastel yellow, just mix the white quash to your yellow. And picking that up in a bold consistency, going to drop in some yellow lights. It's very important for you to use the colors in a good bold pastel consistency so that they stand out opaque on this darker background that we already have so just dropping in very carefully some yellow lights. You as well in between the white caps that we've created, going to drop in some yellow highlights. Now we'll just pick up a little hint of orange mixed into the same yellow. That's the naples yellow, or you can mix in orange and white goh. Basically, you need a bold orange light effect. M. Just picking up the color in a good bold consistency. And now going to drop in some orange lights as well. So as I told you, the light dropping is very random. You can choose the place where you want to drop which color. See on the horizon line, created a good glow of the lights, and now I will just pick up the whiteqh again. And we dropping in the white lights here. In between the yellow and orange, also, you can drop in some mini white lights. All right. Now I'm just going to be going ahead. Creating in this glowing area. Okay. Now on the top, I will just add a small moon, a very tiny one without any glowing spot. So just picking up your white quash at the top. A tiny moon. So that is it. Here's a final look at our painting from today's class project. You can see the glowing light effect in between the mountain ranges that we've added, along with the background glow to the lights, the simple mountain ranges, a simple night sky with the water reflections. I hope you guys enjoyed painting this with me today. I will see you guys into the next lesson. Thank you so much for joining me into this unwinding challenge and painting along with me. 18. Day 16 - The Night Sky: Hello, everyone. Welcome back to day 16 of the 30 days of unwinding with what color challenge. And today, we are going to create this beautiful thunder kind of the sky effect or a night sky effect that you can consider it as. And as you can see, it's more of a monochrome painting with just some glowing light effects here of the lighter color. So it's going to be kind of a monochrome painting wherein we'll be using one color to create all the layers of the sky, the color being Pains gray. This is the color that our sky is all going to be build up of pigging in from the lightest consistency with the help of water, moving on to darker shades of Paine's gray, creating intonal variations, getting into the darker tones for the cloud effect. So if you want, let's go ahead and do some tonal study of the pains gray color. So I've picked up a little bit of the Pains gray color. And I've swatched it in the thickest consistency first. Now I will just go ahead, add in little water, and we swatch the same color. You can see as soon as you add in water, the color turns lighter. You go ahead, keep on adding in more water to the same color, and you will keep on having more lighter consistencies. More water, less pigment, we'll keep on creating lighter values of the color, creating in the tonal variations. You can see. Of course, you can keep on adjusting more and getting more of the tonal variation. And one, I'm just picking the color directly from the palette and swatching it, and this is the darkest color which we'll be using for the foliage effect. So for the sky, I will be working like four to five tonal variations of the color with the help of water, creating in different tonal values, with the help of pains gray. You can use black, neutral black, lampblack. If you do not have a pains gray color. That's also perfectly fine. With that, if you want, you can add a little tinge of the blue. To balance the blackness, into your painting. Up next, for the light effect here that you can see, you can either use the white cap method or to show this little warmth I'm going to be using in the John Brilliant color, which is like a pastel peach skin color. And if you do not have this, you can simply use in white mixed in with orange and, um, a little hint of yellow to get a similar looking skin tone. That's what you can go ahead with. So these are the two colors that you need, basically, that is John Brilliant and the Paine's gray color. And in case if you do not have the John Brilliant, you can mix in yellow, orange, and a lot of white and get a similar looking light, peachish color. And majorly important thing is the tonal variations because you will see all the cloud effect is coming in with the help of the tonal variations wet on wet. And then we'll be adding in the silhouettes with the pains gray color, these trees and the reines and everything, it's all going to be with the pains gray color and the technical pen that we'll be using. So that's about the colors that you need for this class project. Go and grab both the colors ready, and let's begin creating in this. So now let's begin with our class project. Before beginning in with the layer of water. I'm going to go ahead with some wirelines into the sky that we'll be having. So I'm going ahead first and adding them with this waterproof technical pen, and, um, then we'll go ahead with the back layer of water and the front layer of water. I'm going ahead with very random placements for some violins into the sky. So these details I'm adding beforehand before we go ahead with the painting, and we've already done such a painting before wherein we first gone ahead with the details of the technical pen and then moved on to the rest of the painting. So you can see I'm just going ahead with a lot of fire line details into the sky at the bottom majorly. I am going to shift into a further 0.1 nib size pen and add in some more fine lines at the bottom again. Now, on the left, you will see I'm not taking these to the edge because on the left, we are, as it is going to be having a lot of bush and a tree detail, which is why your everything will get covered up. So I'm not adding in these fine lines much towards the edge side. You see, very simple details that we've just gone ahead with. And now I'll just go ahead with a few lines criss cross. Very few, not much. So added one here, and I'll just take another one towards this side. Okay. Now to these also, let's just add in some more details. Some simple screws and connecting wires. Now, these placements, again, can be very natural and different for everyone around. It is not necessary to follow the same silo head that I'm going ahead with. I'm just going ahead with a simple one that suits my style. You can choose to be more complicated, more detailed and more realistic. Simple details. Now the reason of adding these before is sometimes it becomes quite difficult to add these once you have that layer of painting and your pen does not move out smoothly. Plus, when you have these laid beforehand, it becomes easier for you also to have a little judgment about where colors are moving, how. So that is it. We've gone ahead with the details. I added in this one line at the top here as well and the rest of the wirelines here. And now let's go ahead with our painting. So first, I'll begin by just wetting the back of the paper. So going ahead with a layer of water, a clean layer of water at the back. We are going to be painting the entire sky together. So in the front also, we'll go ahead with a layer of water onto the entire sky. If you have also gone ahead with these lines beforehand, just make sure you've used a waterproof pen. You can see my pen marks are not spreading across anywhere because I have used a waterproof ink pen. Now, once you have an even layer of water, let's begin with the colors. So into the sky, I'm going to be going ahead with a lot of a monochrome kind of a sky. Just at the base here, somewhere I'm going to be giving in little light effects. For that, I'm first picking up the Jon brilliant color and just going to lay some cloud strokes with these bright pastel peach color. If you don't have this, you can just mix in a little hint of orange with white and add in a little hint of the yellow as well. So just at the bottom, I want some glowing spots, and at the top, also, just at certain spots, letting some lighter color spots be there. Now moving up to the pains gray color. Now begin in with light layers first. Don't go ahead with too much of the dark colors altogether, because if you begin in from a lighter consistency, you will have more scope to build in the depth, the cloud strokes and create more textures into your painting. Now, over the peach colors, you can see I've made sure to let those colors be visible as the cloud details that we wanted. Now, beginning in with darker consistencies of the paints gray, I'm going to go ahead and begin adding in the cloud details. So you see, I'm just going ahead randomly with darker strokes, blending it in, and in between having the lighter cloud highlights of the John Brilliant color visible. And even the lighter gray is visible at spots creating in those lighter highlights into the cloud. Now, on the left at the bottom here, I'm not going ahead with much of the details there because there we are going to be having in a good bold bush detail, which has to be the highlight there. You see how I'm moving my brush in circular motions to get in the cloud details. At the base here, also, we are going to be having in some cloud bush details coming in later on, so I'm not going ahead with much details there as well. Just making sure that from behind the bush also we have some small clouds visible, but in such a way that we have the John Brilliant highlight intact, what we've added in. Whenever you're working wet on wet, water control plays a major role in determining how your colors and the final outcome will behave. So it's very important when you go ahead with these bold details. You have water control. You can see in the motion in the circular angle, how I've added these clouds. They're retaining the shape despite working on a wet background. So for that most important role that plays is the water control on the brush, that determines how your pigments will, um, stay and have that soft blend. If I would have had excess water on my brush, these pigments would have spread out completely and would have not retained the space in which I'm adding them and they would have, you know, just blended across with everything instead of having these bold cloud outlines. They are soft yet they have that shape retained into the sky. Now, one cloud moving from the top towards the center here. So you see now how the John Brilliant color highlights is giving in that beautiful peaking light effect in between the sky, and in the rest of the sky, you are just working with one color to create in the entire glow and depth into the sky. Now just going to be dropping in some small simple clouds into the sky here. You see the wetness plays the role and just disperses the colors and creates in those beautiful glowing spots into the clouds. Now at certain spots, I'm just going ahead, creating in some more highlights in between the cloud spots and going ahead with a simple lifting technique to create in some simple blends coming in. You see, I'm just using a clean damp brush and creating in simple highlights. Now picked up a little paints gray color here. Again, using the Dambsh technique, just creating in some simple glue. You see, just using the tip also when you dab in and you just let the water disperse and create those beautiful cloud spots naturally. So that is it for the sky. I won't overdo it, and we'll just wait for this to dry completely. And then we'll move ahead with the next layer of details that is going to be majorly adding in the silhouette part. So we painted a beautiful, bold, fiercy night sky, and now we'll add in the silhouette detail and then add the final layer of details to this. So now my sky is completely dried and we are going to begin adding in our silhouette details. For that, I'm shifting into my retailer brush, picking up the pains gray color in a bold consistency. At the bottom first, I will just go ahead, add in a layer and create a rough outline. Now, make sure you use the pains gray or the black color in a bold thick consistency so that you have that opaque look to your details. Now on the top, while this is wet, I will just go ahead and create in simple details. Oh. So you see I'm just dabbing in the tip of my brush and giving in simple details at the top to act in as the foliage detail. You can just go ahead with random dabbing of your brush, and it will create the realistic natural effect that you need into your bush spaces. Midway, you go ahead with any size of the brush. This magic does wonders. This simple technique of just dabbing the tip of your brush very randomly and loose and letting nature be as uneven and as natural as possible. So you see, I'm just going ahead with simple details here, and I've made sure to vary the length of these as well throughout, you can see, I've gone ahead randomly increasing the length, decreasing the length, and trying to be as much natural as possible. Now on to the left side, I will go ahead and fill up the space first using the pains gray color. So this entire space here roughly, I'm going to fill it up with the pains gray color. Now, same way, just going to go more detailed. So you're going to go ahead, pull out simple details. You see here I'm going to go with more detailed leaves look. So now I'm shifting to a further smaller size detail or brush to begin adding in more fine details at the top. And first, just begin creating in a good detailed silo head with simple leaf structures on the border. Again, go ahead with random placements and vary the bumps at random ends. So I'm just going ahead, adding in the details. Somewhere just pull out some detailed leaves like these. And you see just simple details, but they add in so much more liveliness to the painting. You can follow the same detail here as well at certain spots and add in some detail as a second layer. You see? Just some simple more additions, bring in more liveliness. Now, go ahead and just add in all of the details at your own pace because if you rush out with the details here, your painting may not have more of a detailed. So if you notice the entire painting was very simple, the main effect out here is of the silhouette that we are adding in, which is taking the time to add in the details as well. So do not rush with this part, I would say. Just go ahead slowly, build in the depth. I'm just pulling out small strokes and pulling out leaves by just dabbing in the belly of my brush and creating in simple details. These are, again, all messy, but when they come together, they give so much of that nature effect. So just now blending all of these at the base here together. So you see the entire bush detail that we've got in. Now, of course, at spots, things may have begun to dry so you can understand if anywhere the tones are drying out lighter, you can quickly just overlay with some more details. Now, you can see the darker clouds that are coming in from behind the bush are giving in more of the nature effect. All right. Just slowly step by step, building in.'s pulling out some falling leaves at random spots. And that is for the details that we have to add in. You can see the bush detail gets in so much liveliness to the painting. Now, let's go ahead, add in a few birds. You see, simple bord silhouettes flying into the sky. So I'm just going ahead with very random layouts for the boards as well and going ahead with very thin fine strokes. A few onto the wirelines. At the top here, you can see just some dabbings Moving one step further to the last detail. That's with white quash, adding in a small background glowing moon. So first, I'll pick up the white oh and we're just going to go ahead and create a dull layer. So let's give the peaking moon effect from this side here. Now just going to go ahead, blend this in. You see creating in that little dull background for the moon. So automatically the moonlight effect will be visible onto the lighter spaces here. Now picking up the white gosh in a bold consistency and just going to drop into the center. I will just tap this a bit and make it more dull and peeked into the background. And now again, I will go ahead with a bold white gosh. I wanted the background dull layer to be blended into the back of the sky. So the quick tabbing technique helped me with the same. And now a tiny moon peeking from behind the clouds. Alright. That is it. We are ready with our painting for today's class project. And so here's a final painting from today's class project, a simple night sky with simple glowing sky effect using only two colors. We've created the entire grass project, and then just used in white for the peaking moon effect. I hope you guys enjoyed painting this with me. I will see you guys into the next painting of the series. Thank you so much for joining me into the 30 days of unwinding challenge and painting along with me. I can't wait to see all of your recreations into the class project section along with a review if you'd like this class or what I can improve on too. Thank you so much, once again, see you into the next lesson. So 19. Day 17 - Pathway: Hello, everyone. Welcome back to day 17 of the 30 days of unwinding with Watercolor Challenge. And today, we'll be creating in another field view sunset, giving in this little glowing pathway view into the field, which is going to be our main learning. The sky is going to be pretty simple of simple colors. I've got some sharp edges into the sky because maybe the paper might have dried out, but nonetheless, I still love how the outcome has come out, and I really love how the horizon line space has come out with the pink and the violet cloud effects. So let's begin swatching out the colors now first. First up into the sky, I'm going to be beginning in with the Prussian blue color. Up next, a major color that you can already see into my sky is the violet color. Now for the violet, I'm going to be using in multiple shades, one being this bright, clear violet, second one being the pink violet color. So this is like a pink violetish tone. You see, it's neither a pink tone nor a violet tone. It's a mix of both the colors that come in. Up next into the sky, you can see there is this light or pink highlight that goes in. For that, I'm going to be using in the pastel pink. You can simply create a pastel pink color with the help of white quash. White watercolors don't create that opaque pastel colors. Next, I will be using the permanent rose color. You can use any pink that is available in your palette, not necessarily to have the same pink tone. And up next, you can see these little highlights into the sky. That is using in the John Brilliant color. So we have the colors of the sky listed now, which are shades of blue for the Prussian blue violet, shades of pink. So you can see in the pink only we'll be using three tonal variations, pink violet, pastel pink, and permanent rose, and then the onrllant color. Now, you don't need so many shades of pink readily in your palette. You can simply create these. For the pink violet, you can mix pink and violet to get that mixed tone. For the pastel pink, you can mix in white to your pink and a basic pink that you can use scarlet carmine, whichever are available in your palette. Moving next to the part of the field, into the field, we'll be beginning in with the yellow ochre color for the highlighting space. So into the field, the first color that we'll be going is the yellow ochre. Then you need some tones of browns. So for the browns, I will be going ahead with the light red color. The vende brown color. Now, again, you don't really need all the colors ready. You can take help of Pains gray in decor to create the darker tones of brown as well. Next up, we'll be kneading in greens, so I will be using the sap green color. And for the Darko green, you can simply mix in Pains gray or use in Hooker's green color or a vender green color, whichever are available in your palette. So not necessarily again. So what I mean to say is you always just need one basic color and you can create multiple shades out of it. And lastly, we'll be using the pains gray color. The highlight on the horizon line also is using the pains gray color, the simple bush details that we are adding in. That's about the colors that you need for this project. We'll be beginning in with the sky wet on wet, then moving to the field, and then the wet on dry details. Even in the field, you will see we have little dry brush textures that we've given in getting more of the depth into the field. The most important part here, we'll be maintaining this little glowing path into the field. And the sky is going to be a pretty simple one. You just need to be quick, depending on the wetness of your paper and the temperature in your regions right now. So these are the colors that you need. You can begin in with just one basic color and create multiple tones, just like for pink. Same for the browns. You can create multiple tones with the help of indigo, Pains gray greens. And for the green, also, you can create darker greens with the help of browns, indigo, and Pains grey. So that's about the colors, and this is our painting for today. So let's begin creating this together now. So now let's begin in our painting before we begin with the layer of photo. I will just begin with a simple outline. So our horizon line is going to be at the bottom here. And on top of these, we are just going to be having in some simple tree silhouettes with a dark or paints gray color. So I'm just giving a rough outline for easy understanding. And the top is going to be a beautiful evening bold sky that we'll be getting in. And we'll begin by wetting in the back of the paper. So make sure your colors are ready before you begin so that your paper does not dry out. All right. Now, let's flip to the front side. I'm going to begin in with the sky first. So we're just going to go ahead with a good layer of water into the sky. Make sure you have an even layer of water throughout, and especially the edges are not overloaded with water in any way. Alright. Now, beginning in with the colors, first going to begin in with the Prussian blue color. To this, I'm going to be adding in a little bit of the ultramarine, as well. So a mix of the Prussian blue and the ultramarine So major part of my sky is going to be covered up with blue tones. We are still going to be building in depth. And towards the horizon line, I'm first going to be beginning in with the pink violet color. Now I'm going to go ahead and begin adding in some details into the sky. So for that, shifting into a smaller size brush, I will begin in with the violet color. Using the violet color, just begin adding in some simple cloud details. Now, when you go ahead with the wet on wet details here, water control will play an important role because if you will have excess water, you will see how the paint spread it out here because of the excess water. And here, they are not spreading because I immediately took control and had some better water control. Now to the violet, I'm just mixing in a little bit of the ultramarine blue and beginning in with simple small clouds at the top. You see, just placing small mini strokes close to each other to create in that fluffy cloud effect into our sky. I'm just using the tip of my brush dabbing in the panes. Now here picking up a little bit of the blues, as well. But you see in such a way that the violet is still visible. That is the way how I've added in the cloud details here. Now I want very little pink highlights visible. So that is the reason you see I'm giving up bigger strokes now and covering up this entire space majorly with the violet and the blue strokes, but we have those little pink highlights coming out in between. Now, going to pick up a little darker consistency of the same mix of the violet and the blue and add in another layer out here as well. Such that we have the lighter and the darker both layer of the clouds visible. You just need to be a little quick because we want all of these details wet on wet and softly blended, having that sharp edge, but still maintaining in that soft highlight. See just some darker bold strokes from the edges, loosely blending it in. Now, I'm going to be picking up the pastel pink color, which is in my palette. You can simply pick up pink mixed in with white if you don't have a ready pastel color and just going to be dropping in some small details at the top with the pastel color. You will see because the pastel color is an opaque color, it's visible perfectly on the blue and is not forming in any muddy tones. But we don't really need much highlight, very little soft blended. And same way, I'm just going to pick up a little bit of my naples yellow mixed in with orange, creating a simple pastel orange, or you can pick up the Jan brilliant color and just form little cloud highlights. Again, water control is very, very important. See, very little lighter highlights into the clouds is what I'm giving in with these lighter strokes. Any spot that you feel needs a little cover up, you can simply quickly pick up the colors and just blend them all in. So here I just felt the need to add some overlapping strokes. See? Just covering up a little of the lighter strokes as well, showing them all blended in. So that is it. We are ready with our sky. Now we'll wait for the sky to dry out and then move on to the bottom details. Now, my sky's completely dried, and I'm going to begin in with the pase of the field. And for the field, I'm going to go ahead directly with the pins. So first, beginning in with the yellow ocher color. The field is going to be very dark. So just going to have in very little of these lighter highlights. So beginning in with this layer of the yellow ochre, and now I'm going to move on to the dark brown directly. That's the vindic brown in my palette and just going to fill in the field. And of course, along with browns, I'll have to take help of the paints gray or the indigo color to create in the darker values. We will even be going ahead with some greens. So picking up the darker green, very randomly dropping in the colors into the field. I just want a little lighter pathway effect coming in here at this spot. So this lighter space that is maintained here, I will keep it little light only to show the pathway effect, and into the rest of the space, I'm going to go ahead with more bold and darker values now. So I'm randomly mixing up the greens on my palette with the already darker tones on my palette so that I can reuse those colors. So I'm taking help of the indigo, paints gray, and the brown color to fill in these darker spots and maintain that lighter space into the field in the center, like a pathway walkway area. Into that also, of course, I'll be going ahead and adding in some details with the browns. So for that now, I'm picking up the light red color and just going to go with very lighter values and give, like, little wash. You see the washes in such a way that it's blending softly and giving in that walk space effect, as well. So just kind of, like, you know, adding in textures is what my whole point is here. And along with that, you need to keep on working with the side spaces as well so that everything goes well blended. Now, if your paper is something that dries out quickly, you can go ahead with a layer of water first and then move on to these details so that your paper stays wet for much more longer time. But when I went ahead with the yellow ocher color, I went ahead with a very watery layer, so that acted as a layer of the yellow ochre, as well. But along with that, it also added in the water value that I needed on my paper to make it stay wet for the time. You see the colors just dropping into the top here. Now, picking up some greens and just going to blend the green edges here into the walkway spaces. So you see, I'm just moving my brush and creating in those simple greenery effect into the pathway. So you see we just want that light effect of the pathway, along with the darker edge values that we needed in. Just making the lighter value stay there. But see simple strokes to show everything look well blended and soft with each other, still maintaining the pathway effect. Now into this space here, we'll just drop in some darker green values. You see, wet on wet how the details all blend into each other and create in that effect. And that pathway is maintained. Again, just going with some darker values on the pathway. H. Wherever you feel that you need a little color lifting or a blending, go ahead with the dam brush and do the color lifting part so that the pathway is maintained even after it dries out. So you see I'm just using a dam brush, lifting up little colours, gently letting the pathway spot be there. All right, now I won't overdo this. We'll wait for this to dry. Then add some wet on dry details and the details on the horizon line. So now we have this simple glowing pathway as well, along with our simple sky. So moving on to the details on the horizon line, I'll begin in with the pain's gray color now in a good bold consistency, and we're just going to be creating in simple tree silhouettes on the horizon line. You remember the rough shape outline I had shared with you, going to be following that and creating in these small tree like structures. See almost coming up to the horizon nine, another smaller one here. At the top, I'm just trying to be giving in very simple loose detail. And as we move towards the bottom space, filling the spaces up, leaving these gaps intentionally for the sky to be visible from between the trees. Now, here I will add up a good cluster of trees. Is he just adding a good cluster of pine tree together? See, the details are also not so much that I'm adding just simply creating in that cone shape that I need. H And here we'll just go ahead with another simple loose tree. You see how first I create the simple edge of the tree outline on the outside so as to have that loose look and moving towards the center, I fill it up completely and then just given that simple stem. I'm going to pull out some more foliage from the edges, giving in that realistic effect. Same way from these ones as well, going to be pulling out simple leaves and some branches. Just some details on the rest of the horizon line. Not everywhere needed. Just some strokes at spots. Into the field as well at random spots just giving in little of these details. Now, of course, I don't want these details also too bold, so I'm going to make sure that they are light and blended. Now, one thing that I'm going to be doing is picking up some green and brown and going to give in little splatter effect into the field. So I will cover up the sky such that these platters do not move into the sky and just going to be giving in little splatters into the field. You see uneven splatters and dabbing my brush as well with some pressure creating in those field details. Now, just dab tab and going to tone them little lighter at spots. You see, simple textures into the field. So I just wanted these little freckle kind of effects, and now just going to go ahead with some dry brush texture closer to the pathway space majorly. See just closer to the pathway, creating in that little texture effect. Not much, very little. And whenever I feel that it's becoming too much, I quickly dab in and blend it all together. So that is it for a class project for day 17, you can see a beautiful evening sky with a simple walkway feel. I hope you guys enjoy painting this with me today. I will see you guys into the next lesson. If you notice one thing, cloud details dried out, and then this layer of water has some sharp edges, but they still look beautiful, put together. Of course, you can soften them up again, but I just want to leave it how it is because the white glue that is coming in naturally is creating in the effect. So you see watercolors are really unpredictable and sometimes things are not in your control. It happens. Nonetheless, I still love how everything has turned out here. I hope you guys enjoyed painting this with me. And if you're painting along, make sure to upload your projects into the project section. I will see you guys into the next lesson of this series. 20. Day 18 - The Palms: Hello, hello. Welcome back to Day 18 of the 30 days of unwinding with Watercolor challenge. And for today's view, we'll be creating this pretty pastel sunset with just the palm tree views. This is, again, one of my favorites from this 30 day unwinding challenge. Now, as you can see, for this sky, we need a lot of pastel colors. And in my palette, I already have a good range of pastel colors. So I will begin swatching the colors and then keep on telling you the mixes that you can use. So first one being the pastel yellow that I will be using. This is the naples yellow. Next, I will be using the John Brilliant color, which is like a pastel peach color. And for the pastel peach, you can mix in colors, which I will guide you once we are done watching the colors on the first place. Next, for a little lighter tint of the pink, I will be using the shell pink color. Up next, I will be using the pink peony, which is a bold pastel pink color. You can see the difference. And next, I will be going ahead with the lilac color. And lastly, with the royal blue color at the top into the sky. So these are the sky colors that I will be using, all shades of pastel, and then moving on to the trees, I will be kneading in a shade of the light red for the first layer of the tree bark. For the darker depths, I will be moving on to the vindic crown color. And lastly, we'll be using in the paints gray color for the highlights into the bar of the tree and moving on to the other details of the foliage. For that, I will be using the Saptren color. And pains gray color. And you can see some highlights onto the foliage that will be using this cadmium light green color, which is like a light pastel green color. It is an opaque color. That is why it shines out even on the darker tones like sap creen and the pains gray. So these are the color tones that you would be needing. You can even add in some yellow Oca highlights if you wish to. So now let me quickly guide you with the pastel tones that you can create. Into the sky, I will be using limited yellow, but into the moon here, you can see the sun or the moon. I will be using in this naples yellow to create the highlight. Now, let me quickly give you a quick guide about the colors that you can create. For the John Brilliant, go ahead, mix in yellow, plus orange, plus white. I would recommend using white quash because you can see all of these colors are opaque. This has covered the whiteness of the paper. And if you will use white watercolors, it will not give you the opacity and not cover up the whiteness of the paper. So white quash, wherever I mean to mix in white, it is white quash to be considered. So for the John Brilliant color, go ahead, mix in yellow, orange white. You need to adjust the tatios depending on the brightness that you need and the pastel look that you need. For the shell pink color, mix in red, pink and white. For the pink peoni, pick up any pink that you wish to mix it with white squash. For the lilac color, pick up violet, whiteqah. For the royal blue color, mix in ultramarine blue with white or ultramarine plus a little hint of the serleon with white. And you will get the exact similar tones without having these colors ready. These are basic tones, and for this pastel green, you can mix in yellow and white quash to get this opaque looking green color for the highlights into the foliage effect. So simple way how you can create all of these pastel colors with your basic color palette that you need to keep these colors ready if you are preparing this color separately, because with watercolors, when you begin painting, you need the colors ready. So you cannot go ahead mixing one color after adding in the layer. So if you're using direct colours like me, since I have these pastel colors ready, if you're using them directly from your palette, then that's perfectly fine. Or else mix in all your colors onto the palette, mix them in enough quantities so that you don't run out of the color anywhere. And then go ahead and begin painting this with me. So go get your palette ready, and we'll begin creating in this beautiful pastel sunset together. So let's begin in with our class project for day 18 now. We are going to be going ahead with the pastel sky and then adding in a lot of palm trees for the silhouet. There is no pencil sketch. You've already seen what we are painting. I hope you have your pastel colors ready. I've already shared how you can form in your pastel tones if you do not have the ready pastel colors available. I will be going ahead with the ready pastel colors that are available in my palette, but I've given you almost equivalent mixes of the colors. All you need is a good white uh so that you can get the opaque consistency to the paints. I've done with the wetting of the back of my paper and now moving to the front, betting in the paper again in the front as well. It's going to be a pretty simple sky, but adding in the silhouet will take us time and detailing, so we won't rush with it. We'll just go ahead with the sky, let it dry completely, and then move on to the rest of the details once everything dries out. Into the sky first. At the top, I will be beginning in with this royal blue color. You see pastel colors are opaque, they cover the whiteness of the paper naturally, and that is why I recommend using whitewash for creating in your pastel tones. Next, moving on to the lilac color. After this, I will move on to the pink color. I'm using the shell pink mixed in with a little bit of the pink peony to get a medium tone of pastel pink. See, make sure that the colors are beautiful and bold and do not show in the whiteness of the paper. Go ahead with a good thick layer. You see I'm running to and fro with the colors again. And now to the pink, and I will transition in with a little bit of the shell pink color. And at the base, I will be using the John Brilliant color, which is a beautiful peachish orange tone. Going to go ahead with a lot more of the Jenren and take it till a little of the pink spots. Blend everything in. You see a simple sky that is coming out. Now into the sky, there is not going to be much of the cloud play, but I don't want to leave it completely blank either. So I'm just going to go in with very little and soft highlights. Very little of the soft highlights that I'll be adding in into the cloud. You see, just some shelping color highlights at the bottom, very little from the edges that I'm giving in. And same way, I will just pick up a little bit of the lilac color. Basically, I just want a little flow and movement into the sky. I'm mixing in the lilac and the royal blue and giving in little strokes over the pink spaces. You see how even simple strokes add so much more depth to the sky. I'm making them soft and gentle and blended in together. So very little flow into the sky that I've got. You see, very naturally giving in some half sea strokes to act in as the cloud spots, and at the top, not going to be adding in much of the cloud details, very little just on this right side here. And that is it for our simple easy sky because the main focus is all going to be the silhouette now. So we'll wait for this to dry completely, then move to our important part of the painting. So now my sky is dright and we are going to begin adding in the details of the palm trees. I'm beginning in with the light red color to begin adding in the stems first, and they're going to be very easy ones. Just begin in with a rough line. I need not be exactly straight. And as we move towards the bottom, you will see I'm broadening up this I will be having another one here. You see how crooked and loose I'm going ahead with Going to pull out another one here. Another fine line close to this one. You see, I'm even wearing the, you know, width of each of these trees as well and not keeping them of the same width or the length. So you have these five closed trees together here, and we'll have a few small ones here. You see, again, all close to each other. And some of the stems that I've added are very broad, some are very fine tip and overlapping each other as well. All right, so we've done with the first layer. Now, while this is semi wet, let's begin with the darker browns and begin creating in the depth. Onto the left edge, I will be going ahead with these darker values, and you see I'm just dropping the darker value. On the edge, and that also not on the entire stem everywhere. Just going ahead very gently, letting the color bleed naturally, and create in that soft bloom. Now, already these brown states may be semi dried at spots because of the direct wet on dry consistency that we had used. So somewhere they may give in that dry effect, and that's perfectly okay. Somewhere you will notice I'm darkening the whole stem together, letting little light highlights be there. Same way to these ones here as well. I've given in the darker. So I'll just go ahead with the pain's gray color now and create in more of the darker depth. See simple textures, simple strokes that I'm adding to give in that wooden effect. Pulling out simple strokes. And on the outside also, you will see I'm giving in that, um, unfinished look, which will create the natural beauty. See? Just dabbing on the edge, giving in those little small spiky details. See, onto all of the trees, I'm just going with these loose details first. So currently, if you see these trees, of course, without the details of the leaves that we still have to add in, these may look very, you know, shabby or, like, what are we even doing kind of a situation. But it's all about trusting the process and letting things fall in place step by step. If you want, you can go ahead with a lot of detailed bark details as well, but I really want to keep it big no friendly. Hence, I'm going with simple ways of creating more texture into these branches or the bars that we are adding in so that it's easy for everyone to follow along and create in the details at the same time. Now let's go ahead with the details of the foliage for that, beginning in with the dark green color first. I'm mixing in my green along with the pains gray to get a dark green effect because in between, I'm even going to be using in some pains gray stroke, hence maintaining the, you know, color scheme. Now, just go ahead with simple leaves. You see, we're not going to go with a lot of detailed detailed look, just simple strokes. Make sure just that you're using a fine pointed tip brush so that you can get in these details right. You see, I'm pulling out one and then pulling out a lot from that one branch as well. Now, I'm just going to be picking up a little of the pain's gray color and just going to drop it in the center here, and you will see it dispersing naturally into the leaves and creating the darker values in the center. And on the edges, you have the lighter green strokes. For the other tree, I'm going to begin in with the cadmium light green color, which is a beautiful light pastel kind of a green. Now, this is going to be overlapping the tree on the right here. So this is just some first strokes that I'm adding in to give in some lighter value peek throughs. You see the branches of these are overlapping on both side of the trees. Now we'll go ahead with the same green color that we used. And go ahead with the same kind of strokes. So you will have a few of the lighter strokes peeking in in between, creating in that natural light effect falling onto the leaves as well. You see how the tree is coming up altogether. Now picking up the paints gray, going to same way, drop in some darker values from the center and automatically see them disperse into the leaves, creating in the darker shadow effects in the center space. Now, see, there are a lot of ways of going ahead with the foliage detail as well. If you're someone who wants more precision and want to spend up more time, you can go ahead with a lot, lot lot detail look to your leaves. I'm going ahead with simple, easy, quick to follow along so that it's not overwhelming for anyone to paint in the foliage because it can be overwhelming as well as intimidating at the same time to add in so many details. Now, for this next tree, I will go ahead majorly with the pains gray color. All right. And picking up the paints gray, a bold consistency. Make sure that you have overlapping spaces at every spot so that everything looks connected and doesn't seem out of the space and looks well in sync with the entire composition together. Now going to go ahead with the next one here for that again, shifting into the greens this time I'm picking up the hookers green with very little paints gray. Pulling out the simple easiest branches and now just little pinscrey Now, this side as well, I'm just going to be going ahead with very simple foliage, picking up the paints gray. These trees are further smaller, as you can see. So to some of these, I'm directly going to pull out simple strokes without much of the overlapping S, simple and now going to shift into the green again. See overlapping each other, merging well into each other's foliage, giving in that natural effect, we'll give in some highlighting strokes onto these ones later on. Now going to pick up the cadmium light green color, which is a beautiful light pastel green shade and make sure you use it in a lighter consistency and just add in some highlighting strokes in all of the trees that have dried out so far. So that will show the light effect of the sky falling onto the foliage, creating in some lighting spots, giving in some simple loose strokes. Alright. Same way, this side also, I'm going to use the same color and creating some detailed look to the foliage. See, as soon as you add in the lighter strokes, they create in so much more depth into the foliage. Same way going to quickly go ahead. See simple highlights. Make sure you use this green color in a very light consistency. Basically, this is like a pastel green, so that is the reason you see it is standing out even on the dark green and the pains gray that we've added. It's very important to have an opaque color. You can simply mix in white gosh and yellow green to create this cadmium light green kind of a color. Now on to this one again. We'll just add a few more highlighting strokes. You see the highlighting strokes that you're adding when you add them in a little detailed way, it gives more depth to the painting. Now, I will go ahead with the paint's gray color, and I will be adding in little more details and textures to the backs of the tree. So I'm going to be pulling out simple dry brush texture, creating in that realistic effect. So you see I'm just moving my brush, dragging along, creating in that darkness on one side. Just a little dap to make it all look blended well. See, simple dry brush. So with the dry brush, you will automatically notice that the browns are also visible and the black is adding in more to the wooden texture of the tree. Just moving along with the dry brush. At certain spots, you can even give in a few patches of the paint's gray color. Same way here as well. We'll go ahead with simple textures. All right, so we're almost through the details. Now, picking up some white quash, let's go ahead add a small peaking moon structure in between these trees here. So going ahead with a very small circle with a white first. And now I'm going to be using in little hints of the naples yellow, and going to add little highlights. Do you see just a little yellow on one side and white on the other? Alright, so we've added a small moon effect as well. So here's a final painting from today's class project for day 18, a pretty simple sky with a lot of palm trees that took us the main time to add in. You can go ahead with more details and a lot into this painting. I've tried to keep it as big no friendly as possible for everyone to follow along. I hope you guys enjoyed painting this with me today. I will see you guys into the next painting soon. And. 21. Day 19 - Thunder Seascape: Hello, everyone. Welcome back to Day 19. And for today's class project, we'll be creating this beautiful thunder view sky with the seascape element. Now, the colors, as you can see, it's more towards a monochrome side with shades of blue that I'm using in creating in this beautiful thunder looking sky like a rainy sky that's about to pour in and a simple waterscape with a boat as the silhouette and a little reflection to the boat that we'll be adding in. All of the details into the sea also, as you can see, is majorly all wet on wet that will be working. Only wet on dry element will be the siloed that we'll be adding of the human and the boat. Apart from that, the sky, the sea, everything is going to be wet on wet that we'll be walking. Now, the colors that you will be needing are also very limited. It's majorly the tones of blue that you need. First color that I will be using is this aquamarine mist color. You can go ahead and use in the turquoise blue color. They are both the same shades, just that this aquamarine mist is a little granulating color. The turquoise blue is not a granulating color. Next up is the Prussian blue color for the darkness into the sky. Then to build in more dark and depth, I will be using the indigo color. And lastly, to add the silt and more dark effect into the waves, I'm going to be using in the Pain's gray color. So these are the four colors that you will be needing for today's class project. We'll let this white space be there naturally while painting the details into the sea and maintain that or you can use in white wash later on or a white marker to get in those highlights. Into the sky, we'll be playing with lighter shades of blue by creating tonal variations of these colors with the help of water, then moving into the seascape, creating lighter glowing effects into the moon as well to depict the skylight falling in here as well. That's about how this class will be. Get your colors ready. You can use turquoise blue, or if you want, you can move ahead with serele blue color or a pock blue color if you do not have a turquoise blue as well, then you can use the Prussian blue color for darker highlights, Indigo for the darkest, and Pains gray for the highlights and the oscild part. So go ahead, grab your colors, get your palette ready, and let's begin creating this beautiful, misty seascape together. So now that you have your color palette ready, let's begin in with the pencil sketch for the boat first. I am going ahead with a simple silhouette for the boat. You can choose any silhouette that you wish to for the boat outline, not necessarily to be the same one. And just going ahead with a simple boat silhouet and just marking the reflection to this as well. So you see an exact reversal boat falling into the reflection of the water space, and at the top here just going to give a human figure. So you see my process of forming the human figure, a box, a small hand structure, a laden neck space, and a simple circle to act in as the body part. So that is for our simple slow heat. Now our horizon line is going to be out here just a little about the boat line. Okay. So that's a simple, outline that we needed for this project. Now let's begin with the sky first and then we'll wait for the sky to dry and then move on to the sea, adding in the details wet on wet. So first beginning in by wetting the back of my paper. All right, just going ahead with a good even layer of water at the back. Now moving to the front, pinning with the top, that is the sky. It's going to be a very misty kind of a sky that we are going to be painting in. Alright. I'm going to begin in with a light wash of the aquamarine mist color. So our sky is going to be having in a lot of white gaps, which will show the misty effect. But we are going to go ahead step by step building in the sky. Now I'm going to begin mixing in a little bit of the pouch and blue with the aquamarine mist color and begin building in the sky. Now, keep a paper towel or a cloth handy so that you can go ahead with the details, creating in the dabbing effect and the misty effect. Now going to be picking up water, just laying closer to these spaces and trying to spread these clouds into the sky. You see how the colors are flowing in, creating in that misty effect into the clouds that you've added so far. This way, it will make the paper stay wet for a longer time and even keep all your colors well blended with each other. Now you see the granulation that is happening here in the aquamarine mist color because it's a little granulating color, as I told you. So you see the granulation automatically coming in. Now beginning in with a little bit of the Prussian blue. Slowly beginning to add in little highlights. Again, in between, we'll go ahead with water to keep the colors, the mist flowing and creating in those cloud effect. You see you have a white cloud effect, but still a no white cloud effect with just a very little hint of the colors all flowing in. Now with the aquamarine mist, just going to add in some more clouds. Now gently just dabbing in some spots, creating in some her highlights. Again, we'll go ahead with water. Water and pigment creating the flow here on the horizon line. So you see in the center, we have a huge cloud effect, and in the rest of the spaces, we have that misty effect of the clouds coming in. Now just going to go ahead on the horizon line, running my brush out in circular motions, creating a little darker highlight on the horizon line. For that, I'm using the Crucian blue color. You see how I'm moving my brush in circular motions to give in that cloud effect. Now again, here to get the blends soft, I will just run with some water layer across this. You will see automatically the panes will disperse and form those little cloud shapes in the white spots and get everything together. Now going to drop a drop of water here on this edge. Automatically it will disperse, create some white spots here. Now at the top, just dropping in some very lighter cloud highlights. Using the Prussian blue, dropping into the cloud highlights of the aquamarine mist color, creating in some naturally coming in darker values. This side, I want to let it be a good glowing effect. I'm not adding much on that side, on the top and the right is where I'm creating in the entire misty effect. You see slowly the misty sky is all coming together. We are almost through the sky, a little more darker values on the horizon line. For that, I'm going to be mixing in a little Prussian blue with indico and just going to be going ahead. With lighter, some smaller spots of these darker values on the horizon line. And you see in between, also I have left caps on the horizon line as well, not covered the entire horizon line with these darker spots. In between dropping very small droplets of water to create lighter values again. And that is for our simple misty sky. You see a simple process that we followed playing along with water and pigment to create in all of the beautiful glowing spots into the sky, along with a simple cloud, you know, the misty cloud and the bursting cloud effect that we needed in. So that is for the sky. We'll wait for that to dry, then move on to the water space and then the reflections and the details. So now my sky is completely dried and we are going to go ahead into the water space. Now, into the water space, I'm going to go ahead with a layer of water first and just leave the boat space empty for now. Even if a little pins go in there, it's okay. But the top space where there is a human figure, there the colors go in, it's fine. Just a small oval eye that you can see that has to stay white. So try maintaining that or else later on, of course, you can use in the white quash. So going ahead with a layer of water into the entire water space, and I'm first going to be beginning in with the same aquamarine miss color, giving in a light wash. Picking up a mix of the Prussian blue to it. Now, this is just the first layer that we've built in, and now to this, we are going to go ahead and add in all of the depth with the wet on wet wave details that we need in. So I've just picked up a little more of the Prussian blue color, giving in an overlayer on top again. And now I will shift into a smaller size brush so that I can get more precision and going to pick up the same mix of the two colors being the Prucian blue and the aquamarine mist. But now I'm going to pick it up with water control that is less water, more pigment so that I can get the wet on wet waves look coming in. So this part here, we are going to maintain the glowing spot because you see the part of the sky here is glowing. So exactly a reflection effect that we are going to show in. All right. So very less colors and waves effect that we'll be giving in there. Closer to the horizon line, just going to go ahead with the darker colors. Ahead very carefully on the horizon line. So you see this spot here to show the reflection of the sky, I've maintained it light. Now going to mix in a little hint of the indigo to the same color mix and going to begin adding in some more darker values, wave details. Again, water control plays an important role. See how simply everything is coming together. Now, closer to the reflection, I'm going to go ahead with the indigo color and built in a darker shadow effect towards the reflection already. So I've added a line, and now I'm just going to blend it all in. See pulling out simple more shadow to the reflection. Oh now going to pick up the indigo in a very bold consistency to add the reflection as well. So the reflection has to be a little soft but a little bold as well. So pick up the color in a good bold consistency and now add it into the reflection area that you formed. You see how the colors are moving now. Now, we are going to create a blend of this color into the outer spaces as well. So just running a damp brush around it, making out simple strokes flow. Make sure you maintain this glowing spot in the rest of the space, at least. Now going to pull out very fine strokes like this from the reflection to show the water flow and the movement into the water space. So we formed a little reflection area. Now let's go ahead with some more wave details. So, you know, I waited for a few minutes first so that the wave space could be a little damp now so that you can give in more precise waves detail. Again, for this, water control plays a very important role. I'm just using in the tip of my brush, dropping in the soft waves. You see the water control, how the waves are more bold and visible. Now, at this spot here, to show it a very smooth blended effect, just a damp brush. At the top as well, just going to go ahead with some bold waves. You see how I'm just increasing the length of the waves and very randomly I'm moving increase cross to get in these wave highlights. I'm going with a very bold consistency of the indigo color to get these waves detail. On the right, you will see majorly I'm adding in the darker values and on the left, I'm maintaining the lighter effect of the sky as well. Now, just a little more wave detail that we'll go ahead with before we just get done with the part of it. Now I've mixed in a little hint of the pain scree as well. Gently dabbing in to create some random lighter values to show the top of the sky reflecting in here. You see? Same way here as well. Little gentle dabbing while everything is wet. You have to tab in very gently such that it is not too bold of an effect that comes in and it is not even a completely lighter effect that comes out. So that is it. We'll wait for everything to dry out now and then we'll move ahead with the details. Now across the boat at the top, I'm just tabbing a little of a damp brush first so that we have that little highlighting effect when we add in the boat. We've already added a shadow to the boat. Now we'll wait for this to dry completely. I'll just go ahead with some more bold waves here while everything is wet. So just using a very dark bold consistency of the paint screy. Very small lines and soft cleans. All right. We'll wait for everything to dry now, and I won't overdo anything. And then we'll go ahead with the silhouette details. So now my water space is also completely dried and I'm going to go ahead with the silhouette detail. I'm going to be picking up the indigo color in a bold consistency and adding in a very little hint of the paint's gray as well to that. I will begin with an outline. And now I will first take help of water and create lighter values across the entire boat space. And now going to pick up the bold color. Just defining the edges well. Now to the human figure as well, I will pick up the indigo color. So just given in a little detail there as well. Now you see the white space of the boat that is glowing, creating in the day. Just blending the bottom of the boat into the reflection. Uh see how slowly everything is coming together. Now, if you want to go ahead with little more details, I can recommend you a few steps. You can go ahead with some wet on dry wave details, giving in some dry detailed waves. I really want to keep it simple because we've already stretched to 20 minutes of the painting, and I don't want to, you know, make it overwhelming for bigness. So that is one thing that you can do more, but I absolutely love how everything is looking at the moment. I will just go ahead and define my boat a little better with the structure of the boat. All right. Just a very fine sharp edge at the top here. That is it. We are ready with our painting. So you can see how beautifully everything has turned out and how beautifully we've gotten the reflections to the boat, as well. A simple silo hat, adding in so much character to your misty water scape. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting of the series. Thank you so much to each one of you for joining me and painting along with me. And if you are liking this class, make sure to drop a review so that it can help me reach maximum students. I'll see you guys into the next one. 22. Day 20 - Golden Hour: Hello, everyone. Welcome back to day 20 of the 30 days of unwinding with watercolor challenge. And today, we are going to be creating this golden sunset R. Now, the colors that you need will be shades of blue and this orangish yellow sunset effect that we are going ahead with, basically a golden R view. So let me swat down the colors that I will be using. So for the blues, I will be going ahead with the Prussian blue, along with the Indian indigo color to get the darkness at the top of the sky. So these are the two colors that I will be using in the sky for the blue. And then moving on to the golden R effect. I have a color called as an Indian gold, which is an orangish brown tone. This is from the brand white nights. You see, it's a beautiful orangish tone with the use of brown. So you can simply mix in your orange along with a little of your bird sienna color and get a similar looking golden white tone. And next color that I will be using is going to be the orange color. Apart from that, to give in little brown highlights into the sky, giving in that golden effect, I will be using the light red color. So basically, if I mix the light red and the orangish or yellow color. So let me just mix it for you. I'm picking up my light red color. And to this, I'm mixing my permanent yellow deep. All right. And now when you just watch it close to this color, you see, you get a similar looking tone. You add in more of the yellow and you go on to the lighter side. So let me just add a little more yellow to the same mix. I'm using permanent yellow deep color to mix in. Can you see you're going towards a similar tone as soon as you add in a little more yellow. So as I always tell you, you can always mix in form your colors. You don't readily need all the ready colors. Next, for the entire silhouet space, you need the paints gray color. And then for the moon, you need the white quash. To add in that moon effect, you can even use a white el pen if you wish to. So we are going to go first with the wet sky completely, begging in with the blue tones at the top. You see the little indigo highlights into the cloud for the sky part. Then moving to the golden R effect, which will be using the orange, Indian gold, and the brown tones that I will be adding. As I told you, you can mix in an Indian gold color with the help of burnt sienna or a light red color and get a similar looking Indian gold color, not necessarily to have the same color in your palette again. And then we'll use the pains gray to create this foilage. We'll be using some quick background foilage and then some detail on top of it. So grab your colors, get your color palette ready if you have to mix in the colors. And then let's begin creating this beautiful golden R sunset together. So let's begin with her painting now. I'm going to begin by wetting the back of the paper first. There is no pencil sketch again that you need for this one. I prefer going ahead with limited pencil markings, and I like to work free hand better. But if you are someone who just needs simple guidelines of where which things to go, you can go with a rough and light pencil sketch for all of the details in every painting. So I'm done wetting the back of the paper, and now we'll flip to the front side. I'm going to begin with the entire paper painting the sky together. So going ahead with a good even layer of the water. Now, when the blue and the orange meet together or the yellow, you know they can give you complimentary colors, which we really have to avoid. So we are going to be taking in help of water and the flow of the paints naturally to blend in, beginning in with the Prussian blue colour at the top. We'll go ahead with one more layer. You see, I'm just giving a simple flat wash, but in a gradient. So at the top, you have the darker tones and moving downwards, I'm just lighting up this color. Next up, I'm going to be using in the Indian gold color, beginning in with the Indian gold. And between the Indian gold and the blue, you will see I'm naturally living in that cap, and you see this Indian gold color is a beautiful orangish brown color. Now we are next going to go ahead and pick up the orange color and give it a little at the base here. And blend it towards the top. And next up at the bottommost space, I'm going to go ahead with the brown color. You can either choose to use vende brown, burn sienna, or raw umber, whichever brown you wish to, but in a little medium to dark tone, and just give a little at the base here. Now, once again, I'm going to go ahead with the same color tones, first, pinning in with the Prussian blue at the top. Because remember, watercolors or tone lighter and we want a bold, beautiful sky effect once everything dries out. Next, moving to the Indian gold. And now you see how gently I've blended without getting any complimentary colors in. Up next, going with the orange again. And lastly, at the base, going to pick up the vindic brown color and add in a blurry layer in the background. Now, to build in little character into the sky, I'm just going to go ahead with simple cloud strokes using the Indian Gold first. You're not going to be going ahead with much details, just simple cloud silhouettes that we'll be adding wet on wet. Again, when you work wet on wet, water control will play an important role. You see excess water makes the entire color spread out completely and vanish into the background. So you really need to have the water control so that these cloud strokes stay visible. Going to pick up a little of the Wende brown. See how we blended the colors in creating in that transition happening in smoothly between the color tones of the warm sunset. Lastly, picking up a little bit of the Prussian blue color. So this is very dark. I'm going to quickly lighten it up. Using the damp brush, I quickly lightened up the color. Make sure you dilute the color accordingly because we don't really want too harsh of the details to come in. And if you will go ahead with a very dark color, suddenly, it will look off the charts, very important to have that control of the tonal variation as well of the pigment. So you see I'm just dragging my brush in small strokes, creating in those cloud forms together. And that is it for our simple sky. I took us like five to 6 minutes to create this entire sky together. Now we'll wait for this to dry, then move on to the silhouet details. So now my sky is completely dried and we are going to go ahead with the simple slo het for that, picking up the paints gray color. And we are going to be adding in one huge bold pine tree and go very gently filling in that pine tree. So I will begin in with the center first. So you see my pine tree is going to be a little off center. It's not exactly in the center. Now to this, I'm going to pull out some main branches. And from that, you see I'm pulling out the smaller ones. See, just going ahead with the base layout for the tree, and you see the triangular shape that has come into the tree with the help of the basics that we've put in. Now, to give in first clear of the foliage, what I'm going to do is I'm going to pick up this spoiled round brush, the bristles of the top of which are completely spoiled. All right. Now I'm just going to pick up the pains gray color. I haven't dipped this brush into water, and to this, I'm just going to be adding in this foliage at the tips of these branches that we've added. You see it's of a lighter color that comes in, not too bold and not too light also. Now just overlay onto this. This will act in as your quick filler to the pine tree, and then we'll go ahead with some detailed foliage effect. You will see how natural the strokes come out with this, giving in that beautiful dry brush effect. I'm just dabbing and creating in the foliage effect. Mm. All right. At the base, we'll fill in later on. So you see how quickly we've got this pine tree. Now to this, just go ahead with some details so that it looks like a detailed one. So again, shifting to my smaller round brush and just going to be adding in some detail foilage and make this tree go more detail. Now, you just have to basically keep moving criss cross, adding in some bold details, blending it with the raw details that we added with the spoiled brush so that it all looks in harmony with each other. So you see very randomly, I'm just dabbing on the lighter foilage as well, so as to blend it with the detailed foilage that we are adding now. And along with that, I'm even pulling out some detailed leaves from the pine tree. This method also helps adding in a little color variation to the pine tree because the dabbing ones look a little lighter. And then when you add in these detailed ones, they have a little detailed and bold look because of the color consistencies. Highlighting the branches that we had pulled out again at spots. It is not always necessary to go ahead with everything detailed for it to look realistic or natural. You see how a mix of both the techniques makes it easier and not overwhelming to paint this entire tree in such a realistic manner and also makes it easier and still makes it look beautiful and natural. With anything related to nature, the more you set yourself loose and let the details flow, the more realistic effect it will have it. Now at the base, going to fill in a layer of the paints gray. Now, at spots going to pull out some small pine trees in the background here. It's going to be a mix of simple details here in the background. Make it in such a way that the brown color in the sky does not get hidden up completely. See the simple details in the background coming in altogether. Just simple strokes filling in this gap here on the left. You see how quick the background details are to add in? Just some loose ones. Oh Now, in between, adding in some dried branches as well, so just simple strokes. Just simple, very, you know, kind of the dead trees, which is the branches left around, and we are ready with everything. Now it's time to add in a small moon into the painting. So for that this time, I'll go ahead and use in the white helpin. You can even go ahead use in the white quash and add in this detail. I will go with the white helpin And just adding a small moon. You see it adds so much more depth to the painting. You can surely go ahead with white quash. If you do not have white helpin. It's completely okay. And with that, we are ready with our painting for today's class project. You see the beautiful element of our painting today that is this pine tree, which has come together, and we've gone ahead with such simple details. This entire painting together took us hardly 15 minutes. But the beautiful um outcome that we've got. And, you know, if you paint it even on the larger pieces, using this hack of filling in the main element foliage quickly using a spoiled round brush makes the task easier and is not created to be overwhelming to, you know, paint the entire tree. If you want, do try this painting on a larger surface to frame it into your houses, and you will see how beautiful it looks, the beautiful sunset effect that comes in. With that, I will see you guys into the next painting of this series. Thank you so much, once again for joining me into this class and painting along with me each day. I hope you're enjoying your unwinding rituals. We are ten days more to close this 30 day challenge, and I will see you guys into tomorrow's painting. Thank you once again for joining me. 23. Day 21 - The Roof View: Hello, everyone. Welcome back to day 21 of the 30 days of unwinding with watercolor challenge. And today, we'll be creating this beautiful roof view sunset painting with the string lights. Let's go ahead and break down the colors step by step. The colors that you can see into this painting are shades of blue, yellow orange shades of pink. For the light effect, we'll be using yellow, orange and white. Into the roof, you can see it's shade of brown and paints gray. And for the grass, we'll be going ahead with a little shade of the yellow ocher greens, and then the darker highlights using the paint scray. So that's how the colors are that we are going to be using. Now, let's further break down the colors in parts together. First, beginning with the blues into the sky, I will be going ahead with the Cerlean blue and pairing it up with the indigo for the bold highlights. So these are the two tones of blue that I will be using in the serle blue and the indigo. Now, next coming up to the tones of pink that we'll be going ahead with. So I will be going ahead with a good layer of the opera pink color this time. It's a beautiful light pink tone that I'll be laying over throughout. In case if you do not have it, you can just use a very light tone of your pink color mix a little bit of white to get a light pink effect into your sky. Up next, I will be using the pink violet color for the darker highlights, along with the violet color for some highlights into the clouds here or you can mix in your pink and blue to get a medium tone of the violet color automatically. Up next into the sky here, you can see the sunset effect colors. For that, I will be using the naples yellow, along with a little bit of the orange. And the same naples yellow and orange, I'll be using while giving in the string light effects as well. Here, it's going to be very little, just a little effect over the pink to get that beautiful orange sunset effect. So these are the colors so far into the sky and the string light. Next, I'll be using the tone of sap green and altering the sap green, I'm just going to swatch it out here, and I will be altering the sap green with the help of pains gray to get the darker values. I will be using in a little bit of the yellow ochre to just create a few highlights here into the foliage that we'll be adding. Then next, I will be using the light red color. You're into the roof. I'm going to be having a brown highlight. If you have a close look, you can see the brown effect that's coming in that's using the brown color. You can use light red burnt sienna, whichever is there into your palette. And then lastly, of course, the paints gray color for the final highlights and the details of the daka highlights here, the daka values into the roof. And for the strings of the string light, I'm going to be using in a technical pen so that I can get those lines fine and easy. So that's about the colors that you need. Breaking down the colors into blue, pink, yellow, orange, and then for the foliage and the roof. And in case if you do not have a specific color, it's absolutely okay. You can skip that color. Of course, you may have tones of greens and black for this, yellow and orange, basic for the lights, brown and paints gray for the roof. And into the sky, if you do not have a specific color, you either mix the colors or you can skip a color re in there into the cloud effect. But that's the basic colors that you need for this scricheq. Now, let's begin creating in this beautiful string light through few together. So let's begin with our painting now. I'm first beginning in with the pen work. So I will just begin marking the light ropes and another one going very close to this. You see almost intertwined with each other kind of a look. Same way, I will go ahead with another one. And to this also, I will give in that interwine look. All right. Now let's add the light hangings. The light details we'll be adding in with the panes. So very roughly, I'm going ahead, adding in the light details. You see, I'm just showing a good interwined wire look here. See simple details, just simple blocks to act in. So we're done with the first line of the lights that we needed. Now moving on to the second one. We'll add one here. Now going with the second one here. So in this line, you will see I'm adding the light details much closer compared to the previous one, trying to show the previous one is a far off one. So just adding in the details for the bulbs as well. Now at the top here, we are going to have a roof space. So I will just create a very rough outline for the roof, giving in little detail. You see, just a simple roof pane. The color in it will be a simple paints gray color, but giving this outline will help you define this shape and get in that detailed view to the roof, giving in those wooden panel effect. So that is for the roof or sky, and we'll add in the leaf details and the light details now with the help of the panes. So let's begin betting in the back of the paper first. We have our oceloht ready, and now we'll begin with a layer of water onto the back and then onto the front. Make sure in case if you've used the pen marks, you've used a waterproof pen, as I always tell you, because as soon as you add in water, if it is not a waterproof pen, the ink will begin to spread and ruin up your entire paper. So it's very important to use a waterproof technical pen. Moving into the colors now, I'll begin with the serle and blue color first and beginning at the top. If the colors move into the roof space for now, it's perfectly okay because there we are going to be having a beautiful, dark, paints gray color with just little hints of brown. Now, up next into the sky, I will move to the bright opera color in case if you don't have this bright opera color, you can simply use in any pink or you can even choose to go ahead with a red tone. I will just go ahead with one more layer to make it more bright. Picking up a little bit of the pink violet color. And lastly, I'm going to pick up the naples yellow. I know I've covered up the pink completely at the bottom, and that's on purpose so that when I add this yellow, it gives in that beautiful sunset orange effect naturally. So you see how the natural effect of the sunset is coming in naturally with the pink mixing into the yellow. So that's about how this color blends in and using simple tricks. And now up next going ahead into the pink violet color and going ahead, blending it all in with the pink violet color. And now we'll just go ahead with the cloud details. So for the cloud details now, I will just shift into a smaller size brush and we'll begin adding in simple cloud details. So for the cloud details, we're just going to be going ahead with the same colours that we used into the sky. So I will just pick up a little bit of the pink violet color and just begin with simple cloud details. You see, simple strokes, softening them up quickly. Now, I'm going to pick up a little bit of the blue that we've used into the sky mixed in with a little hint of the indigo and just going to give in a small line here at the base. And again, going to go ahead and blend it in with a damp brush. You see, because of the pink color that we had in the base, the yellow did not react up much to blending of the color forming in any sort of muddy tone and just some simple cloud highlights using a little hint of the blue. You see I'm just very gently moving in the tip, not even adding in much pressure so that the blue and the yellows mixed in together do not react and form any sort of muddy tones. Just simple cloud details, loose strokes, gentle hands, and it will do the work very well. Just adding in some cloud strokes at the top here as well. Giving in the softness. It's simple techniques using in the tape, creating in those gentle soft strokes. And that is for our sky, we'll not overdo it. We'll wait for this to dry, then move on to the details of the roof, the leaf details that we'll be adding on the left at the bottom here, and the light details. So now my sky is completely dried, and I will begin in picking up the naples yellow color and begin adding in the first layer for the lights out here. So just small circles of the yellow color first, and we'll just blend them into the base. So just add small circles to act in as the bulb. You can go ahead with an oval shape or a round shape or whichever shape of the bulb that you want to go ahead with basically. Alright, so this is the first layer, then we'll be using in white quash to depict the light on top of it. Um, so this will act as the background glow effect to the lights. All right, so to all of these, we've added in. And now I will just use my damp brush and run over the edges and soften this up. So you see automatically how the glow happens. So to each of the bulbs, just going ahead, softening it all up. If you want, you can even add little hint of an orange color. So let's go ahead, pick up the orange color, which will be quite less as compared to the yellow. Just add to the center of these. So this will give the warmth of the light. All right. And now, again, just go ahead the same way. Use a damp brush and blend it into the yellow color. See, a simple damp brush, and we've got the background glowing effects. Now, by the time these dry out completely, let's move on to the next layer, which is adding in the leaf details here. For that, I will begin in with the paints gray color in a good pool consistency and just begin adding in simple palm leaves here. You see, simple strokes, some close together at the point out here, and then separating the leaves, creating in more of the detailed effect. Make sure to use a pointed tip brush. You see, I'm purposely adding in some of the strokes crisscross to each other, giving in that effect. So we are done adding in one leaf quickly. Now moving on to the other one. For that, I will take help of a little bit of the green as well to create that little contrast effect. All right, so this is gone almost till the first one. Now, across the light, go carefully and pull out this. On this left side, I will just pull out simple strokes like this first. And then from the right, bending it all out. From the bottom, take it towards the top again, overlapping the previous one as well. You see, we're overlapping onto the previous leaf that we've already added. And from the bottom, very randomly, I'm pulling out strokes again, overlapping, filling in that gap. We later on add in little highlights with the yellow aqua color to depict the sunlight falling onto these leaves as well. And for the last one here, just half of the leaf that is visible. So half of the leaf is not in our sight, so just pulling out these strokes towards the top way. Again, taking this one as well till the first bulb rope Do you see a simple way and how you get in that realistic effect into your painting? Now moving on to the yellow aca colour, as I told you, I'm going to pick it up in a very thick consistency and going to go on top of the one here and just add little highlights. You see? As soon as you add that, it gives in that pop of color, giving in that glow of the sunlight. So just a little bit onto this side and a little onto this one. Simple tricks, little details, more highlights and creating in more of the realistic effect that comes in. Now, into this one, we will have to just correct up this bulb detail. I've just lifted up the green colour from there, and I will just pick up the naples yellow again and drop in there. And wait for this to dry again. Till then, let's quickly paint in the roof completely. I'll shift into a bigger size brush to make the process quicker. Using in the paint's gray color, I will begin defining the outline to the roof. So you see the pen outline that we already have will guide you to create that outline again. So just using in the tip first, I'm creating in the outline to the roof. And now going to fill this up. In between, going to pick up a little of the vindic brown color. And a little of the light red colour to give little glow into the roof. So you see very little of the red effect that we've given in? And filling everything in completely. I'm just going to be picking up a little more of the light red color and drop it into the roof space here. We're almost through this painting. Moving on to the light now for that, I will pick up my white wash and using the white wash, I will begin adding in the details of the light. So I'm going to pick up fresh white kh without much water in a good thick consistency and begin dropping in the light details. So I'm just getting it out in the right consistency, good bold layer. And now these light dots are going to be quite quite quite small than the background globe we've already created in. So just small dots closer to the black spot. If you want, you can add a little hint of the yellow color to this white quash and add the light effect. So we've got our lights also coming in. I will just go ahead with one more thing. Quickly add one more light here. And to this one, I will directly add in the whiteqh light. And just use a little yellow underneath. So that's another way how you can add in the light that is going the reverse way, add in the white and then just add an underlayer of the yellow. What I will do is I will pick up the yellow with a fine pointed tip brush. And to all the whites, I will just add a little under layer of the yellow so that the orange is looks a little muted. It's just an underline that I'm adding to the white so that we get that warmth of the light. And the orange is still visible giving in that background glorry effect of the lights. So that's about the string lights that we've added in, and the simple silhouette details that we've created for this painting a pretty simple one to follow along, but you see the details are so fine and crisp. So here's a final look at our painting from today's class project. I hope you guys enjoyed painting this simple light string view with me today. It took us around 20 minutes, but the outcome is so beautiful and so breathtaking. I will see you guys into the next painting tomorrow. Thank you so much, once again, to each one of you for joining me into this class, painting with me and unwinding yourself. 24. Day 22 - Misty Pines: Hello, everyone. Welcome back to day 22 of the 30 days of unwinding with watercolor challenge. And today, we are going to be creating this beautiful misty pine tree painting. The colors that you need are very simple and just a few tones, which, of course, you can even alter if you do not have the exact same tones. I will quickly first tell you the colors that I will be using. The first color being the aquamarine mist color. Now, in case, if you do not have an aquamarne mist, you can simply use a turquoise blue color or mix in green and blue to get a turquoise blue color. Now, this color here is a little granulating color. So at spots if you see the little granulation, it's a very slight granulating color. So a little granulation comes in, but it's not at all compulsory to have a granulating color. You can just simply use a turquoise blue as well. And next, I will be using the cobalt green color. Which is, again, for some lighter values of trees in the background. Now, again, if you do not have a cobalcreen simply to your turquoise blue color, just add in white squash and you will get the turquoise the bal green color simply. And up next last, I will be using in a little bit of the indigo color for the darker values at the base. So these are the only three colors that you need into this painting. It's like a monochrome painting, but just I'm using as I told you, you can use the same color and create tonal variations. So if you're using turquoise green, you can mix in white quash to get a Kobal green color and you can add in a little bit of pains gray to get a indigo looking color. You don't absolutely need three different shades also. Now we'll be beginning in with a simple wet layer, some background wet misty trees, as you can see, the soft ones in the background, here, here, and then once we go ahead, we'll build on layers on layers and create the mist into the trees as well with every layer with the help of water. It's a little maybe advanced for a completely pigno level person. You may feel intimidating at once. But if you go ahead and just have a look once and then begin again, it's going to be a very easy cake. Because the only technique here is running in quickly with water and dabbing and creating in the misty effect to the pine trees when you add in and the water control when we are working in the background trees. Apart from that, everything is easy go, just a good layer of pine trees that get the entire painting together. All right. So I've guided you with the basic color tones and the alternatives that you can use. And as I told you, for the aquamarine mist here, you can see the granulation is already coming in. But if you want a turquoise blue color, just mix in a little bit of the blue and green and you can get a turquoise green color. You will just have to alter the ratio depending on the code of green and blues that you are using in. So go get your color palette ready with the three colored tones, and let's begin creating in this beautiful, misty pine tree today. So now let's begin in with our misty painting. We'll begin by wetting the back of the paper first. There is no pencil sketch for this one to follow along. It is a simple, misty painting that we are going to be creating wet on wet and then moving step by step, adding in the layers of pine trees, creating in the mist. Alright. So let's begin in. I have been wetting the back of my paper and now moving to the front, going ahead with a good layer of water. As I told you for this painting, I'm going to be using in the aquamarine mist color, which is a little granulating color. But in case if you do not have a granulating color, it's perfectly okay. You can go ahead with your choice of blue, say turquoise, indigo, ultramarine, whichever you wish to use. I'm beginning in with the ultramarine mist color and just going to begin in. Creating in a background wash of this color, a very light layer, as you can see. This is just the background sky that we are building in. So we just really want very light tones. All right. So just make sure you go ahead with a gradient wash of the same, and I will just run my brush horizontally again. Now remember, watercolors dry or tone lighter, so you accordingly create the lighter effects. Now picking up a little bit water dropping in to create some natural looking mist into the background naturally. Okay. So you see the natural blooms that will happen in. Some of them you can, of course, blend in if it is too much. Let some of them be there naturally, creating that small mist effect into the painting. Now moving to a smaller size brush. Let's begin adding in the wet on wet layer. So now I will pick up the ultramreen mist color and not add in much water, but still use it in a medium to light consistency and create in some wet on wet, misty background pine trees. So just going to go ahead, add in some far off shapes into the sky. You can, of course, go ahead with some detailed looking trees. Water control is what will play a major role in this painting so that you can easily maintain the shape of the trees that you add in. Like here, you see, I've added in the background tree. It is soft, but it is still maintaining the shape, still having in the blend into the sky. Randomly at spots, I'm going ahead with the background misty soft pine trees. The foliage also, if you see, is very simple, just moving and maintaining the triangular shape for the background trees is what is going to get the look together. Now, we'll just go ahead with a little lighter consistency. Again, water control will play a major role. You see, pulling out simple strokes for the far off trees. And to create the mist here, I will quickly pick up a damp brush and blend these into the base. See? Simple layers, how we are building wet on wet first. Then we'll move on to the wet on dry detail layers as well. Just again blending, creating in the mist at the base. Now, same way going to go ahead with a few misty trees in the background. Onto this one, adding in a layer again. Another small miss look here. You see if your paints will be extra wet, they spread out quickly. And if you want them to literally retain the space, you need to have water control at the bottom, blending it into the pace of the sky again. Now onto this one as well. We'll just go ahead with some detailed strokes of the trees. A few here and there gently pulling in the more realistic effect of the pine trees. Another one, your huge one. You see how I use the Dam brush technique and blend the base into the base of our sky again. So that is for the background layer that we had to create. Now we'll wait for this much to dry completely and then move on to the next layer of pine trees. Alright, if you want at this point, you can add in little splatters again at the base. Just a little not much, so you see the misty blobs that come in here. Alright, now let's wait for this to dry completely. Then we'll move further. So now everything is completely dried. I have mixed in the same aquamarine mist with a little bit of the cobalt green color. Now, in case if you do not have the aquamarine mist, you can just mix in a little bit of the turquoise blue or turquoise green with the cobalt green, or you can mix in any blue and get this lighter shade to add in some background light pine trees. So just going ahead with some background trees of this lighter color first. Again, these are going to be a little detail, but you can even add them quickly. By just moving your brush at the top towards the left and at the top towards the right as well. And if you want to add in detail one, then you can add in more detail fooliage effect. I'm going in with a mix of both. Somewhere I'm adding in little detail and somewhere I'm just moving in quickly. All right. Now, I will keep another brush handy, and I will just dip it into water. And while this is wet at the base, just blend it into the base and create in that misty effect. Now, on this edge, you see the sharpness, just run a damp brush and blend in. You will see after drying, this will not give you that sharp edges, but this blended bottom effect will stay there. Alright. Same way, I'm going to go ahead, add in a few more pine trees with this color. If you want, you can even directly use in the covalgreen color instead of using in a mix of coval green and the blue. So this is the second layer of pine trees that we are adding in. After that, we'll move on to the third and the bold layer. So the first layer was kind of like a misty one. Then the second is of a lighter color, and then the third layer, which will be of the bold color. Again, the same technique here as well, using another brush and creating in that soft blended effect at the base. Alright, now, again, damp brush on the edge, blending it all in, creating in that soft smooth effect. So softening it up more at the base, creating in that misty effect. Alright, let's go ahead with another one in the same way. So here, it is still wet because of the softness that we created of this tree, so we'll have to wait. But then I will just add another one here. You see how quickly I'm done with this one? Just a few strokes moving left to right. Going to go ahead, blend this at the base again. So the entire look of this painting is creating in the mist at the base of each of the pine trees that you keep adding in. That is what will get the glory of this painting. Another one here at the base. Filling this up one at the base completely and using the dam brush on the edge. All right, we'll wait for all of these to dry out now and then move ahead with the next layer of the trees. I'm just gently going ahead and dabbing the blended edges so that it all has that soft blended effect into the sky. Most of these will still get covered up when we add in the final layer of pine trees once these dry out completely. Mm so now all of these pine trees have dried out and going ahead with the final layer of trees. For that, I'm picking up the aquamarine mist color without any cobalt green or any other color now. And I will just begin in with a bold consistency of this color and begin adding in a few pine trees, make sure everything is completely dried in. You see, just going with simple pine trees. H. Now, you can see the color difference, how the lighter pine trees are now beginning to act in as a beautiful background layer for the. Of course, you can go ahead with more detailed pine trees step by step, adding in very slowly. But to be honest, I really like my pine trees quick and easy to follow along. The same process here again, just going to blend it into the base, using in the damp brush. And using this, I will just dab it in. You see how the mist is created. You see half of the tree looks misty now. Same way, going to go ahead with some more pine trees. Picking up the damp brush, just blending it in and using this tabbing technique so that it all has that soft blended effect. Another huge detailed one now. Oh. Just pulling out the edges, creating that depth effect. You see, we've gone ahead with a huge one here at the base. Just dropping in some darker values into the center space. And now, lastly, I'm going to begin working in with the indigo color. I Now I'm adding it in such a way that the background tree here that we added is still visible. So you see how slowly the entire mist is all coming out together? We're almost through the painting. It was a little detailed one took us a little time, but the outcome is really beautiful, misty. A very small one here. And to this one, I'm going to quickly go ahead, drop in the paint, blend in and dab tab to create that misty effect. You see, just the tip looks bright and everything else gets misty. Same way here as well. Quickly use in the tampa blend blend, dab dab and you get that background effect again. Do you see, small background mists that we added in. And we are done with this painting. I will just add the bottom depth again. Just some little textures. That is it. We are ready with our painting for today's class project, a beautiful, misty pine tree effect. If you want, you can take more time, add in more detailed pine trees, more layers of mist, but I really want to keep it simple and Pigna approach. So that is for today's class project. Thank you so much once again for joining me. I will see you guys into the next painting tomorrow. Okay. 25. Day 23 - Mountain Range: Hello, everyone. Welcome back to Day 23. We are almost through the challenge. Just another eight paintings, including today's. And we'll be through this 30 days of unwinding with watercolor chalice. And for today's class project, we'll be creating in this beautiful misty mountain view. As you can see, the mountain range are going to be color tones of the indigo color, wearing the total variation with the help of water, creating in layers on layers. And into the sky, we have the indigo at the top, and then the sunset colors closer to the horizon line, and then a final moon effect with the help of white quash. So let's quickly swatch out the colors first. You need the indigo. Into the top of the sky using a lighter value for the gradient mountain range, we'll be wearing the tonal radiation with the help of water. The next colors that you need into the sky is a yellow. You can either use a permanent yellow light, I will use the naples yellow. Up next, you need the orange color. Next, I will be using the payroll red color. And lastly, I will be using a pink color. So I will be using the pink rose color. You can use scarlet carmine, whichever pink available in your palette. And for this last layer of the mountain, I will be taking a little help of the paint's gray color as well. To get a darker variation to the indigo at the bottommost layer, and then the white wash for the moon. So a very simple color palette that you need. And this class project is very simple, just that the drying time in this is a little more because after every layer of the mountain, you need to wait for it to dry, then move on to the next gradient. You can, of course, take help of a hair dryer for this class project if you want to fasten up the process, but I will be using the natural waiting time so that my paper doesn't wrap up while use of the hair dryer because of the heat that comes onto the paper. But it's a personal choice, and that's it. It's a very simple class project and easy to follow along. Let's go ahead and begin creating this together. So let's begin with our painting now. I will begin wetting the back of the paper first and then we'll move to the front side. There is no pencil sketch because, you know, these mountains, the more you let them loose and without the pencil marks, the more natural and realistic they will turn out. So I am not going ahead with any pencil sketch. I prefer minimal pencil marks while painting, and now I'm going to begin with the simple layer of water onto our entire paper first. Going ahead with a good even layer of water throughout so that we can get our simple sky together. As I told you, for the sun space, if you want, you can leave that white space with the help of a tape or later on, you can use white quash. I will be using white quash later on. I really do not want to use in any tape at the moment. Then with a layer of water, beginning in with the indigo color at the top. If you do not have an indigo, you can choose to go ahead with any blue of your choice. I'm going ahead with a light layer of the indigo. Up next, moving to a very light hint of the naples yellow. I'm leaving that cap intentionally. Next moving to the red color, I'm using the payroll red, along with the red now, I will just pick up a little bit of the pink as well and blend them both in from the sides of the yellow, we just blend in with the pink color. Now, just blending this layer of the red till a little of the lower spaces, creating in that gradient. Now into this gap here, I will just go ahead with a little hint of the pink color so that the transition between the yellow and the blue is smooth. So basically in the sky, we don't really want a lot of colors, but we still want colors. It's that kind of a situation. But remember, watercolors dry or tone lighter, so you need to keep that in mind before you let your sky dry out. So I'm just running in with a layer of the indigo at the top again, and I will just pick up a little bit of the yellow. You see, because of the pink, now the blendings are turning out more smooth, going with a little hint of the orange. Majorly from the edges that I'm getting in the orange highlights. If you see a lot of our class projects had the same color combination for the sky. But every time the way of adding it, the placement or the style makes it a lot, lot, lot different. Now in the center, I'm intentionally maintaining the yellow spot. We'll be adding in the sun, so we need that glow, picking up a little bit of the indigo and going to add it onto the edges here over the yellow, where we'll be beginning in the mountain ranges from. All right. So just adding in that misty you highlight just coming in from behind the mountain space. So you need that red glow. You need that effect of the pain screy as well, and you have a simple transitional sky coming in. Now, just running in with a little bit of the colors again so that after drying, they are bold and beautiful. But we'll just go ahead with a little more of the red and pick up a little bit of the pink as well. Going to just create in that warmth. I will have to redo a little of the cloud strokes again because I added in that bold layer again, going in with the yellow again. So you see while your sky is still wet, you can redo stuffs and get in that boldness, going in with the indigo again at the top. And again, I will just go ahead with orange color. And again, picking up the indigo to add it here from behind the mountain space. So I needed the same colors, just a little more vibrant. That is the reason went ahead with another layer again and added in all of the colors again so as to get that blend right. So from behind the mountain space, as I told you, we'll get that beautiful glowing effect, and we have the red glow and the yellow and the sky now. Now we'll wait for everything to dry out, then move to the mountain spaces one by one. So let's wait for this to dry completely, then move further. So now my sky is completely dried and I'm going to go ahead with the first layer of the mountain. For that, I'm going to pick up the indigo color in a light consistency. With the mountain ranges, we are going to keep on increasing the color range gradually. So going ahead with the first range with a very light color consistency and just dragging my brush across. And you see the reason of adding in that red highlight a little lower. And I will again pick up little red and drop in here onto the indigo so that it shows the reflection of the sky color coming in here, a very light layer. All right. But now we do not want any uneven edges, so just take help of water and drag this mountain range completely till the bottom. This project will take up a little extra drying time with every layer, but that's how the beauty of it will come out. So just going ahead with a glaze layer again. You don't want the layer to be too light also, but not too dark because you have to build in a lot of layers. But remember, watercolors dry or tone lighter, so you accordingly given the layer. All right. Now we'll wait for this first mountain range to dry, then move on to the next one. So now my first layer is dried. I'm picking up the same indigo color in a little darker consistency than the first layer and very roughly going ahead with the second mountain range. You see the top is so uneven that I give in a very curvy finish. All right. Again, the same trick, taking up water and going to blend it all into the base. As I told you, this painting is more about the drying time. So to speed up the process, you can take help of a hair dryer and speed it up. But I usually prefer letting the paints dry out naturally so as to get in that Better effect and the heat process doesn't spoil the vibrancy of the paints later. So done with the second layer. Now again, we'll have to wait for this to dry out and then move further. Now this layer is also completely dried and I will go ahead with the next layer. Again, just picking up the same indigo color. You don't really need any other drill. Just that when you add layers on layers, the colors automatically begin to darken up as well, and then lastly, we'll even go ahead with some paint scray help to darken up the color further. So this is the next layer of the mountain that we've added. And as we are moving downwards, you will see how the color tones are turning darker. And just with a very rough shape to the mountain, I will just take it up here. So that is for the next layer, again, waiting for this to dry and then move on to the next layer further. Now, this layer is also dried out going on to the next layer, again, picking up the indigo color this time in a much thick and bold consistency and beginning to add in the second last layer. You see how the uneven line that I've gone ahead with. Now again, this is the last layer that we need to wait for drying out and then add in the final layer using in the pain's gray color. Till then what I'm going to be doing is picking up the white color to create in the space for the sun. For that, going to go ahead with the white quash and begin creating in the first layer. So with the white color, picking it up fresh. Going to go ahead, add in a small circle out here. All right. Now, clean up my brush and just going to soften up this layer on the outside. The inside is blank at the moment that will get covered up when we add in the actual sun. So we've created a good background layer blending into the back of the sky, again, just running a damp brush so that everything blends in well. Now, we'll again wait for this layer and this layer to dry and then add the final last layer of details into this painting. So now everything is dried quickly adding in the sun first, using the white color in a good thick consistency, and just going to add it into the center of the space. Just blending it on the edges again. Lightening up the edge, lifting it up. All right. And last thing to go ahead with is the last layer of the mountain. This is also completely dried. I'm just going to pick up a little of the paints gray along with the indigo so that we get a good dark pool colour and go ahead with the last layer of the mountain here. Please keep in mind to paint each layer till the bottom. Otherwise, after drying, you will have uneven edges underneath the other layers of the mountains. Right? Get done adding in the last layer, and we've added in the sun as well. I'm just going to go ahead and add in a little more precision to the sun space. So dabbing it and then picking up the white wash again in a very thick layer and just going to add to the center of this again. The consistency is also important so as to spread the pain and to maintain the opacity. All right. That is it. You can see how the background layers of the white is acting in as the glowing spot. And we have our beautiful misty mountain range painting ready. It took us multiple layers, but the outcome is definitely worth the view. I like the glowing effect of the sun and the different color tones that we've got into the mountain range. Thank you so much, once again, to each one of you for joining me into this class, painting along with me. I will see you guys into the next lesson tomorrow. Thank you once again for joining into this unwinding challenge and painting along with me. 26. Day 24 - Purple Sunset Field: Hello, everyone. Welcome back to day 24 of these 30 days of unwinding with Watercolor challenge. And today, we'll be creating this simple field view with this glowing light effect into the sky. It's a play of simple colors, just a quick play, water control that gets all of this together. As you can see into the sky, it's a shade of blue and violet and bluish violet tones that we'll be using up majorly. And then at the base, we'll be giving some background blurry effect into the field, as you can see in the background. And then the highlights and the detailed pain scre effect, you can see the dull highlights that we've created. So let me quickly give you a guide of the colors that I will be using. I will be beginning in with the ultramarine blue color first. You see it's a beautiful bluish violet color. And then to define and add more to this color, I will be going ahead with the violet color to get in more tonal variations and the cloud details. At the base, while this is uh, you know, at the back, I will be going ahead with a little of the vindic brown color to give in the blurry effect of the, you know, push in the background. Or you can even use a violet shadow color. Now you see the violet shadow color has turned out same because my brush had the purple color. And when I mixed it with the ndeg brown, I got an almost similar violet shadow color. That is the reason I didn't clean my brush to show you how you can mix your own colors. Next, I will be using yellow ochre color to give some highlights into the crass. If you see, once this dries out, we added some yellow ochre grass highlights, which are acting in like a second layer of the grass strokes. Then we'll be using the pains gray color for the main highlights, and even in the background, we'll be using a little pains gray color to give in some darker blurry details. And lastly, for adding in those bold highlights, I will be using the Petersburg ocher. Now, in case if you don't have a Petersburg ocher, you can simply go ahead mix in white wash along with the yellow ocher and use a lighter version of the yellow Ocha color itself to give those highlight strokes like this one that you see, this one that you see, it's very light, but that is the lighter blurry highlight that we need into the field. And then the white h here. Now one important color, you're the glowing effect that you see. So for that space, I'm first going to be beginning in with the shell pink color, which is like a beautiful pastel pink color peach color. You see, it's neither pink but nor completely orange. So if you don't have a ready shelpin color, just go ahead, mix in a little bit of red, orange, and a lot of pie and get this pastel color. Or if you want, you can take help of the white caps itself to create that glowing space. But a very light layer of the shelpin colour gives you these undervalues of the lighter tones as you can see into the painting. But if you do not want to use this, you can absolutely choose the whiteness of the paper and have water control to maintain that white soft spaces into the sky. Now, as we move ahead step by step, I will guide you step by step into this painting and we'll create this beautiful looking field together now. So let's begin in with our painting now, and there will be no pencil sketch that I will be going ahead for this painting either. I will directly be going ahead with a layer of water. So first, beginning to wet the back of my paper. Go ahead with clean water. And now moving on to the front side, I will begin with a layer of water onto the entire paper here as well. Make sure you go ahead with a good even layer of water throughout. Now into the sky, I will first just go ahead with the shell pink color and create little highlights, little that you need. Now I will begin in with the colors one by one. I will begin in with the ultramarine blue color first. Picking up the ultramarine blue color, So above and below the pink. Both ways, I will just go ahead with a good layer. Now remember, watercolors dry or tone lighter. Always go ahead with one tone darker depending on what shade you want it to, you know, be when it dries out. Now, very gently giving in little strokes over the pink color, maintaining that glowing spot. But don't cover that up also altogether because we'll still be working with a lot of layers. Go ahead with another layer of the ultramarine blue. I accidentally picked up a little of the Prussian blue. That is the reason this has gone a little different here, but that's okay. I will just go ahead and try to correct it off with one more layer of the ultramarine and lighten up that Prussian blue glow. Again, to make it all go balanced, pulling out little strokes over the pink. So for the pink, we just need the highlighting spot. Now next, I will pick up the bright clear violet and mix it with the ultramarine so that we get that bluish violet tone. Ultramarine blue already towards a little of the violet side, but to make it a little more bluish violet, I am mixing in the violet separately to it. See very loosely when I come close to the pink. Now I'm just going to pick up the violet color and create in little space into the sky, giving in some color spots. Very loosely, adding in some strokes. Over the pink. When I go, I go very carefully so that I don't spread it out. Just some darker highlights of the violet color. And now you see I'm just trying to form in little cloud dimensions with the strokes of my brush moving in in different patterns and flow. Over the pink, as I tell you, when I go, I go and lift up very quickly so that I get that highlight in the center. But even the cloud effect staying there of the pink tone that we added in. Picking up a little more ultramarine. So you see the sky is just a play of two colors in different tonal variations, creating in the highlights and the details. Now, just some simple ultramarine highlights on top of the violet again. You see, when I dab my brush in little circular motions, it gives me those cloud shapes. Same way at the top here as well. A little cloud element with that little glow being maintained. You see, we started with such a big patch of the pink color, and by the end of it, we are left with a small highlight spot that we actually needed. M. Just softening it up here. Now, while this is wet in the background, we'll just mix in the violet and the pains gray color that you can mix in. I'm using the violet shadow color directly and adding in a background layer to the grass strokes that we'll be adding in the foreground. So you can simply mix in violet and pains gray. I have a ready mix called as the violet shadow color, which I'm using in here and just giving in a very rough layer at the base for the background layer. And at the base to this also, I will add in more pains gray. Be a little careful about the water control at this step because everything is wet, and if you will add in a very wet layer, things will spread out completely. So you need that control. And while this is wet, I will quickly shift into a smaller size brush as well and add in some fine background blurry strokes using the same color, that is the violet shadow, that the water control So just pulling out some simple background grass strokes, which will be blurry and soft when they dry out. But water control is important. Only then you will be able to get in these fine strokes. Otherwise, the colors will just spread out and create in a simple flat layer. Now picking up paints gray. In the base, I will fill in more paints gray. And just some more loose strokes in the background. Now, while this is wet, what I will do is I will pick up the pains gray color and create some blurry background detail stroke as well. Just pulling out smaller ones from it. So for the blurry one, we'll just be adding in a few of these. The main detail of these detailed branches will be when everything dries out and we add them in the bold consistency. But just a few background blurry ones to add more to the character of the feel. All right, so just a three to four of them that we added in. Now, once everything dries out, we'll add in the detailed ones, and then we'll go ahead with the final details on top of it. Let's wait for everything to dry now, then move further. So now everything is completely tried, and I'm going to begin creating in the foliage. For that, I first mixed in the yellow aqua with white, and using a pointed tip fine brush, I'm just going to be giving in some fine strokes, which will take time and precision to add in. Just a few fine ones here and there that we'll be going ahead with. You see, as soon as we add in the yellow ocher color, it gives in a good beautiful bold effect on top of the darker highlights as well because it is a very fine color which is a little opaque and gives in that pastel hue. I just mixed it in with a little bit of light red color to get it in a little muted tone and just adding in few fine strokes at the bottom. You see, I'm using a fine pointed tip brush so I can get in a few fine strokes as well where I'm just using the tip and getting in these details on top of it. One small trick that I would share with you is, you see, when I start from the base of the paper, my brush flattens a bit. But when I start from the board here and take it up, I get in the fine strokes because the pressing happens on the board, and then the fine strokes move towards the top. You can keep a paper underneath if you're not using a board to follow this technique and get in the fineness from the base itself. Now, when these dry out, you will see they dry out according to the sky tone color automatically giving in just that little glow of the light coming in here. Now up next, I'm going to move on to the pains gray color. Again, using in my fine tip brush. Make sure to pick up the pains gray in a good bold consistency, and now the same details we'll be adding them. You see the fine strokes that I'm pulling out? A few detail one to balance it all out. To this one, I'm pulling it out from both the sides. A little at the bottom as well to just give in more of the details. Now, my wind is blowing from the left to the right. So all of my grasstokes you will see I'm adding tilted towards the right side only. Again, a few randomly at the bottom, as well. Make sure you're using the pain screen or good bold consistency for adding in all of this. So detailed ones adding in more. Now, just some loose strokes overlapping. See you pulling out fine strokes. And with just some simple techniques, we've gotten so much depth and details coming in. Now, up next, I'm going to pick up the white quash. And using the white quash first, I'm going to create a glowing background for the moon. A small circle and quickly using the damp brush, I'm just going to blend it all in from the edges. And on the edge again, using a damp brush, just blend it all in and get that gluing spot area. All right, we've got the glowing spot. We'll add the moon to it once that dries out. By then just going to pick up a little of the Petersburg ochre, which is like a pastel ocher color. Now, in case if you do not have this, you can just use white uh with a little hint of brown or yellow ochre, and we're just going to create in a few highlighted strokes closer to the detailed ones that we added. You see a little highlight to show the light effect of the sky. Mm. You see, adding in a few highlights. Not going to overdo with the highlights as well. Now, if you feel that the highlights are too bold, you can quickly dab them as well with your fingertip to turn them a little, you know, subtle and blended. But make sure the fingertip that you use to blend in is also clean. Okay. And now lastly, this space is also dried out. Let's quickly add in the moon using in fresh white quash. So just to the center of this a small moon. And you see how bright the light begins to happen. So that is it. We are ready with our class project for today's painting. I love how this has turned out, the glow into the sky, the simple color tones, the simple details of the foliage, the softness in the background. Everything looks so well muted and all together with the glowing effect falling onto the foliage as well. I hope you guys enjoy painting this with me as well. I will see you guys soon into the next painting of this unwinding challenge. Thank you so much once again to each one of you for joining me, painting along with me. I can't wait to see you into the rest of the paintings as well. Hell. 27. Day 25 - Beach Day: Hello, everyone. Welcome back to Day 25 of the 30 days of unwinding with Watercolor Challenge. And for today's class project, we'll be creating this beautiful beach painting. It's going to be a simple wet on wet sky, then wet on wet waves and simple details that we'll be adding to create this simple rock view with the moss details and a rocket to the sea. Let's go ahead with the color swatching first and then move to the project. So for the sky, I will be using the Cerlee blue color. It's going to be a flat wash of the Cerle blue color, creating in little gradients. Into the water space, I will be going ahead with a mix of the cobalt cream along with a little of the aquamarine mist color. Now, in case if you do not have the aquamarne mist, you can simply use the turquoise green or turquoise blue color, and you can even just use the turquoise blue along with white to create gradients. Then moving to the sand area, I will be using this Petttersburg ocher. Now, in case if you do not have this, you can simply mix in yellow ocher, a little hint of yellow and white wash and get this similar looking tone. Into the mountain spaces, I will be going ahead with a light gray color, which will be a mix of the pains gray along with a little hints of the blue and the vindic brown. But in case if you do not have the colors, you can simply use a very light consistency of the pains gray color. That is the reason I've lifted and shown you and you can get the light gray effect. But mixing in blue, brown, and the pains gray will give you a naturalistic brown color effect. Then for the greens, I will be using the sap green and a little bit of the cadmium light green color. For giving in those bold details onto these rock spaces. And then for the darker details onto the mountain spaces, I will going ahead with the bold layer of the pain's gray color. And for these small bolt silhouettes, I will be using in the white quash. You can choose to use in white el pen as well. So these are the basic colors that you need, shades of blue, gray, green, and for the sand, as I told you, you can mix the color mix that I already told you to get a similar color tone. We'll be beginning in with the sky, then moving with a wet on wet sea layer. And after that, we'll be painting the layers of mountains step by step, giving in a washed layer of the gray color mix, then moving with some green, wet on wet details, then dry brush texture, then the green highlights, and then the darker shadow spaces using in the paint's gray color. So that's how this entire class project is structured. Get your color palette ready, and we'll begin creating in this beautiful beach painting together for today. So let's begin with our pencil sketch now. I will just begin marking the beach space. It's going to be a little below the center space, and at the top, let's begin marking out the huge mountains that we'll be adding in. Onto the horizon line. I'm just going ahead, building out the shape to them in a very rough way. You see the peaks that I've given in. Now I will just mark the darker space that I will be painting to show the darker shadows and the rest of the mountains will have the light effect coming in and at these spaces, we'll be having in the darker shadow effect. All right. And on this also, it will be the entire light. Just these spaces, we'll be painting it with the darker colors to show the shadow effect basically the sunlight is falling onto this and this mountain and this is at the back side. So this will be of the darker color that we'll be showing in. And we'll add a small, similar looking rock re into this rock as well, we'll create this much space as the shadow to the rock falling into the water space while we'll be painting the water. So this will be the darkest color, and this fine line that I've added will act as the shadow onto the water. Now, while we paint the sea area, this will be our water body and the sand, both will be, you know, joined to each other, and this will be a sky. Let's begin creating in now. We'll begin with the sky, then move on to the base layer into the water, then begin step by step with the layers into these rocks as well. So I will first begin by wetting the back of the paper. Going ahead with a good layer of water at the back first. Moving to the front. Now I'll begin with a layer of water first into the entire sky. Let's begin with a layer of water into the sky. I'm going to be avoiding the mountain spaces for the water for now. Going ahead, marking out an outline. A little color may still seep in and that's okay. We'll cover it up while we paint the mountains. So, Now, the sky is going to be a pretty simple one that we'll be doing. I'm going to be using the Cerlean blue color and just going to have a simple flat wash sky. Now, remember watercolors dry or tone lighter. So you give the color tone accordingly that after drying, it has that beautiful effect that you need. Just going ahead across the mountain carefully and at the top, blend it into the sky. Giving in a simple gradiation. Now, while this is wet, what I will do is to create in little Cloud effect, I will just use a smaller size brush and just do a little color lifting to add little white cloud effects at the base here closer to the horizon line. Just doing simple color lifting using a smaller size brush, creating in those small gaps for the clouds at the horizon line space because here we are going to show the sunlight effect which is falling onto the mountains. It so just across this space a little lighter spaces. If you want, you can take help of the white quash as well to add in the highlights. But since this is a non staining color, I'm going ahead with the picking up lifting technique and create it in those little white spaces, blend it all in if needed, and we are ready with our simple sky. Now, by the time the sky dries out, I will go ahead and paint in the base layer for the sea as well, which is again going to be simple. But while adding the water layer, I will be a little careful at the horizon line. So I am not adding the water first closer to the horizon line, leaving this rock space also empty and towards the horizon line on the left, I'm leaving a fine gap which we will be covering up later on with a small detail on the horizon line so that the colors from the sky do not move into the beach area and the beach colors do not move into the sky. Now for this, I'm going to go ahead with the cobalcreen color. You can use a turquoise mixed in with the cobalcreen. I'm using the aquamarine mist mixed in with the cobalt green so that I get a muted tone of the color. And just going to paint a simple water space. You see closer to the sky here, I've left that small gap, which is not going to make the colors flow from one space to the other. Now across the lighter line that we had marked, we'll be adding in the darker depth there to add the shadow to the rock, and the rest of the bottom space is going to be the beach. For that, I'm going to use the Pittsburgh color, the sand area, basically. Now, while this is wet, let's go ahead and add in details. I'm going to pick up the aquamarine mist color without the cobalt screen now and at the horizon line going to begin adding in the darkness line so that this will act in as the shadow to these rocks that we have. All right. So a little shadow to them and just going to show in little waves effect wet on wet. For that, you need to have the water control because a lot of water will spread them completely. We just want little soft and soft waves detail. I'm just going to blend these wherever it is too dark of the color. So you see just using a damp brush and blending it all in. Same way here at this spot as well, going to give in that darkness. Just simple waves effect. Going to use a little of the cobalt screen as well. Hmm. You see soft and soft waves effect that we've gotten over the sand space as well, just going to use a very light wash of the cobaltrene color and add showing the water coming onto the sand space. Now to the rock, we have to add in the shadow. For that, I'm going to use the aquamarine mist color in a little bold consistency. But water control, again, is important and just below the rock area, add in this darkness, you see, but you need to blend it well. Now across this space here, I will add a little more of this color so that this goes blended well. Basically, I'm just reducing a little of the sand space so that this looks well balanced. Now, just going to pick up a little hint of the indigo and going to drop on the outline here again on the inner outline. You see it will add another dimension to your shadow on the inner line, that little light indigo hint. All of this we are doing while our bases are wet only then you will be able to get in this soft shadow effect. M you see the shadow to the rock that we've created and the simple waves effect. Now, while our waves are almost dried, you can just pick up another layer for the waves and add in some fine details. At this stage, it is 50% d. So just a few more strokes. We'll give in that boldness, plus the softness still because the paper is still a little wet. As I'm moving towards the sand space, I'm just giving in very small small dots. All right. So we've got the water body space covered completely and the waves effect also coming in. Now our main space of working will be the rocks into the horizon line and into the water as well. So let's wait for all of this to dry out completely now, then move further. So now everything is completely dried and we'll begin painting the mountain spaces. For the mountain space first layer, I'm beginning in with the Petersburg ocher color at spots. I'm going ahead with the wet on dry method because we want a little dry look as well to certain spots into the spaces. So beginning in with this light layer, now I'm going to be picking up a mix of the pains gray along with browns and blues to get a grayish color. If you have a redy grayish color, you can use that or just go ahead and mix in a little bit of the brown blue, along with a little hint of the pains gray to get a light grayish color first, and then begin in with a light layer across the entire mountain space. So I'm going ahead with a very light layer first. Now, if you want into the darker spaces as well, you can first go ahead with this light lier color. Now to further lighten up the space, you can simply use in water. I'm picking up a little bit of the Peters ocher again as well to blend it at the bottom space. Now using the same color going to fill this second mountain range as well. Now, just to get the blend in between right here, also, I will just pick up a little of the Petersburg aka again and blend it in. Now while these pieces are still wet, I'm going to go ahead with the darker tones, wet on wet to create in some texture. For that, I'm using the pains gray mixed in with a little hint of the ndeg brown. You can simply use in a medium tone of brown directly if you wish to. Now, just dropping in simple darker values wet on wet. The bottom of these rocks will be a little lighter at the top majorly, I'll be dropping in some darker tins. Very roughly creating in the tonal variations wet on wet, getting in that softness. Now, don't use a very dark colour tint for these spaces either because we'll be going ahead with some dry brush texture as well. And with that, we'll even be creating in the darker space here. So make sure you keep the color tones accordingly so that you have space to add in the darker values. Now I'm going to be picking up the green colour and going to pick it up with very less water and going to create in some green foliage detail. So just picking up the green colour in a good thick bold consistency without much water and dabbing off the excess water as well. Just going to create in some moss like details onto these picking up a little more of the lighter green to this. You see, just wet on wet simple details, then we'll create in some dry brush later on. I'm using the cadmium light green color so that this stands out because this is like a pastel color, dropping on top of these darker values as well here. Just using the tip and dropping them in. Just blending them on the edges into the rock space. Now, we'll wait for this layer out here to dry completely, then define more into this space. By then, let's go ahead with the same details into this rock here as well. Going to go in with a lighter layer of the Pain's gray color. And at the base here as well, I will use the Petersburg cha Now going to drop in a little bit of the browns. While this is wet, just going to drop in some darker values wet on wet majorly at the top spaces, and a little bit of the green hints also and going to pick up the pain's gray color. You remember the small block that we had created here at the base of this. There I will be adding in this so that it has a little soft blended look at the top. See? Just filled in this space well. I just going to soften it up at the base as well. Using a damp brush. Now, by the time the rest of the details are drying out so that we can go with the darker values, I will just go ahead with a little detail here to cover up this space. For that, I will just pick up a little light hint of the Balch color and define this line well and cover up the spaces. Now, going to pick up the pains gray color in a bold consistency, and this space out here has dried out. So here I will begin in with the darker values that we had to create the rough space that we had created. See now, this is acting as the darker space and on the rest of the space, it's looking as if the light is falling by. Now to give in more depth, let's go ahead with some dry brush off the Pain's gray color. Now randomly going to give in some more darker rock spaces to show in more of the texture. U So just pulling out small strokes to define the darker spots, creating in the light and the dark effect. Onto this mountain here at the edge, it will have more of these spots like this because here the light effect is coming less from the base as well, just pulling out simple strokes towards the top with a little dry brush in it. See simple details getting in the liveliness to the rock space. Same way to this rock as well. I will shift into a smaller size brush. You see how crooked my lines are giving in more of that realistic effect to these rocks. Same way from the top, pull out a few lines. Now, just going to go ahead, give in a little dry brush effect. Onto this one as well. Picking up the paints gray and dropping in a little more darker value on this edge. Now onto this rock as well, just going to add in a few details with a pains gray color. Basically a little dry brush and some patches. See just a mix of both and creates in that realistic rock effect. Not going to overdo it a lot. Now going to be picking up a little bit of the cadmium light green color and just going to drop in a brighter detail look onto these grass patches, just a few moss effect. Just using the tip, creating in small dots. Not everywhere, of course, at a few spots. Okay, showing the light effect coming in there as well. Same way here also. I will just drop in a little green toll. And now going to shift to my white quash to add in a few bolt silhouettes, very tiny ones. So just going to pick up some fresh white quash in a good bold consistency. You can even use a white gel pen. White watercolors will not give you that opaque effect. So white quash is something that I would recommend. Now, a small silhouette here. And another small silhouette here, overlapping to the rocks that we'll add in. Make sure that your rock space is completely dried before you go ahead with these white details. Dropping in some small white far off boat effects closer to the rock space as well. You see, simple just shapes to act in as the silhouettes. And with that, we are ready with our class project for date p five, a simple beach painting with the rock views. And you can see the outcome has turned out so beautiful, such simple techniques and strokes that we've used to create in the light effect, the darkness, the textures, the green moss details. I hope you guys enjoyed painting this with me. I will see you guys into the next lesson tomorrow. Thank you so much for joining in painting along with me. 28. Day 26 - Northern Lights: Hello, everyone. Welcome back to Day 26 of the 30 days of unwinding with watercolor challenge. And for today, we are going to be creating another beautiful Northern sky with simple blend of colors, wet on wet play. No much of the detailed strokes or play of strokes, just a play of color and flow of water. The first color that I will be using is going to be the naples yellow, followed by the cadmium light green color, which is a beautiful paste and green. In case if you do not have this, you can mix in white, yellow and green to get this beautiful light, paste and green colour. By white, I mean white gouache always. Next is the cobalt green color, which is another pastel color. You see the opacity of these colors. It's covering up the whiteness of the paper, and to get this opacity, you will be kneading in white wash. Up next is the indigo color that you will be kneading to add in the darker values into the sky. Then lastly, for the dry brush texture, you will be kneading in the pains gray color. My indigo was freshly squeezed, so you see it in a very dark consistency, but it's different than the paints gray, basically, it seems seem right now, right? So these are the five colors that you need, and then whitewash for the detailed star look at the top of it all. We'll be beginning in with a play of these four colors first into the night sky, beginning with yellow, then the green, val green, and indigo, and creating in the beautiful soft blend of colors. Into the mountain, we'll be going with the first layer where here we'll be showing the darker effect. And onto this space, we are showing the light effect of the night sky falling in, showing in more of the snow caped or light effect. Then the dry brush texture and then simple details to create in this snow cape mountain look. And these are the colors that you need. So basic colors, simple techniques that you'll be following and paint in the Northern lights now. So get your color palette ready in case if you have to mix in the colors. For Naples yellow, you can mix in white and yellow. For the green I told you, for the Kobal green color, you can mix in blue, serle and blue with a little hint of green and white to get this similar tone. In the previous projects, also, I've shown you multiple times how you can create in your own colors with a very basic 12 color palette. For Indigo, you can mix in pains grey along with blue. And finally, the pains grey color, but in case if you do not have, you can use the black, neutral black, lampak whichever dark, blackish color available in your palette. So get your color palette ready, and let's begin creating in this beautiful and simple non sky together. Let's begin in with our pencil sketch to mark out the mountain space. We're just going to go ahead with a rough outline to the snow caped mountain that we'll be painting, and then we'll even be creating in the inside dimensions so that we know where we need to add in the darker values and where you need to go ahead with the lighter values. All right. Just some background mountain range as well here. Now, I am just going to be going ahead, defining in the darker spaces, and just going to give in some outline. So this is going to be the darker space and here as well. See, giving rough outlines. This entire space is going to be of the darker color where we'll give in the indigo highlight. You also half of this will be of the darker value, and this space will be lighter value. This space here, we'll just be having in some patches darker values. So just create a rough outline so that you have a guiding line to help you understand where you need to put in the darker values. And onto this space just a little at the peak, we'll give in the darker values. And then just some simple dry brush that we'll be adding in at spot. So here, we'll have a dry brush to give in this flow. Your we'll have a dry brush. Alright, so this way, we are going to define the mountain with different color values. And then at the base, we are just going to give in very small, fine pine trees with the pains gray color. And the top, of course, is going to be our beautiful glowing Northern sky that we'll be painting again. It's going to be a simple Northern sky that we'll be going ahead with. So let's begin in with a layer of water at the back first. We'll first work into the sky wet on wet and then we'll go ahead into the mountain space because it's going to be the dry details that we'll be adding. Now when you're adding colors into your sky, you got to be careful so that the colors do not run into the mountain spaces, or you can use in masking glue or something if you wish to. I will just keep it like that and be careful while going ahead with the water closer to the mountain. You see how slowly I'm running the water here because I do not want the water or the colors to seep in here because the sky will be of the darker values, but the mountain spaces are going to be of the lighter values. All right. Now at the top, making sure I have a good even layer of water because for the Northern skies, it's all about the water play that will make it happen. Putting in a little layer at the water here so that my paper is stuck. Now beginning in with the colors one by one. Firstly, I will pick up a little of the naples yellow, create a good glow here, then move to the cadmium light green color, which is a beautiful light pastel green and drop in lights and glows with this color. Again, this is just the first layer that I'm playing along with. Now moving on to the cobaltreen color. As I told you, this Northern sky is going to be a simple one which you can easily follow along. From behind the mountains, I want a good glowing light effect. Here I will just pick up some lighter values and add them there. Just going to pick up this light green color again. Defining up this space. We'll add in little indigo hints here as well, but that will be the last thing that we'll do picking up the indigo. Now onto this side as well, dropping in the indigo values. From the top as well, dropping in into the sky. Now, to balance the flow, we are going to go with the same colors again. Make sure clean brush clean colors. Just dropping them at the spaces that we drop the colors in the first layer. And lastly, going to pick up the indigo color again. My indigo color here is almost over. I'll squeeze out fresh from the tube if needed. And now from the base here as well, as I told you, we'll be giving in a little strokes coming in. You see how I'm pulling out these strokes from between? But now to get the flow, going to pick up my board, make the colors flow into each other naturally. For that, I'm going to take help of this cadmium litrene color. You see the flow will happen, the indigo colors will blend and the sky glows will move. But you do not need to keep it tilted in one angle only. You will have to quickly play along with your paper. It's always recommended to have it on a movable surface. You see how easy it is for me to rotate the board and get the softness into the sky. And you see I'm moving very quickly around so that I am not stuck to one place. You see the glow, the sky that is created with such an easy way. Now going to shift into a smaller size brush to add in a little bit of the indigo highlights in between. Again, you just need to quickly rotate them up. I'm going to pick up this light green color as well, drop it into the center of these purple strokes that we've added. See, making the flow of the colors go towards the top. Softening it up wherever needed while blending. Now, you see we've got that little indigo highlight in the center as well. Now I'm going to pick up the naples yellow color, drop a good glowing chunk effect here, lifting up the excess water along with that, I'm even going to place in some whiteqhPicking it up in a little liquidy consistency so that it spreads and creates a good glowing effect at spots. All of this you see has to be done when everything is wet so that you can easily turn twist and get those blends right across it needed, put in some green values or the bal green values, whichever is closer and whichever you need for the blending look. This exercise is all about twist and play with the colors to get your blends into the sky. You see how quickly I'm rotating so that the glow here is coming in and maintained. Going to pick up a little hint of the Cerlean blue color. Creating in that little greenish blue glowing effect here. You see, we've just created a simple Northern sky effect. Now, from this space, just going to pull out these strokes and blend the violet or the indigo effect as well. So that is for our sky. I won't overdo it. I will let this dry completely and then we'll move ahead further. But one thing that I'll do is I'll just pick up little white color in a very light liquid consistency, not much, little. And while this space is wet, just going to splatter from far a little white spot so that these will blend and create in soft spaces for glowing stars naturally. All right. Now just going to clean up the rest You see these plateaus go across everywhere. So be careful while adding these in. But just a few that will help us add in the stars later on and naturally have in that glowing spaces. Okay. So now let's wait for everything to dry completely. Then we'll go ahead further with the details into the mountain space. Now, everything is completely dried and I'm going to begin in with the first layer into the mountain space. I'm just beginning in with a layer of water with a little hint of the cobalt green color to show the light of the Northern sky falling onto the entire mountain snow space. It's been a while that this paper dried out, so you see it has left up this base that I've been using. So I will just quickly go ahead and add in the layer first. Mm. So just gone ahead with the first layer to show the light of the sky falling onto this mountain space. Now I will pick up the indigo color and drop it at the places where we had to show the darker values, which is this space here. So is he roughly creating in the darker values for now? Just some more values. Now, we'll let this dry completely, then move with the further details on this again. Now, this layer is also dried out and we'll begin with the dry brush texture, which will be the last leg of details and then just a sprinkle of stars into the sky. I'm beginning in with the pins gray color, and we'll begin in with the drybush texture. Make sure you use a smaller size brush and tap off all of the excess pigment and just begin adding in simple drybushtrokes, along with some bold lines. Just as in the previous project, we went onto the rocky space of Ts beach look the same way we are going to be following here as well. You see, textures that we'll be building in. And at the base here, we are going to show a patch with the dry brush. So, you know, just going along Make sure for these you use the color in a good bold consistency. Only then after drying, they will look opaque and, you know, the consistency will show up. Now on to the rest of the space, just going ahead, showing the flow of the mountain from the top right towards the top left towards the bottom right. Defining this space. We haven't added much yet, but you see, even the little that we've added so far is giving in so much definition to the mountain spaces. Onto the lighter spots, also, just going ahead with some simple strokes. Now, same way. You remember, I'd given the pencil marks where I will be giving in the dry brush texture. So just building in the dry brush texture here at the tip a little so as to define our mountain space. Now, these more lines help us define the mountain flow. So you see just a wash color that you give it, and then the dry brush texture alone plays such an important role in defining your snow caped mountain. So darker spots in between, and slowly our entire mountain space is coming together. Now, using the pains gray color, I will just add in very small detailed pine trees at the base. So what I will do is I will just create a space first, fill it with the pain scray and then just pull out small strokes which will act in as the far off trees. Now, just varying the length of these. In between, just a little detailed one. If you want, you can add all of these tiny trees in the detailed manner. Same way, I will just pick up a little more of the paints gray and add a few here as well. Just a little more bolder details. And lastly, you're going to pick up the white quash and splatter them into the top of the sky. So picking up fresh white quash, I'm now just going to splatter. If you want cover up your mountain space, or else you will just have to have some control while splattering this. I will quickly clean up the side edges. Now, if you want, you can give in a few of the glowing star effect as well. But what I will be doing is I will just pick up my fine tip brush and add some bold and thicker stars. I just daving in some bigger stars, specifically at those patches which are come in soft and blurry while we added in those back splatters of the whitewash. You see, some bold stars just lift up the entire look together. Just going to create a little shine to few of the stars. All right. And that is it. We are ready with a simple Northern sky. It took us around 20 minutes, but you can see how beautiful and simple the outcome is with a beautiful gradient snow caped mountain effect. I hope you guys enjoyed painting this with me. I will see you guys into the next painting tomorrow. Thank you so much once again for joining me and painting along. 29. Day 27 - Sunset Beach: Hello, everyone. Welcome back to Day 27 of the 30 days of unwinding with watercolor Challenge, today we are going to create this detailed Cesca with the glowing sunset effect, and it's going to take us a little while for this class project, but it's going to be absolutely rewarding. Let's begin in with the colors. For the yellow, it's going to be the naples yellow. Then into the sky closer to the horizon line, you can see the colors of sunset, which is going to be orange, a little bit of the payroll red. And then moving to the pink for the pink, I will be using the quinacinin rose and a little bit of bright opera if needed, or else I will tone down the value of the quinacinin rose itself. And then moving on to the top of the sky, it's going to be violet, mixed in with the Prussian blue. And these are the exact same colors that we are going to be using into the sea as well. We'll be maintaining that little glow effect of the sunset colors in the center here. You can see the yellow, orange highlights, and then the major highlights with the darker tones of the violet. And the last color that you would be using for the darkness is going to be the indigo color. We'll be using indigo to create the undershadow to the foams, a little darkness waves, the wet on dry waves. For all of that, we'll be using the indigo color. These are the colors that you will be needing. It's simple basic color palette, but this time, the techniques are going to be a little detail. We'll begin wet on wet into the sky. You can see closely on the edges, my paper showed up a little and the water from the edges underneath the paper had see pAcked while drying. I corrected it, but even after trying it looks like a little of the cloud effect. But if you observe closely, you can see a little of the sharp edges. I try to conceal them a lot by, you know, dabbing and wetting it off, and then I could reach to this spot. But nonetheless, still the painting looks absolutely beautiful to me. And for the waves, we'll be first going wet on wet with the background, and then step by step, we'll build on. Let's begin the painting and then go ahead step by step. So let's begin in with the simple understanding of the elements, how we'll be placing them. So the top is going to be a sky. This will be a horizon line. And somewhere a little in the middle space, we'll be having in a bold, you know, foam effect of the water. And then this simple beach line here. All right. So these two spaces, we'll be giving in darker values wet on wet and then giving in the white effect or basically the foam effect with the help of white quash. So we'll be showing the darkness underneath the foam. So basically, here you have the foam effect. Underneath you have that shadow which causes the dark effect, all right? Same way under this line as well, we'll be giving in the darkness effect. In between at certain spots again, we'll be having in some darker values coming in. So I'm just randomly giving in a few darker effects. Now I'm not marking all of those at now. As we go ahead, we'll keep on adding in the details. First, pinning in with a layer of water onto the back. I'm going ahead with a clean layer of water. Sky is going to be a wet on wet, and then once it dries out, we'll go ahead with the wet layer into the sea and then we'll be adding in a lot of wet on dry details into the waves area. For now, let's just begin in with the sky first. Going ahead with a clean layer of water, All right. Just going with a good clean layer of water, making sure all the edges and everything is evenly wet. Now, I'll shift into a smaller size brush, and we'll begin adding in the details. First, pining in with the naples yellow. Just going to pull out some light effect. Next, moving on to a little bit of the orange hue. So in the center, we want that yellow effect. I'm going very carefully and light so that the yellow is maintained for now. Now moving on to a little hint of the red colour. Very little highlights. You see over the yellow, I'm going very carefully and slow. Now up next, I'm going to move on to the pink color. You can use any pink of your choice. I will begin in with the permanent rose mixed in with a little bit of the bright opera color. You can simply use a scarlet carmine. You see, blending it all in with the help of the pink. Now, as I move towards the top, I'm going to move on to the ultramarine blue color. Since my brush had the pink on, so you see the blue and the pink mixed together, automatically giving in those violet hues. Now we are going to build in the cloud details into this. For that, I'm going to go ahead, pick up the violet color and mix it with a little bit of the Prussian blue and just going to build in simple cloud details. Moving from the top towards the center, just adding in simple cloud highlights, picking up a little of the Prussian blue towards the top to get in the darker values. Now, same way, I will move on to the pink color again and pick up one ton of darker value than what we were actually working with. Get it in between the blue strokes and then begin blending it again towards the base. You see everything will look well moving with each other and well blended and the softness. Now, towards the yellow spaces going very carefully, moving on to a little bit of the darker value of the yellows and the orange red mixed. Picking up the pink. Now, just going to pick up little violet with water control and add in few strokes of the clouds closer to the horizon line as well. See, water control will be a very important technique here because if you will have excess water, the colors will spread out completely and not retain the space in which you add them. In the center, you can see how we've got that glowing yellow effect. Now I'm going to again move to the naples yellow, drop a little bit here and very carefully pull out some strokes again. Now after pulling out strokes, make sure you clean your brush before you move on to the next one because while pulling out those strokes, you may have lifted up some pink or blue pigments. So you need to make sure that your brush is clean before you move on to the next stroke always. So you see we've got that glowing effect. Now to balance it up again, I will just move on with a little bit of the pink violet color. At spots and just try to settle the glowing sun's rays into the sky, not too prominent but not completely hidden either violet and just add in further smaller values of the cloud details. Just some darker values at the top. Make sure you do this only if your paper is wet. Otherwise, do not go with this step. Just some small cloud details as you can see, I'm just using the tip of my brush and adding them in. Now we'll wait for this to dry, then move to the first layer of the C. So now, as you can see, my sky is completely dry, but while my sky was drying out, a little water had seeped from the edges, and I had quickly corrected it while the camera was off. But I just quickly corrected it, but you will see a few sharp lines that are there, but it's blending in well with the cloud effect and balancing it out. So you see water control, excess water on the edges is all very important to be controlled while creating in these details and working without masking tape. Even with masking tape, you got to be careful with the water thing. Now, going ahead with a layer of water into the sea first. Into the sea, we are going to go with the same colors of the sky and create a reflection. In the center, we'll have the glowing spot of the yellow pink orange and towards the or darker edges, we'll be using the indigo dark blue violet tones. And on the edges, we'll focus more on these darker values of the blue and violet and create in the wet on wet details. And once we are done with the wet on wet details, we'll just go ahead with the white wash to create in the foaming effect when everything dries out. So for now, just go ahead with a good layer of water before moving on to colors. And I will just make sure now that I do not have extra color on my edges and just an evenly wet layer. Now going to begin with the same colors as we began into the sky. First in the center, I will begin in with the yellow tones. Picking up the Naples yellow color. And beginning in the center. Towards the horizon line, I'll be adding in the darker values to distinguish the horizon line completely. A little orange red. And now I will move on to the pink color. So at this point, the naples yellow is actually very light, so I will just drop in a little more so that it blends in with the colors as well. See just as we have that glowing spot in the sky, we'll be maintaining it into the sea as well. Now, into the sea wet on wet, we have to create in the details for the wave highlight. We have some highlights for now. Now let's move on to the dark mix of the violet and the blue first and then we'll step to the indigo. First, defining the horizon line well with this darker value. Now, from the edges, as I told you, we'll be pulling out these darker values more mix of the violet and the blue colour. And then towards the bottom area, we'll be getting in these darker values again. We'll still be adding a few wave details wet on dry, so I'm not building the darker values right now itself altogether, leaving in scope for some wet on dry details. Now picking up the violet color in a very medium watery consistency so that I can pull out some wet waves detail. Now going to pick up a little bit of the Prucian blue and build in the darker values of the sky colors. See, to show the reflection of the sky, putting in a little strokes just as the cloud strokes that we used in. Now picking up the pink, we'll go over the yellow gently. Again, water control will be very important, simple wave strokes. You can even shift into a very fine tip brush and add in more fine waves. That one glowing spot has to be maintained to show the reflection of the sky coming in. Now we still need to build in the darker values because remember, watercolors will dry or tone lighter. I'm picking up a bit of the indigo color now and going to begin adding it in for the darker values. On the same spots, little daka values that we are adding in. Picking up little indigo and going to go with a bold layer on the horizon line and going to blend it in towards the base. You see, we have a lot of wet on wet details to add into the C. Be sure that your paper gives you enough time to work wet on wet to get these details. M Now, you remember the darker wave that we had in the center. The I will go ahead with the indigo color with very less water almost equal to no water and just create in that shadow effect. I'm picking up the bold color without any water basically. And since this area is wet, it will automatically blend in and create in that softness into the shadow and a little shadow here. At certain spots again that I had told you, we'll be going with some darker values. You see the fine strokes that I'm trying to pull out together? Now onto this one, I will just pull out a little softness towards the bottom side to show the flow of water. We've added a lot of details wet on wet for now. We'll wait for these details to dry out now and then we'll move ahead with the wet on dry details to bring more depth into our seascape. We'll just wait for everything to dry out now. Just make sure that your horizon line is bold and neat. Now this layer is also completely dry. I will begin with a mix of the violet and the blue color in a good thick consistency and using a fine tip brush, we'll go ahead and add in some wet on dry waves. So very fine details that we'll be going ahead with. For this, make sure that your paper is completely dry and just begin adding in small fine waves close to each other. Very small lines to depict in waves, and then we'll go ahead with the details of the white quash to show the foaming effect. Make sure you use a fine tip brush. Just keep on adding small lines close to each other to form these waves if. You see the criss cross overlapping each other. Very small ones that I'm adding. As we move towards the bottom space, we will increase the length of these waves as well. You see at Spots, we had added in the pencil marks to add in some bold waves. So there I'm just going ahead with these lines for now. I'm just going with the simplest way to add in these wave details for now, that is going in with small lines close to each other and overlapping and moving a little diagonal at spots. You see when all of it is coming together, it is creating in that beautiful water movement look into our painting. Now, as I move towards the bottom space, I will just shift into the indigo color and I will just create some waves coming out from the top here like this because at the top here, we are going to be showing in the foaming effect. Just showing the water flow here like this. In between, I'm even pulling out little dry brush strokes, as you can see. This will add on to the natural effect of the sea that we are trying to paint in. Now again, picking up a little of the violet and the blue mix and just going to give in some random wave movement here. A little simple swirls here and there. Simple lines, some swirls. Now, here again, we are going to have in that beach line and the water effect. So I'm just ending the waves look till this spot because this is kind of like the beach space that we are having in. Going to pick up indigo color and add in some darker values to these shadow lines to the top shadow line as well, and to this one here as well. A few boulder strokes. See now when I'm going ahead with one tone darker value, it is all lifting up the entire C. Now finally moving on to the white quash. Now we are going to just create in foaming effect at spots. I'm just going ahead, dabbing in the tip of my brush, creating in simple foam details over the darker value waves that we've added in. Make sure you use the white quash and the indigo mix in a good bold consistency. The hint of indigo has to be very minute. So this one bold wave that we had, giving in a good layer of the foaming effect. You see how that little indigo hint that we've added makes the sky coolor reflection coming onto the foams, as well. This going to add in little dry brush to balance it off. If you feel that the whiteness is too much, you can just gently dab so that it looks a little settled and like the sky color or even increase the content of indigo. Now into this line, going to go ahead at the top of the dark line and going to add in a fine foam effet you see my white color is opaque, very less water that I've used in my top edges of the foaming effect are all very loose and dry and as much realistic as possible. Now into this space here, we are going to go ahead with random swirls of these to create in more of the foaming effect. I will just go ahead, pull out these dry brush stroke like this, which will naturally give in all the look that we need. From this white spot itself, you see simple dry brush. Instead of going in with every single swirl, I prefer this drybsh method, which automatically lifts up the entire mood. Now, at the tops here, just at certain spots, balancing it with little foam. I will just pick up a little indigo and balance out this one well with a little dry brush. Okay. See how simply you could blend it all in and get that balance. I'm just going to lift up a little to lighter values. Just going to pick up the mix of the white and going to add in some dull lines towards the top. Again, this is a mix of the indigo and the white, not just pure white. Only then it will show a synchrony into your landscape and show that effect of the sun the sky coming in here, basically. Okay. Onto top here as well, very small dry brush I'm giving to show that foaming effect. Here we had taken longer ones. At the top, I'm going with very small ones. You can just even give in small dots randomly. Now at this spot, I will just pick up the same color again and go with one more layer of the dry brush so that it dries out bright. For the dry brush, it's very important that your brush shouldn't have excess water or pigment. It has to be very, very controlled, and I will again just pick up a little hint of the indigo, or you can mix up the violet and the blue mix and just go ahead in between with some dry brush to balance out the whiteness. Okay. You see how dry brush technique also helps you add in the waves natural effect. And that is it. We are ready with our painting. I won't overdo anything here. We are ready with our beautiful seascape painting. A little things messed up on my end was these edges that covered up, but that's okay. Sometimes it just happens. It's not in your hand, how the paper reacts. But it's how about you just get it back into the painting and balance it all out. So I hope you guys enjoyed painting this beautiful seascape with me today. I will see you guys into the next painting tomorrow. So 30. Day 28 - The Galaxy: Hello, everyone. Welcome back to day 28 of these 30 days of unwinding with what colors. And today we are going to be painting this galaxy view. It may seem a little complex with the wet on dry details that we've added or getting in the colors and the globe, but it's going to be a very easy one, beginning with the colors one by one. I will be using the naples yellow, and then I will be using in the orange color. I will also be using in the red color of little then moving on to the pink, I will be using the quinacinin rose, moving to the violet. Then I will be using the cobalt green color. You can already spot the cobalt green highlights. So the bal creen color, then I will be using in a little bit of the vindic brown color, a little indico. And lastly, a little bit of pains gray if needed. Mostly, we will not take help of it, but it's better to just let you know in case if you do not have the indigo color, you can go ahead with the pains gray mixed in with blue for the darker highlights. And then we'll be kneading in the white quash. You can use white quash to create pastel colors as well to make your process a little bit easier. It's going to be basically a play of water and colors, and the blends for everyone will be different. And then we'll just be adding in these star highlights, the detailed stars, the glowing stars. Um and the little wet on dry strokes that you can see. All right. So that's going to be the main details, but the entire background is actually going to be a play of water and the colors and how your water or your wetness of the paper and the paints, that is what will get the entire galaxy together. So let's begin creating in without a further ado. Let's begin with our painting. Since we are painting a galaxy, there will be no pencil sketch, just beginning by wetting the back of the paper first and after that, we'll move ahead with the layer of paints in the front step by step, making sure that I have a good wet layer and then flip the paper. Now moving to the front, I will begin in with a layer of pater onto the entire paper. For the galaxy, it's important that your paper is good, even wet so that you can make the colors flow and bleed into each other and also try taping it down on a movable surface so that you can simply move your paper and get the blends go smooth and easy. Now I will begin in with the colors. Go with as many colors as you wish to. I will be choosing the shades of yellow, orange, cobal green, red, pink, violets, blues, everything possible that we'll be going ahead with and just beginning in with the layer of paint. Now this time for the project, everyone's flow of color will be very different because of the placement that you put it into and it may all be different, unique, yet beautiful in its own simple ways. Next, moving on to the payroll red color. You see, I'm gently just dropping in the panes for now. Basically, we'll have the two glowing spirals moving at the top and bottom and in the center and everywhere around, it's going to be the darker colors. Now moving on to the pink, This project is very simple coming to the look, but how the colors will blend, the wetness of the paper, the movements that you give in, we all decide how your galaxy will finally turn out to be. You got to be little quick with the color toppings, but you even got to be careful while rotating and blending the colors. Now I will pick up this cobalt cream. Now drop it very carefully closer to the orange values or just let it naturally be there and blend naturally later on. For now, if you see I've not tried blending in any of the colors, I just let the colors be there. Now I will pick up the violet color and going to go ahead, drop in a lot of violet in all of the remaining spaces. Closer to the orange, drop carefully, leave a little gap and drop in. Now I will be picking up a little bit of the brown color. And lastly, picking up the indigo color. I know at this point you may feel like, what is it turning into. But as we move further blend in everything, you will see how everything turns out to be. This is just the ugly face which may want you to actually give up on the painting, but you got to keep going. You need to hold on and let the colors do its magic. I will pick up a little more of the violet and drop it here. I will just pick up a little more of the pink tones. I will pick up a little of the bright opera as well. In very liquidity consistency I'm picking up. Now, the one thing that I'm going to be doing which will get in a lot of magic, you see I'm just making the colors flow I will just drop in a little more indigo at the tops more of the violet. At the top here we just need little glowing spots to adding in the darker colors, and I will pick up the yellow. And now comes the most important part that is picking up your board, beginning to make the colors flow. You got to be quick, you got to be careful. You even got to maybe add in some more color eos at spots. One technique that I'm going to be using is this spray bottle. I will just keep it afar and the spray bottle is also afar and just add little sprays of the water and make the colors flow. See how the softness has come in. Now we'll go ahead with the next layer of colors. That's going to be I'm going to pick up the white color. I'm picking up the white also in a good flowy consistency and just going to drop it at spots to create in the glowing effects. When you lay it over a color, you will see that the colors get lifted and activated. Always clean up your brush and then pick up fresh color to drop them at the other spots. I will pick up a lot more of white along with the yellow and drop it here. I will just pick up the white in a very liquid flowy consistency and just drop them. Now at this point, you will see a lot of white happening in. Take the help of the colors that are closer to them, drop in the pinks cobalreen whichever color was there, just drop little color closer to the whites so that it can help you create a better blending effect. Some swirls of the colors. At the base, I will go ahead with the pink color swirls. So brown again, and a little bit of the violet. I know this project is all about just the play of colors, the flow of colors, and how you make the colors flow and everything. As I told you in the beginning, for this project, everyone's outcome will be different yet unique. Now, let's keep tilting in different directions. Plus, it's not at all necessary to have the same colors and you can go with the colors of your choice, limit your color palette as well. There is a lot of play option that is possible. I'm just picking up all of the excess water from the edges so that when things dry out, the paints do not see back, right? Shifting into a smaller size brush to just blending the spots of the white. I'm just going to be picking up a little more of the indigo and dropping it at the base here. And from the center as well, specifically from the edges, getting out the darker values. Now you see how I've shifted into a smaller size brush and using some swirls in between to get into my galaxy space. Again, from here, pull out some smaller branch types. I'm using mix of Violet Indigo. You see we are still working wet on wet onto this one. Now moving to a little bit of the Bright opera color. What I'm going to do is I'm going to pick up opera in a very flowy consistency and just drop it in a good spots like these. This will create in the fcbomingeffect that we need into the galaxies. You need to pick up the paint in a good flowy liquidity consistency and just drop it at spots. You see the blooms that is happening, that will create the beautiful natural blooming effect. Same way, I'm going to picking up the yellow color in a liquidy watery consistency and drop in blooms. All of this has to be again done while your paper is wet. Make sure to keep cleaning your brush in between to avoid any muddy or color flowing onto each other. I will pick up a little bit of the cobaltns well and drop the same looms. You see how the blooms are dispersing, creating in that natural effect? Picking up little browns. Same way, I will just drop in little blooms of the indigo color. You see how the blooms are automatically creating that illuminated glowing effect. Same way, picking up white in a very liquidy consistency and going to drop it closer to some colors and let those blooms also happen in. Very liquidy flowy consistencies. Just little twist, not much because we want to let those blooms effect come in. That is it. I will wait for this leo to dry out and then we'll move on to the next one. I will just cover up a little of the orange from this bottom space. Picking up a little more pink. I will just mix in a lot of white to the pink and drop some peastil pink as well. Again, the liquidity consistency is what will make them bloom. Closer to the whites as well, I'm dropping in this pink color. You see some things. Make sure to keep cleaning up your brush. I will stop out here for the first layer and we'll wait for this to dry completely, then move further. Now my first layer is completely dried and I'm going to begin picking up the naples yellow and create in some details. Now we are going wet on dry and we're going to create in the glowing effects. I'm going to begin pulling out some lines. Just some gentle soft spaces. Now, we are going to blend all of these into our base. For that, I'm going to pick up the dam brush now and just run on the edges so that it looks well blended into the paste. On the edges if needed, I will just coke quickly dabbing these in as well so that it looks well blended and keep cleaning your brush after every blending because your brush will lift up colors from the previous blends. S's gently dabbing it all in into the base. This way we are just going to add in little highlight details. I'm shifting into a further smaller size brush and picking up a little bit of the white mixed in with a hint of the violet. Just some lightning effects into the galaxy. To these, I'm going to go ahead and dab along so that they look well settled and just into the galaxy with just that little highlight. These wet on dry details that we'll be adding will need a little patience and that little flow that you have to create. Now, same way just as I blended in the yellow lines, I'm going to go ahead, blend these on the edges and create the highlights of the cobaltreen color as well. You see how slowly these details are putting in more character. There are a lot more detailed ways to go ahead and paint out these galaxies. I'm going in with the simplest way for everyone to follow along. Now, just creating in some glowing yellow details. Small strokes. I'm using a very fine line of brush and adding in very wet on dry details. Over the violet also. So simple light effect moving on with the yellow. Now you're pulling out some strokes, lightning moving towards the bottom. Wherever you feel you want to make them look blended and subtle, just run a damp brush over the edge space and get them blended. Now, same way, I'm going to pick up the pink mixed in with white wash and go ahead with very fine strokes of the pink as well here. I will just pick up a little more of the white to this because this looks a little dull for now. Very fine strokes. Make sure you use a pointed tip brush or a fine tip brush to get these details. Now, again, to give these a little subtle look, just tabbing it quickly, you see the pink highlights still stay there, but they have that subtle effect. Adding some details, tabbing it, making them dull. You see how quickly adding in the lighter details and dabbing makes them look so much settled inside the painting. Now you're just giving in some patch and dabbing it in to create that more glowing effect of the pink tones. Same way here also. I will just create that glowing effect with the help of the tie brrush. Same way, I'm going to mix in a little white to the cobalt green and use it in a lighter consistency. And create in these glowing spots by just using this dabbing technique. Now gentle dabbing when adding in these strokes, which I want there. I'm not going to overdo much into the galaxy space. We'll keep it simple. We've already added a lot. Now the last thing that I'm going to do is go ahead with the white color and splatter in some stars. For that, I will be using the whiteqh in thick consistency, picking up fresh from my portal and just go ahead, splatter a lot of it. We've added the tiny ones. Now it's time to add in a little detailed ones. For that, again, just go ahead with the white quash. I will first go ahead and create in some dull backgrounds. Pick up some bite, drop them at spots, and just blend them into the back, creating in the dull spaces. Now, picking up some white going to add in some stars along with the naples yellow into the center of this. Going to add in some yellow stars. You can even take help off the metallic golden color here if you wish to. Now picking up white to a few of the yellow, I will just add the glowing spots. Now to the glowing stars that we've created the dull background for You see how automatically the background lifts up these stars somewhere just dropping in some bigger, bolder stars. Make sure you use a white wash in a bold consistency or use white acrylic to add in these stars. I will just pick in a little yellow and splatter some yellow stars at the top. Here's our final galaxy painting from today's class project. I hope you always enjoyed painting this with me today. 31. Day 29 - Cattle Field: Hello, everyone. Welcome back to day 29 of these 30 days of unwinding with what color challenge, we are onto our second last class project, and I will quickly guide you through the colors that we will be needing to paint this simple sky, along with a simple kettle field view. So the colors that you need is into the sky, you can already see it's a shade of blue. So I'm going to be using the civilian blue along with the Kobalt blue this time. These are the two colors that I will be using and with that, I will be using in a little bit of the naples yellow. You can see this glowing cloud, and of course, I will be using the white quash. You can choose to let the space be white, but white quash makes things better for this project. You can even try using white watercolor, and then you need a shades of green. Into the field, you can see the glowing green that is going to be using this may green color. And then I will be using a little of the sap green color. And lastly, I will be using the vende green, which is a dark green color. You can simply choose to go ahead and mix in paints gray with your greens to get this dark green color. And lastly, I will be using the paints gray color and white quash to create the simple details of the field animals that we'll be painting. These are the colors that you need for today's class project. It's going to be a simple wet on wet sky which we'll be painting, followed by adding in the details into the field and then there's dry details with the different tones of greens then the final field animal details that we'll be adding in. These are very simple just um small or imperfect silhouettes that we'll be adding into the field. It is not a perfect one, but it's just a small element to add on to our field basically. Let's begin in our class project and see through how everything goes about. So let's begin with our class project. I'm just going to mark out the small field space here. And at the top here, we'll be having in the busch effect. I'm not going to mark out a lot of the pencil details for that. And then here, we'll be adding in very small farm animals for which also we'll directly play with the paints and a simple field and a simple sky. That's what our project for today is going to be. Okay, I have just quickly marked it on the wrong side. I will just quickly give the horizon line here as well. All right. And now let's begin wetting the back of the paper. So I will just pour some clean water and begin wetting the back of the paper first. Now moving to the front, we'll first begin in with the sky. The sky is going to be a simple one where I'll be going ahead with the blue color and the white colors. Alright. So I will just be playing with the whiteness of the paper and even taking a little help of the white wash as well. So just going ahead with a good layer of water onto the entire sky. Just going to make this stuck here with the help of water. So I will just keep my white h as well ready. And now for the blue, I will just begin in with the erlean blue. As I told you, we'll be letting some paper spaces be white naturally. Somewhere very lighter strokes. See very loosely, I'm dropping the darker values for the sky clouds. I'm using a little bit of the cobalt blue as well this time. Very loose strokes into the sky. Now I will pick up the white quash. You see just dropping in between the blues. You could actually even use the whiteness of the paper, but taking help of the white wash actually makes the colors blend more smoothly and get more realistic cloud effect. That's what I feel. And so I prefer using white gosh. Now, at the bottom here, just going with a big cloud. You see how the white paint automatically bleeds into the blue. Now I will just pick up a little more of the cobalt blue and the Seran blue mix. See, blending, creating in that softness, so that it does not seem to be any sharp spaces anywhere, even with the whites. Alright, with the white, creating in one huge cloud effect at the base. And I will just use a little bit of the yellow. And given that little sunset here Now, just a little of the cobalt blue. All right. And that is it for our sky. Won't overdo any of it. We'll just let it dry naturally now and see the sky come together. By then, I will even paint the base. I'm just making sure that my edges don't have any water seeping in. So just making sure it's covered with paints perfectly. Now onto the base as well, I will just go ahead with the green details. I will leave a fine gap between the sky and the field. So I'm first pigging in with this may green color, which is a light pastel green color. And now I will just pick up the darker green. And just make sure that the sunlight effect is coming in the center, keeping the field light. Between the sky and the field, if you're painting when your sky is wet, make sure you leave a fine gap so that the colors don't bleed into each other. Now I'm using the wendy green color. And pulling it in from the edges. For the field, you see, I've gone ahead with the wet on dry method because there's not much details to add in, and I can simply work with limited time onto the wet background that we'll have because of the paints. So in the center, I'm maintaining the glowing light effect, and from the edges, I'm pulling out the darker depth. I'm using the vendor green color. If you do not have it, you can simply mix in indico or pains gray and get the darker values. Taking help of a little bit of the indigo at the base majorly on the edges. Water control will be very important when you do this wet on dry details into the field to maintain the glowing light effect. So small spots into the lighter spaces of the field to make everything look well balanced. And then we'll just be adding in the simple kettle fields that we'll be adding and those structures, that's what will be there and the bush. Now we'll wait for this much to dry, then add in those details. So now everything is dried and I'll first begin adding in the simple kettle details, that is the field animals that we'll be adding in. So we're just going to go ahead with very rough silhouettes. I'm first beginning in with the paints gray color and just going to add a small kettle. You see the body, the legs, and the face towards the downside, eating the grass. Now just define it a bit. This is something new that even I am experimenting with and learning still. I will just add another one here. So first, adding the body. And lastly, the face. Pulling out small yours as well so that it looks more defined. I know these are looking very vague at the moment, but when we'll just add a few more of them, maybe things may make sense. Now I will just pick up the brown color and add one. All right, from the back view. See, simple. Now I will use the white gosh in a thick consistency and add up a few with the white colour. Not to the white ones, we'll add little brown or pains gray highlights later on to define them better. But for now, just adding simple silhouettes. Just go ahead with a little more of the pains gray and add in a few faraway ones. So basically, you just form a rough body, and then you pull out legs and the simple face eating. All right. Now that is it for the details that we want to add in there for now. Now we'll quickly go ahead and move on to the greens and add in the bush details at the top. I'm first going to begin with the sap green color and just going to begin creating in the bush detail at the top. What I will do is I will just pick up my spoiled round brush. Okay. So with this, I will just dab at the top here after adding in this greens, and you see this will give him the natural effect, that you need to vary the shape and the length. Make sure you don't cover up this huge cloud that we've created closer to the horizon line. Right? See how natural effect it has created at the top. Now I will go ahead with the vende green color. And while this is all wet, going to add the bottom darker bush details. Now, at this point, define your horizon line well and clean. Now, you see the unfinished look in both of the green colors. So just go on the darker green spot with the same technique, and you will see automatically how the two colors blend in and they create that daco value at the base and the lighter values at the top, giving in that beautiful blended effect. Now, run the Daco value at certain places at the top at will. So you see. It's a simple bush effect that we've given in. Now I will just go ahead with some detailed leaves at the top at certain spots. See, just at the top, as soon as you begin adding in these detailed leaf like structures, everything begins to get more of the detailed look. Not everywhere that I'll be adding it just at certain spots. Okay So with the darker greens as well. See how randomly I'm moving into different leaf strokes as well as some simple bush coming in in between and creating all of this space look so much more detailed with simple techniques or simple strokes you can call in. All right. Now, let's pick up the pains gray color. And to this ketala here, let's give in some darker values. All right? Same way to this one as well. Just some random darker values. And now I'm going to use the pain scray in a very diluted consistency and be adding in the shadows to these. So just pick up in a very watery consistency, add the shadow line and dab a little with the edge of the cloth or a rough towel. See, the shadows have to be very light. Firstly, I'm using the paint also in a very light watery consistency. And secondly, then the dabbing technique also very quickly. So you see simple shadows that we've added into these kettles, that is adding more of the value. Now picking up the greens, closer to the kettles, you can drop in some grass details. See just some small grass details that I'm adding in loosely. All right, so that is it. We are ready with our painting for the second last painting of the 30 days of unwinding challenge, a simple field painting with some simple kettles that we've added. Now, of course, these don't look that defined, but it's going to be a learning for all of us. Just simple structure silhouettes that we've added and a simple sunset. I hope you guys enjoyed painting this, and I will see you guys tomorrow into the last painting of this unwinding challenge. Thank you so much for joining me into this class and painting along with me. And in case if you are loving this class, make sure to drop a review and upload whichever painting you are trying along with us so that it can help others as well to join in. Thank you so much once again for joining me. 32. Day 30 - The Final Sunset: Hello, everyone. Welcome back to the last class project of this 30 days watercolor challenge. And for today's class project, we'll be painting this beautiful orange red sunset view with the blue sky. So let's quickly see the limited colors that you will be needing. First is the orange color. Next up, you will need the red color. I'll be using the payroll red. Up next, I will be using the aquamarine mist color. But in case if you do not have the aquamarine mist, you can use turquoise blue or simply just use the Prussian blue and a little bit of the Cerlean blue. So I will be using the aquamarine mist first, then the Prussian blue. And lastly, I will be using the indigo color for the top of the sky to create the darkness. And lastly, at the bottom, we will be using the pains gray color. I will even be taking a little help of the brown color. You can use burn sienna, burn tamber, or any medium to dark tone of brown to add little highlights over the orange spaces. And lastly, if you want, you can use a mix of the red and the blue for the cloud details, or you can directly use a violet shadow color. So these are the colors that you will be needing for this last painting of the 30 days of unwinding series. So get your color palette ready, and let's begin creating in this together. So let's begin in with our last and final painting for this 30 days of unbinding with watercolor challenge. It has been an incredible journey, seeing so many of you participate, some of you throughout the 30 days, and some of you here and there. But I'm so happy to see each one try and create in their own beautiful ways. For the last painting, I am keeping it very simple and easy one in under 15 minutes, and we'll just be going ahead with a good layer of water to paint our entire sky together first, and then we'll move to the wet on dry details which are going to be minimal, yet make the entire painting look so dreamy and aesthetic. So first, to begin with, the colors that I'm going to go ahead is the orange color. I am using the orange closer to the horizon line, moving on to the payroll red color. Water control will be very, very important. Adding a little more of the orange. All right. Now I will be picking up the paints gray at the base. Now, of course, at this point, you may feel it is not having that blended effect, going to pick up more. Again, I will just move on to the orange color. You see, when you lay the orange, you lift up the paints gray while blending, so make sure you keep cleaning your brush after every blend, darkening up the paints gray. Moving to a little bit of the red, blending in with the paints gray. Again, as I told you, your brush will keep on lifting the colors. So make sure you keep cleaning your brush. Moving to the orange. Now for the top, I'm going to go ahead with the aquamarine mist color. You can use the turquoise blue color or simply a Prussian blue if you do not have either of it. With this, I will use the Prussian blue. And at the top, it's going to be the indigo. You see, everything right now is just looking a flat lay off colors, but we'll just begin blending each of these together now. Now, into the sky, I will move to a smaller size brush, pick up the red color again, and closer your blend towards the top so that the colors the orange space stays bright. When the red and this blue will blend in, it will create a muddy violet color, but that's somewhat of the color that we need into the cloud spaces. So I'm using the red colour to create in that color and create in some cloud spots. All right, you see. Same way over to the orange as well. Just use either a mix of these two colors on your palette and then add in simple cloud strokes. I'm taking help of the violet shadow color, which is exactly the same color that gets formed when you mix in the blues and the reds together. You can either mix both of those colors on the paper and let the natural effect come in, or you could mix them separately or directly use a violet shadow that I'm using. In all of these, the most important thing that will play the role is going to be the water control while adding it all in. If no water control is maintained, then the clouds will just move haywire. And to maintain that, you really need to have a good water control. Next moving up to the indigo, from the top, getting down again, making it bolder. And then just going to go ahead with some indigo highlights. I'm just going to pick up the same color a bit. That's the violet shadow color. I'm just going to add a little more cloud effects at the top. Once everything dries out, then we'll go ahead with the details of the silhouet. Ideally love how this color combination gets this bold effect into the sky. Having some indigo highlights as well. Wherever you feel that you are satisfied with how your clouds at the sky should look, you can stop there. No need to overdo or just keep following because I am adding in more clouds. It's absolutely personal choice when to stop with the cloud details. I'm just going ahead with some more clouds. All right. Now, we'll wait for everything to dry out and then move ahead further. So now everything is completely dried and I'm going to begin adding in the final silhouette for which we'll be using in the pains gray color. And using the pain's gray color, I will just begin first creating in the base here. It's going to be very low side. And I will just fill up this space completely. H. So now on top of this, let's begin adding in simple grass details and bush details. So make sure you use a pointed tip fine brush so that you can add these details. I'm going to go ahead with very different kind of details. I'm not going to be keeping them of the same heights throughout as well. We'll differ the heights, we'll pull out these strokes of the grasses, pulling out some smaller strokes from the same bigger ones as well. So across the entire bottom space that we've created here, we are going to go ahead and add in these strokes, first, a few bigger ones, and then in between, we'll be adding in the smaller ones as well. M You can see how I'm varying the movement of each of these strokes, moving towards the left or right, and pulling out some bigger ones from which I'm pulling out some smaller strokes as well. Now in between, I'm pulling out the smaller grass strokes to give in those filler details, and then we'll just add in a few more wherever needed. So now I'm just pulling these one stroke grasses where I'm just pulling out a thin stem towards the top, pressing the belly of the brush, and creating in these one stroke kind of leaves, all moving majorly towards the downside. Alright so you can just add a few of these. So here's a final look at a painting from the last painting of the 30 days of unwinding with watercolor challenge. I hope you guys enjoyed painting this beautiful, simple sky with a simple silhouette. I'm so happy with how we've completed the 30 days of unwinding challenge. And if you've joined us later or sooner, you can join any class project of your choice, paint along, and choose to unwind. It can be a daily routine or a breakthrough whenever you wish to just relax and paint. So I hope that this class helped you unwind, relax, and get back to art, and I can't wait to see your class projects coming in. Whenever you paint along, you can upload it. There is no time limit, no perfect timing. It's all about joining in, unwinding and giving yourself a chance to let art be your space for relaxation and comfort. Thank you so much once again for joining me into this class. I will see you guys soon. 33. 30 Day flip through : So here's a quick flip through of the 30 days of unwinding with Watercolor challenge. We've created 30 beautiful watercolor paintings over the period of 30 days across various landscapes that we worked on using different color palettes, different occasions, different weathers, different silhouettes, and working with sunsets and also trying out different techniques that we have learned through. I'm very happy with how all of the class projects have turned out. With every class. As I always say, it is always a journey for me as well, a learning for me as well. I'm so glad to learn so much through the 30 days as well. I hope this class has helped you unwind through the kios and help you relax and just take that 15 minutes of the day for yourself and just play along with watercolors through the day. I hope you guys enjoyed this class and thank you so much for joining me, painting along with me. Here's the fip through of this 30 days, what we painted, and I can't wait to see each of your paintings coming together. Thank you so much once again for joining me and painting along with me. I will see you guys soon into my next class.