30 Days With Gouache - Mini Landscapes for Busy Creatives

1. Welcome to the Class: Since I became a bomb, time has felt very different. Days feel fuller, moments feel faster, and somehow the s that once felt like mine are now beautifully and completely shared. There are days when I plan to sit and paint, but little humans don't follow plans. They arrive with needs, with emotions, with moments that matter more. And before I know it, the day slips by without me picking up a brush, my little one is two years now, and I've come to realize how quickly this phase passes. Right now, all he needs is me, my presence, my time, and my attention, and I want to be there for all of it. But somewhere along the way, I also realize something else. Art is a part of me, and I need it too, not just to create but to pause to breathe, to feel like myself again. And that's when I started creating these small bite sized paintings, 15 to 20 minutes while he naps, or in the quiet moments I can find in between. No longer, a small window of time. That's completely mine. And slowly, I realized I may not be the only one feeling this way. There are so many of you who may be balancing work, home, responsibilities, motherhood and feel like there is no time left for creativity. And that's exactly why this class came to life. Hi, I'm mashiTapaya, a chartered accountant, a watercolur and a quash artist, a creative business entrepreneur, and a mom to a toddler. In this class, we'll be painting mini gouache artworks, each one designed to be completed in just 15 to 20 minutes. Simple, calming and easy to follow. Something you can fit into your day without overwhelm. Sometimes all it takes is a few quiet moments, a brush and a little bit of color. So whether you are a busy mom, a working professional, or someone who just hasn't found the time lately to unwind or to reconnect with yourself, then this is your reminder. You still can. You can create, you can paint, and you can do it in your own time, in your own way. A complete Pigna to gouache and don't know where to begin with. Don't worry. Throughout the class, I will be guiding you through the color palette for each of the class projects every day, every day I will keep guiding you step by step to create these beautiful mini paintings in just 15 to 20 minutes. I hope this class becomes your pocket of calm just like it became mine without a further ado, I'll see you inside the class. 2. What all you'll need: So before we dive deep into the class, let me give you a quick material guide to be ready for the paintings each day. First and foremost, you need a paper to paint on. I will be using this four inch by 4.5 inch I am using a cold press, 300 GSM watercolor paper, so you can see this little grainy texture on the paper, and the back also has a little texture. You can use it any side that you wish to. I have cut it in a very rough edge deckle edged kind of way. I had a bigger block from that. I've been, you know, cutting it down to these four inch by 4.5 inch sizes. You can choose four inch by four inch, five inch by five inch, the size that suits best for you. So most important thing is the paper. You can choose any paper which is about 200 GSM so that it can handle all the layers well. And since we are working with wash, it need not be 100% cotton. Even non cotton paper will work fine for it. So first is the paper. Now, to tape down the paper, I will be using this wooden board. You can use any card board or a cutting mat like this or any movable surface is what I recommend, even a back of your book that you can use. And for taping down, I will be using the masking tape. Now, that makes it easier to just rotate, lift up, or adjust according to your hand movements while adding in details. Hence, I recommend taping down on a movable surface. You can choose the surface of your choice. Next tap is going to be a set of gouache paints. I will be using my Migelomssion, guh paints. These are professional grade paints. You can use poster colors, gouache colors, uh, any gouache brand that is available with you, I need not be the professional level only, or you do not need all of these shades. You will see how through each of the projects, we'll be mixing our own colors with the colors that are already on our palette. So with that, you need a mixing palette if you're using from tubes or even if you're using from the jelly tubs, you will still need a palette for mixing the colors, getting them in the right consistency. And since gouache is like a water based medium, I can simply reactivate these colors and use them. But while reactivating, I need to make use of minimal water because gouache has to be opaque and if I will add too much of water, these will turn out to or, you know, like watercolors, acting translucent, which is what we don't need. So for that purpose, I keep this spray bottle handy with me so that whenever I want to use these, I just spray a little bit of water and let it settle for a minute or so. So the paint gets reactivated easily. And then with a very little bit of water, like a drop of water, the paints come down into the right consistency that we needed. You would be needing a jar of water as well for cleaning up your brushes, adding into your paints, getting them in the right consistency, sometimes just for using for blending purposes as well. Apart from this, I will be using this white quash. This set of mind does not have a white quash, so I will be using this white quash. We will be kneading in a lot of the white quash, for mixing in our colors, getting in the pastel colors, diluting the colors, sometimes creating our own mixes. You will see a lot of white is what you will be kneading in. Apart from that, you would be needing a rough cloth to clean up your brushes. You can use a paper towel. You would need basic stationary pencil eraser scale, and lastly, but most important tool, your brushes. Now, of course, you do not need so many of these brushes. These are all of my synthetic hair brushes which are perfect for gouache. You would just be needing a flat brush, a good half inch flat brush. If you're painting on a larger size, then you can go ahead with a 1 " flat brush. Alright. So depending on the size of the paper, your brush size will make a difference. But basically, what you would be needing is a flat brush, a round brush, a mini flat brush, if you can. Otherwise, the round brush will do the job, and you would be needing a detailer brush or a liner brush for adding in some fine details like grass strokes, the wire line details. So for that, brushes are you just need actually four to five of them, a flat brush, a round brush, a detailer brush, and, you know, smaller size flat brush if that is what is available with you. And next, you would be needing a few of these waterproof pen. So these pens will help us add in some fine details into our painting. I'm going to be using them in different nip sizes. So this is like 0.5. Then I will be using the 0.3, 0.1. So these will help me adding in fine details easily without the use of the black color or the brush. It just makes the job easier, but another thing to remember with this is that you need to use these technical pens which are waterproof because if they will not be waterproof, wash is a water based medium, so on top of it, if you correct anything or add a drop of water, the ink will fade and spread out completely. So that is the reason it's very important to make sure it's water and fade proof. Only then use that pen. Otherwise, your painting may get shrunda. So that's all what you will be needing for this class. Basically, you just need a set of paint, paper, brushes to begin with. You don't always need a fancy palette. You can just begin in with a simple home plate, a simple jar of water, and we are ready to go. So go ahead, grab all your materials, and I'll see you guys into the next lesson. 3. Basics - Consistency: Now, before we dive deeper into the class projects, I just wanted to give a very bigner level guide for anyone who's beginning first time with Guh so that you can understand basic things about Guash, including the consistency, the layering, and, you know, the color mixing ideologies. So I just wanted to give a very basic bigner level guide for someone who's first time beginning in with uh and just wants to know how to begin with it. Now, first and foremost, the important thing is going to be the consistency of the paints. So let me first begin in with the color that's already on my palette here. All right. So I will just begin in with this orange color. Now, first, you see, I'm just adding in a lot of water and re wetting this paint. All right. And now I will just layer a layer of this color. And as soon as I layer this color, you can see the whiteness of the paper is still visible. So this is not the right consistency to gh because this is acting like watercolors. So if I just go ahead, add in water, dilute it, and you see it's acting like watercolors, which is where the transparency of the paper is visible. That's the whiteness of the paper. Now I will just go ahead, re wet a lot of this paint which is already on my palette. So this tube had squeezed out a lot of paint. And now I'm just activating the entire paint here and I'm not adding much water. I've just used very limited water and just re wetting this paint, getting it into the right consistency. All right. And now, when I add in a layer, do you see the difference in both the layers, the transparency, the opacity? This is what is the right consistency of quash. So if you just have a look, the whiteness of the paper is completely covered up in the second layer that we have added, and that is what gouache is. It is an opaque medium, not a transparent or translucent medium. That is the whiteness of the paper has to get covered up completely. So this is how gouache consistency looks like. It spreads out smoothly, just like a glide. It should feel like butter applying out on your bread. So this is the smooth consistency that you need for gouache, which is just gliding on the paper smoothly. Now, this is a consistency like watercolor. This is a consistency like gauche. But in case if you do not, you know, add in the perfect consistency of water and use the paint in a very dry consistency or say you're trying to use it directly just squeezed out from the tube. Let's just go ahead and, you know, try it out with a color and show you what I mean. So I've just squeezed out a bit of the color. I'm not adding any water. I'm not adding any, you know, water to it or just picking up the paint, and I'll just go. You see the roughness that is coming in. That is because now, this is too pigmented, and it is not in the right consistency to blend easily. So this is the right consistency. When we picked up the orange color, you had seen how smoothly it was gliding since it was in the right consistency. So it's very important to get the right consistency. You will see again how smoothly the stroke goes by and case of the green color, the stroke in between goes out dry. So consistency is important. The ratio of water to pigment is what will get you the right consistency. So this is the right consistency. This is when you want to use it like watercolor or just for the background based layers. And this is when you want to add in details, when you want to add in layer over layer, just getting in some dry brush texture. That is when you need to use this kind of a consistency. The most important role that will play while playing with wash colors is the consistency. So go ahead, mix in your pigment with different ratios of water and see what sets the right consistency to your brand of paints because every brand paints will react differently to water and you need to just do a little trial and error to understand what works right for your pigment. This is about the consistency that you need to understand, very simple. Mix water into your pigment and see what works best and get you this smooth butter like consistency with zero white cast of the paper showing up. Now, in the next lesson, we'll just go a little more into the techniques before moving to the first project. 4. Basics - Blending: Now the next thing is about blending with quash. For wah blending, you need to know a little bit of the color theory. Basically, you just need to understand what colors blend with each other well. Say, for example, if I just pick up my blue color, and I pick up the orange color. I want to blend these two colors and I blend directly just blending both the colors. Do you see this muddy, unpleasant color being formed in the middle? That is something which we do not want. So in such cases, while blending when the colors are complimentary to each other and blends of them will create in muddy tones. You take help of the white, which will make your task easier, smoother and give you that perfect blend. One way is with the help of white. So first, we'll just go ahead, again, add in layer of the blue color. And again, picking up the orange. I will add the orange as well. In between the gap that we have, there we will be taking help of the white color. You can either add white to blue, orange both and use the pastel of both and then blend or just simply put it up on the paper, begin blending in between. Now you see you do not have this unpleasant color. Of course, the blue color can be increased at the top. Right now I'm just showing you the basic technique that is about how you can just use white for blending. So I just added a little bit more of the blue, again, cleaned up my brush and just going to run the damp brush so that the line is full. You see now here the transition is so smooth from the blue to the orange, but in this case, it was all muddy patchy. The other way is you can use a third color which goes well with both. Say I begin with blue, then I transition to the pink color because pink goes well with both orange as well as the blue color. When blue and pink will mix in, it will give a beautiful violet tone. All right. And when orange and pink will mix in, it will give that, beautiful sunset reddish pink color. So you see in this way, you can either use white color or you can use a transition color which I call so that the blend goes smooth from the top to bottom. So from the blue now to the orange, again, we do not have the muddy tones because we've used a color which goes well with both of our colors and makes the blending smooth and easy. Once you know the complimentary colors or the colors which are opposite to each other in the color wheel, you'll be able to figure out. I always prefer using a little bit of white or a color which is going well with both. So basically, a pink color would be or you can use even a reddish color. It will be going well with both of the colors that I'm using here right now. So say in case if you are going ahead with blue and yellow sky, again, you can take help of pink because pink and yellow mixed together does not create muddy tones because they are closer to each other in the color way and pink and blue as it is, will give you the violet color tone. That is how you can go ahead with the blending, either help of white or a third color which goes well blended with both of the colors. This is about blending your basic skies that we'll be needing in 5. Basics - Layering: And before we now dive into the first project, just a few last thing that I want to share with you. One being the dry brush texture. So for the dry brush texture, you need to pick up really medium to dry paint without any water on your brush. After picking up the pigment, also, you need to just make sure the excess water and pigment is removed. And then just glide your brush in the directions that you needed. You see the dry brush texture that we are getting this will be used by us in a lot of projects to create textures into our fields, mountains, sometimes to give in little cloud details as well. Now you can pick up more darker pigment and just go with the darker dry brush strokes as well or layer them. Now, direction will be depending on how you need it. It can be horizontal, slant, diagonal, top to right, bottom to top, whichever way you wish to. This is the important thing about dry brush, along with the dry brush, you can even add in some thicker lines. See? This will give in adding texture to your fields, your mountain ranges. You can do this with any color. I'm just demonstrating you with the black color. The next thing is about layering. Whenever you want to layer with guh, you need to make sure that your first layers are completely dried. Then whichever color that you want to layer it with, say, I'm choosing the green color here, you need to pick it up in the right consistency and just go ahead and very gentle handedly, you can just layer in. Now, while layering, you need to remember a few things. Squash is a water based medium. So if you will apply a lot of pressure, the base color will also get activated. Whenever you are going ahead with layering, you just need to make sure that you are going very gentle handedly, soft blends, soft strokes, and then just layer it. So that will not make your previous layer get activated, and you can simply just add in the details that you wish. So here you have just added simple one stroke leaves. I begin in with this thin branch. You see my brush has a fine pointed tip at the top, and then I just press my brush, give it a wiggle, and lift it up. This way, you can add in these leaves into your paintings. This was about layering. You need to apply very minimal pressure. You need to make sure that your previous layer is completely dry. Your paints need to be in the right consistency, and then you can just give in layers when we'll be adding in the details into our painting. So when you see here into this painting, we'll be adding in these yellow flowers, these green strokes, the dry brush texture. You see how layers work and how we can simply just create in the details on top. For that, the consistency and the timing will make a lot of difference. You see, we'll be using a lot of these simple leaf strokes for adding in the silhouette details into our painting. All right, here you can see for blending. Now the orange and the blue color, violet blue color, both blended together will again give you muddy tone. So we've taken help off a little bit of the pink color and then given in cloud strokes on top of it. But this is the very basic that if you are a bignll level, this much, if you just study and practice it out, you can simply paint along with us because through every class project, I'll be guiding you through step by step. How are we adding in the clouds? How are we adding in the details? Again, I will even be guiding you with the colors that we are using for blending, why I'm using a specific color. But this is just a big null level guide to begin in so that you do not feel everything new altogether. So go ahead now, grab your supplies, and let's begin with our first painting. And 6. Day 1 - The Bird Duo: So let's begin with our class project for day one. The colors that you need will be shades of violet and pink. I'm going to use this rose metar color or sorry, the rose color, and I'm going to be using in the violet color. I will be using the red violet, which is one tone lighter than the actual violet, because we need kind of pastel tones for these colors. All right, so I've squeezed in both of the colors, and now I'm going to be picking up some white. So I'll just pick up extra white and keep on my palette. And now let's begin creating in our sky first. I'm going to begin in with a simple flat brush and first going to mix in the colors well on my palette. So mixing in white to the rose color to get a little pastel pinkish tone. You can directly choose to use a pastel pink color if you have so. And beginning from the bottom, I will begin in with a layer of this pastel pink. I will further use some white and I'm just going to use in more white and lighten up this color further as I move towards the top. And now at the top, I'm going to use this violet color. And just pick up white and lighten this up as well, moving from the top towards the bottom, till the center and blend these two colors. S. You can take help of white while blending or take help of little water if your colors feel too dry. I'm just going to pick up little white and run at the blending point of both the colors. So we've got a simple blend of the two colors for now, and now to this, I'm just going to pick up a little bit of the violet color. So the violet deep colour is what I will pick up. And just going to pick up very little of this and run from the top. And just going to quickly blend it in at the top majorly. And as I move towards the town, you will see because of the lighter pink, it's automatically getting blended. If you want, you can directly go ahead and use the violet in pastel consistencies or blend in like this so that you get in more tonal variations. Thing. Now I will shift into my round crush and just begin adding in some sky slouetes. For that, I'm mixing in the red violet and the violet with a little bit of the white to get a little light or pastel color and just going to give in simple cloud strokes going to further dilute this. Just softening it up with my fingertips as well quickly. Using a tama, just going to quickly blend it in. Now, using a little bit of the light pink tone here, mixing it with a little hint of the red violet. Basically, you just need the same colours, but in different tonal variations to create in simple cloud strokes. We're not going to be adding in much of the cloud details into this one, very little that we are going ahead with. Making sure everything is soft and blended, using the same colors closer to each other to create that smooth flow between the clouds as well. You see very simple strokes close to each other, just adding in a little character to your sky. And now we are going to go ahead and mark out a silhet. So I'm going to take help of a pencil and just mark out a simple string. On top of which we are going to be adding in two birds. So I'm just marking out the silhouette for the pod. And the other pod is just looking towards this bird. So like kind of a couple bod Now, you can choose any reference for this silo head. I'm just going with a very simple one, as I told you, and you can choose to use the black color paints gray color or dark or brownish tone. I'm using in a little bit of the indigo color, which is like a black color. So just squeezing out. And to this, I will just begin first with the violet color. Now to the violet, also just add in a little bit of the white in a lighter tone. So basically, just trying to show a little of the sky color falling onto this silhouette. Make sure that your base is completely dried before you begin adding in these colors. And now to the rest of it, I will just pick up the indigo color. As I told you, this indigo is very dark and almost like a black color. That is the reason I'm using this. You can choose to use a Pains gray or a black color. Alright, now the other way around. See, at the bottom, I'm giving in that feather look. Now, just small strokes for the legs. And just going to pick up the same color that is the indigo and give this fine line. Make sure you use either a fine line or brush or a small detail or brush to give in these details. Just giving in that feather look at the end. And now at the base, just going to pick up the same indigo color and just going to give in little bush detail. So at the top, just going ahead, dabbing in the tip of my brush to create in simple leaf strokes. And as you move towards the base, just going to take a mix of this blend and dab. And further downwards, we're just going to fill in with the color. Make sure you use the colors in a bold consistency so that you get in that opaque look. See, I'm just pulling out some detailed leaves from the same space to add in more character. And one thing that you can do is to reflect a little of the sky colors onto this, as well. Just pick up the same violet mix and drop in a few towards the top space. Mix in a little more white so that it's more bright, but not too much. You see how that little pop also gives in the effect of the sky colors falling in here as well. Same way, going to pick up this light mix and put in a little over the body of the bird. Towards the top spaces to reflect the sky colors a little better. And that is it. We are ready with our force painting for deep one, a pretty simple one just under 10 minutes to create a simple blend of colours into the sky and simple silhouette. Let's peel off the tape and have a final look at our painting. As I told you, I'm going with a decled edge look onto the paper on a few sides. So yours are painting from day one of this quash challenge. I hope you guys enjoyed painting this simple follow along painting, and I can't wait to see your recreations. Thank you so much for joining me into this class and painting along with me. 7. Day 2 - Street Light: Hello, everyone. Welcome back to day two of this quash challenge. And for today's Cross project, the colors that you would be needing is the cobalt blue color. You would be needing a pink color. So I will be using the rose color mixed in with white, which I already have on my palette. And then you would be needing a yellowish orange color. So I have this bright yellow orange color. So these are the colors that I will be using. Now, say, in case if you do not have the bright yellow orange, you can simply mix in yellow and orange to get a similar looking yellowish orange tone. You need not exactly have the same you know, shade or readily available. You can simply mix in with the help of white, yellow and orange because I will be using in a little bit of white to this as well. And for cobalt blue, in case if you do not have it, you can just use whichever blue is available with you, Cerlean blue ultramarine blue, or Prussian blue. Prussian blue will be too dark. So if you have a Prussian blue color, you'll have to dilute it a bit to get it into a light or consistency. So that's about the colors that you need. Now, we are going to be creating in a simple cloudy sky, and then we'll be going ahead. Adding in a simple silo hit. So for the colors into the sky, I'm going to begin with the cobalt blue color. So to the cobalt blue, I'm just going to mix in a little bit of the white as well. So to my cobalt blue as well, I've just mixed in a little bit of the white, and at the top, I'm just going to begin in giving in a color, leaving in little gap on the right for the pink clouds to add in and towards this side as well, as I move towards the bottom, I will just leave little of these color highlights. And rest of the space, we are going to go ahead with the pink clouds now. So let's go ahead and now to the pink as well, we'll first begin mixing in the white. So picking up the white, mixing in, creating in a light pink colour, just going to begin adding in from the edge. Now, make sure when the blue and the pink will mix in, they will give you a violet tone. So you go across very carefully while mixing, such that if any color is lifted, you just clean in and you do not get a complete violet tone everywhere. So I've just laid down the colors for now. We have to go ahead and blend these now. Okay. Now I'll just go ahead and blend these spaces. For that, I will shift into a smaller size brush or you can use a mop brush like this, and I'm going to pick up white with little hint of the pink. So it's going to be more of white and very less of the pink. And across the blending points, just go ahead, blend in. And you can still see the sharp edges. So there you just need to pick up the damp brush and run across to blend in. Same way in the rest of the species as well, just going to pick up white with hints of the pink. Laying down the colors first. And now I will just use the damp brush again and just run at the blending spots. Sometimes you will need to run a little towards the top as well or towards the base or, you know, make the blends go smooth and fine. Like, you see, I run a little of the pink more towards the blue spaces, and then a little of the blue. But still, you will see this uneven edge coming in, so you can use a damp brush or pick up the blue color and blend them in quickly. You see? So there are multiple ways of blending in. It's what suits you the best that you select. So I prefer using in the lighter colors for blending and sometimes just picking up the darker tones accordingly to get the blends right and smooth. Now I still have to go ahead with a little more of the cloud details. So I'll just pick up the light pink color and run from the top here, mixing in the pink and the white. And just using this mo prash adding in simple lighter cloud strokes over the blue with the pink color. Now, onto the pink also, you can see these sharp edges. So in order to avoid those, I will just pick up a little of the pink color again. And run it here again. So it brightens up plus has that smooth blend. So basically, just multiple layers to create in that flow happening smoothly. First layer, we just laid down the colors simply, and then now we're just building in the sky effect, the cloud effects with the help of the same colors, but just with the layering technique. Now picking up little white, creating in little of the bright cloud effects as well. In case if you do not have a mop brush, you can even use a simple round brush or a flat brush to do the same technique. You need not specifically have the same brush as mine. Now going to pick up little pink mixed in with white and going to create in the cloud effect over the blue spaces. You see, blending in with the pink and the blues, just dabbing, creating in that fluffy cloud effect to turn it lighter, as well as still having that beautiful effect of the pinks coming in with that light highlight of the pinks that we are adding with the white. Right. Simple lens of the colors. You see, we've created a simple cloud by now. Now the thing that we're going to be doing is we are going to pick up this yellowish orange color that we've squeezed out, mix in to the white. So you see you need a very light paste still color of this. So I'm mixing it in with a lot of white, and I will shift to a smaller size brush. So now I will just use my round brush. Make sure you pick up this color in a good bold consistency, more of white, less of the pigment. You get this paste still yellowish orange color and just create in some more brightness. Now, again, here you see I've just added the layer of the color. Now using a dam brush, I will just very gently blend it into the edges such that it blends into the base. And you see we get that little highlighted effect using a little lighter color as well. Very gently blending it into the edges. And now using this color, we'll just create some more cloud effects at the top. With every stroke, you will see, I quickly go ahead and blend it into the sky. Okay. All right, gently adding in some highlighted strokes. We're almost through the sky now just another minute or two to add in the silhouette, and we'll be ready with this painting as well. So you see the cloud took us the sky and the cloud both basically took us around a good 10 minutes to add in, and we've got such a beautiful, pretty looking sky. And that is it. We've added in the highlights with a yellow orange, and now it's time to add in the silhouette. For the silhouette, I'll be using in the indigo color, which is like a blackish color here. Or you can choose to go ahead and use in the black colour, paints gray color, whichever you wish to, right. And for the silhouette, we are going to add in a simple street light effect. So I will just make my hand movements easy and comfortable. Now you can first watch the slohit maybe and then add in. Make sure that your base sky is completely dried, and then you begin adding in this. So one goes here at the back and the other one here at the top. Okay. Now I will just refine this shape a bit. Now, at the top here. I'm leaving in a small circle at the top, where we'll be adding in the white color for the light. Same way here as well. Alright. Now, let's just go ahead, pick up some fresh white. So picking up some fresh white quash, I'm going to be creating a small space for the moon here. So first, adding in a very small patch and going to go ahead and create a dull space with this, just running, diluting it, blending into the piece. Now, this will act as the glowing space for the moon. Alright. And just picking up fresh white quash. Make sure this you pick up in a good thick consistency with clean brush, clean water. And to the circles that we've left in, once your black spaces dry out, add in these white lights. All right. So the bold white lights are there. And once your circle for the moon also dries up, just add a small moon to the center of this. Okay, that is it. We are ready with our painting for day two as well. You see, it took us again, around ten to 15 minutes to create in this beautiful painting. It's simple studies that make, you know, an entire painting come together. You don't always need a lot of colours or a lot of time. Art can be simple, and it can be created in small time as well. So here's our final painting from day two. I hope you guys enjoyed painting this with me. I will see you guys soon into the day three of this squash painting challenge. Thank you so much for joining me and painting along with me. 8. Day 3 - Seascape: Hello, everyone. Welcome back to day three of this squash challenge. And today, we are going to be painting a simple seascape. The colors that you will be needing is a shade of blue and a little bit of sunset, yellowish orange color. So for the blue, I'm going to use the Prussian blue color and going to mix it with white to create in the lighter tones. So I've squeezed out the Blues and blue color, and I already have the white on my palette. I also have the yellowish orange color from the previous project, which I will reuse for the sunset effect. And now I will just mark out our horizon line and distinguish the simple C area. All right. So the top is going to be our sky and the bottom will be our C space. Let's begin in with the colors into the sky first, going ahead, picking up the white. And mixing it up with the Prussian blue color. So less of blue, more of white, you get this beautiful sky blue kind of a color. You don't really need a very light color and not even a dark color. We need a dull kind of a color for this. That is going to be our base layer for now. All right, so beginning with this color mix at the top. Now, remember, yellow and orange mixed together will give you muddy tones. So for the blending in between, we are going to go ahead, use in white. So I'm going to pick up the white color, lay a little closer to the blue that we've added so far. And now I'm going to pick up this yellowish orange color. And to this, I'm not adding much white, just a little highlight because we want a simple sunset effair. Now, again, we'll just pick up little white and blend it with the blue at the top. So you see I just laid the color and then again for blending, taking help of the white. And on the horizon line, we are going to have that little blue effect coming in again and even towards the left side here. So you will notice that I lay the blue color closer to the orange color, and then I clean my brush, and for the blending spot here, I just take help of white or a damp brush and blend it with the blue. So for now, we've just got the base layer of our sky with just that little sunset effect on the right side here. The left side still has the blue sky effect only coming in. Now on top of this, we are going to go ahead, add in some cloud details. And for that, I'm going to go ahead with my mop brush first. I'm going to be picking up this color with a lot more of white and getting a bright kind of a color and just adding in some cloud highlights at the top. So kind of like some dry brush effect, which will act in as those soft dried clouds at the top. See? Just as you use a blush on maybe, you just need to go very softly and just given that little blush of color at the top. A? And now closer to the horizon line. Let's go ahead with some cloud details. For that now, I'm just going to pick up a little of this indigo color, mix in with the Prussian blue and white. And we are going to get a grayish blue kind of color. You see, I'm mixing in the colors very slowly so that we don't get a really dark tone, neither a very light tone. We just want a simple grayish blue color. And just going to create in some cloud movements here. Now, in case if you do not have a mop brush, I've already told you you can go ahead, use in a flat brush or you can even use a round brush. Now I've just picked up little indigo on the brush with the same mix to get a little darker color view. So you see slowly we are building in the cloud. Now, I'm just going to use the same clean brush and at the base going to blend in and create in the softness into these clouds. Wherever you want to just give in the softness, just go ahead, blend in with the help of a damp brush. Now, on the horizon line, I'm going to go ahead and darken it up using just the tip of this brush and going to add in some smaller clouds over the orange with the same blue colour mix. But again, you will notice how I'm just using the tip of my brush, creating in these cloud shapes very gentle in such a way that the orange sunset space is still visible. Mixing the colors. Make sure whenever you go ahead with layering, you do not have excess water on your brush, and your pigments also need to be little damp and dry. All right. So just simple cloud steps that we're adding in. Picking up the same colmix. You can, of course, create extra colmis and key, but I prefer mixing in different tonal variation so that you can automatically get in multiple tonal variations into your sky. Just some more blue highlights. That is for our sky, and now we'll go ahead into the Caspace blending it in quickly. Now we'll move on to the sea area. Before that, I will just go ahead, pick up a little bit of the white mixed in with the orange. The yellowish orange color. You can mix in yellow, orange and white, and I will just correct a little of this space here. You see with quash, it is so easy to go ahead, layer again and create in those highlighted spots. All right, so just a little bit of the glow again. I'm going to pick up little white, run it here. So just corrected that little horizon line view again. Now into the base of the S, we are going to go ahead with the same Prussian blue color mixed in with a little bit of the white. Very carefully define your C line. So you see you can even blend the colors on paper depending on what kind of space you are going ahead with. So and now we are just going to give in simple C wave details as well. I'll just soften up this cloud with the help of a little bit of the white. I usually don't prefer a lot of bold cloud effect, so I prefer blending them in quickly. And now, using the same dull blue color, that is a mix of the indigo blue, and a little hint of the white. Basically, the use of white makes the color more opaque. All right. And just going with this color mix, we are going to go ahead and just add in simple waves effect. So very small waves. Make sure you use a fine tip brush. Just pulling out very small, fine lines close to each other. You can see my base is already dried and then I'm going ahead with these waves detail. Make sure that your base is dried and only then you move ahead with these details. And now we are just going to darken up this color mix with a little more of the indigo and a little off the trustian blue. So you see you get this dark blue color and just going to add in some more wave details. Make sure you do not have excess pigment. Otherwise, you may get in bold lines. You just need very fine details. You see how I'm just dragging and adding in very fine lines close to each other to form the waves if fair. Just go ahead, keep adding in the lines completely till the base. As you move towards the bottom space, you can increase little length of these waves as well. Make sure your pigment is not too wet and not too dry. Of course, you can use the dry brush method if you wish to to add in the waves. But in case if you're adding in these strokes, then make sure your pigment is in the right consistency. So that after drying also it has that bold effect coming in. Now, I'll just pick a good layer with a little more of the indigo and on the horizon line going to go ahead with a good layer. So you see how the horizon line distinguishes and forms the C space. And using a damp brush, I will blend it towards the base of the sea. And now one last thing that we have to add in is a small setting sun. So now using in the white quash, we are going to just add in a small moon here in the center. Make sure for this, your base is completely dried and you use the white quash in a good thick consistency. I will just define the shape better. Right. So a small circle to add in there. And that is it. We are ready with our simple Seascape for day three, a pretty simple, easy one. And you can see how we just used in four colors, the indigo, Prussian blue, yellow, orange, and the white. And we got in all the tonal variation by just the color mixes. I'm just softening up the horizon line. And we have our simple Seascape ready with simple cloud details. Let's peel off the masking tape and see the final painting. Make sure your edges are dried and you peel off the masking tape against the paper. So yours are painting for day three. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting. Thank you so much once again for joining me into this class and painting along with me. 9. Day 4 - Windmill View: Hello, everyone. Welcome back to the next painting of this quash challenge. And for today's class project, I'm going to be recreating one of my watercolor paintings that we had done in our 30 days of unwinding with watercolor challenge. So I'm just going to go ahead, mark out the outline for the same. So just a simple field area that we are going to have in here. Now these reasons of marking is here we'll have a light green colour, a medium green tone, and then a dark green coming in. And on top of these, we'll be having in three wind meals. If you've joined me in the 30 days of unwinding with watercolor challenge, you will already be knowing which project are we recreating. And at the top, we are going to have a simple pink and white sky. We are going to begin in with the sky first. Now, I already have this rose color on my palette. You will actually be needing very less of pink as well. You will be needing what is more of the white color. So I have the white color ready on my palette, and now I'm going to begin adding in the white color into the sky first. So picking up the white, I'm just going to begin adding in a good layer into the sky. I know at this point you may be thinking, why am I adding even the white color into the sky. But as we move further and as you see the class project coming together, you will understand why we use the white into the sky. Go ahead with a good wet layer of the white color. Now just going to mark out the space as well. That is leaving the field space blank. I haven't given the outline to the wind meals completely because as it is, that we'll be adding in with the dark paints gray black color later on once everything dries out. For now, just go ahead with a good white layer. And now, what you need to do is just pick up lots of white closer to the pink, begin in with a very light pink consistency and just begin adding in simple cloud shapes. You see, we are working with a very light pink. It's again, just like a white color, but just a highlight of the pink. And using in the mop brush, I'm just dropping in simple cloud silhouettes for now. This is very basic layer that we're adding in. With this, now you will see we have some white spaces and some highlights of the pink color. Now go ahead, pick up more pink, less of white. So just add in a little more pink to this same mix and picking it up in the medium consistency, same process. We'll go ahead, add in more defined clouds. So this class project may actually feel as if you are playing with wash and watercolor mix. That's what you will feel like because of the technique of adding in the clouds. Now, everything is wet, my base is wet and into the wet base, I'm adding in these clouds so you will see the softness automatically coming in. So closer to the horizon line, I want really good, well defined clouds. So at the top, you will see the white caps. Wherever you feel, you just need to blend it in, you can still again, use a damp brush and soften up the pink as well. Make sure you add the pink in such a way that not all of the white spaces get covered up. You need that white highlighting effect. That is the reason of adding in the white in the first place. Now we'll just darken up the pink a little more and add in some more clouds. I'm just tabbing creating in some fluffy clouds with the pink color. If you want, you can take help off a little bit of the violet highlight as well, just to give in a little color touch. You can use even the orange color or the violet color because both work well with the pink and will create that beautiful glow effect. I am picking up little violet highlight. And as I told you, closer to the horizon line, I'm giving in this good bold cloud effect, and at the top, I'm maintaining in that whiteness. Now I'll just pick up little white, blend in at the center spots again. In between the pinks closer to the horizon line as well, just dropping in little highlights of the white. You see how we've built a very simple sky with such a simple technique. You just need to build layer on layer with the tonal variations of the pink, and your simple cloud with the white spaces is ready. Just adding in some small clouds. Again, we'll just give them a little soft blended, if fat. And that is it. We are ready with our sky. I won't overdo it because I may just ruin how pretty it looks right now and I don't want to overdo it. All right. So that is for the sky. If you want just at the horizon line, you can just add in a little more of the bold color effet. Make sure you maintain that fluffy cloud effect while adding in this. So you see I'm just dabbing dabbing dab dab dab to give in that top fluffy effect. All right. So now we'll go ahead with the field space. Into the field, I'm going to be going ahead with the green colors. So first, closer to the field here, we'll go ahead with a light green color. So I will use this greenish yellow color. And I will even pick up a little bit of the yellow ochre color. I will get all the colors ready and then begin adding in these step by step. I squeezed out a little extra of it. And next for the green, I'm going to go ahead with the dark sap green color. You can even pick sap green or olive green, whichever you wish to. And lastly, I will just squeeze out a little of the olive green and keep. Okay. Now, let's go ahead and add in the colors into the field, shifting into the smaller size flat brush. I will begin in with this light green color first. This is the greenish yellow color to which also I am picking up a little bit of the white. All right. Now I will pick up a little of the yellow aqua in between. Picking up a little white. Just this top space is where we want the lighter colors. Again, the green. All right. So we painted the first block. Now, you don't really need to wait for it to dry or anything. We can just go ahead to the second block. I'm picking up the sapren color, mixing in a little white hint. I'm purposely overlaying over the first field very roughly. And again, into the second one as well, we'll just pick up a little of the yellow ochre. And you see how I'm blending the yellow ocho also with the sapren color by just dabbing in Now, add the base again, just a little of the green again. You see how into the top layer, we blended, giving in that distinction also, add that soft blend also. Now in the base here, we are going to go ahead with a little mix of the sap green and the indigo color we'll pick up to darken up this. And I will just use a little olive green. Same as we went ahead over the first layer while painting the second layer. Same way also we'll go ahead over the second layer. Now, again, if you want, you can just pick up little lighter highlights, creating that natural effect by just dabbing in. You will see this unevenness into the field which is actually creating in creates the realistic effect. Now, just picking up a little of the olive green in a darker consistency, I will just create little effect. If you want further pick up little indigo along with the olive green so that you get a good dark effect. And I'm just holding my brush almost perpendicular and giving in little details at the top. So in this way, you will see the fields have the separate color look also, but they still look well blended into each other. Now picking up this indigo color and dabbing at the base to create the darkness. In the center, you can see the glowing effect of the yellow ocher and just a little more dab dab dab while it is wet. And that is for the field also. I will just go ahead with a little green and at the top here, just creating this bushy effect. And one thing that I will do is just pick up a mix of the indigo olive green in a light consistency and just create a little flow onto this one. So just some dry brush after it dries out. Simple strokes. All right. Simple strokes that we've added in onto just the second field. And if you want, you can add a little onto the first field as well. So I will just pick up this screen and use a smaller size round brush. Just some very fine lines. You see? I'm just adding in very fine lines. This just adds in a little texture to the feel. Same way with the indigo color mixed in with a little hint of the green, adding in a little more texture to the second field as well. Very loose fine strokes. Your tip of the brush will play a major role in this. So make sure you use a fine tip brush. All right. And now, lastly, let's go ahead, add in the wind meal. For the wind meal, what I'm going to be doing is I will pick up the indigo color in a light consistency first. So like more of water, less of the pigment, right? Don't mix in white to this, go ahead and use it in a diluted consistency, and we'll add a first one here. Oh. No, just pulling out the spikes to these. Make sure you use a fine tip brush for this. Now for the second one, I will just pick up the same color in a little bold consistency. You see how we've changed the placement of the spikes? And one last one here. Go ahead very carefully adding in these details slowly. Take your time. No need to rush. And just some simple details that we've added in. So that is it. Our painting is ready. Let's peel off the masking tape and see the final painting. So here's our final painting for day four, a simple windmill field, again, just took us 15 minutes, but a beautiful, pretty, cloudy sky with just limited colors that we could create and simple field details that we've added. I hope you guys enjoyed painting this. I will see you guys into the next painting tomorrow. If you're liking this class, make sure to drop a review so that it can help me reach maximum students. And thank you once again for joining in and painting along with me. So 10. Day 5 - Warm Sunset: Oh, Hello, everyone. Welcome back to day five of this gosh painting challenge. And for today's class project, we are going to go ahead paint a beautiful sunset. The colors that you would be needing is a shade of yellow, orange, yellow ochre, brown, and then the paints gray or the indigo color. Now, my orange got squeezed out a little excess, as you can see, and I'm just going to go ahead with the orange first from this side before this pink bleeds in. So it's going to be a pretty simple sunset that we're going to be painting in. All right. So beginning in with the orange. At the base, even if you don't add much color, it's okay because it's going to get covered up with the darker colors while adding in the pine trees. I'm just giving a very light layer at the base. Now, at the top, I will go ahead with the yellow color. Now, I will just pick up a little bit of the yellow ochre, mix it with the white yure and add a light layer at the top. Right, we've got a very simple sunset sky look for now. Now we are going to go ahead add in the cloud details on top of this using in the brown color. So I will shift into my mop brush and you can use the round brush or a flat brush, whichever you have. I'm just going to pick up this light red color. You can use the burned sienna color or a light brown color and just begin creating in little cloud highlights. You see, wet on wet, I'm just going ahead, creating in simple cloud outline. Anywhere you feel blending is becoming difficult, just use a damp brush and blend it on the go. The reason of adding in that light layer at the top was because we are going to be going ahead with a lot of these cloud details at the top. That is the reason I just used a very light layer of the yellow ocho mixed in with white. See simple clouds that we are adding creating in that warmth and at the base, just going to go ahead, blend in. As I always tell you, you can either use a damp brush or use the base light color for blending in. Now, I will just pick up a little bit of the orange, mix it with a little hint of the brown and going to be adding in some cloud strokes. You see, simple strokes that I'm pulling out from the left and right towards the center space, creating in that cloud effect. Now I'm going to use in a little bit of the white and going to be creating in some highlights at the top. Again, this is also a simple cloud shape that you're adding in with a lighter color. If you want a sharp cloud, you can let it be as it is. And if you want softness, just like me, you can just go ahead and on the edges, blend it into the base gently. So you will see the colors just settle in well. Now, the same white, I'm going to mix it to the yellow, get a very light yellow and going to add in some highlights here. You see, every time that you lay over the color, there is orange color from the base that gets lift up and you need to keep cleaning your brush before you lay the second layer of colors. So just a little highlight. Now, going to be picking up the brown in a little darker consistency. So just mixing it with a little hint of the blue on my palette to get that darker effect. And just some dark highlights. The process, if you notice, is the same. It's just where you place and when you place makes the major difference. So just some darker highlights and the same process blending it so that it has a soft look. And we have this glowing effect also here, but we still have that darkness on the edges of the clouds. That is for our sky, not going to overdo it. And now we are going to go ahead and add in the pine trees. So for the pine trees, you can either use the black colour, indigo color, paints gray colour, whichever dark color available in your palette, I'm going ahead, just reactivating this indigo color, which is like a black color. And I'm first going to create in a small rough outline and fill this bottom space completely with this color. Make sure you use this color in a bold layer. You really need a good opaque layer of this color. Alright, so just added a simple layer first. And now on top of it, let's go ahead add in the pine trees. So you see I'm beginning in with a very simple pine tree. And as again, we move towards the base, just fill in this space so that it looks well blended into the base layer. It's a very simple technique. You just need to actually add in little detailed foliage at the top, and rest of the details are again just going to be pretty simple just filling in the gaps with the darker color. Now, we are going to vary the length of these pine trees throughout. I will just shift into a much fine tip brush and using the same indigo color. See, so this is basically a calligraphy brush which gives you this fine tip. When unwed, the brush may look like, you know, the bristles are too thick. But once you just wet the brush, you get a very fine tip to add in these fine strokes. Now, towards the base of this as well, again, just pick up the color and blend in. You see the unevenness that we're trying to get in making it look realistic. And now from here, just going to put in some fillers. So just some simple strokes like these. You see, we've completed such almost half of this space with just little techniques and simple ways to add in detail as well as the quick ones. Now, you can go with the kind of trees that you like to add in not necessarily to add in the same kind of pine trees. Your selection for the tree filage, the tree style can be completely different than what I am preferring, and that's absolutely okay. Again, in between these two trees as well, just some simple strokes to fill in the gaps. Now I will just add one major year first. The trick is at the top, you just give in that little detailed look and towards the base, again, it's just filling in the gap and giving in that patch of color, blending it till the base. You see, even if you notice the foliage is very simple. I'm just going left and right and just adding in simple strokes, not even going ahead with a lot of a detailed look. Again, here as well. Now, here I'm going to give in a setting sound effect. So here I will keep the foliage of little smaller length. So just some simple trees. You see, they are not detailed yet they look so detailed because of the rest of the trees around them. Now, again, a mix of simple strokes and simple detailed trees. Adding in a few more strokes. Now we are going to go ahead add in the sun to this. For the setting sun effect, let's go ahead, pick up. Basically, it's going to be white but mixed in with just a hint of the yellow. Now for this, make sure you use a good bold white. First, I'm picking up a little lightish yellow colour, going to add a circle here. And now clean my brush and using this damp brush, I'm just going to be blending it into the base. So you're just creating a yellow dull space before you add in that sun effect. If you want to pick up some fresh yellow. I'm just picking up some fresh yellow directly from the tube. Now going to mix in the yellow along with pure white and pick it up in a thick consistency. So it's going to be actually white with just a hint of yellow. Just making sure the color is good, thick and opaque and now just going to add in to the center of this. You see how automatically the sun gets that glow because of the background space that we created. Now, if you want, you can still add in this layer as well and soften it up to create more glow in the background. So I just went ahead with the same technique for this layer, and now I will pick up the same white yellow mix in a good thick consistency and add in to the center again. And now you see the glow is more prominent. And now one last thing before we peel off the masking tape is that we are going to add in little highlight of this sun falling onto these foliage here. So for that, you just pick up the brown and the orange color mix in a good consistency. And using that, just create some highlights onto the foliage. I'm picking up, in fact, the brown color, mixing it with a little hint of a blue to create the darker look and just going to add in some details. Now just going to pick up a little bit of the pure orange color. Majorly this space reflecting the light on the details here. So some highlights. You can even directly use a brown color to add in the details here. To the same mix, I'm going to add in a little white and add in the details like this. Just a little of this highlight. And that is it. We are ready with our painting. So let's peel off the masking tape now and see the final painting. I'm loving how the sky has turned out in this one, the softness in the center, the light effects here, and then the dark clouds coming in from the edges. So here's the final painting for day five of this mini gauche challenge wherein you just need ten to 15 minutes a day to create mini gauche paintings like this with limited colors as well. I hope you guys enjoyed painting this with me today. I will see you guys soon into the Day six of this challenge. Thank you so much once again for joining me painting along with me. 11. Day 6 - The Palms: Hello, everyone. Welcome back to day six of this mini gouah challenge. And for today's class project, the colors that you will be ing is the bright red color. You can use any red color available in your palette, and you would be kneading in the Prussian blue color and a little hint of the indigo color. And then for the silhouette, either the black indigo or pains gray, whichever dark color you have in your palette. So we are going to be pgning in with a simple sky. Again, this is also one of the recreations of my watercolor paintings from the 30 days of unwinding with watercolor challenge. Love doing such, you know, recreations, wherein I create the same painting with different mediums. And when you try it out, you will get to know how with every medium, the technique or the way of layering is so different because with watercolors, it's going to be the play of water that makes in the clouds and everything. And here, it's going to be the blend of colors and your brush techniques that will make the play of colors into your sky. I'm beginning in with a very dark layer at the top for the Prussian blue. Now I'm going to just go ahead, pick up white. If you want create the lighter color. But at the top, since I need the dark values of the color, I laid down the color first and now I'm just creating a little lighter gradiation as we move towards the bottom space. Going to pick up little more white. So you see, I'm altering between the white and the blues and going to have a little of this blue color here. Now in the rest of the spaces, I'm first going to go ahead with the red color. So again, I've laid the red, but to blend in the red and the blue together, I'm going to take help of the white color that makes the blending smooth, easy, as well as gives in the good gradiations Now you know why under the blue I used in the white color so that when you blend this, you automatically get that ease of transition between the colors. We're still going to be adding in the cloud effect on top of these for now we are just going ahead with the base colors to lay on and create in that simple effect. At the base, it's going to be covered up with the silt. I'm not worried much about the colors there. I will just give a simple blue layer. Mm at the base, there is a reason why I'm giving in a dark layer so that this will act in as the shadow to the silhouette that we'll be adding later on. Now I'll just pick up white and blend in with this moving towards the top. That is the reason I've used a little of the indigo color as well at the base to blend in. Now we are just steady with the base of the sky. Let's begin building up the sky with some clouds. We're going to go with simple clouds this time, not going to play much. We'll be playing in with the siloed detail, picking up the blue color first. Firstly, making sure the blends are smooth. Now, shifting into the smaller size round brush, going to pick up some blue N it in more lighter consistency. All right? Just beginning to add in simple cloud strokes. So just some little cloud details. Now on the blue, I'm going to use the same blue in a little darker consistency. We are even going to be adding similar clouds with the red color, first going ahead with the blue. You see simple strokes that we are adding in to build in the clouds. Now I'm going to mix in white with the red. And using this, let's go ahead and add in some details. So closer to the blue clouds at the top, you will see the strokes are very simple, simple lines close to each other in a little curvy sense that I'm adding to create them as the cloud strokes. So every cloud does not exactly need to be in that round fluffy shape. These small strokes put together also create in that simple cloud effect that you need in. You see how with just two colors, we've built in the entire sky with the help of white, diluting, creating in different tonal variations, adding in simple cloud strokes. Oh. Just closer to the horizon line, I mean, closer to the silhouette space as well. Going to add in little of these lighter cloud effect. When you lay the red over the blue spaces, you need to go with very gentle soft hands, not adding in much of pressure just very loosely so that the base color does not get activated because again, gouache is just a simple water based medium like watercolors. And if you add in too much pressure or wet strokes, the colors get reactivated easily. We're done adding in most of the cloud details. Just last, I will pick up a little bit of the dark blue color. Going to add in little flour at the top here. You see my cloud strokes are visible, but yet they have that soft blend into the base. That is it for the top layer as well. One last thing into the clouds is just some little blue highlights over the red here. We've basically laid the colors on each other to create in the cloud and the blend happening into the sky. All right. Now let's move on to the Silhet. For that, going to pick up the indigo color. And we're just going to go ahead very carefully and slowly. F creating a simple baseline, filling in this entire space. All right. Now we're going to use the same indigo color and just going to create in simple leaf details at the top of this. So for that, I'm just using the tip of my brush, creating in simple leaf silhouettes. So just pressing the tip, and you will see how these leaves are coming. And then I'm just filling in the gap till the base. So you see simple details, let me give you a closer view. So using the tip creating in simple shapes. You see I'm even varying the length and the height of these. Again, this looks so detailed, but the technique is so simple, easy. Now, I'm just going to mix in a little Prussian blue indigo and a little bit of the white to get a grayish color to the back of these, just going to create in little highlights. You see, just fine dots. At the back of it, this creates a highlighting spot for these. You can first either go ahead with a layer of this color first like this. So I've shown you both the ways, and now you can pick up the darker color that is either the indigo, pains gray plaque, whichever you are using in. And using that now you can give in the layer in such a way that you get a fine line of the lighter color in the back and rest of the space, you just fill it up with this color. All right, so we've just created little highlight on the right side. And now we are just going to go ahead add in simple palm trees. So picking up this same color, that's the darker color for the silver hat. M so I'm first pulling out the main branches. And now using in the detailer brush. You can either use a fine tip brush, a detailer brush, whichever you are comfortable with and just going to pull out strokes from this. You see simple strokes that we are pulling out. All right. So in just a simple way, we've got one palm tree ready. We're going to add another small one here. The process is going to be seam and simple. Who In this, you will see a little of the leaves overlapping onto the previous tree, and that's absolutely what you need to create in that realistic view. Okay. And just one more that we'll add in here. Mmm. All right, a very small one here. Now, the same thing that we did to the foliage here, giving in that background, glowing effet, I'm going to pick up the same mix of the indico, Prussian blue and white, adding in more white, and going to use it and just create a fine highlight to these palm trees. All right. A very fine line. That just creates that highlight, giving it to the little of the foliage on the left side as well. And now, lastly, just going to be picking up some fresh white quash. So picking up fresh white quash. And going to add a small moon here. Alright. You see how just a very small moon or a small setting sun adds so much more to the painting, going to blend it, create in a soft background. And let that soft moon be there. So we are ready with another beautiful painting for D six, let's peel off the masking tape, see the final painting. I love how simple strokes brings the entire sky together, simple highlights that create more realistic effect and simple silhouettes that add in more depth to your painting. So here's a simple Palm view sunset painting. I hope you guys enjoyed painting this with me. Thank you so much once again for joining me and painting along with me. I will see you guys soon into the next painting. Thank you once again. 12. Day 7 - Winter Sunset: Hello, everyone. Welcome back to day seven of the quart challenge. And for today's class project, we are going to go ahead with a winter landscape. I'm just marking out two light snow spaces in the bottom space. Alright. So these are going to be the two snow spaces that we'll be painting in, like distinguishing like two layers of snow. And this is going to be our winter sky. So the colors that you need for the sky is a shade of blue, yellow, and a little hint of orange along with white. So I'm going to be using the permanent yellow deep. I already have the orange color, and I have this cobalt blue color on my palette already. So I'm going to be just reactivating these colors with minimal water and using these colors only. I will first activate all of the colors that are on my palette so that while painting, I do not have to wait and my colors don't dry out uneven. So it's very important that either you pick up fresh colors when coming to gouache or you have your colors ready on your palette before you begin painting. So going to begin in and just going to pick up little Prussian blue mix it to this cobalt blue. All right. And just at the top, going to go ahead with a little layer of this color. And now I'm going to pick up white I want a gradient from the blue moving from the top darker tones to the bottom center light tones of the blue. You see a simple wash that we have. Same way now, I'm going to be picking up the yellow color. And from the snow space, going to go ahead with the yellow color carefully. Now, yellow and blue mixed together will give you green. Leave that space in between and use white for blending so that it will give you a better transition without forming in greens. You see we've got the transition happening between the yellow and the blue color. Now I'm just going to pick up white, create in some lighter spaces in the yellow. Now with the orange color, we are going to be adding in the highlights into the sky. For that, I will shift into a smaller size flat brush. So I'm using this smaller size flat brush and going to begin with the orange. All right, so just picking up the orange and just going to go ahead, add in little strokes. And while this is wet only we are going to go ahead, blend it into the sky. Now, I'm going to take help of the yellow to blend in the color. You can even take help of white. You see how just creating that little hot space into the sky and I'm using white for blending it into the sky well. Now I'm just going to go ahead, pick up a little lighter orange mixed in with white and going to be adding in little more cloud details. You see the softness that I'm trying to get in by just blending it into the sky over the yellow spaces as well, just going with a very light orange layer to build in picking up a lot of white and lightening up this space. I guess I should have used a little lighter yellow that would have given more of the winter effect, but it's okay. We can still see how just lightened it up with the help of white. Now lastly, if you want, you can just use a little hint of the red color. Since I have on my palette, I will just go ahead and use a very light hint and add little glow. Okay. So that is for our simple winter sky. Now, we'll begin painting the snowbd one by one. So first, make sure that your line here for the first snowbd is completely dried. Since mine is still wet, I will go ahead with this bottom layer of the snow. For that, I'm going to pick up white and going to add a complete layer of white. Now the same blue that you picked up in the sky to that, add in more white, and we're just going to use very light values of this closer to this line to define the depth and the shadow and the curves into the snow space. What I will do is I will actually first paint the top space so that we can get in more of the better line and the shadow effect. To the top space also I'm just adding in the white layer. Now let's pick up the same blue and first define the top line. You see with quash, it is so easy to just work to and fro. You see just define the snow line. O and just going to use a damp brush, blend it all in. Now for this second line, you can use a one tone darker value. Make sure no excess water, no excess pigment, and now run onto this line again. We're just going to go ahead and blend this also in. Using the damp brush, soften it up, blend it into the base white. Now you see I'm giving the top a very rough edge so that it looks like the natural effect of snow buildup. You see the two distinguishing lines that we've got. Now, if you want, just go ahead and define these lines a little better. So just a very fine line. I'm just using the tip and defining these spaces with one tone darker value. And now to make it look well blended, I'm just going to pull out simple strokes like these. Basically some dryush h, see? Simple textures and flow into the snow space. Some dry brush. You can give this drybush with a darker color as well to show some rock spaces or like the dirty snow effect. We are done with the first layer of the snow bed. Now let's go ahead to a pointed tip brush and just add in some simple pine trees. For that, I'm going to pick up the Prussian blue color. You can directly use a pains gray or an indigo color for this. I'm going to go ahead with a little effect. I'm first going to pick up the indigo. I have my Prussian color also ready now getting my indigo color, which is like a pinsrey All right. Now, let's pick it up in a thick consistency. All right. Now going to use the Prussian blue mixed in with a little hint of the indigo. And for the foliage, going to use this blue mix to show the effect of the light as well. For the pine tree, the main thing is not how you add the foliage. It's the shape at the end that you get. It should just have the triangular shape coming in and it will make your tree look realistic. You see, I'm just going with simple left and right strokes, pulling out smaller strokes. Now as I move towards the bottom, I've picked up more of the indigo color to give in the darker effect. Basically, at the top, I use the light blue effect to show the effect of the winter sky and moving downwards, just darken the color up with the help of indigo. Same way, altering between colors, I'm just going to go ahead, add in a few more. Now here, I'm going to add in two barks close to each other. And from these, I'm just going to be pulling out simple, fine stems coming out without much foliage. You see, I'm just using the tip of this brush and pulling out very fine details. Make sure you use a detailer brush or a fine tip brush to add in these details. Same way to this one as well. Just going to go ahead, add in. And you will see that the smaller branches are overlapping onto each other. M Okay, very fine details that we've added in. Now going to go ahead, create in some more details. Make sure you use either a good dark indigo color or a paints gray color. Just adding some tweaks close to each other here and just some fine strokes. We'll just add one detailed pine tree here. If you notice my hand movements for the foliage, it's just simple moving left, right. Of course, if you want, you can go ahead with a lot detail and, you know, very intricate details into the pine trees as well. I like keeping it simple so that it's not overwhelming and not even stressful. Just another loose branch here. And now here in the center, we'll just pull out some very small twigs. Very light in color as well. Now, one thing that I'm going to be doing is picking up a little of the Prussian blue. All right. And here, we'll just create a little shadow to these trees, add in the color and just blend it in. You see how automatically it lifts up the tree. Go to do this a little on the top space in the center. Right? Same way, just going to go ahead, use the damp brush, blend it in. And lastly, using the indigo color, we'll just give a little dry brush texture. So it's using a damp dry brush and just picking up some indigo color. You see the dry brush texture that we are getting in. For the dry brush texture, it's very important that you do not have excess pigment, neither excess water, or the pigment should be dry. Only then will you be able to achieve in these dry brush effect. I'm just giving in little of those stone texture. Okay. So we've got in the details there as well. So that is it. Let's peel off the masking tape and see a final painting. Make sure you peel off the masking tape against the paper, and once your edges are completely dried up, the only thing that I am a little unsatisfied in this painting is that the yellow color could have been much more lighter. But nonetheless, I love how the snow bed looks and the pine trees. I hope you guys enjoy painting this with me today. Another mini sunset in just another 15 minutes. So go ahead, try this out, and if you join in, make sure to upload your class project into the project section so that it can motivate one of them seeing it to just try it out. I hope you guys enjoyed painting it. We'll see you guys into the next one. 13. Day 8 - Rooftop: Hello, everyone. Welcome back to day eight of this quash challenge and for today's class project, we are going to be painting a beautiful purple, pinkish sky with a lot of leaves coming in from the top and a simple roof and city light silhouette at the base here. Alright. So for the colors, we'll be needing a shade of purple. I already have on my palette. I'm just going to reactivate it. Then you would be needing a shade of pink, which also I have on my palette. I will just go ahead, add in little water. And just reactivate it as well. Lastly, you would be needing a little hint of the orange if you wish to add in. The most important color is the white color that you will be kneading in. I'm just going to pick up white first, add into my purple as well. Using this light purple, let's begin in at the top. I'm further going to pick up a little more of the white and pick up the pinkish let color that I had here. Now, just going to pick up pure white and dilute and create a gradient to this color. There is a reason we have gone diagonally here and left more space here and less space there. Now, going to pick up white and pick up the pink color and blend it in. Just going to make sure the blends are even smooth. Now at the base, I felt there was a little extra white, so I just picked up the pink and blended it in. We've got a simple smooth blend into the sky for now. Now I'm going to pick up white with orange. For that, I will shift into a smaller size brush. You see the extra orange that had squeezed out altogether. Going to keep using that throughout the class, mixing in white to the orange and at the base here. Adding in the orange light. You see that little orange glow that's coming in, going to add in more white. A little of the bold orange as well. Creating in simple clouds over the pink. Now, using a dam brush, just going to blend it all in because I like softer cloud effect. You see how the orange highlight is creating that beautiful effect into the sky. Now going to pick up a lighter color. Added in little lighter effect and just going to use the damp brush and blend it in to create those lighter highlight spots automatically. It's not going to look like white, rather it's going to give in that base color lighter effect. Now, picking up the orange again. Just going to go ahead, add in little cloud strokes at the top as well. You see, it's the bright orange that I've picked up in a bold consistency, and you can see how beautiful and popping it is. And since purple and orange are contrasting colors, it gives in that beautiful effect because they do not well blend with each other. They may give you muddy colors, but when they are together, they make a perfect match of color. Simple highlights of the clouds that we've added at the top as well. That is it for the clouds. We won't overdo, just simple orange color that we worked in for the clouds. Now, time to go ahead with the silohet. At the top, I told you we are going to be having in a huge bunch of the foliage detail. For that, you can either pick up the dark black color, paints gray color, and we'll be adding in little highlights with the green. I will just squeeze out a little fresh dark color here. And now we are going to go ahead, add in these details. Going to pick up the pains gray color and we'll just begin adding in. I will just mark a rough outline. All right. I've marked a rough space. Now, the top space of this, I'm going to be filling it up. If a little gap stays in between, that's perfectly okay. I'm intentionally leaving in a little gap to show the sky from behind. We've just filled in the space, and now we are going to go ahead, use a fine tip brush and just begin creating in the details. For that now, let's just begin adding simple leaves. Use the tip of your brush and create leaf silhouets like these. Mm. You see, throughout the space, I'm just using the tip of my brush, adding in very small, fine dots and, you know, just dabbing my brush, which is making it look like the leaves. For this, you need to make sure that you use a very fine tip brush and go ahead very slowly taking the time, pulling out these small leaf strokes. So fine leaves like these. The more natural you make it look with wearing the lens, the type of leaves, the more realistic effect it will give you. Now, from these as well, just going to pull out some fine branch and just tabbing, giving in some leaves. So not necessary to pull out from the same spots as I am pulling out. You can choose your own placements for these. So from the side here, I'm pulling out some pam lies. Just some branches. All right. This way, we've created the top space first layer for now. Now at the base here, we are going to go ahead with our silhouette. Let's go ahead at that as well. For that also just using in the same color. A simple rooftop. Now to the top of the rooftop, I'm just going to give in those style detail. So simple triangular looks. A small chimney look here and a simple power line wire look here. We'll add the poles. We'll add the reines later on with the fine tip pen so that we get in very fine details. Just adding simple details to the pole. Okay. So simple details that we've added for now. Now, the main look to add in here will be of the wire lines that we'll add in once these things dry out. By then just let's go ahead, use in the green color. I'm using the green mixed in with a little hint of the white. All right. We're going to just go ahead and add in the leaf details at the top. Now at the top, you're just going to go ahead, use this green colour and add in some overlaying if so the same leaves that we added with the black color, we are going to use this green and add in. So basically the blacks will act in as the shadow, and these greens will be the main, highlighting ones. Now, use a very muted green like this so that it's not even completely popping and not even dull. And with quash, that's the best thing that even the lighter colors, you know, dry opaque over the darker colors. So it's easy to go ahead with layering and create these highlights. The entire slo heat is actually black because of the dark sky effect, but just a little light effect coming onto a few of the foliage that we've added hence making the lighter foliage visible because of the light effect. Just using the same method, adding in simple details. And pulling out fresh branch of green leaf. That is why I tell you never add all of the details altogether if you're going to be working in with multiple colors because you never know where you may want to add in more details with the other color. You can always add more details at any time, but it's very difficult to undo details if you've already added them. So always go step by step adding in these details. Now, I'll just pick up this green and we'll just pull out maybe just make it a little darker, adding it to the paints gray. So you see from the bigger ones, I'm pulling out smaller leaves. Now just going to pick up a little of the dark black color directly. And same way from this bigger one, just pulling out smaller leaves. All right. We're almost through the painting a little more detail. One thing I will just pick up little white and going to just blend this cloud a bit here. So with quash, even after things have dried out, you can see how you can simply just reactivate things and blend them in. Now, let's go to a fine tip pen. I'm going to be using in size 0.3 or size one. Make sure you use a waterproof pen so that even if you ever have to redo any of the details, you can always, you know, redo without activating these lines. So just adding in simple lines. Now, make sure when you begin adding in these, your space is completely dried. Otherwise, your pen may start acting. Now I will shift into my 0.1, which is much fine than that one as well. A connection to these lines? Now, one last thing to add in is going to be our moon and some highlights. For the highlight, I'm just going to pick up a lot of white, mix in with the violet color. It's just little hint of the white with violet. A fine line and you see how it adds the dimension. And a fine line. So basically, reflection of the sky colors onto these elements as well. I'm not going with a lot detailed one, simple, easy to follow along. And now pick up fresh, pure white or you can use a white gelpin and add a small, fine moonre Okay. I know this took us a little time to add in the details because of the detailed foolage that we've added it took us around almost 20 minutes, but that's okay. Sometimes a few class projects need those details coming in and I feel like I've ruined up this space just quickly wetting this up and blending it in All right. So with the help of white, I just again, brightened up that space and add it in the orange highlight, and I will just pick up since I've ruined up that spot a little, I will just pick up little pink and add it across and blend in. With quash, it's very easy to correct in your mistakes, and it's easy to just, you know, fill in those spaces completely and redo. So same technique I used here, and I quickly filled up that space with a little hint of the pink and made it look better than before. Okay. I will leave it for now and not overdo anything now. To this darker spot here, just some pink highlight and blend it in. So that is it. We are ready with our class project. Let's peel off the masking tape and see the final painting. So here's our final painting for day eight. I hope you guys enjoy painting this. I love how these highlights are glowing of the green color. And I love how after drying, all of this has also turned out better. A simple view silhouette, sunset. Thank you so much for joining in and painting along with me. 14. Day 9 - Countryside: Hello, everyone. Welcome back to the next painting of this quash challenge. And for today's class project, we are going to be painting a simple countryside view. So I'm just going to begin in adding in the simple pencil sketch. We are going to have a simple sky, a simple mountain range and a simple field coming in. The sky is going to be a very simple, misty foggy sky. Then we'll have this beautiful mountain range, a simple feel. And then here in the foreground, we are going to be adding in two simple, uh small cabin houses. All right. So just doing a small rough outline for these. Now with quash, you know that overlaying is also easy. And if you want, you can leave white spaces and then go ahead with the field details. So what I'll do is I'll just erase this line from here and take this field here, and then like this. All right. So we have the cabins, the field, the mountain, the sky. Now let's begin adding in the colors. So now the colors that you need is firstly for the sky, you just need a good grayish color. I'm just reactivating the white on my palette. Going to mix in a little bit of the Prussian blue and a little bit of this indigo or paints gray color. You get a grayish color mix, which is basically a mix of blue, black and white. You adjust the proportions according to the tonal values that you need. I've added in more white, got a very light color, and with this light gray color, we are going to fill in the sky. Now with this, I'm just going to be picking up more water and create more tonal variations while painting as well. See? Just simple sky with one color mix that we've created and then using white to create little more, you know, color effect into the sky. Now if you want, just pick one tone darker mix value of the gray and go ahead and just add in. Using one tone darker variations, you can just create in little cloud effect. I'm just using the tip of the same flat brush to give in little crowd strokes and blend it all in. Just a little misty effect. You can even use white to create some lighter spots. So that is for our simple sky, not going to overdo it or anything. Now, next, you will be ding in green colour for the mountain first. Now for the mountain, you need a very muted green. Basically a reflection of the sky that we are going to give in a bit. So I'm going to mix in this green, a little bit of the yellow ochre, right? And we'll just begin in for the first layer for the mountain. So just going with a simple layer. And while we are at it, we are just going to pick up the same gray color that we had created, mix in with a little bit of the green and add in here. Now, I'm going to leave the cabin space blank. We've just given in a simple layer of the yellow ochre mixed in with green and a little hint of the grease in between. Now what I will do is I will just create this gray mix again. Of course, if you want, you can create it beforehand and keep in extra. Using this, I will just add some highlighting spots. At the top also, you will see I'm just creating a very uneven shape to the mountain. Now, once this dries out, we'll give in little texture and flow as well. Into the field, we are going to go with bright colors. I'm going to pick up the yellow green color. It's going to be a beautiful bright field effect that we'll be giving in. I already have the darker greens on my palette here, so I will just reuse them. First, I will begin in with this light green color, which is the yellow green color. You want a real beautiful bright field. Closer at the top line, we are going to use the darker values. And to this also, I will just pick up little yellow and blend it. So you will automatically see a few tonal variations into the field. And now just going to pick this darker green from here. So you can pick up olive green, sap green, or just mix in your black or blue with the greens and get the darker values. And I will just add it here at this line. And now, we'll just go ahead and blend it with the light green color. So pick up the light green a bit and blend it You see how automatically the darker green values create that distinction point for us and just moving it downwards, blending it in into the field. We have the bright field at the piece, and at the top, we have the darker effect coming in. Very gently with the light green, we've blended it all. Now using the same dark green at the bottom, we'll create in little shadows. And just giving in little flow, you see the yellow here is adding so much more to the field again. So these little things add more details to your painting. Okay. Now, we'll just wait for these spaces to dry out. By then, let's pick up a smaller size brush, and we'll just be adding in little texture to the mountain. So for that, I'm going to pick up this dark green, mix it with a little hint of the paints gray or black. And we're just going to create simple dry brush texture onto the mountain. You see, I'm moving from the bottom left towards the top right, creating in the texture on the field. I'm just going to use a little of the raw paints gray black color as well for the dry brush. See simple strokes that we are adding in to create that texture on the field. You can use dark green, brown, black, whichever colors you want that will make it look realistic. You can go with a mix of all the colors as well, making it more realistic. So I am majorly using in the green and the black color. And I'm just going to use a little bit of the yellow ochre. Like, just some dried highlights. Again, moving to the black and the greens. Just very fine strokes to create in texture and some dry brush texture for darker effects. You see, we've slowly build in the texture and flow into the top mountain space into the field, we are just going to go with very simple grass strokes. Now let's pick up this dark black color. To this, I will just mix in a little bit of the yellow ochre. So it's very much more of the paint screy. Very little of the yellow occur, and we're just going to add in the details into the cabin. So filling both the fronts of the cabin. We will use the highlighting strokes later on to just create some distinctions. Okay. So we've added the paste of the cabins as well. Now, for the grass strokes, I will just move to my fine tip brush and I'm going to be picking up lots of white mix it with the green White will make it more opaque and, you know, make it shine beautifully even on the lighter paste that we have in getting it in the right consistency, dab off the excess water and pigment and just going to go with some fine grass strokes at the base. Make sure you use a fine tip brush and go very gently adding in these. No excess water, no excess pigment, just a fine tip doing its magic. Throughout at the bottom here, I've given in just one layer of these all moving majorly towards from the bottom left to the right side. And now I will just use this lighter green colour mixed in with white and add in a few strokes with this. You see how the white makes the color just pop up so beautifully. Now, see if you notice I'm beginning a little from the masking tape space here. So automatically, the thicker lines stay on the so when I press, the thicker line comes on the tape, and then when I move upwards, I just get the fine line. So that's another way to just add in those fine grasses moving to the top of your paper. You get more control by getting that grip on the masking tape. All right. So just this much of the grass strokes, and then we're just going to be adding in some small white flowers. Before that, let's pick up a dark bold green. I will just mix in white to this olive green color here and going to use this and paint the top roof of the house and the top roof here as well. We will, of course, use white and define a lot of the details onto these cabins that we've painted. Okay. So we've added the simple roofs as well for now. Now let's mix in white along with the yellow to get a bright yellow for the flowers. You can use a pastel yellow if you have readily. No excess water, pure thick pigment to get those bold eff and just going to go ahead and add in small florals like this. You can even just go and splatter them if you don't want to wish to add them with the tip of the brush, but make sure you have them controlled only in the bottom space where we've added in the grass trope. At the top here, just going ahead with little details. See just simple flowers that have come into the field, going to add in more white, make it more bright. See how I'm using the tip of my brush. All right, that much is it for the florals, as well. Now, let's just pick up white and add in the details for that. I will just pick up my white shellpin and into the cabin here defining the outlines. You see how automatically the first cabin gets distinguished from the second one which is the white details. Of course, if you want, you can use whiteqah. Small windows on this one, a small window in this one. There I will just use some white quash. Let's pick up fresh white wash. Making sure it's thick. And using the fine tip brush. Okay. Just adding a touch up to the gel lines as well. So let's peel off the masking tape and see a final painting. I just corrected a little details of the house as well, the white spaces. Once they dried out, I just use the black color and give them fine outlines so that they look more precise and detailed. So here's a final look at our painting from day nine of this quash challenge. I hope you guys enjoyed painting this simple countryside, painting with me today. Thank you so much for joining me into this class, painting along with me. And if you've been painting, make sure to upload in your class projects and do join in the giveaway that is on for this class. Thank you so much, once again, and painting along. 15. Day 10 - Night Blue Sky: Hello, everyone. Welcome back to the next painting of the Guash challenge. Today we are going to go with a simple night sky and very simple silhouette. It is just going to take us around ten to 15 minutes for today's painting. The first color that I'm going to be using is the Prussian blue color. Now I'm going to lay the Prussian blue color and then use white for creating in the first background layer of the sky. And then we are going to be creating in the cloud details. You can either mix the color on your palette or you can go ahead with the same technique that I'm going ahead with that is laying the color. On the paper at spaces, and then using white and blending the entire sky. You can see how dark this color is at the moment and you don't really need such a dark layer into your sky. You need a very beautiful pastilPuhian blue color. Now picking up white in a good gentle amount and just going to lay over blending and just use blue. So I just need the first layer as a flat wash of this, not completely light, but muted, pastel Truianblue color. So just going ahead with this entire layer for the background sky. If you feel that the color is turning too light, you can just pick up the main element color, that is the Prusien blue or whichever darker blue you wish to use and just run again and get the blends right. Just picking up a little more blue. All right. Now, this is just the base layer of a sky, and now we are going to go ahead and build in a lot of clouds into the sky and create a good cloud layer. For that, I'm going to just shift into my mop brush, and I'm going to be using the same Prussian blue colour just with a little hint of the indigo as needed. Or you can pick up the direct Prussian blue color in a dark consistency. Towards the base here, I'm going to give in a good entire patch of the cloud. Make sure when you're adding in this dark layer of the cloud, you do not have excess water on your brush, pick up pure pigment. Filling in the space first at the base. Now going to pick up and create the cloud effect. See how I'm just dabbing the darker value. As I told you, if you feel that the Prussian blue alone is not creating in the darker effect, you can take help of the indigo color. See, simple strokes, how we built in a huge cloud area at the base. Now, just going to dab create the clouds at the top. You see, we got a very light pastel, not completely light in the sense as in very light in a tonal value, but we created a simple background sky, and now on top of that, we're just building in the cloud area using in the darker value of the same color. And you can see how roughly I'm just giving in that dry brush effect. Just filling in the dry brush cloud at the top. At the top, I'm majorly only picking up the Prussian blue, not adding in the indigo. Slowly our sky is coming together, and then we'll begin working on the silhal which will take us a little time to just add some detailed leaves this time. See, we've built in an entire cloud shape towards the entire space. Go to pick up some white, mix in, and just use some lighter values. I'm going to use the damp brush, blend it in. Now the reason of doing this is we are going to be having in a moon here. So just showing that little moonlight effect coming in beforehand only. So we've got and built up a simple cloud going to pick up a little more colour, add in at the top. You see how the simple white effect has just lit up the center sky. Now we are going to stop here for the sky and shift to adding in the silhouet. For that, I will shift into my round brush. Black or the pain's gray color. That is going to be your color for the silhouet in a good thick bold consistency. We're just going to go ahead, add in a lot of detailed leaf into a sky. So first, let's pull out the first main branch. Make sure that your base skyleo is dried and then you begin with this, and we're just going to go with such one stroke leaves, wherein I'm just pressing the belly of my brush and lifting it up once I'm satisfied with the leaf shape and giving in those mini stem connecting it to the main branch. So you see we're just going to go ahead, keep on adding in some detailed branches and leaves. If you want, you can even create outlines like these and then fill in the shapes if you are not confident of adding them with the one stroke method directly. So it's absolutely your choice, how you wish to go ahead for this, whether you want to add in these in the one stroke method, or if you want to create the shape outlines and fill them in. Now, just going to make these leaves overlapping onto each of the other branches. A few leaves just popping out from the edge here. So I just added a few more leaves, and somehow it just didn't get recorded. No issues. Let's just go ahead, keep on adding more leaves overlapping onto each other. COVID different shapes, different flows of the leaves, making it more realistic, natural. A few branches popping from between the leaves. And I'm going to be adding in one branch here as well. Just pulling out the same kind of leaves. You see how I'm adding the leaves overlapping onto each other. That makes it look realistic and natural. A a brush which has a pointed tip will make your jaw very quick and easy for painting such leaves because you don't have to keep on switching between brushes to add in some delicate leaves or some thicker leaves or some fine lines. All of it, you can just keep on doing with one brush, and that's the beauty of such brushes. I always recommend have this round brush, which has a pointed tip along, which will make your job much more easier and quicker. All right. So we've added good bunch of leaves at the base. Now I'm going to go ahead, pick up white. And mix it with the blue color again. Picking up the Prussian blue mixed in with white and just going to create in some lighter values here. Again, just tab, tab, tab and use a clean brush and blend it. Okay. And now the last thing to add in is going to be the moon closer to this lepe a small moon. I'm using the white chirpin. You can, of course, use a fine tip brush and whiteqh a small moon out there, making it the glow. O that is it. We are ready with our easy painting for day ten. Let's peel off the masking tape, see the final painting. You see the sky took us a little while. That also just around six to 7 minutes, and then you just had to go with simple silo hit. So this is just to tell you that paintings don't always need to be complicated or with too much delicate details only. Small paintings also make it look complete, beautiful. The details are there yet so delicate, yet so easy to paint along. I hope you guys enjoyed painting this. We'll see you guys into the next one. Oh. 16. Day 11 - Sunset by the Sea: Hello, everyone. Welcome back to the next class project. And for today's class project, we are going to go ahead with a simple, beautiful sunset, making the horizon line. On top of this, we are going to be having in a simple bush space. And here, again, at the bottom, we'll be having in some bush area. And this will be the sky. This will be the sea. And here we'll have that little glowing sun effect, which we'll be creating while painting the sky S. So for the sky, the colors that you would be needing is a shade of yellow, orange and a grayish blue color. And that's the same colors that you would be needing for the sea as reflection. And then for the silhouettes, we'll be using the dark pains gray color. Now, coming to the sky, I'm going to be beginning in with white color first. But before that, I will just mix in my gray color that I will be using. So I'm going to be using the Prussian blue along with a bit of indigo. And to this, I'm going to be adding in white. All right, so you'll get that grayish blue color. If you have a redy color, you can of course, use that. If not, you can just mix in like this and adjust the tonal values with the help of white. So I have this grayish blue color here now. Now I will go ahead first with the lighter colors. So first, beginning in with the white color for this glowing space here. Now I will pick up the yellow. And blend these two for now. So you see in the center, we have that glue coming in. And now I will just pick up the orange and mix it with the yellow. So the orange is still too dark, so I will just pick up more of the yellow and less of the orange. Just adding in. Now, you see the blend between the yellow and the orange is uneven. So you can either pick up white or the yellow color and just run across there or use a damp brush. So I've blended the first layer. Now again, I will just use in white and blend the glowing space of the sun as well. You see how simply you could just create that highlighted spot as well as get the blends easy. Now I will go ahead with this gray color that we've created. Now, between the gray and the orange also, I'm going to leave in gap and going to use in white for blending. So I will just add it till the very fine line. And now just going to pick up white and blend it in between. So you see, you do not get any muddy tones. Rather, you get the transition happening between the sky. You can, of course, use the base colors again and lay over the white a little for blending. So that's a simple sky that we've created. Not much details to add into a simple sky for today. Now we'll go ahead, paint the sea. Now the sea also is going to be a reflection of the same colors, so I will just quickly again, mix up my color and keep it ready. So I have my gray ready. Now I will first begin in with the yellowish orange color. So closer to the horizon line going with the yellowish orange color. We'll just pick up white and add at the top to create some lighter values. And now using the white, picking up the gray, just lay over here in the rest of the C space. So you see we've just created a simple reflection of the sky into the sea area as well. Now, into the sea, I will just pick up a little bit of the bold orange. Now, using a fine brush, let's pick up a little bit of the orange. And while this is wet, just add in some wet on wet leaves. Oh, some fine lines. Not much details that we'll be adding into the waves either. Just some simple or, you know, single color waves that we are adding in and into the base, just going to darken up this gray color and add in. We've used the same base colors to add in these waves, one tonal darker value. Now, just laying over the top a little so that it all looks well blended and the transition looks smooth. So that is it for the weaves as well. Simple details. Now we are going to go ahead with the silhate look. For that, going to use the dark color. Now you can use Pains gray, black, indigo, whichever color is the darkest in your palette. Now, first, I'm filling up this space here in a very rough line, as you can see. And All right, given in the details. Now on top of this, let's just go ahead, add in fine details while this is wet. So just going to be creating in simple bush details at the top here. Now from here, just some fine grass strokes like these. Somewhere we'll pull out some longer leaves, some simple bunches like these. You see how I'm just going with very random details to make it look natural and blended. You can even use a spoiled round brush and given these simple texture details to fill in the spaces a bit. All right. Now we'll wait for this to dry. Then we'll be adding one pine tree, but before the pine tree, I need to go into the background to add in a mountain space. For that, I'm going to pick up the blue mixed in with the indigo so that we have the dark grayish blue color and using a very dark layer of this color. Let's just go ahead, paint this mountain space. Going to add in a little more of the blue. Be very careful closer to the horizon line to define it well. Now, from the top of this, I'm going to be pulling out some simple spikes to add in some details to this. So just use the tip of your brush and just pull out small fine lines. You see? I'm just wearing the lens somewhere taller, somewhere shorter. Now, closer to the sun, just be careful that you don't cover up the entire glowing spot that you've created. Just creating a bump here to break the monotony of the length. These fine lines have to be very close to each other. Basically, these are very distant views that we are creating hence, such tiny details that we are adding in. All right. Do you see how we could create in a simple detail Now, just going to be using in this same color and creating a few fine lines into the sea to add in a little reflection look. At the left edge, you can see it will be connected to the top space. Just make sure you use the color in a good bold consistency. Again, from the right space, just going to give in this little dry brush reflection effect, right? So just pull out that little stroke with the dry brush to show the reflection of the mountain color coming into the sea area. And to just blend it all in, I'm just going to add in some further fine strokes. Now, just let's go ahead and quickly add in the last pine tree. For that, picking up the dark paints gray black color again. And here, we'll just be adding in this pine tree. Just going ahead with simple details. Now you see how the black is popping over the blue of the mountain, and that is the reason we didn't go ahead with the black color for the mountain space. And we went with a dark blue look. So just a simple pine tree that we've added in. I will just pick up the orange color. And just turn these lines into little fine lines. So you see with quash, even over layering is so easy, and you can just correct and lay over the colors again. Okay. So we've got those little reflections. We've got the glowing sun effect coming in, simple silo heat that we've added in, and that is it. We'll just keep it very simple. Only one thing that I'm a bit unsatisfied is the space here. So I will just pick up some fresh yellow and correct that space a bit. Mixing in some white and yellow. Now, if you go ahead and do the same process, be a little careful because gouache is a water based medium, so the base colors get activated, so you need to apply the pressure accordingly. I've just added in the layer here and corrected it. Now I will go ahead with some fine lines, very fine ones. So picking up the blue, using the tip. All right. That is it. We are ready with our painting. Let's peel off the masking tape and see the final effect. So here's our final painting for today's class projet or simple seascape painting with beautiful sunset colors. I hope you guys enjoyed painting this today. I will see you guys soon into the next painting. Thank you so much once again for joining me into this class and painting along with me. 17. Day 12 - Dreamy Sky: Hello, everyone. Welcome back to the next painting of this quash challenge. And for today's class project, we are going to go ahead with a beautiful, dreamy pastel landscape. So it's going to be a simple pastel field. It's going to be completely dreamy. So at the top, you're going to be using the pastel colors for the sky, and we'll be creating a pretty yellow pink field with very simple details and pastel colors. Now, the colors that you will be needing for this class project is pastel colors. So I'm going to be creating up my own pastel colors, basically. I will just pick up another palette and just add in the colors fresh here. So I will just squeeze out a little bit of the lemon yellow. I already have the orange and the pink separately to be mixed with white. I have the violet color also. And for the blue, I will go ahead with a little bit of the ultramarine blue, or we can choose to go ahead with the cobalt blue color. So I will just choose the cobalt blue instead. So I will just pick up the cobalt blue, and I will squeeze this out also separately here. Alright. Now we are just going to go ahead and begin picking up some fresh white. White with the yellow. You need white with the blue, white, with the purple and pink and the orange as well. So I'm just laying enough white so that we can have good pastel colors. All right. Now we are going to go ahead and begin creating in our simple sky. So first, I will begin in with a very pastel violet color at the top. So it's like more of white, very less of the pigment that you need in. Now, of course, if you have ready colors, you can choose to use your ready colors as well. But since I am using a tube set this time, I don't have all the colors ready, so I'm mixing in my pastel colors. Now, next, moving on to the dreamy pink, which is like the star of the painting. Like, our entire painting is going to be more of the pinks and yellows. All right. Now next, I will move on to the yellow. So picking up a hint of the yellow, mixing it with a lot of white, very bright yellow. Now, again, I will just pick up a very little hint of the orange. It's more of white. I will pick up more white. With the pink, just going to blend it in. And at the base, we are just going to add in simple blue hint. So picking up the cobalt blue, mixing it with a lot of white. You can directly use a royal blue color if you have a direct royal blue color. Now, you can see the sky is looking very flat and dull for now. So I'm just going to pick up a good generous amount of white on my palette first and going to dilute it All right. And I'm just going to begin layering the white and blend the colors. So after every patch, like I first blended two colors, I clean up my brush, pick up some extra fresh white water, go to the next layer of blending. Again, blend up two colors, tone them lighter. Clean up my brush. And now the last top blending. So with quash, the thing is that the colors get reactivated and you just lighten up the tonal values in case if you feel that your tonal values have gone in too dark. So you see how we just created a more lighter value effect. Now we are just going to go ahead and wherever you feel you want a touch of colors, you can just use your base colors like the pink, the yellow, and create highlights on top of these. Now I'm going to shift into my smaller size round brush and we'll just create in simple cloud strokes as well. So first, beginning in with the blue. Now for the cloud, basically you just need one ton taco value if you're laying over the same color, or if you're going over the other color, then you can use the same tonal variation as well. Just simple strokes adding in the clouds. And we'll add in a little clouds with the yellow. All right. See if we are just adding in simple clouds wherever you feel it's bold or you just want it a little settle, run a little of your brush strokes and blend it in. I will just lighten the value a bit. All right. And now, lastly, with the pink. So we just added some simple clouds. Now I'm going to pick up a good layer of the white color and create a setting sun effect in the center. So a huge sun depending on the size of the paper. Now, this is the first layer that I've added in. At the base, I will just make it a little blurry and settle into the sky. Now, once I'll wait for this to dry, how it dries out, then we'll see if we need one more layer of it or then lay over some cloud strokes. At the base, I'm blending it and creating in the dull effect already. Now, as I told you into the field, we are going to go ahead with a good yellow pink feel. So picking up the yellow. And I'm going to be going ahead with a very different technique this time. I will just begin kind of, you know, dabbing while layering the color itself. I will pick up a little of this yellow color as well here. Now, going to go ahead, pick up lot of the white, mix it in with the pink. And now to this also what I will do is I will just pick up this plain white color and create tonal variations to the pink by just blending it with the pink that we already have on the paper. Now, over the pink as well, we are going to be doing a little layering with the yellows, so I will just pick up this yellow from here. Mixing it a little bit of white. You see, I'm just using the tip of my brush and adding the yellow over the pink by dabbing my brush. Now at the base, I will just go ahead with some green. You can choose to use a ready pastel green colour or a lighter green like this. And at the base, giving in some very fine grass strokes. Now let's go ahead with the next layer of the setting sun first. For that, I'm picking up bold white quash. Layering it over. And at the base again, I've added in that small layer and just going to blend it into the sun. And now we'll use the same pink color that we use for the sky cloud details. Mix it in with a little more white. And we're just going to add in some cloud strokes overlaying over the sun space like this so that the sun looks from behind the clouds. Okay. Just a little detail. Now on the horizon line, we are going to go ahead with the purple color and just be giving in some simple bush detail. So I've used two tonal variations of the purple color and just a simple bush detail. As I told you, this landscape is like a very dreamy kind of a landscape that we're trying to create in Again, with some lighter, some lighter strokes. So you just need to play with two tonal variations of the purple to create some details on the horizon line like this. So simple cloud details. And I will just use a little value. Some little more bosch details here. Slowly, our entire dreamy landscape is coming together. And now, lastly, I will just pick up some white colour, pure white. I'm just going to create some very tiny dotted flowers here. Just some simple tiny dots. You can use any color of your choice if you wish to. If you do not want to go ahead with the white color of the florals, you can choose to go ahead with the red, yellow, whichever color you wish to. I'm using white so that it pops out on the pink, very simple dots close to each other. They will act in as the tiny florals from afar. We don't really want to add in, like, you know, a detailed detailed look to the flowers. It's a simple gay kind of a landscape that we are creating in. And lastly, I will just pick up the yellow. Just tap tap tab, a little texture on the field. Same way with the pink, a little tap tap tab, a little texture on the field. All right. Now I will just take a little lighter value of the purple. Little tonal variation here as well. Okay. That is it. We are ready with our dreamy landscape. A simple pastel, dreamy landscape that we've created in. Let's peel off the masking tape, see our final painting. This class is just about creating tiny works in tiny times that's available in these busy days. And here's our final outcome. I hope you guys enjoyed painting this dreamy pastel landscape with me today. I will see you guys soon into the next painting. Thank you so much for joining me into this class and painting along with me. Who. 18. Day 13 - Evening Sunset: Hello, everyone. Welcome back to the next painting of the first challenge. And for today's class project, we are going to go ahead with a simple beach kind of view or a pretty sunset view. So this is going to be the sand space, and this will be our sea area here. Here, we will have in some little far off silo heads. And here we'll be adding in a few palm trees, and it's going to be a pretty sunset sky. Now, the sky that we are going to be painting is going to be a beautiful violet, orangish sunset sky. So we'll begin in with the colors. The sea is going to be a reflection of that as well. So the colors that you will be needing is a shade of the violet. You will be needing a little bit of the pink to transition from the violet to the orange smoothly. You can even use white, but pink pink creates a better transition. So I'm beginning in with the violet color at the top, going ahead with a beautiful bold layer. I have added a little white to my violet so that I have that blendbility at the top, if you want, of course, you can use pure violet and darken up the value. So major sky is going to be violet. So half of my sky, I have filled it up with the violet for now. Now, next, I will pick up the pink color. So I'm using this pastel pink from here and going to blend it with the violet. So along with the pink, I will keep on using the violet because basically the usage of pink is only to create the transition happening in smooth, not for the purpose of the color to be visible completely into our sky. Alright? So just going to pick up a little more of the pink and add in some strokes while we blend in, right over the violet. So you see the transition looks smooth and entire thing looks even out. Now next, we'll pick up the yellow color. So I will first pick up the lemon yellow. Now going ahead with a lot of white. And for blending, both of the yellow and the pink spaces again, I will just go with a little bit of the light pink color and create in that smooth plan. So we've just caught a simple best for now. Now we'll just go, move on to a smaller size brush, begin with the orange color. So mixing in the orange with a little bit of the white, and I will begin creating in the clouds from the left edge moving towards the center. So basically just creating in the strokes over the yellow, blending it in at spots, and in the center, we'll have the glowing effect of the yellow color. That is the reason of adding in that color there in the first place. Oh, you see how in a subtle way we've added the orange, but we still have the yellow clouds. Now we'll take the orange up over the pink a bit. Now, gently just going to go ahead, blend it in. Using the damp, just blending it all in. Now if you feel that the yellow is looking a little lighter or if you just want to brighten up that space, just pick up white with yellow again. And again, in between, I will just create in some cloud strokes. So basically reverse now laying yellow strokes of the clouds over the orange so that it looks all much better, blended and seamless. You see? Just the highlights. Now, I'm going to pick up the pink mixed in with a little hint of the violet. And first with the pink, let's create in some lighter clouds. Just some blends. Now picking up the white with the violet, going to lay some violet clouds coming over closer to the pink and the orange spaces. Use it in a very light diluted consistency, not too bold. We just need little highlights. So that is it for our sky, simple easy. Now, into the sea area, we are going to go with the same way. We'll first begin in with the yellow color. So picking up the yellow. And where we have the yellow reflection in the sky, same place here into the sea. We'll add in the yellow color. I'm adding a layer of yellow on most of the spaces so that it's easier to just create in the waves while adding in the rest of the colors. Now we'll pick up the orange color and just blend in from the edges just as we did for the sky, same way for the sea as well. All right. Now going to pick up the violet mixed in with the white a bit. And at the top here going to give in the violet highlight. So from the left side, just pining in with a clear horizon line. Now, to blend the violet and the yellow together, I will just use a little of this pastel pink. You see how we got the transition happening smooth, easy. And now just to blend the yellows, just pick up a little yellow and blend it all in. So we've got a good base layer of the sky coming in. Now we are going to add in more of the purple highlights. So just pick up the purple. And as we pull the orange color, we are going to pull out the purple like this over the orange, but it will be lesser than the orange because we want the orange also to be visible. Now, anywhere blending you want to make it smooth, just go with a damp brush. You can pick up the base colors or just take help of the white color. Okay. Same way from this side as well. Just some fine strokes coming in. Okay, we've created a reflection of the sky into the sea. I will just pick up a little of the orange and add in her in between the violets again to create the highlights. And for blending, I will just use the yellow See pulling it towards the outside so that it layers over the purple and not over the yellow spaces. All right. So we've got a simple C also and a simple sky. Now we just have to go ahead with our silo hit. For the silo hit, I will just squeeze out a little bit of the indigo color. Just go ahead, fill in the spaces where we just need a simple layer of the color. Simple bowl layer of the color is all you need here. I just gave a uneven line at the top, making it look natural. Next out here on the horizon line at the top, I will just keep on giving in simple push detail first. I'm just using the tip of my brush, dabbing it in. And as I'm moving towards the right, you will see I'm just increasing the length at spots. Again, some smaller ones. And now till the horizon line, I will just fill in this space. Okay. And now, one last thing that we have to do is add in some palm trees into our painting to complete and get our entire painting together. Before that, just onto this left side, I will just mark out this fine line and fill it in to define the horizon line much better onto the entire space. Picking up a bit of the yellow. Of and I will just pick up a little orange define some strokes into the sea. And now let's shift into a further fine tip brush. So I will just use a very fine brush. I'm using the size two round brush, and using this, let's just go ahead, pick up the color and add in our final palm trees. Now, go ahead with very tiny details for this. So make sure you use a fine tip brush so that you get the details fine. You see, I'm pulling out very fine foliage detail. Another one here. You can pull out like five to six mean branches and from them, pull out the, you know, mini branches like these. So the wind is blowing from the right to the left. So most of the foliage that I'm trying to add in is moving towards the left side because of the wind. To be honest, if you really don't want to make it too complicated, you can just simply go ahead with simple palm tree foliage as well, nothing complicated, nothing detailed, just simple strokes. So I'm pulling out the mean, and then from that, pulling out the smaller ones. Oh. See simple details how the entire painting is slowly coming together. I will just add in one last palm tree tall one here. You can also see how I try to make the stem thin at top and moving downwards, I just make it thicker. All right, adding in simple ranches. I just pulling out simple strokes in the remaining spaces, and we're almost through the painting. So that is it. We are ready with our painting. Let's peel off the masking tape and see our final painting. It's a beautiful sunset that we've created in under 20 minutes. If you have your color palette ready and your colors ready, it may actually effectively take you like 12 to 15 minutes to create this beautiful outcome. You can see how beautiful the two complimentary colors look together, the orange and the purple color. I hope you guys enjoyed painting this simple sunset with me today. If you've been painting along, make sure to upload the class projects. And if you're liking this glass, make sure to drop a review. If you have any feedback, you can drop them as well into the review. Thank you so much for joining me into this class and painting along with me. 19. Day 14 - The Street Signal: Hello, everyone. Welcome back to the next painting. And for today's class project, we are going to paint a beautiful street signal view. So we are first going to begin with the sky. No pencil sketch just directly colors. So the first color you would be needing is a shade of blue for the sky. So I have the cobalt blue color here, and then you would be kneading in the shade of pink and a little bit of orange. But for all of that, we will even be kneading up the white color. So I will just pick up some white and keep it here first closer to the orange and the pink so that when I pick up these colors, I have the um white colour readily there. And I will just pick up a little white closer to the blue as well. Now we are going to begin creating up the sky first. So into the sky, we'll begin in with the blue color directly. So let's mix in the cobalt blue, along with the white. So it's going to be more of blue, just a little hint of white that you have to add in. And we're just going to go ahead, paint a simple sky with this. You see, gouache colors are beautifully opaque and they cover the whiteness of the paper. And when you add in white, it makes it a little pastel and more opaque. You can even use direct colors if they are not too bold and dark. But since I prefer a little bit of that lightness into the sky, so I go ahead with this little light muted tone, now I have added in a complete layer of the blue in more than half of the paper for now, and then we are just going to begin with the orange color. With the pink, we'll be adding in the cloud highlights. So now let's pick up the orange. So for the orange, just go ahead, add in very little hint of the orange to the white. And I will even add in a little yellow maybe, so we get that yellowish orange sunset color. All right. And using this yellowish orange color, just laid closer to the blue. Now, do not blend these two colors directly because they will give you a very muddy tone. So we are going to use pink in between for blending first in a light medium consistency. You see, we get that transition happening. Now, at the base here, I'm not going to be adding in any colors because there as it is, we are just going to be having in the slow head space, so you don't really need the color there. Just making sure that the edges are clean. All right. Now we'll first go ahead, add in the details into the sky. Now for that, I'm going to pick up white mixed in with the pink. And we are going to begin creating in the cloud details using the dry texture. So I'm not adding too much water to the paint. Now, you see, as soon as you add in the white color, it creates a beautiful view of the pink even on top of the blue color. That is why adding the white makes the colors more opaque and pop out even on the darker colors. So we're just going to create some light clouds of the pink over the blue. I'm using a mop brush and just going ahead with kind of a dry brush stroke on top of it. You can use a simple round brush flat brush as well if you do not have the mop brush. I will just pick up a little more white. Now, make sure no excess water. Creating in the pink highlights over the orange as well, a bit. Now, same way, I will just pick up a little bit of the blue and lay over a little blue clouds very gently over the orange. Very little on the left only. So you see you can even use the round brush and given these similar strokes. I see in between the pink also wherever I feel to just give in a little pop of the blue, just running it again, so the clouds settle in more. Alright, so we've just added in simple details for now. We'll just pick up the little of the pink color. I I'm just going to blend it on this side. So that is it for our simple sky. Not going to do any more details into this. Now we are going to move on to the silhouette, and for the silhouette, we are going to go ahead with the dark color. You can choose black paints gray indigo, whichever is the darkest in your palette, and we're just going to go ahead with a good thick layer of this first at the base. All right. Now you can either use a spoiled round brush or you can use your flat brush, and we are going to just begin creating in the foliage. So just picking up the same color and holding my brush perpendicular, beginning to create in the details roughly at the top first. You can see the unevenness that I'm trying to give in. Now let's build this more. For that, I will shift into my spoiled round brush. So I will take this spoiled brush, and the bristles of which you can see are very spoiled and scattered because of the ecrlic colors. Now I will just dip it in very light water, pick up the pains gray color in a dry consistency, and we will just dab holding it perpendicular and create in little details like these. Now, onto the left side, I will leave little space and create this such that the sky is beautully visible in between from this at the back. Okay. Now, let's go ahead, add in a little detailed view to this. So for that, shift into a smaller sized round brush, pick up the same color. And to this, let's just begin adding in the detailed leaves and stem. This see just pulling out first some branches from these. And now you can see the foliage that you've added is automatically beginning to add in as the leaves onto these branches, some smaller branches that we are adding in. And now somewhere you can just give in some detailed leaf strokes as well. Now, when you go ahead with this technique, you can see how that background detail makes in the filler spaces easier, and you just need to go ahead with less detailed strokes, making the process quicker and makes it look more natural, realistic and easy to follow along as well. Same view onto this side. Let's just go ahead with some detailed leaves on top of these. Masally on the outside side, you will see that we add in the detailed look. Just using the tip of my brush, tabbing in simple leaves. Alright, so just going ahead. We're almost through the details. We just have to add in a few strokes like these in between. See very random grass strokes, leaves that I'm adding in. And now we just have to create the highlight of the painting that's going to be our signal view street signal view, basically. Okay. Now for that, we are going to go ahead, create up our grey color first. So I'm going to use in my blue. I have the Prussian blue here. Picking up the pains gray or the indigo or black, whichever color you have, and just add in a little hint of white to this mix now. Now, this is too bright, so we'll just add in a little more of the blue and the pains gray. You can use cobalt blue if you want, so that it will create the effect of the sky color falling in. So I will just pick up a little cobalt blue as well and add to this. All right. Now, again, just a little more of the black and a little more of the white. So you've got the gray color which is reflecting the sky color blue into it. Now using a detailer brush, fine size brush, let's just begin adding in the hole. So first, make sure that your black details are completely dried out before you begin with this. And now we are going to go ahead, add in this line for the signal. And U All right. Now we'll have to wait for this to dry out and then go ahead with the next layer of details on this. So now everything is completely dried and we are going to go ahead, add in the final details. For that, I'm going to be picking up the black color or the paints gray whichever you are using in. And we are going to be creating the signal blocks now. So the first block here, All right. Into this, I will just leave space in the center for adding in the light and the top, I will just fill in and even the bottom. And the other block that we will be having is for the timer, the signal timer. That will be smaller as compared to this one. All right. Now, we'll wait for these two blocks to dry out as well. Now, I just did one line which I could not record in is underneath the pools that we created this one and two. I just gave this underneath black line. And on the right side here, I gave a black line to define the shapes better. Now, once these two dry out, we'll add in the details with a yellow color on top of it. That is the signal light and the timer as well. By then, I will just use the white color and give a simple moon detail as well. Now, if you want to make it more detail, what you can do is you can even go ahead using the green color for the foliage, but I will just keep it simple with the black color so that we have it under, you know, like we get this project done under 20 minutes because with the green again, it will take you time to add in all of the details. So if you have enough time at your disposal and if you want to just level up, you can go ahead, add in one more layer of the foliage with the green color. Now just add a small moon at the top here. Now, let's wait for the black spaces to dry and we'll add the final detail. Now using this bright yellow color, let's fill in this gap here. Now make sure if you feel that you want first a layer of the white color going in, you can go ahead, add in a layer of white here. What I have done is I had left that space blank, so I did not need any layer of white because I did not add the black color there. But if you feel that your color is not popping out well enough, you can go ahead, first add in a layer of white, let it dry, and then add in this layer. Now just using a little bit of the orange color to define the outline. All right. So that way, we've got that detail. Now onto this, you can add any timer number of your choice. So I will just pick up the same yellow color. I'm using this very fine brush, and we'll just throw the timer. I guess that black is not completely dried yet, so I will just wait. And I added one more layer to the yellow as well. And by then, what you can do is just pick up this gray color that we had created. With a fine brush. And you can just define these a little more. You see how it automatically lifts up and gets that three D effect. So let's wait for the other black also to dry first. Until the time that dries out, I'm just using my size 0.1 nip pen and just going to add in some very fine lines into the sky. You can see they are so fine and so um thin and of a very light color. So we just need these fine lines moving into the sky, and that is it. It adds more realistic view. Now for adding the number onto this color, you can do two things. You can use either the white goh yellow color or you can even use a white gel pen and add in this. I will go ahead with the yellow color, and I will add the number five here. So you see to the timer, we've just added the number. Now, in case at the base here, the black paint was wet, so you can see that blending in. So I will just again, wait for it to dry for a second. Alright, so I just corrected it once it was dried, and there it is. We are ready with our painting. Let's peel off the masking tape. This one took us a good 20 minutes because we had to wait for the layers to dry out to add in the main details of the painting. But nonetheless, it has turned out into a beautiful sunset street view painting, and I absolutely love how the pink clouds in the sky have turned out. Alright. And here's the final look at our painting with those clean edges and beautiful details. You see how the clouds are popping up, how the simple background details of the leaves are acting in as the far off details and simple details into the signal. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting. Thank you so much, once again, to each one of you for joining and painting along with me. I'm grateful for each painting that you do watching my tutorial. Thank you for joining in. 20. Day 15 - The Dark Sky: Hello, everyone. Welcome back to the next painting of the court challenge and for today's class project. We're going to go with a night view of a field or a cottage core view, but it's going to be the night view that we'll be painting. So the top is going to be a simple sky. Maybe I'll just increase the length for the field. All right. So this is going to be a field, the bottom space. The top is going to be a night dark sky into the field here. Let's just go ahead add one cottage. Okay. Now to this cottage, we'll be adding the reflection here, basically the shadow. So just marking the rough shadow as well to the cottage. And basically, we are going to show the foliage that is here. We are going to show a simple shadow for those as well. And then some simple pine trees here at the base. That's how our cross project is going to be. First, we'll begin with the sky. For the sky, you just need a dark indigo color, or you can choose even directly a black color. I will go with a little bit of an indigo mixed in with my Prussian blue color because my indigo is very dark blackish color. I'm going to mix up the Prussian blue along with the indigo so that I get a very dark indigo color. We need a very simple dark sky. So beginning to first blend the color enough, and then just begin layering it simple to the entire sky. You see how dark our sky is a dark indigo color. Now, if your indigo is light, then you can directly go with the indigo without mixing in any blue. But if your indigo is also dark like mine, you can just take help of a blue color to lighten it up. Do not use white because it will give in that pastel look because we want a really dark night sky like this. So to the entire sky, just a simple lay off the color. So that is for our sky, a simple indigo color sky that we painted. Now let's move on to the field into the field you will be ding in the green colors. So I have the light green, the dark green, the olive green. I'm just going to first go ahead, activate all of these, the yellow ochre, the green color, and the olive green and the sap green here. We'll first be creating in like a base, and then we'll go ahead add in the shadow and little textures into the field as well. So first, pging in with this light green. I will just leave the shadow and the cottage space blank. All right. So I've just left that much space blank. Now I'll pick up a little of the yellow ochre. And now in the remaining spaces, I will first fill in the lighter color. And now I will shift into a smaller size flat brush. So I will use like a half centimeter flat brush to make my process easier for the dark color. So we'll move on to the darker color now. And just begin creating the darker depth from the edges moving towards the center. So the center is going to be glowing from the edge you need that little darker values. You see, wet on wet, I'm blending the darker values. Now I'm just going to be picking up the lighter color and blending it with the darker values to have the soft blend. I will just pick up a little of the yellow ocher, mix it with yellow and white to get a little lighter value and just lay a little lighter glowing effect here and blend it in so we have the bases of the field also ready. Now, we are going to go ahead add in a little more textures. For that, I will just pick up the green, dab all of the excess, and just going to run a little drybra stroke taking help of the indigo orbit. In such a way that the lighter values are still visible. So just given in very little texture. Now here we are going to create one tree. For that, I will first pick up a dark green value mixing in with a bit of the indigo and just create a simple first layer here. Now, at this point, you may feel that the dark green is hardly visible on the indigo color. But once we begin adding in the lighter values, it will pop out. All right. Now using in the lighter color, let's go ahead and mix in a little bit of the green, white, lighter green. Using this light green color, let's just add in fine leaf strokes on the outside edge towards the right side. Now you see how the entire tree pops out. We are showing the light is coming from the left, from the right. That is the reason. The right side of the foliage is all lit up. Now I will just pick up one more layer lighter color. So you can either add yellow, white. Just pulling out little leaves. Again, to balance it, I will just pick the darker values again. You see, we have that glowing tree effect coming in with very little foliage visible. In between just giving in little darker values again. Now let's go ahead, pick up this dark green color with the help of the indigo and just create some shadow as I told you here. For the foliage, that is not in our view, but we just have the shadow coming in. Now, just vary the length of these. See, simple shadows that we've added on the right side. Now, let's go ahead with the first clear into the cottage. For that, I will just use the yellow ochre and paint the left side. All right. And while this is wet, we are just going to pick up some brown color. And just layer and just using some daco value. For that, I'm just picking up the indigo mixing it with the brown. So the front is very light. Into the front space, I will just go with a very light layer of the yellow ocher. All right, so you see the glow coming out from the cabin and using the dark color, let's add the shadow to the cabin as well. So you see this painting is so much detail, but in a simpler way, right? Just a little back shadow and then the shadow towards this side. And now using a dark green mix, I'm mixing the indigo along with the greens here. We're just going to be adding in a few pine trees at the base. And we'll even be adding in the shadows to these pine trees here. So just while adding only, add in these simple lines to act in as the shadow. I will just fill in the space at the base here. And then on top of this, just go ahead with simple trees. In between, you see how I quickly just add in some filler strokes. Now, you will see as I move towards the right side, the way I'm adding in these pine trees is very simple, and I'm making some of the pine trees go longer towards the shadow. But in between these gaps that I've left show the background of the farm as well. Just a little overdo on the shadow again. Now, just a little bit shadow here again. On the top here, I will just add another few of the pine tree fair. Just a few. See how quickly we could add in the details. And as soon as we have added in these details, you will see how the cabin here is popping out beautifully. Now we are going to take in the dark color defining the cabin. So turning the roof black, leaving a window of the lighter value and turning the rest of the detail also a little darker on the left side majorly. And now on the right, we'll just give a little bit shadow. And now we'll just go ahead with the white color. So picking up fresh white, And using this, we will just be adding in simple lines. Two to three simple lines with the white color. I will just blend this again and adapt because it's not looking the way I wanted it to. So again, added in that layer of the yellow ocho color. Now first using the white, I will just give a small outline to the window. Oh and a line to the base. And now here just some fine lines. You can even use a wide gelpin for the same. Alright, now I am quite satisfied with how it turned out. Now, just using in some darker values. So just using some darker values, I will just give a little more definition in the dry brush form. And using a little bit of the yellow ocher going to create a little more glow. So just add that and using a damp brush. You see how easy it is with quash to overlay create the glow. Now, lastly, using the Darko green, I will just add a small push detail here as well. So first, a similar darker green color, and then using the light green mix. Just going to add some details on the right side of this as well. Alright. And that is it. We are ready with our painting for today's class project. We are halfway through this challenge on day 15 already, and I can't believe how easy it is just to squeeze out 20 minutes a day from your busy life and get a complete painting ready for yourself. So here's a final closer look at our night sky from today, a simple, easy field night view with simple glow details. I hope you guys enjoyed painting this with me. I will see you guys soon into the next painting. Oh 21. Day 16 - Fiercy Mountains: Hello, everyone. Welcome back to the next painting of the quash challenge and for today's class project, we're going to be creating in a very beautiful mountain range painting. I'm just marking out the layer. So below this, it's going to be multiple layers of the mountains that we'll be adding in. And at the top, we are going to have a very simple sky. Now for the sky, the colors that you need is going to be firstly, we are going to create a skin tone color. So I'm going to mix in yellow. I'm going to pick up the orange. And to this, we are going to go ahead, add in a lot of the white color. So we have, like, a John brilliant color. In case if you have a ready John brilliant, you can use that as well. And in case if you do not have one, you can just mix one. If you want, you can add a little hint of the red tint, as well. I will just go ahead, add in a little more white first. And to this itself, I will just add a little tint of the red here, just a little and just going to be adding more white. So we've got a very light color. Now, we are going to just go ahead and create a beautiful sky with this color. So first, I'm beginning diagonally. And to this, just to darken up the color for the next layer, I will add in a little more hint of the red. All right. Now to this itself, I will just pick up a little more red, add in, and you get the darker value and just begin with that darker value. It's again, a simple sky. The real work will be on the mountain range that we'll be going ahead with. And then we just need a little gray color at the top. So for that, I will just go ahead with the blue mixed in with white and the indigo. I already had a little gray here, so I'm just reactivating and using that. And blending it with colors. You see, I'm going diagonally a bit. Right. We'll just pick up this color again, blend it in well, and towards the bottom again, just using a damp brush, blend it all in. I will just pick this darker red tone, pull out a little more from the edges here. So this way, we've got a very simple sky. Now our main glow is going to be of the colors into the mountain space. I will just darken up this area a bit with one more layer. You see how blending, layering, everything is so easy with wash. Now, for the mountain ranges, we are going to go one by one, creating in one mountain range at a time, and we're just going to pick up white and red color. So first, beginning in with a very light color, I will just add a little hint of the orange as well to begin with and begin with a very light color first. For the first mountain range. I'm just adding in a little more white. All right, we just got the first range. Added a little hint of the orange. Now, for the second range, I'm just going to darken up this color itself. So just keep on adding little hints of the orange and the red and keep on creating one tone darker value. Go with the second range. Now, the first range seems to be a little dark, so I will just go ahead with the white and lighten it up and just blend it in again. Now again, I will just pick that little darker value. I'll wait for the first layer now to dry completely, and the second range as well to dry. All right. And then we'll go ahead, build on the other layers. So now, both the first and the second layer have dried out. Let's go ahead, just darken up the color. Keep on increasing the main pigments and slowly we will just keep on building in darker values and going ahead with the third range. You see how I'm just going ahead with a very uneven top, so as to make it look natural, realistic. This way, we are going to keep on building the color. Now to this, I will begin adding in a little hint of the brown, so we get that reddish brown color, and then we will slowly even add in hints of the black to further darken up. So for the lighter values, we were adding white, and now for the darker values, we will just go ahead with the brown and the paint's gray. Picking more of the brown. So basically, you will see from the center, we are having the lighter anges and from the edges, we are covering it up with the darker oranges more and more. I will just pick up a little hint of the paints gray. All right. So we've added the next two layers of the mountains as well. I will just now blend this lighter value. And we'll wait for this layer as well to dry out, then move further. So now we will move on to the next mountain range and for that, we will just go ahead and keep on darkening the value of the brown color. Now I will take help a little bit of the pinks gray, black, digo, whichever you have, and we'll just go ahead with the next layer. You see with every layer I'm going with very different strokes at the top of it so as to make it look natural, realistic and somewhere even covering up the top spaces. I'm not adding in too much of the paint scray at this spot itself because we still have to go ahead and create in more darker values as we move towards the base. Again, you see till the top, I'm covering it up with the darker values. And in the center, we have the lighter glows coming in. Now, I will just pick up a little bit of the red, and at the bottom, I will just lighten it up a bit. All right. Now the main thing in this painting is waiting for each layers to dry out. So we'll again wait for this layer to dry out, then go with the next layer of the mountain. Now, once this layer has dried out, let's again go ahead, pick up more darker value into your brown and we'll just mix it up. And using one to daker value, let's go ahead with the next mountain. From afar, at times the color values may not seem different to you, but when you look up close, you will be able to notice all the different color tones into each of the mountain ranges that you've added. All right. Now again, we'll wait for this last layer to dry and then add in one final layer to the mountain. Now, moving on to the next layer, which is going to be a second last layer, creating a very dark brown. Still not going ahead with or direct black for now. After this, we'll go ahead with the darkest color. Just going to fill up the space with this dark color. I know this painting is taking the time to dry every layer, but you can use a hair dryer if you wish to, but the layers will only get the depth into the painting. Now, by the time this last layer is drying out, we'll quickly go ahead, use the white color and add a setting sound effect to our painting. Pick up the fresh white wash. All right. I will just blend it onto my palette nicely. And using the white color in a good thick consistency, let's just go ahead and add a circle into the center here. It's like a setting sun effect. A simple white color that we are using. If you want, you can use a little bit of the yellow color in this, but I will just keep it simple with white. I will just shift to a round brush and quickly define the shape better because with the flat brush, it has not turned out to my liking. Now, let's go ahead with the last layer here. This is also tried by that time. For the last layer, it's going to be pure dark color with hardly any brown pigment if needed, but I'm just going with this dark color and just going to go ahead add in this last layer of the mountain. You see how each layer is moving almost till the top and at the bottom, it is the center layers are visible clearly. Okay. All right. Now we'll wait for this to dry and then peel off the masking tape. So now this last layer has dried and I just softened up the little edges of the sun so that it has that settle look into the sky because I was not liking the sharp edges. And with that, just peeling off the masking tape to see our final painting. So here's the final view at our gradient red mountains. When you look up close, you are able to see all of the different gradients of the red brown tones that we created. O 22. Day 17 - Peachy Hues: Hello, everyone. Welcome back to day 17 of the 30 day quash challenge. And for today's crass project, we are going to go with a beautiful pine tree looking landscape. Now, the colors that you would be needing is you can use a turquoise blue, or cobalt blue. And if you do not have that ready color, then like me, you can create the color. So I've squeezed out a little bit of the peacock blue color. Now to this, I'm going to add in the white to create it a little pastel tone. And to this, I'm just going to be adding in a little hint of my light green color, which is the yellow green color. All right. So I'll just add a very little hint of this to this mix now. So you'll get that cobalt blue, turquoise color like mix that we need in. So here's how you can create this mix. So it's going to be more of the blue, little of the green, and the whites to turn it pastel. Alright? Now to this, I will just add in more of the white to turn it a little more pastel and tone. So we've got our turquoise blue color ready. And next color that you would be needing is a shade of yellowish orange, so I already have the orange on my palette, and of course, you need the white. So first, we'll just begin in with our simple background sky, beginning in with this color at the top. You see how smoothly the color glides in. Now I'm going to create in the gradient to this color. So to the same color mix, I'm just going to increase the white. So you can either directly take up the white onto your paper or lighten up the color here by just adding more white and then use this color. So I just added in more white now going ahead with the next gradient. And now, I'm just going to use white and add in here so that it turns more lighter. So that when we add in the orange color, we do not get any muddy tones in between. All right. Now, we'll begin in with the orange color. So for the orange as well, I'm just going to pick up some fresh white and begin in from the base here. You see my brush had blue colour, so it's given in that muddy effect. It's very important to use clean colour and brush. I will just lift up some fresh white separately. And just lay over again, you see the difference the color makes a little at the bottom. And now I will just go ahead, use a little bit of the yellow Now, while blending these two points, I will just go ahead, use clean brush, clean white. Now, you see how smooth the transition looks without having in any muddy tones coming up in between. You just need to run a bit to and fro to get that blend smooth and right. Just blending it till the top with the help of a da brush, and that is for our simple background sky that we needed. You see, with just two colors, we could create in such a beautiful sky. Now into this, I'm just going to go ahead, add in a few cloud details. For that, I will just shift into my round brush or you can even use a flat brush. Now for the cloud details, I will just pick up more white, just some light orange hints. So for the clouds, I'm using a very light mix of the orange and the white color, and we'll just add in a few highlights, getting the consistency right. You see, I'm just using the tip of my brush and giving in little light details. Moving to the top over the blues. How I'm just using the tip of my brush, just adding in some strokes close to each other to create that cloud patch into the sky, majorly over the blue spaces and the center area. Because at the base we are going to be having in our pine trees coming in. You see just small little curves closer to each other, forming in that cloud shape. Mm. Just some small clouds here and there. That is for our sky, not going to be overdoing it. Now next up, I'm going to just be picking up my brown color. You can use brown any shade of brown that you have borne tumbo bone sienna, or a raw amber color, any darker brown that you wish to use in using in the brown, I'm just going to create in a background mountain space here. Now at the base, I will just use in a little darker hint. So just gently blending in the light brown with the darker brown. So this is going to be the background mountain, just a simple view to it. And at the top at spaces, just going to give in some strokes at the top, very fine. You see, I'm just using the tip of my brush and giving in this detail. On the left side, it's all going to get covered up with the pine tree, so I'm not worried much about the details. Okay? Now, next up, we need to get our green tones. I'm going to be using in the tone of the sapren color. I have the sap creen color. Okay. I have a little on my palette. I will squeeze out a bit more. Next up, I'm going to be using in the same greenish yellow color that we had used. So this is the yellow green color. I will show you the difference of my yellow green and the greenish yellow. So this is the yellow green that I've squeezed out, and now I also have a greenish yellow. So you see this is one tone darker. Basically, this has more of the green content and the yellow green has more of yellow, so it's on the lighter side accordingly. Now, we are going to be using the greens to create in our pine trees. So first, I'm beginning in with this greenish yellow color. To this, I will just add in a little darker value if needed, and we just begin creating in pine trees. Make sure that your brown mountain space is dried before you go ahead with the overlayering on top of it. Now, I will just use this darker color. That's the indigo or the Pinscrey whichever you want with a little hint of the green and just in the center, give in little highlights with the darker color while this is wet. You see? Same way, we are going to just go ahead create in a lot of pine trees. Now, I'm going to use the lighter color. You can go ahead and just use the colors as per your choice of greens. It's not necessary to keep altering with the same light dark tones just as I am doing. You see how simple strokes I'm adding and just filling in the spaces quickly. Now, as I'm moving towards the left side here, towards the bottom space, I'm just mixing in my indigo and the sap creen, and I'm just going to create this darker space here to give in that shadow effect to the trees that we are adding in. Again, I will just shift into the lighter value. You see, very simple strokes that I'm adding. Now, at the base here, I'll just blend in by dabbing in. And if needed, just pick up the darker value again and just dab and blend in. Now I'm going to pick up the black color. And here at the leftmost space, we are going to have this one huge tree. Okay. From this, we are going to be pulling out some few fine branches as well. So I'll first add another mean tree branch here. And now we'll just keep on pulling out some smaller branches. Okay. Now to this, we'll just let it settle in and then just go ahead, add in some green details, pulling out a few bigger branches randomly and some small fine thorn details coming out from the main branch. Now, by that time in the center here, just going to give in some filler trees. You will see every tree does not have to be detailed or a lot of foliage. You can just go ahead with simple quick details close to each other. Onto the right side, just adding in some fine bush details and some trees peaking out. Now, to the lighter trees, I'm just adding in some highlights at sports. Now, first, beginning in with the dark green, medium to dark tone. Let's just add in. I'm just dabbing in, creating in the foliage detail onto these branches that we've added in. See simple tip of the brush use that we are doing. At certain spots, you can give in more of the details. And now we'll just use the lighter green color. And with the lighter green, just going to create in the highlights for the leaves. The same way, just a few highlights. You see, with just some simple techniques we've added in beautiful foliage detail to our tree. Now at certain spots, wherever you feel you just need to give in a little more highlights. Just go ahead with the lighter and the darker green colors, giving in more foliage detail if you need to. And now, lastly, I will just pick up the white quash ping it up fresh from the tub directly. And just going to add in a small moon. I guess, let's ad in here. And one last thing before we peel off the masking tape, just going to create in some lighter highlights onto this side as well so that we have that color balance coming in. So just on top of the darker values, giving in some front details of the lighter values. Very simple. You see, it hardly takes us a few seconds to just create those lighter values, adding in another layer of depth. Now, that is it for this painting. Let's peel off our masking tape. Be careful. Make sure your edges are dried, and then you begin peeling off the masking tape. And in case if you're someone who just wants to create more details and, you know, have more time at your disposal, you can go with more details of the trees, make them more delicate, more, you know, building them with patients, adding in each foliage with a lot of detail and delicacy. But I like making it quick, raw, real. So here's a final look at a painting from today's class project. I hope you guys enjoy painting this. I will see you guys into the next painting. Thank you so much for joining me into this class, painting along with me, and sharing in all of your beautiful class projects. 23. Day 18 - The Farm View: Hello, everyone. Welcome back to Day 18 of the 30 day Quash challenge. And for today's class project, we are going to paint a beautiful sunny day with a simple farm view. So this is going to be a horizon line. The top will be the sky, the bottom will be our field. And into our field, we'll add a beautiful fence, as well. So the sky, as I told you, is going to be a beautiful sunny sky. I have some Celine blue out here on my palette, and I'm just going to use the Cerleen blue and the white color to create the beautiful sky. So first, I'm just going to use this light sky blue color that is the mix of cerelin blue with white, and just going to give in an entire base of this color. Okay, that has gone to too much water, so I'll just pick up more pigment. And as I move closer to the horizon line, I'll just pick up some fresh white and give it a further lighter value of this. So you see, we've created a simple gradient already. Now we'll let this dry out and then we'll go ahead with just the white to create a beautiful, cloudy sky. Now moving on to the field space, we'll create in the base layer there as well. So for the field, we are just going to first go ahead with. I'll just 1 minute correct up this space and create it. So I'm just increasing the little bit of my sky because we're going to add in a little bit of the bush detail as well on the horizon line. So just making space for that. Now into the field, I will first begin in with this bright color at the top. So what I will do is I will just pick up a little more of my yellow. So you can use any yellow on the lighter side and just mix it to your already present green. I already have this yellow green color, which is a beautiful light green color, but I still want more brighter effects. So just adding more yellow to that. Fully just going to add in a layer of this. And towards the bottom side, I will just pick up the darker green that was the greenish yellow and add in the layer. Now towards the base, I just want to further darken up the color. So I will just pick up a little more of the olive green. You can just mix in pains gray or black to your greens and get the darker values. No need of having multiple shades of green. Now, the reason of cleaning my brush again for blending is so that I can pick up a bit of white and blend both of the greens well. At the top, make sure to maintain this light effect to have the glowing effect of the sky falling into the field as well. Now, shifting into a smaller size brush, I will just pick up a little of this darker greener value and just going to go ahead and just add in some dark spots at the top. You see, some values to show some random shadows falling here. Just some flow into the fields. Very random strokes to just depict a little depth into the field. Now, we are going to go ahead first add in the details of cloud into the sky, using my mop brush, whiteqh, just a little tip of water to just wet and now just going to pick up a good thick consistency of the white paint and going to create a good white, cloudy sky. So just piging in with very dry consistency of the pigment. If you want, you can, of course, use a smaller size round brush and create similar looking clouds. See very roughly. So towards the base here, we had already created the lighter value. So now you will see when the pure white cloud that you add in, it pops out so beautifully there as well. At certain spots, just quickly go ahead, create some soft blends like these from the top, just getting in some clouds. So with this layer, the most important thing will be the consistency of your white paint. If your white paint will not be in that thick consistency, you will not get this effect of the clouds that we've got immediately with just one layer into the clouds. You see a beautiful sunny sky that we've created. Now in between here, I will just pick up little blue and blend with the white. You see how the cloud is just building up with simple blends. Now, again, going to just clean up my brush, pick up some fresh white, and just the second layer of blue that we added alongside add in more white to give in that freshness. You see? Now, that blue cloud that we created here pops out so beautifully. I'm just using very simple strokes to create in this detail so that it's easy for everyone to follow. But yet, you can see it looks so detailed just with simple strokes as well. So that is for the clouds won't going to, you know, not going to overdo it. Just going to let it be simple. Now, up next, we are just going to go ahead, add in some details of the bush on the horizon line. So first, I will pick up the darker value of the green. I'm going to go ahead with the olive green and a little mix of the greenish yellow. Just some simple bush wearing them throughout. You see at the top, just using simple technique of the brush, randomly dabbing in. And you also notice I just go ahead with different levels of heights for these. That is, it is not a simple flat straight line of the bush. And now using the lighter green just going to fill in. Now, again, just going to pick up the darker value. So you will notice that I try to reuse the colors that are already on my palette. So to create the darker values, I just mixed in with the dark indigo color that's already on my palette instead of squeezing out fresh dark green. That makes your, you know, you can just reuse the colors of your palette as well. Plus helps you or just use the colors forming in your own colours and creating in that blend into your painting as well with different tonal variations easily. So if you have a close look and just see, you will see the different tones of greens that are visible, the light, the darker values. And I will just pick up a little more of the lighter value now and create in some highlights. Because we have this beautiful glowing sky, we have the glow effect falling into the bush area as well. And again, just pick up the darker value, blend the lighter values as well so that it all looks well blended into each other. Now somewhere if you want just go with little details, pulling out some detailed leaves like these. Just using the tip, you can create multiple details. Nature is very, very simple and you see, every stroke creates the beauty into the painting that you're trying to add in, and it can just be loose easy. And basically, I feel nature is just forgiving, right? So we've created a simple bush detail there as well. Now let's move on to a beautiful fence that we are going to create. Now for the fence, you can either go ahead, use in a black color directly or use a darker brown. So I'm just mixing in the indigo with the browns on my palette. I will just go ahead with a woodish look for the fence that we are creating in. And now we're just going to go ahead. You can either create a horizontal or a diagonal one. I will just go ahead create in a beautiful, easy fence. So I'm going ahead diagonally moving from the bottom left towards the right side. So as I move towards the right, you will see the length of these going down a bit. Basically diminishing. You see? Because this one is closest to our view, and as we move towards that side, it's just becoming smaller, I mean, far to our view. Now I will just give them a little bit of a rough finish to make it look natural, realistic. Okay. Now, let's just go ahead, give him the you see how rough I'm giving in the lines to make it look wooden and very rough. And, you know, those simple, realistic wood effect to these as well. See how simply we've just created a very light fence. Now, we'll just wait for this to dry so that we can just create in some highlights on top of it. By then, I'm just going to go ahead and use in a little bit of the shadow effects for these. So just go ahead, pick up like a darker green value. I'm just picking up greens. And I will just keep my rough cloth ready. I'll show you how to create simple shadows to the fence now. Just use a medium to dark tone of green, which is darker than this value. Pick up color in a little watery consistency. I'm dropping the shadows downwards. You add the color, give it a gentle dab. So you see a lighter shadow kind of thing is created. Again, just simple strokes, dabbing with the cloth to make it look lighter and of a shadow value. So as I'm moving towards the right, you will see the shadow length is also decreasing because the fence length is also down. Now I will just go ahead gently dab in, turn the shadows lighter. Okay. You see, simple ways of adding in the shadow. You can use much lighter value or more watery consistency if you want to if you don't want to go ahead with the dabbing technique, but the dabbing technique creates a very realistic effect is what I feel. Okay? Now, we'll just pick up the white color. And using in the white, we'll just add very fine highlights. So make sure you use a fine tip brush. See, some fine lines onto the browns. You will see I'm not adding much of the details towards the right side as well because again, those details are far off so you don't really need to add much details there. You can just give in very little highlights. Main highlights will be visible here. You see this class project is so easy yet so beautiful in just almost 15 to 17 minutes. See, simple highlights that we've added in. Now I will just blend this space of wait, which has turned out thick for the shadow. So with quash, you can see, you can simply just run the damp brush and blend and again, tone the spaces lighter and add the layer. Okay. That is it. Now, let's peel off the masking tape, see a beautiful painting. I really love how sunny the sky has turned out with just a very simple play of color and strokes, no detail, no experience, no, you know, prior practice needed. Every stroke will make another beautiful cloud for each one differently. So that's the beauty of art. Every painting is unique, every painting is different. And everyone who creates every stroke is different, giving in the beauty of yourself into the painting. Thank you so much for joining me into this class, painting along with me. I hope you guys enjoyed painting today's class project. And if you're liking this class so far, make sure to drop a review so that it can help me reach maximum students. I will see you guys into the next painting. Thank you once again for joining me and painting along with me. 24. Day 19 - Winter Sunset: Hello, everyone. Welcome back to the next painting. And for today's class project, we are going to go ahead with another minimal winter landscape in just under 15 to 20 minutes. I've just fanned out the horizon line. This is going to be a snow area, and this is going to be a sky. And just in the center here, we'll have a small winter cabin, very minimal, very less details to add in a very tiny one to just add that element to the painting. Alright, a very small cv in, and we're just going to go with a simple winter sky and a snowy landscape. Now, the colors that you need, I've squeezed out a little bit of the ultramarine blue. To this, I'm going to add in a little hint of the violet and create a royal blue kind of a color. So let's go ahead and keep creating together first. So I will now squeeze out a little bit of white All right. Now, in case if you do not have an ultramarine blue, you can choose to go ahead with Cerlein blue and add in a little bit of the violet and then go ahead with the white. But you will see the ultramarine already has that little violet hint to it. So I will add very little of the violet touch now. Just going to go ahead with more white. So just blending the colors here separately. All right. So that is for the sky color that we need. That is the ultramarine mixed in with the blue. I will keep this brush here so that I don't waste the pains. And the next color that you need is a very pastel peach color. So for that, I'm just going to be picking up a lot of white, a little hint of the orange and a little hint of the red. But it's going to be a lot, lot, lot of white that you will be ding in. Okay. So this is going to be a second color. So the sky is going to be a blend of these two colors. So first, let's begin in with the sky now. Beginning in with this ultramarine mixed in with the violet and the white, creating a royal blue color. Now, in case if you want, if you directly have a pastel royal blue ready, you can of course go ahead and use that directly. Now I will go with the next color, just picking up more white closer to the horizon line. I will leave the cabin space empty as much as possible. Of course, even if little pins go in, it's easy layering with guash, but as much as possible, try to avoid adding in the colors there so that you get more crisp details. Now for blending both of these colors again, I will take help of the white and a little hint of the violet. So I picked up more of white on my brush and just touched it up with the hint of the ultramarine blue mix that we created for the sky, and we've got a simple baselier sky. Now onto this, let's go ahead, build in the cloud details. I will just pick up a little orange hint. I'll go ahead with a smaller size brush so that I can get much fine details. So we'll just pick up a little of the orange, mix it with the yellows here and just lay it over the red tones that we have got. So just giving in that little warmth on the horizon line. Now for the next layer of the cloud details, I'm just going to be using in this color. That's the ultramarine violet mix. To this, I will just pick up a little indigo. So we get that one layer darker color. You see, it's a grayish blue color that we've got. And using this, we will just add in some cloud details. You see very light cloud details that I'm adding in? I'm just using the tip of my smaller size flat brush and giving in these cloud details, holding it at an angle. Now at the top here, just dabbing in with this light gray color mix that we have. Now, picking up white with the ultramarine to just blend in at spots Majorly at the top space. You see how with quash layering is easy, blending is easy, creating the blends into the clouds is easy. You see, I'm just giving a little over layer so the clouds lighten up and look well blended into the sky. And that is for our simple sky that we needed. I will just blend these a bit and turn them a little lighter and dull. You see just using a damp brush across to blend and make the strokes soft and well settled into the sky. Now for the snow space, we are going to go with the ultramarine mixed in with white. First I'm picking up a very light color. So that will have more of the white and very little hint of the ultramarine. We're just going to go ahead add in an entire layer of this color. Go ahead with a lighter hint so that you can create the flow into the snow as well. Try to show in some snow mountains forming in. All right. So we've got this good even layer here. Now into this, we are going to create in the flow into the snow. Now going to pick up more of the ultramarine with very little hint of the white. And while this is wet, I'm just adding in some darker slopes as you can see. So at the top, I'm creating that layer. Basically, we have two flows into the snow happening in. So while this is wet, when you go ahead, add in this darker layer of the ultramar, it makes the blend smooth, easy. See the curve that I'm trying to get in. Now you can see how both the spaces of the snow are making that different look, giving in that depth and a little three D effect like a snow bump collected here. Now, just going to use a little bit of the white first and blend in at the top well now using this ultramarine, we're just going to create in little shadow spots. Just giving a little unevenness at the horizon line and quickly going to blend in. See creating in that snowy bump at the top on the horizon line on this side as well. Now just use the ultramarine in a dry brush texture and holding the brush perpendicular, I'm just giving in little stony effect. You can use a round brush as well for this, but I try to experiment with the brush in my hand before multiple shifts happening into the brush as well. Now using a little of the ultramarine going to give in this little darkness at the bottom as well. Just blend it all in. All right. So we are done with the snow space as well. Now let's go ahead add in the details into the cabin. For the cabin, I'm just going to be picking up the indigo color and mix it with a lot of the ultramarine blue. So we get that dark bluish color, which shows a reflection of the sky color. Mixing in a little hint of the white to this so that it pops out as well. Filling this entire cabin at the base. Now, just picking up some indigo color and giving in the darker edges. Now, next up, let's use in pure white. And using pure white, let's give in the roof. To this, just add in 1% of the ultramarine to show the sky coolor reflection falling onto the snow on the roof as well. It just has to be a light tinge. You see, getting the right consistency of the paint is very important. Now, I'll wait for this to dry, then we'll add the final details. So now everything is dried and we're just going to go ahead with the white color first and just add a few detail. Going to get it out into the right consistency and mixing it with a little bit of the blues on my palette and just going to give a simple peaking detail. I'm just going to create a little dimension to it. As I told you, this cabin is very small and a very fine detail that we're adding in. So not much details or character to add into, little details that can just, you know, make it look like the main element. Just adding in some fine lines underneath to create the shadow effect of the snow, and that is it. You see? I just 15 minutes, we could create this beautiful painting together, a very simple, snowy landscape with just the small cabin that we have in. Let's peel off the masking tape, see our final painting. We are more than halfway through the challenge, and I'm loving all the projects that are coming in and everyone who's been joining in and painting along. Here's the final look at our winter landscape from today's 15 day painting. 15 minute painting, sorry. I hope you guys enjoyed painting this with me. I will see you guys into the day 20 painting tomorrow. Thank you so much once again for joining, painting along with me, and giving your soul that creative reset that you needed. 25. Day 20 - The Red Sky: Hello, everyone. Welcome back to the next painting of the 30 day uh challenge. And for today's class project, I'm going to be using in this rose meta color. Now, in case if you do not have this color, you can simply choose to mix in a little bit of the red and pink because with this color, we are going to be creating in two shades for our sky this time. So it's going to be a brownish pink color and a lighter version of the brownish pink as well. So what I'm going to be doing is I have squeezed out a little bit of the rose meta color. Now I will just mark out the horizon line first. So this is going to be like our horizon line. All right. Now, into the sky first, we are going to go ahead. We are painting a seascape. So first for the sky, let's mix in the colors. So to the rose midar, let's add in a little bit of the brown. I have this brown on my palette here. I will just reactivate it, pick it, mix it. So it's going to be more of pink, less of the brown. We just want that brownish pink if fed. Let's begin with this at the top. I will just pick up a little more of the pink. Now, up next to this, I'm going to go ahead, pick up a little bit of the white. Now, to my white, I will just pick this pink, and I will add in a little hint of the orange and going to add it on the horizon line. Using in a little bit of the raw orange to blend in, get in that warmth. Now I'm going to pick up some fresh white, mix it to the orange and use this lighter color on the horizon line. Now for the top here, to darken it up, I'm just going to go ahead, pick up a little of the violet, mix it to this color. You see the darkness that instantly comes in. Now we'll just go ahead, blend it well. Basically at the top, you need that maroonish color going downwards, I just want to dilute and create a glowing effect closer to the horizon line. Now this is going to be the sea area, we are going to go ahead, create a reflection of the sky. Beginning in with the orange first. And moving downwards, just going to use this color. Now, to blend these all in, just going to pick up a little bit white and run across throughout. Uh now I'm keeping the orange space minimal because here at the base, we are going to be adding in the slow head, so this color will get covered up. Keeping that orange highlight at the top and giving in more of this maroonish color that we've created. Now we are just going to go ahead, add in a few water details, basically some wet on wet waves that we'll add in. Picking up this color closer to the horizon line going ahead with some sine lines. M. You see, from the edges, I'm giving in some thicker waves. Now to this, I'm just going to add in more darker depth. Picking up a little more violet, mixing it to the mix of the pink and the brown that we have to get one tone darker color and add in a few waves with a darker value. You see, I'm just adding in some fine lines. We've added some simple fine wave details, and we've also created a good distinctive horizon line. Now it's time to just add in a little cloud detail. Just going ahead with a little bit of this color. Mm hmm. I will just pick up my mop brush along with this and while I'm adding it, I will just keep on blending it with a damp brush like this so that I get in that soft subtle cloud. So just add a patch of color, use this and just give it that bushy effect. Again, just go ahead. You see, I'm basically using this brush as a busher I dropped in a big patch of the pink, so just quickly lifted it up. And now just going to blend this big huge cloud here as well. So very simple cloud details that we are adding in. Just added a little brown. You see how the blush effect is coming in? Now we move on to the silhouette. For the silhouette, you just knead in your pain scrap, indigo, whichever darker color that you're using, getting it into the right consistency first first beginning in at the base here, just filling the entire bottom space with this darker value and then at the top, we'll give in some delicate details of the leaves and the bush. Now at the top, let's go ahead and create in some fine details. Very carefully just using the tip, I will begin adding in leaf details. You see how I'm just using the tip of my brush, dabbing it in And then filling it till the base. You see how in a quick way we get in these delicate details, use a pointed tip brush, create in simple one stroke leave details like these at the top first and then fill it and blend it into the base that we've created. Same way, we are just going to go ahead and fill in the spaces till the left edge. You can see I'm just wearing the top heights as well, making it all uneven and looking natural. You can go ahead with more detailed leaves, more details if you have a lot of time available. If you are at a time crunch, these 15 minutes easy detail adding exercises are perfect to just warm up and yet have such beautiful outcomes that given such realistic effect. Now, ad spots just pulling out some leaves as you can see, simple branches and leaves coming in. So we've created the bottom space as well, and now you're just going to add in one huge tree. So let's go ahead and I will just fill in this space here at the top as well. Same way going to give in the detailed blue. All right. Now, let's go ahead, pull out that tree branch that we need in. A fine tree that we are going to add in. Now, just let's pull out some small fine branches to this. Now to these also, just let's go ahead, add in some simple leaves like the bush details that we added at the base. Now here trying to show as leaves popping out from these branches. Oh. It's simple details that make the entire painting come together and just go ahead, add in a few branches, a few detailed leaves like these at the top. You can just create in this entire patch like this first just as we did at the bottom, and then pull out some detailed leaves from the edges coming in. Same way onto this side, creating in this big patch here. And now from the edges, I will just pull out some fine leaves. You can create multiple blocks instead if you wish to, if not one single patch. Giving in some fine details. You, you can make it all the more delicate. Now I will just pick up a little bit of this color and on the right side, just go ahead add in a fine mountain space as well. Now, I will just add in a little more depth and details to these. All right. So that is it for our painting for today's class project. Let's peel off the masking tape and see the final painting. Make sure your edges are completely dried before you begin peeling off the masking tape and always peel it off against the paper so that you do not ruin up the edges. So here's a final closer look at our painting from today's class for check, a beautiful, warm, dark evening sunset. I loved how we created in the Blush effect for the clouds and the simple silhouet. Thank you so much for joining me. And if you're liking this class, make sure to drop a review so that it can help me reach maximum students. I will see you guys soon into the next painting. 26. Day 21 - Countryside: Hello, everyone. Welcome back to the next painting of the 30 day quash challenge. And for today's class project, we are going to be painting a simple countryside view. So this is going to be a simple green field. On the top here at the background, we'll be having a simple mountain range coming in. And then here, we'll just be having in a few cottage look. So very many cottages that we'll be adding in. So I'm adding one in the back and another one here. All right. And if needed, we'll just add one small front view of a cottage here. Now across this, we'll be having in mini tree. Then here are some mini pine trees that we'll be adding in, and then here as well, some trees that we'll be adding in the foreground. We are going to paint a beautiful pastel sunset sky that we'll be going ahead with. All right. Let's go ahead and create this project together. You would be needing a lot of white. I have already squeezed out enough white to keep it ready. First, beginning in with the blue, I will just use the Cerlean blue mixed in with the white to get a beautiful pastel blue color. So it's more of the whites that I'm using with just a little hint of the Cerlem blue beginning at the top. If you want, you can keep your pastel colors ready. That is the sky colors that you would be needing in. Up next, I'm going to go ahead with this color. That's a mix of the yellow, orange, and the white. Just squeezing the colors here that I already have, adding in white, reactivating the yellow Now for blending these two colors, I will just use some white because I don't want any muddy tones coming in while blending. Now at the bottom, I will go ahead with a little hint of the pink. Picking up pink, adding it to the same mix so that we get that color harmony going in and all the colors will look well blended with each other. Now I will just pick up little blue mixed in with the white given close to the horizon line. I'm not going into the mountain spaces, going carefully with just the tip of my brush blending it in We've got the base layer of our sky for now. Now let's move on to the next thing. That's the mountain. Into the mountain, I'm going to go ahead with a dark mix of the blue tones itself. I'm just going to pick up this indigo color from here and mix it to my ultramarine blue that I have on my palette from the previous project and create a dark blue. It's like a grayish blue color that you need. So a lot of indigo, a little hint of the white and ultramarine then, and we'll just go ahead as the layer into the mountain at the top first, creating in the rough edges, giving in that mountain look. Now I'm going to keep the cabin spaces empty, adding in little white to the same color to create little color difference into the mountain ranges as well. The tree spaces you can fill, I will just go ahead carefully, leave the cabin spaces empty. The trees are as it is going to be of the black color, so they'll be perfectly visible. Even if paints go into the cabin spaces, it's perfectly fine. But as much as you can, these details will just make your work easier. If you can just keep adding in there, it would just help you later on. Now you see how I'm just altering randomly between a lighter tone of the same blue mixed with the help of white and the darker blue creating internal variations into the mountain randomly at spots. Now, I will just define the mountain range top well. Now, while this is wet, I will just pick up more white, add into the same mix, and create some lighter flows, using the tip of my brush. You see? This is just adding in little texture to the mountain with the lighter color. We are ready with the mountain space as well. Now into the field, we are going to go ahead with the green. I will first pick up this light green color here. You see how easy it is to just reactivate your gouache paints with a little hint of water? Now, this color seems a little too dark. So what I'm going to be doing is I will just add little layer of this color. These are little tips and tricks that even you can learn. You can pick up a little bit of yellow to lighten up the color at spots and alternatively, I will even be taking help of a little bit of the white, mix it to the green and add in a layer here and blend it in. Now again, moving downwards, I will just add in this layer. Now I'm just picking up some darker values for the base, mixing it with the lighter ones. At the bottom, we'll be giving in some bush details later on. All right. Now we've created the base into the field as well. At spots, I will just go ahead use in more yellow. Just as onto the mountains, we added the lighter value, same way into the field as well, adding it right now and just dabbing and blending them in. Now let's move on to the cloud into the sky. For that, I'm going to be picking up the yellow color. I'm using the lemon yellow, going to squeeze out a very tiny bit of it, keeping my brush ready for just giving in that blush effect, going to pick up a lot of the white color, mix it to the yellow. All right. And we're going to add in a huge patch here, pick up your brush and just blend it from the edges. You see the magic. This was the first layer that we've added for this cloud. Now I will go ahead with a little more of the white. And now just going to go, again, just blend it in. And now I'm going to take help off a little bit of this pink color. Add it in just going to darken it up a bit. Again, just use plus, plus, plus, plush. Now, going to pick up a little yellow and over the edge here, just given that brightening effect. Slowly, we've just built in the cloud space a little only for now. Now I'm going to just take help of the blue mixed in with the white and create in a little more of the cloud details. All right. So just going to add in So blue highlights. Again, just use in this brush and soften these up. I cleaned my brush after the yellow process and quickly dam dried it and then I'm using the same brush. Make sure cleaning your brush is important, even on the left side, adding in the blue highlights and just going to soften and blend it in. If you want, you can create boulder cloud details, but I just want to keep it all soft, subtle. And see if you do not have this brush, you can just go with the softness of a flat brush as well and add in the details. Just going to blush in a little bit of the pink. That is for our sky for now, and up next, we are going to go ahead and add in the details into the bin now. For the cabin, I'm going to use in the yellow ocher color. Using in the yellow ocher, going to create in the bottom spaces. M So fill them in completely first. And for the top space, I'm going to use the burnt umber or the raw sienna or the darker brown color, bone tumbo, whichever you have in your palette. I'm just adding in a little indigo to darken up the colour. You may be just noticing one thing that I do not squeeze out fresh color every time. I try to mix in and reuse the colors already on my palette so that they do not go waste. I'm just creating a little reddish brown color, adding in little red hint to the brown and going to use this color to the top of the roofs. Be careful that the colors are well at the spaces. Now, once these dry out, we'll add in the details and the dimensions. Till then at the base here, let's go ahead with a darker green value first. So I'm mixing in the indigo with a lot of the green on my palette and just going to go ahead, add in random patches of the darker value first, which will act in as the shadows. Now moving to a little lighter green. Adding in little values. Now with the lighter green, I will just create in some bush details at certain spots. Just as in the previous painting at the top, we were creating in the simple leaf structures using the tip of the brush. That's exactly what you have to repeat in here. Again, you will notice I vary the length and the heights and the angles of these leaves so as to make them look natural. After this, we are going to go ahead with a lighter value as well of the green to give in that final detail, making it look the shadow and the perfect spaces of the greens. Now, let's pick up the lighter green value again. I'm going to pick up the yellow green color. You can, of course, mix in your green and yellow. And just dabbing in this color, making sure that the darker values are also visible, which act in as the shadow. In between, if you need, just use the previous greens to blend these in. All right. So we've got a simple space at the base, giving in that bush detail. H just defining the leaves a little more. You can go on adding in layers and layers of details to make it more deep and depth. I'm just adding in little white to the green and adding in some highlights into these bottom bush spaces. See the technique is very simple just using in the tip, creating in the detail. Okay. Now, I'm just going to go ahead and add in details to the cabin first. For that now picking up a dark brown value. Let's add in shadows to the roof. So small windows. So simple door details. Now, with a darker value, just going to add in some tree details that I had told you. We're almost through this project. It was a little detail, but it will still take us just around 20 minutes to create this entire painting. Just some tiny trees. Same way here as well. We'll just be adding in a few tiny trees. So you see in the front, I've not added much detail because we were going to have in this detail of the trees coming in front of the cottage. A tree in between these. Simple just dabbing the tip of my brush to create in those details. Another tree that I will just add in between these two. You will see slowly how these trees create the details and how the background cottage details don't make much of the difference then because of the front details that we've added in. I will just darken up this one layer. Just picking up little lighter green. So here I had just given in the layer of the darker value again, so just adding the highlights. Somewhere just giving in a little top length view. And finally, I will just pick up this dark color of the blue and the indigo that we had mixed in for the mountains. And on the mountains as well, just going to add in some details like these. Not throughout just at certain spots and using this darker value, just going to add in a little dry brush texture. Very little because we've already created in some light or value textures, you just need little highlights. That is it. We are ready with our painting. It took us roughly around 20, 21 minutes. Let's peel off the masking tape, see the final painting. Be careful while peeling off the masking tape, peel it off against the paper. So here's a final look at a painting from day 21. I love the cottage core vibes, the simple details. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting of this challenge. Thank you so much, once again, to each one of you for joining in, painting along and enjoying this unwinding reset. 27. Day 22 - Snow Mountains: Hello, everyone. Welcome back to the next painting of the 30 day Quash challenge and for today's class projeq, we are going to go ahead paint in a beautiful, snowy mountainscape. So I'm just marking out an outline for the mountain. Okay. So this is going to be the mountain range that we'll be painting. The top will be a simple sky. And then at the bottom, we'll be adding in the pine trees. Now, into the mountainscape, what I'm going to be doing is I will just first only mark out the spaces that we'll be painting with the darker values. So like this entire space out here, we'll be painting with the darker value. Okay. Then here we'll just be giving in some darker values to show the effect of the sky colors falling onto this space as well. So this is going to be the major dark space. And then in the wrist spaces, we'll just go ahead and give in the lighter and the darker values. But we are going to be using in very light pastel colors. So make sure that your pencil marks are very light. I will quickly just lighten these up for my reference. Okay? Now we'll begin with the sky. The sky is going to be a pretty pinky pastel sky with just a little hint of the yellow. So I'm mixing in a lot of white to the pink that's already on my palette, and going to begin with the sky. Turning it further into one tone lighter with the help of white. I'm just going to pick up a little hint of the yellow. So I have some very light pastel yellow values that I will be adding in here into the sky. So we've got a simple sky ready in just a few minutes. Now, once the sky dries out, we'll begin adding in the details into the mountain. So into the mountain, what we are going to be doing is I will mix in my white along with a little bit of the blue and the purple to get like a bluish purple color. And first what I will do is instead take this violet color and add little highlights into the sky at the top. So I've just mixed in ultramarine blue, a little bit of the violet, and a little hint of the white. And with this, I've just added little strokes of this color into the sky. Okay, and blended it well in. Now, we are going to show the reflection of this color falling onto this darker space here. So let's begin with the same color. To this, I'm just adding in ultramarine blue, white violet, and a little hint of the paints gray you can use in or the indigo color and just marking out this darker space here. Just going to pick up little white and just going to blend it all in. A, we've got a simple darker value space to show the reflection of the sky falling in here. Now, into the rest of the mountain space, we're first going to go ahead with the yellow at the top. It's going to be lighter than the sky yellow, so pick up more white and basically you just need a highlighting color. And now I'm just going to pick up a lot of white. And to this just going to pick up little pink and add in. So basically, this will also show the highlights of the sky colors falling in here. Now, at the base here we are going to be having the pine tree, so I'm not worried much about adding in the darker values there at the moment of the colors. Just going to give in little layer. Now, we'll wait for this layer to dry out, and then we'll begin adding in the depth textures into the mountain first and then move to the final pine trees. So now this layer is dried out and we're going to begin adding in the darker values. So first, I'm using the same mix that we used here at the top. And with this color, I'm going to create in the lighter shadow or the light spaces falling onto the mountain range. See? Very simple patches that I'm adding in at the base. Basically trying to show in the effect of the sky colours falling in here, creating in the shadows and the values. Now I'm going to go ahead. Using in a little bit of the Prussian blue, just going to create in some further darker values at the base here. You will notice the edges are very uneven and trying to keep it rocky and natural. At this point, it may feel a little messy, but once you add in the pine trees and more of the details, you'll begin to see all of it coming together. Now picking up the paint's gray color and beginning to add in some dry brush texture into the mountain. So for this, it's very important that you pick up very limited color and just make sure your brush is also dry. And you just begin creating in small textures and some slopes, some patches into your mountain space, giving in all of the character it needs. You see how I'm just adding in very fine strokes. You can of course go ahead with darker values, then move on to some lighter values and as much depth as you want to create in. With the strokes, you would see I'm even defining this space separately and the flow of this space towards the bottom side. That's how your brush strokes will actually define. You see, using in some darker values using in the tape, giving in very fine strokes. Somewhere you can create patches like these as well to show like the mountain space that is visible. And somewhere you just give in little dry brush to let the snow space be visible more. Little drybush. The dry brush technique here will play a very important role in defining your mountain spaces. Now I'm going to pick up a little bit of this darker value, mix of the white, violet, ultramarine blue, and a little hint of the paint screy just going to drop in some darker values. The darker values, also, you will notice, I've gone ahead more with the dir stroke. Just going to pick up a little darker pink as well than what we used for the mountain and just going to create in some shadows to these as well to reflect the sky colours better. Alright. Now, lastly, let's go ahead, add in the pine trees. And for that, we're just going to go ahead with either the paints gray, black, the dark indigo color, whichever dark shade that you're using in. And I will just begin first by creating in this entire patch, fill it completely at the base. Now, at the moment, you may be feeling that below this blue line, it's looking so weird, but all of this space will get covered up with the pine trees now. So let's begin adding in the pine trees one by one. Make sure you use the colour in a good thick consistency, and just begin creating in your pine trees. In every painting, you can increase the level or advance yourself by, you know, adding in more elements, more layers. So say, if you want, you can create multiple layers to the pine trees, beginning in with some background lighter pine trees, then moving on to some darker trees in the foreground. So that way, you can create multiple layers of the pine trees as well. If you just wish to increase the level and the complexities of your painting and take it one level up every time. All right. So we're just beginning to add in the pine trees, and it's going to be a few minutes that will take us to fill in this space. You just need to make sure to vary the length of the pine trees throughout. Try to vary the foliage as well, not keeping them the same throughout. Now, when I reach closer to this blue space, I will make sure I add the pine trees in such a way that this darker blue is still visible in between. You see how easy and quick it is to add in these pine trees just moving in left, right, and creating in that triangular look to the pine trees. In between, you can add some trees with very limited foliage and letting the, you know, background from behind be visible. The most important thing here is going to be how you vary the length of your pine trees and making sure that these bottom spaces that we've left empty gets covered up. These spaces that you can see the color where we did not add in. It's important that you fill those completely with these darker values, but in such a way that the blues, the mountain and everything is visible from behind the pine trees, such that you take a few pine trees little taller and, you know, vary accordingly. And as I reach towards the bottom, you see, I just blend in and add in the patch of color. Now I'm just going to add in a few fine, you know, stems like these and just add in very little thorns coming out basically to give in those filler effects of the pine trees in between. See? Just as soon as you add in those simple strokes, it adds so much more character to the painting. And that is it. We are ready with our beautiful snowy painting for today's grass project. I am absolutely in love with how everything has turned out. And you see how simple strokes coming together, creating all of the details and just get the entire painting together. Alright, let's peel off the masking tape and see the final painting. So here's a final look at our painting from today's class project, a very simple, easy, snowy mountainscape that we've painted. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting. Thank you so much once again and see you into the next one. 28. Day 23 - Beach: Hello, everyone. Welcome back to Day 23 of the 30 day Wah challenge. And for today's class project, we are going to go ahead with a simple, easy beach painting. So just marking out the horizon line, and this is going to be our water space. And this space is where we'll create the foaming effect. And here we'll be having in the simple sand effect. Alright. So we'll begin with a simple sky that we are going to go ahead with. For the sky, we will be kneading in a simple blue color. And you will need a little bit of the pink colour highlights to add in, a little hint of the yellow. So I have some yellow here to which I'm going to add in a lot of white, of course. All right. So let's begin first with the sky. Just using the lian blue and mixing it in with a lot of white. You need a very, very light sky blue layer. You can use any blue of your choice. If you do not have a similar blue, it's absolutely okay. Now, we are going to use some yellow on the horizon line. So for the yellow, I'm going to be picking up a little bright yellow and some yellow deep. And to that, I'm just going to blend in with white. Now I'll just pick in some white further and blend in. Now, on the horizon line, I want to give in a little hint of the blue again. So I'm just going to use in the blue and very gently add in and at the same time, you remember that that trick that we had been using. Just use a damp brush and blend it in. Alright. So that's just the first layer of the sky that we've created. Now, on top of this, let's go ahead, add in the cloud details. For that, first, I will begin in with the Cylan blue with very little white so that it's one ton darker than this. Just adding in the color, and I'll use this brush, blend it in. You see the fluffiness, the cloud effect that's coming in? Just adding in more clouds at the top, again. Just blend in. You see the light cloud effects that we've got so far. Now, here we are going to create one huge cloud with this darker value and very gently blend it in. You see slowly how the entire thing is coming up together. Now I'm going to use in white mixed into the pink. Now, if you're using the same brush to blend that, make sure that you remove in all the blue. All right. And then go ahead, just blend these pinks that we're adding in. Again, just soft blends. It's kind of like, you know, the blush that we apply onto our cheeks. It's the same technique, very soft bristle brush that you need to use in a dry state. Just adding in a small one here and on the edges, softening it up. You see the subtle cloud effect, but yet that beautiful glow. Again, soft blends. See how slowly our entire sky is coming together. Now using in a little lighter blue, just going to create in some clouds over the yellow. Very gently, you need to go so that the blue and the yellow mixed together does not create in greens. Wherever you want the softness, just use this tam brush. This is one of the new techniques that I also discovered recently. So that is why I always tell every class is also a learning for me as well, because you see with every class, I get to learn so much new things, explore new techniques. Now using in a little bit of the orange, same process, some highlights over the pink and Bin Bin plain softness. J. And that is it for our sky for the beach that we are creating. I will just do one more thing. That is going to use in a lot of white, just a little hint of the orange, add in here, and blend in. Using a little bit of the blue to overlap in. That is it for our sky. Now moving to the water space, we are going to create a turquoise color. So you can just mix in a little bit of green, blue and white. Now, the ratios will depend on what green you use. So one of the class projects, I had created the mix here, I had used in a little bit of the green, and with that, I had used in a little hint of my Prussian blue and just added in white. See the turquoise color. This is still a little dark. I'm just going to add in more white. All right. That's how we can create our own turquoise color. You can even create the turquoise color with the help of sapren. It's just that you will have to vary the ratios according to the color tones that you use in, and that may vary for every one. The best combinations that would work is the serine blue mixed in with emerald green and white. That creates the best turquoise color. Now I've created in this turquoise color. And now for the sand beach look, I'm going to mix in the yellow ochre along with a little bit of the yellow to lighten it up and going to add in a lot of white And just a little hint of the brown that we need to give that sand color effect, we'll be adding in more white so here's the color for your reference. I've used yellow ochre, a little hint of yellow, and a very little touch of the brown color and lots of white. I will shift into a bigger brush so that it becomes easier. Just a little bit more of the brown. And now a lot of white. And we're going to blend both the turquoise and the sand color. Then when we'll be adding in the details with a whiteqh, it will all be covered up and given that beautiful effect. So now, once this has dried out, we're just going to go ahead with very simple details. First is picking up some fresh white quash. Inside the liquid that you see is the spree that I have sprayed and kept so that my white quash does not dry out. Now just picking up some fresh white in bold consistency. I'm going to create in the effect in here. So on the meeting point of the green and the sand color, just go ahead given the dry brush. For this, it's very important that you pick up good consistency of the white quash. It has to be polled thick. And now I will just pick up some more white quash. And we'll create one more water foam line onto the sand space here and just pull out the dry brush of the white towards the water space like this. You see the foam effect that's been formed with just a simple technique. Now using in the white. Just going to create in the line in a little detail. Same way, pulling in some foam towards the water. Now, giving in some simple criss cross fine lines moving between the waves. Again, just reminding you one important thing that is the thickness of the white paint. Otherwise, they will dry out dull. It's very important to keep them, you know, thick so that you get that beautiful consistency. And if you want, of course, you can add in some waves effect with some darko color consistency. So I will just pick up this Darko turquoise color and using the tip, just going to add in some fine waves, very tiny ones close to each other, creating in the depth. Very little. It just adds in a latin depth. Make sure you use a fine tip brush for this. Of course, you could have done this before the white details that we added in, but it's okay. We can always just move to and fro. Now going to use a very fine line of the dark color. And define the horizon line on the right side and just remove in some blending strokes. Now just using the damp brush, I will just soften it up a bit so that it looks well blended. Lastly, just going to add in a few words with a black color. So delicate ones, some detail looking. You see the simple way of adding in these birds. It's easy and just show them in different flight motions. Now using in a very light hint of the brown, I will just add a very fine shadow line. I just lighten up the brown with the help of yellow. A very fine underline to this. So you see it acts in as though waves shadow on the sand and just give it a soft, gentle blend on the edge using this tamph. And that is it. We are ready. Let's peel off the masking tape, see a final painting. So we created this beautiful, easy beach painting in just 15 minutes, and I love how the sky has pretty colors and the colors that we created for the sea, as well. I hope you guys enjoy painting this with me today. I will see you by soon into the next painting. Make sure to upload in your class projects and drop a review if you like this class. See you into the next one. 29. Day 24 - Shining Night: Hello, everyone. Welcome back to day 24 of the 30 deck wash challenge. And for today's class project, we are going to paint a beautiful dark sky. And I've just marked out the horizon line and just marking the greenery area, and this is going to be the roadway that we'll be painting alongside. And here we'll have some silhouette of the bushes or simple field, which will have the night effect. So dark colors, just little light or green highlights. And for the sky, we'll be going ahead with purple and the John Brilliant color look. So for the top of the sky, I will be pinning in with a dark background indigo, which is a blackish color. I've squeezed out some fresh color to get that bold effect, and then I will move on to the violet. Now I will move on to the violet. I have squeezed out some fresh violet as well to get in the good thick consistency at the top. Now, after you cover up half of the sky, I will move on to a little bit of the white to mix in with the violet. I have some white put in here closer to the violet. Picking up this light violet color, you see how the transition is happening in. Just make sure that you leave in enough space at the base here, closer to the horizon line because now there first, we'll be going ahead with our Jon Brilliant color. For the Jon Brilliant, I'm going to mix in a little hint of the red, little orange. And going to pick up some white and a little hint of the yellow. I will just spray some fresh water because this has turned violet. If I squeeze that violet color into this, it will turn out muddy. So to avoid the muddy look, we need to make sure that our water is clean for this mix. I've mixed in red, orange, yellow, and a little hint of white, and we've got a beautiful Jon Brilliant color, which we will be using on the horizon line. I will just pick in more white, lighten this up. Now I will just pick up little white and orangish mix on the left side here. Now to blend both of these colors, we are going to take help of the pure white. I just have some pure white on my palette knife because I was just removing in the white. I will just reuse this and blend both of these colors. Now at the blending point, you may have to run to and fro to get that smooth blend throughout. On the white also, I just overlaid a little bit of purple so it does not seem like a white patch for blending. You just need a little overlay of that color, clean up your brush and then move from the bottom again. So just pick up little white and move from this bottom space again towards the top to get those blends smooth and easy. We've got a simple sky blend forena. We'll add in the cloud details once this settles in. Till then, let's move on to the field. As I told you, the field is also going to be dark towards the top. At the top here, I'm using in this indigo color. Now, into the rest of the field, we'll just keep on moving from dark green to lighter green top to bottom. First I'm picking up the olive green color here. And now I will use this yellow green that we have on our palette. So basically, you just have that little glow in the field because of the glow in the sky and rest of the field is also very dark. Now just blending all the colors in well. Defining the horizon line well. That's for the base of our field that we've added. Now moving to the pathway here, we need to create a grayish color. So the gray mix that I use is white. Pick up a blue colour and a little bit of the black or pains gray. Your my background indigo color is like the pains gray color. I'm using that. So when you add in that blue hint, it just gives you that steel blue color effect, and now you can vary the proportion or the tonal variation of the gray with the help of white. So it's a mix of blue, black and white that will give you the perfect gray. Now, depending on the blue that you may be using, you will have to just vary the tonal variations and the ratios to mix in the color. So first, I'm just laying throughout this layer of the steel gray color that we've created. As I always tell you, it's not the colors that you need. It's just the techniques of mixing the colors that you needed to create in your simple skies and your paintings come together. Now picking up a little violet, adding at the top here to show the reflection of the sky color and quickly using in this brush and a little hint of the gray, I will just blend it topside. All right, little hint coming in from the top. Now, towards the base here, I'm going to use the indigo color. So you see in the sky here we have the dark highlight. So the reflection of that falling at the base of the pathway here, add in gray highlights moving diagonally towards the top and we'll just go in with our soft blends, the blushing technique which I call Now I will just go with another layer. It's always important that you build layers rather than going with one darker value altogether because that way you have little scope for adjustments and giving in the highlight, it's always easy to add on more rather than to remove anything. We've added in the simple pathway as well. Now into the pathway, I will just go ahead, pick up a little more white along with this steel grain and add in here in the center. Using this, I will just brush it off at the edges. Again, from the top and from the bottom. Now you see the light effect coming onto the pathway as well that we've created in the center. Basically, the effect of the skylight falling onto the pathway is what we are trying to show with that glow. Now let's move on to the clouds into the sky. It's going to be very simple for the clouds that we'll be adding, going to pick up, little violet mix in with the white first we'll add in some violet clouds over the John brilliant color that we've created. Just going to give them a soft blended eff. At the top, going to blend it with that dark color of the base layer. Okay. You see the simple strokes that we use to add in the clouds. Now going to move on to the Jon Brillant that we had used for the sky. To that as well, just going to add in more of the white to create a very light color. I have the color here to which I added in more white. Going to make sure that whichever brush you use to soften up is clean and does not have any residue from your previous blends. Oh. See how quickly it just softens it up and giving in the highlights at the top. Again, just gently creating in that glow. Oh so you will notice some strokes are very soft blended and some strokes are, you know, little sharp towards the edge. That will give you a blend of that glow into the sky as well as the light effect into the sky. You see slowly how everything is now coming together. I will just pick up little white and create a little more blend here. I've just added the white and plush it off creating in that glow. Now, up next, I'm going to pick up white, mix it to the lighter green that we used here, and just give in little grass strokes at the base. Again, I just want to soften these up because it's the night sky, nothing is visible that clear. But you see the soft strokes that come in. Now, going to use this dark of green and create in that little effect distinguishing the pathway. Now, this line at the moment may seem very absurd. So just quickly go with her damp brush and blend in gently towards the top side. Now, before we move to the final layer of details into this, what we are going to be doing is pick up really fresh, pure white. In a medium to thick consistency, not too thick, not too watery either. I will just cover up the bottom space gently and at the top, just flatter in some stars. Now, you may notice the stars may splatter across around on your table as well. So if you want to cover those spaces as well, feel free to go ahead, cover it up. You see the minute stars that we get in. If your consistency will be too watery, then the star splatters will be too thick and, you know, bold circles that will come in. And if you want it to be like these tiny ones, you really need to use the white in a perfect medium to thick consistency so that the splatters come out very tiny like these. Now up, we are going to just go ahead creating some glowing star spaces. So going to be picking up some white and turn a few of these into the patch for the glowing stars. Going to just be adding in three to four of these. I've added the bold white colors now using a dam brush, just going to blend these and turn them into the dull spots. Using the dam brush on the edges, run across and create in, we'll wait for them to settle in. By then. Let's pick up the tigo color to add the final bushes onto the horizon line. So just at the top, using the dabbing technique created in the leaf detail. See, at the top, using the tip of my brush, creating in simple leafs. You see, simple dabbing of the brush also creates such beautiful realistic looking bushes together. And now onto this side here going to create a small tree like structure. To these as well, just going to dab the tip of my brush and creating the leaves coming out. Towards the bottom side, again, blending it in with some buche fe. You see how gently I'm just dabbing in the tip of my brush to create these leaf strokes. Now, lastly, let's pick up the thick white colour and add in our glowing stars before we peel off the masking tape. So to these glowing spots that we had created, you see, as soon as you add in that center white dot, the entire background dull space just lights up and creates in that glowing effect of the star. If you feel that in the first layer, the glowing effect has not turned out too bright, you can go ahead with one more background layer and then add this at certain spots, I'm just adding in some thicker stars without the glow. So that is it. We are ready with our painting for today's class procheq as well. Once your edges are completely dried, begin peeling off the masking tape, and always peel off the masking tape against the paper. So here's our final painting from today's class project. I love the glue in the sky, how we created all our colors, you know, with just the basic colors in our palette. I hope you guys enjoy painting this. If you like this class, make sure to drop a review, and I will see you guys soon into the next painting. 30. Day 25 - Northern Lights: Hello, everyone. Welcome back to the next painting of the 30 days squash challenge. We are just six paintings away from closing our challenge. And for today's class project, we are going to go ahead with a beautiful Northern light. So I will just mark the horizon line. So the top is going to be our Northern light. And at the bottom here, we are going to have a complete snow space. And here, we'll have a good, you know, walk effect of the color lights of the sky coming in. Okay? So there we'll be adding in the colors into the snow later on to show the footprint effect there. And then we'll just be having some dried or branch effects coming in with a little snow on it. Now for this sky, the colors that I'm going to go ahead with is going to be a little bit of violet, turquoise or teal color that we'll be creating, and I'll be going with a little bit of the yellow green to give in some glow. And then we'll be going with the dark blue color. So step by step, let me show you the colors first because you need to keep all your colors ready. So I already have this turquoise color, which you remember we had used for the beach painting as well. To this, I will just add in a lot of white and keep in because we really need pastel colors in a glowy effect for our sky. Alright. Our steel color in a pastel consistency is ready. I will still be needing more white and adding into the green here. So we have a lighter glowy green as well coming in. Next up, we'll be kneading up a little bit of the violet, adding little white to the violet as well. Then we'll be kneading in the blue. To my Prussian blue color here, I'll just reactivate it first, and to this, I will just add in a little bit of the indigo to darken up. This indigo here is actually a black color. When I add it to the Prussian blue, I actually get the right indigo color tone to that now, I will just add in a little of the white Okay, so we have our colors ready. I will use a little bit of the pink as well. First, let's begin in. We are going to go with a very simple sky. Beginning in with this turquoise green color. Now, if you feel that the color is dark, you can just pick up more white and just blend it up on the paper itself. Now I will just pick up this light green. It's going to look more like a galaxy sky that we build in together. It's going to look as I was telling you more like a galaxy. Now picking up the dark blue here at the top. To this, I'm going to even use a little bit of the erlean blue here from my palette to give little lighter blue highlights. Now to blend these in, I will just keep this brush ready and just use the lighter colors while blending in. Now, going to pick up a good layer of the purple onto this side. For blending, going to use in lot of white. Just going to add in here. Now just using this brush, just dab at the blending points and you will see how the blends happen. Pick up a little of the base colours that you're using for blending to create that blend happening in smoothly. Now I will just pick up a little bit of the pink. Going to pick up the blue from here, adding in now and then we'll blend it with the help of my mop brush. Again, for blending, I will just pick up the white here, drop in on the edge. So for this project, it's little working like a watercolor technique and a little bit of the gouache as well. At the top, dropping in the darker values. Picking up the thick layer of blue to add in on the edges here. Now, you see the pink glow coming in from between. Now again, for the green to blend in with the top space, again, just pick up a little bit of the green. And while the top is wet, just blend in at the meeting point. Now, in case if you're using the paints in a little flowy consistency, you can even just tilt your board a bit and let the colors blend and bleed in. So you see for painting in another light, you may need multiple layers to build in the depth as well as to create in that flow. Now, since the paints are in a little flowy consistency, you will see how the colors flow when I just tilt my board. We'll just pick up some blue, drop in from the top. I'm on intention holding my board a little diagonal so that the colors bleed in there. Making sure my brush is dry, just blend it in. All right. So that is for our simple night sky that we need in as the base, going to add in some darker values of the blue. Using a dam brush, just going to soften it up, blend it all in. Over the pink as well, just going to pick up some more pink values. Blush it up as well as blend it with the center pink. You see a little pink goes into the green as well then. Now, we'll wait for this to dry out first, then move to the snow space. Now my sky has dried out and we'll move on to the snow layer. For the snow layer, I'm using in first a layer of white mixed in with a little hint of the violet and we'll just add a complete layer of this. You see, it's just like a touch of violet, but completely more of white. All right. Now gently from the edges, I will just begin adding in more depth with the colors. So the colors that you used in the sky, those are the colors that we'll be using in to add in some lights onto the snow space as well. So just little highlights like this, using in the same colors of the sky, a little hint of the pink, green, violet, blue. That's what we are just going to use in to create a little highlight. But the colors have to be in a lighter consistency than what you've used in the sky because you're just showing the light effect of the sky falling into the snow. Anywhere you feel you just want to use a dam brush for blending in with the base, you can just go ahead, do that. Now I'm going to pick up the violet color and using that, we'll just be creating in a dry situation for the footsteps that we'll be adding in. Now, this also, I just want to blending. Just going to soften these up. Again, take help of white to cover up the extra blending that happens in. So we've created the first layer for this as well. Now we'll gently just pick up the color in a little dry brush consistency. I'm not adding much of water and we'll just be creating in some dry brush. With every layer of the dry brush, keep on increasing the consistency and the tonal value accordingly. Using white in between to create that gap. I'll wait for this layer to dry again, then build in more depth. Now for the next layer, I'm mixing in a little of the violet to the purple, dap my brush, removed off the excess pigment, and just creating in little steps. Again, just going to use in white, clean up on the edges. I will just define the curve on this side with the help of white again. H now using in a little bit of the violet just some highlights and just going to use in this brush, you see, so much of the excess pigment that was there. Again, clean my brush. Now you see the clean brush and the dry effect. And just running over all of these. All right. Now, Now, let's go ahead and splatter some stars first. For that, I will just use in thick, bold white color like the last project. And just going to splatter some Now, we'll just go ahead, pick up black or Pins gray whichever color you wish to and going to go ahead add in those fine branches. So for that, make sure you use a very fine tip brush. But So just keep on adding fine branches coming out from the main branch. Make sure that your paints gray, black, or the indigo color that you're using is pole All right. So we've added a good bunch there. And now we'll just add in a few on this side. You see, this one, I've added a little tilte towards the right side and just pulled out the smaller branches. Now, to these two, I'm going to even add in the shadows falling towards the bottom right side. So just use a very light watery consistency of the indigo color or any lighter value and just pull out these to act in as the shadow. And quickly using a damp brush or a cloth, dab and turn them lighter. So you see the shadows falling now. Simple techniques. All right, taking it till the end. So lighter shadows that have come in. Now using the paints gray. Let's add in the bush on the left here. I've just filled in the entire space first with the paint scray now using the tip, I will just create in some delicate push details on top of it. Is he just tabbing in the tip of my brush? Somewhere just giving in more detailed look to the leaves. Now, last details to add in with some fresh white ah, using them in a good thick consistency. I will just add little snow onto these branches. For that, you need to make sure you use in fresh and pure white wash. Just some little snow dripping and collect it onto these branches randomly. Yeah. Similarly here as well. Very fine lines. You can take help of white gel pen if you don't want to use in the gouache. All right. And now we'll just even add in some simple bold stars. You can even add in some glowing stars effect if you wish to. And lastly, we'll just add in little dry brush. So going to pick up the indigo, brushing off a bit to show in some rocky spaces coming out in between the snow. This here has gone a little wrong. I'll just blend it in again. Okay. Just some little highlights. Using in the pain scry, just adding in one final detail. A small pine tree here. And another one here. All right. To this as well, we'll just create in simple shadow effect. So just use the color in a light consistency and pull out the shadows. Just some foliar shadow as well. And again, dap dab I'm just blending it in a bit and going to take these shadows a little more diagonal, actually. And now dab dab that is it. We are ready with our painting. So let's peel off the masking tape and see a final painting a simple Northern light. I know it could be a little tricky to blend in the colors of the sky when it comes to gouache. But if you use the blushing technique and take help off the white color, it is very easy and simple. So here's our final Northern lights from day 25. I hope you guys enjoyed painting this with me today. Thank you so much for joining me painting along with me and sharing your class projects. I will see you guys soon into the next painting. 31. Day 26 - Street Light: Hello, everyone. Welcome back to Day 26 of the 30 day wash challenge. For today's class project, we are going to go with a simple city view. I have a blue color squeezed out here, which is like a beautiful peacock blue color, and we are going to be using the violet color. So first, I will begin in with a good layer of this peacock blue. Now, at the moment, it seems too dark. We'll be using in white on top of it. Of course, you can blend and create the lighter color only directly if you wish to. But I prefer adding in white on top so that we have the lighter and darker values both coming in, giving in the color variations naturally. So now you see you will see the darker values, the lighter values all coming in together naturally, creating in some natural cloud effects already into the sky. At the base here, I'm just going to give in the color layer because there we'll be adding in the silhouette with the black later on. But I will just add a layer and keep so that if any of the sky part peaks out, we still have that completely Cvda. Now at the top, going to pick up white along with the violet color. Mixing in a lot of white to the violet. Filling it at the top space completely blending it with the blue well at the top. Now, just going to pick up little violet and pull out from the edges over the blue as well at certain spots. So for now, we've got the base of our sky ready. Now let's begin adding in the cloud depth to this. For that, I have my other brush as well ready, and we'll just pick up some fresh white. Beginning in with the violet color first. If you do not have such a brush, you can simply turn your brush in circular motions to create in those beautiful cloud depth on the edges, just blend it all in. You see simple cloud details. First, we're beginning in with a medium to dark tone of the violet to add in some cloud highlights. Then we'll use a further lighter tone to create in some further lighter highlights. Now I will just pick up a little more white, add into the violet. Now you see I dab my brush first so that excess pigment is all out. Now, just adding in little. As I showed you for the last layer, you can use your flat brush or round brush and just run in circular motions only if you do not have such a brush, or if you want, you can just use this brush and spread it across. Creating in some clouds. See how well blended it looks. Now I will shift into my smaller size round brush and add in some cloud depth. So now, using a little darker consistency of the violet and using the smaller size round brush, adding in some highlighting clouds. Now up next, going to use in blue and create in some clouds at the top here where the blue and the violet match is happening in. So just a little highlight there as well with the blues. Blend, blend. See the fine strokes that are acting in as the clouds with this lighter blue or the blue as well. It is just a simple lay of the colors in different tonal values to create in depth into the sky and given some cloud effects. All right. That is it for our cloud effect. We'll not overdo it. Now let's move on to the silhouet part. For the siloht, we majorly need the black or the pains gray color in a good thick consistency. I will first begin marking up an outline. All right. Now the bottom space is going to be filled up completely with this color. Make sure you use the color in a good thick consistency so that it dries out bold and opaque. Now, first on top of this, let's add in some fine details. Now here we'll just add in some small far off building figures. Just some simple city scape elements that you can add in. On the top here a simple chimney and a tank effect. Now onto this side, let's pull out some simple leaves. So you see the one stroke leaves that we're adding in and just going to dab, sum. Now, going to add a huge pole here. I'm going to add up the street light pole, which is going to be very thin. Now, this line has to go thin. You can use a technical pen if you're not confident of adding this directly. Now I'm going to use up a technical pen so that I can add in the fine lines. You see how easy it becomes with the help of these pins, making your task really simple, neat, and also giving that precision that we needed. Now, we are going to go ahead, creating a glowing effect for the light. For that, I'm going to use in the white with a little hint of the yellow. And we're just going to add in here. So first, make sure you add in those background violins. Then go ahead, create in this dull space. We've just added in the first layer, which will act in as the background glue. We'll let it dry completely, then add in the real light. By then I will just go ahead, pick up a little bit of the white mixed in with blue to create in little more cloud details here. Not this bold, of course. Look You just pick up one tone darker value. Again, just using in a dam brush, you can just soften up the edges, blend it well in. You got to be very careful such that you do not lift up the black color from the sillohet that's You see in such cases where you've used a technical pen, which is waterproof and now you overlaid some colors with a water base medium. So the black ink does not get activated here because it is waterproof. If you would have used a pen which was not waterproof, that color would have got activated and ruined up your entire space turning it black. That is the reason if ever you are using any kind of a technical pen for your paintings, make sure it's a waterproof one. Now picking up fresh white. And you see how the background space acts in as that glow. I'm just blending in a little more for the second layer because the glow was not that prominent. All right. I will just wait for this to dry again and then we'll add in the white effect again of the light and using the white itself, just going to add a small teeny mini moon. And now the light see how the background glow that we have created is acting in as that glow to the light, just defining the shape well. And that is it. We are ready with our beautiful painting in just 15 minutes. Simple silhouette, simple lights. If you want to add in more depth, you can create some glow into the silhouette parts as well, but I really want to keep it very simple, easy. But I will just add one more thing so that it will just light up a bit. And that's going to be I will just add a small hole here and to this pole, I will just use very little white and add in two dots as some far off light. So to these, I have not added in the glow effect, just the simple light effect. And that is it. We are ready with our painting for Day 26. Another beautiful cityscape in just 15 minutes. You see the cloud details now, how the color variations is creating in all of the depth. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting. Thank you so much for joining me into the class painting along with me. 32. Day 27 - The Pathway: Hi. Hello, everyone. Welcome back to day 27 of the 30 day cross challenge. And for today's cross project, we are going to be painting another pretty evening time street view. So marking out the horizon line. And this time, we are going to have, like, a pathway coming in across this side. And here, we'll just be having in like a walkway. This is going to be the roadway, actually. And here we'll just be filling it in with the details of the, you know, pathway pathway. This is going to be the roadway. And here we'll just be having in simple Bush details. So we're going to begin with the sky. For the sky, I'm going to squeeze out some fresh Prussian blue color. So let's just squeeze out some fresh Prussian blue. Now, after the Proustian bloom, I will be kneading in a little bit of white. So I already have white on my palette, which I will just reactivate and use it alone. So I have it on this palette as well here, you see. And you see how just with water, it gets reactivated easily. In case if your paints are dry and you are going to, you know, just sit to paint and you know it. So just a few minutes before if you use a spray bottle like this and spray over your dried paints, it gets reactivated much easily, and the blending also becomes much easier. So I've just added in some white to the Prussian blue. And I'm just going to go ahead with a complete Prussian blue sky mixed in with white. Now, I feel that this color is actually too dark for the first layer. I will just take help of white and lighten it up on the paper itself. You see how easy it is with quash to just turn the colors lighter on the paper itself as well. With water colors that freedom is not available once the paint goes in there. Then only the lifting technique can help and save you there. But here, it's easy to just overdo the layers. All right, we've got the first layer. Onto this, we'll add the clouds with this darker color. Now, next, what I'm going to do is I will just pick up a little bit of the pink and white mix. All right, I'm just picking up a bit of the pink. To this, I will just add in some fresh white because this white already has the blue to it, so I really want to avoid it. All right. So just picking up some fresh white and pink and going to add in some pink highlights into the sky first. Now, for this, also, if you want, you can build in two to three layers, beginning in with a light or pink first, then moving to the dark or pink values and using different tonal variations of the pink. I've even used a little lighter one. And now I will go ahead with this dark Prussian blue color which we actually began the sky with and just going to add in the cloud details with this now. Now, I will keep this brush as well ready so that I can keep softening up the edges wherever I'm putting up this color. Make sure you add the darker clouds in such a way that you still have some lighter clouds in between visible. Going to keep on adding a lot of clouds majorly towards the right side at the bottom here because here we'll be having in the bigger bush, so the clouds will as it is get covered up. You see, very randomly, I just blend it into the sky and create in that cloudy soft effect. Now even onto the pink, adding in little highlights of the darker blue so that we have just a little pink highlight kind of situation happening in. Now at the top, just dropping in some very small tiny clouds and just going to go ahead, plush them off. So you see how slowly we've built in a good layer of the clouds. Now I'm going to pick up a little more white into the pink and going to use this very bright pink color for some highlights into the clouds. Now, if you use the same brush, make sure you first remove off all of the excess blue from your brush and then go ahead and soften these up. You can even use your fingertip, but everything has to be clean, whether you use your fingertip or the brush. Now I will just pick up a little indigo into the blue and just add in some dark cloud highlights as well. Now you see with every layer, the darker clouds become lesser and lesser as compared to the previous layers. That is about building the layers so that we have different tonal variations of the clouds visible. You see how gently we just add in the darker layers as well. Now, next moving on to this pathway. So for the pathway, what we are going to do is we are going to be using in the same Prussian blue darker color to reflect the sky color falling onto the pathway as well. And while this is wet, we are going to create the other highlights on this with the help of the dark or black color. So going to pick up this dark color, get in from the edges. You see how gently we added in the darker highlights, and now I'm just going to use in this white and add in some lighter highlights in the center and just going to use this brush and just give everything a soft blend. Okay, so we created the pathway. You see the shining effect that has come in. Now up next for the base here, just going to go ahead with the black color. Very carefully adding in this layer. Now, to this, also, I want to give a little highlight of the sky color coming in. So just going to pick up this lighter color and a little hint of the blue and just drop in a bit in the center and just going to use this brush, blend it all in. And dabbing it with the black again. So we just have that little highlight effect coming in. You see this little highlight here. That's exactly what you need. And at the top here as well, just going to go, fill in completely. Now, we'll wait for this much to dry out, then begin adding in the next layer of details. Now, everything is completely dried and we'll go ahead with the next layer of details. Now I'm going to use really fresh white with just a little hint of the blue, and we are going to mark the crossline onto the pathway. So you see it has to be white, but with the hint of blue. All right. Just adding in parallel lines to each other. Now, you can just define and make them all, you know, well crisp on the edges. Do you see the simple lines that we've added. Now let's move on to the next thing. We are going to pick up a dark green color. I'm just mixing whatever greens are on my palette, which includes a little olive green, sap green, and I'm just adding in a little hint of the plaque. And using this, we are just going to begin adding in the details on the horizon line. That is the bush detail. You see just dabbing in the tip of my brush. Random leaves. At the top, just giving in the detailed look with the help of some pointed leaves. And as you move towards the base, just going to be filling in the gaps completely. Now, with the green, I'm just going to pick up some very darker value and drop in at the base to create some shadow effects while this is all wet. So just drop in some dark black or indigo color while this is wet so that you get that darker shadow values as well in between. Now, in between, I will just use some black directly and add in some random trees. Now on the edge of this, I will just give in the pointed tip eff. So you see how I'm just altering between the green and the paints gray randomly to create in little details. A smaller one here. Also, if you notice, the way I'm wearing the lens of all of these bushes to make it look natural. Now, at the rightmost edge here, I will just go ahead, add a very small, you know, look of a house. So just going to go with this blue white mix. More white, just a little hint of the blue. For the roof, you can use brown, black, red, whatever is available on your palette. Now, next, using up the white, just going to add a small, fine moon into the sky. All right, a fine moon into the sky. And lastly, we'll even be adding in some simple light details in between these bushes. So some light peaking in between. Okay. And to these, I will first create in like that little glowy effect. I will just use a damp brush and turn these little blurry. So just very softly blending them in. We'll wait for this to dry. By then, I will just move on to our technical pen. And I will just add in the street lamps. All right. Now, to these, if you want, you can add the light details or just let simple silht like this be there. Another one here. Now to the lights that we had created, pick up fresh white in a good thick consistency and just drop to the center of these. I will just create little highlight with the white onto this pole here. Towards the right side of the pole, just giving this fine line. You see it gives it a definition. Same way to this one as well. Using the pain scray. I will just make this more thicker at the base. So to this one as well on the inside. You can take help of a white gelpin to add in this fine white line. Now I will just blend it so that it looks a little dull and well into the sky color. So you see, now we just have that little glowing effect, giving in that light a beautiful, you know, bold effect coming in. And just one last thing using in a little bit of the yellow with little hint of white. Just add in some lights here. Going to just blend this. We'll pick up a little orange as well. Just going to soften these up first. So these are very far off car light effects that I'm trying to give in on the pathway. Alright, till then, just a little detail onto the house that we've added. Even if you do not want to add in these details here, it's absolutely okay. And now, lastly, using in white with just a little hint of the yellow. Let's go ahead, drop in the lights here. All right. And that is it. We are ready with our painting for today's class project. I absolutely love how simple this is yet so detailed and giving in those views. Let's peel off the masking tape, see our final painting. So here's a final look at our painting from day 27. I hope you guys enjoyed painting this with me. We're just three days away from closing another beautiful 30 day challenge, and I hope you guys are having beautiful creative resets with each class project. Thank you so much for joining me and painting along with me. 33. Day 28 - The Mountain View: Hello, everyone. Welcome back to day 28 of the 30 days squash challenge. For today's class project, we are going to go ahead with a beautiful pastel pink violet sky. We are not going to go ahead with any pencil sketch. We'll begin in with this pastel pink into our sky. Now, you can keep on varying the tonal variations of the pink color with the help of white. Feel free to use any shade of pink that you have at the base here, we are going to have in simple bush details coming in. I will just fill in this space. Now at the top, I'm going to pick up white along with the violet. Go to pick up the violet in a little darker consistency of the pastel color itself, but in a less white, more of the violet effect. Now, at this point, the blending between the pink and the violet look really absor. Just clean your brush, pick up little white and pink if you want to, and just go ahead at the meeting point, run to and fro top as well as bottom, and you get that seamless blend happening in. So that is for our simple base for the sky, and you see we've moved a little diagonal with the purple and the pink tones. Now let's build in the cloud depth on top of this. For that, I'll shift into a smaller size brush, pick up the pink in one tone darker value. Using the tip of my brush, gently adding in these cloud strokes, blending it on the go into the base. Now, I will pick up a little bit of the violet with more white. So it's going to be lighter than the top violet that we used. Just simple cloud strokes close to each other. You can of course use another brush and keep on blending if you want the soft lo. This time, I will just let these strokes be there into the sky acting in as some bold clouds. So you see, we're just using simple strokes to build in the cloud details. Now using in a little bit of the pink, moving onto the violet. The same method just using the tip of my brush and adding half sea strokes. Close to each other, forming in random cloud shapes. Just some tiny clouds here and there. You see some bold strokes closer to the bottom space. So these clouds will peek in from behind the bush details that we'll add in. Oh We're almost through the cloud details as well, just a little more. So you see now, I just felt that this layer dried out a little dull. So I'm just overdoing some highlights onto this so that it pops out and gives in that beautiful effect of the clouds that we need in. All right that is for the clouds that we need in. Now, by the time the clouds dry out, we'll just move to the bottom details of the siloed. For that, I will first be going ahead with the black color, creating in a simple background mountain effect. We are going to just go ahead, fill in this entire space with the dark color. Make sure you use the color in a good bold consistency so that after drying also it is opa. Whenever you're re wetting the colors and also using, you need to make sure that the consistency stays dry and the excess rewetting and reuse of the paints does not turn them translucent. Then they may act like watercolors. Now at the top, just giving in random outlines. All right. We'll wait for this layer to dry out before moving to add in details onto the mountain. And at the top, we're just going to go ahead with some detailed kind of leaves this time. So we're going to use the same pains gray black color. So at the top here, we'll first begin in adding in the branches. For that, make sure you use a pointed tip brush. All right, I will just keep the palette this side so that it's easier for my hand movements. You see with my brush, I'm able to get the fine lines as well as the pointed edges and even add in thickness to the branches as needed in between. Now, before you move on to this, make sure that your base of the sky is completely dry. Otherwise, the colors will begin to reactivate and you may get in very blurry edges. Now, just randomly pulling out smaller branches from these bigger ones. A few of these we'll just let them be as branches without adding in any leaves to these and a few of them, we'll add in like detailed leaf looks. So we've just added the branches for now. Now let's go ahead, add in the leaves as well. I'll be using in the same color. And for the leaves, we are going to go with detailed looking leaves. So just given those petal shapes. So you can pull out another smaller branch from these three leaves peaking out. M so you can mark the shape like this and then just go ahead and fill them in. Using a smaller size brush, if you want, you can even create these one stroke leaves like this by dabbing in the tip of your brush accordingly. Now, the placement of these leaves can vary for all of us, and it can be different as per your choice. O You see? So just peaking out from the top. Some very tiny ones in between. Take your time and add in these leaves very gently so that they create in that depth and that, you know, delicacy to your painting. Again, a smaller one And from that, pulling out three leaves. See, the fine, delicate leaves that we're adding in. We'll add in a few more. Now to a few of these, I'll just give in some pointed defined edge. You see, as soon as we add in that pointed tip, the leaves get in upgrade, basically. Now, just going to pull out some fine branches and let them be there. A few overlapping. Make sure you use a very fine tip brush to add in those fine lines. Right? Now I'm going to use in a little bit of the pink and violets to create in highlights onto the mountain. So it's going to be more of white, less of the pink. If you feel that it's turning out too bright, you can add in a little more pink. Using in a damp brush, going to blend it in. Now, from this side here, I will just give it a little shape defining little flow into the mountain. Similarly, going to use in little of the violet now. Dabbing it so that it looks light and the light effect falling and just going to soften it up as well. Onto this side again, we'll just create a little flow moving in a little giving it a little flow into the mountains. You can choose the flow as per your choice, not necessarily to move left to right from top right to bottom left only, you can go vice versa as well. You see the simple details that are just elevating the mountain that we are painting? Just some more highlights as a second layer. So see on this side, I'm even moving from the top left towards the bottom right, creating in those glowy spots. And now we'll just add a small, beautiful peaky moon as well. So first, we'll create a dull layer. So using in some fresh white, Let's add the moon peeking in from in between the foliage. So let's add it somewhere here, maybe. So a small circle first. We just use the damp brush, blend it all in. Soften it up, create that glowing spot. Now, this will act in as the glow into the moon. All right. We'll wait for it to settle and then add in the light effect. For the light effect, pick up really thick white quash. And using the thick uh in the center. Just add the small circle for the moon. Now, if you want, just refine the shape as per the need. I will just go ahead with another layer on top of it so that the glowing spot is beautifully visible. So now going to add the final moon. Make sure to add the moon once your layer is completely dried out and just one last thing going to pick up little brighter color, either of the pink or violet, whichever you want, and just going to create in some more glows Just little lighter highlights. All right. And that is it. We are ready with our class project for day 28 as well. A pretty beautiful view of the leaves and the mountains coming in together. So let's peel off the masking tape and see our final painting. You see how beautiful each of the leaves look added individually with so much depth and detail. And also the mountain details that we've added. They're pretty simple yet so beautiful giving in that little glow and flow to the mountain, as well. Here's a final look at the painting with those clean edges. I hope you guys enjoyed painting this beautiful painting with me today for day 20 A. We are just two days away from closing this 30 day challenge. See you guys into the last two paintings soon. Yeah. 34. Day 29 - Pastel Seascape: Hello, everyone. Welcome back to the next painting of the 30 days for challenge. And for today's painting, we are going to be going ahead with a beautiful pastel seascape. Alright. So it's going to be a beautiful, simple seascape that we'll be painting with pastel colors. So let's begin in with the pencil outline. Going to be the horizon line here. It's a little below the center space. Here we'll be having in the sea space, and here we'll just have some simple greenery coming out into the sea area like that. And the top is going to be a simple pastel sky. Now for the pastel sky, you would be kneading in a lot of white so make sure you have your white handy and ready. First, beginning in with the white itself, I will just mix in with the yellow so that I get a beautiful light pastel, bright yellow color. And beginning in with the yellow first, this is still dark. I will just pick up direct white now and just lighten it up. You see the bright consistency of the yellow that you need. Up next, we are going to move on to the pink a beautiful bright pink color. Going to further lighten up the pink as well. Very gently blending in with the yellow. Right now I'm just laying down the base colors. Now next I'm going to pick up a little bit of the violet. Again, for the violet as well, I'm going to be adding in a lot of white at the topmost space, I'm going to go with a very light blue. Onto the pickock blue on my palette, just adding in white and blending in at the top. And this is just the base lao that we've formed so far. Now I will just use a damp brush, blend in the yellow with the pink gently. You see, we have got that yellow highlight intact, but well blended with the pink. If you want, you can again reuse a little bit of the yellow for blending in so that the overlaying is also smooth and bright. Now, by the time this dries out, we'll just go ahead with the details into the sea. The sea is also going to be the same process, yellow in the center. It's going to be a reflection of the sky and now picking up pink. I will just use the dam brush, run it in the center to blend the pink and the yellow. Now, picking up a little bit of the violet, little highlights coming in from the edges. You see that dark color that just went in quickly going to just lighten it up. All right. So wet on wet itself, I'm just trying to put in some waves detail. And now little hint of the blue. Now we are going to go ahead add in the cloud details. For that, I will shift into a smaller size brush. Make sure that your brush has a good pointed tip, first pigging in with the pink and mixing in a little hint of the violet to the pink itself. And using this in a good pastel consistency, let's begin building in the clouds first. So this seems to be too dark, just going to add in more white. So first at the horizon line, giving in bold pink violet cloud details. Make sure you use soft gentle pastel colors to add in these cloud details into your sky some few pink lines moving across over the yellow as well gently. Now, I will pick up the pastel yellow in a very light consistency. And over the violet and the blues, just going to add in some yellow highlights. Very gentle soft strokes. If you want at any spot, you can, of course, even blend these colors and give them a very soft effect. See gently going with the yellow clouds over the violet and the blue color. Now for the horizon line, I'm going to pick up a darker consistency of the pink and the violet. Add it up on the horizon line. All right. Now, this bold line, of course, does not look good, so we're just going to use the damp brush and blend it towards the bottom side into the sea. You see gently blending it in. This defines your horizon line well and gives you that distinction between the sky and the horizon line. Now, same way, as we added the clouds, we'll just add in some wave details with the pink, use the pink in a good pastil consistency, and just pull out some strokes moving in from both the edges in such a way that the yellow in the center is still visible. Some fine strokes close to each other. Simple wave details that we've added in. Not much of the waves to add in and a few highlighting waves with the violet as well. Very fine ones. I will just move on similarly with the blue. Just a few highlighting strokes. So that is for the C, very simple details that we've added in. Now, I will just pick up a little bit of the violet first and add few cloud strokes over this color area here with the violet. Very gently just using in soft strokes over the pink in such a way that the pink is also still visible. Make sure that Now let's move on to this base area. For that, I will begin with a very dark green color. The greens on my palette, mixing it with a little bit of the paints gray. Giving in a washed layer, altering between the values of greens as well. H. Now, while this is wet, we are going to go ahead and add in the bush details as well to these. Just pulling out simple strokes, some leaves, some grass strokes. You see how fine pointed tip my brush is giving in these fine strokes. If I give you a close a look at the nib of my brush, Now, make the top also very uneven so that when you add in these strokes, it gives in that natural effect. So I'm just dabbing in the brush first. Now again, let's go ahead, add in the details to the rest of it. The more natural you try to keep it with just a blend of leaves, grass strokes, bushes, the more realistic effect it will give you. Not necessary to follow the same greenery effect as mine, you can choose your own as well. Now, as I move, I'll keep blending the bases as well with little darker values to show in the shadow effects of these and giving in some darker highlights at the top as well. Everything has to stay together. So you need to keep moving to and fro at the bottom space and the top details so that everything dries out evenly and has that color blend going in beautifully. See just pulling out some very fine details with the brush. Now, if you see at this point, this bottom space looks a little unmatched with the top. Quickly use this color and just do the da da dap thing again. You see now it looks well blended and gives in that harmony to the green as well. Now we're going to add in some details with the green onto this side. I'm going to give in some palm leaf kind of effect coming out. So just two to three of these. You see, my brush is such a fine tip one that I can add in these fine strokes as well, making sure it's well blended again. And the last one here. All right, so the fine details that we've added in. Now I will just go ahead with this violet and pink color and just use the tip of my brush and give a very fine line on the horizon line again. You see how fine this line is. This way, it just distinguishes the sky and the sea better. Now, lastly, let's go ahead, add in a beautiful setting sun effect. For that, going to pick up white with a little hint of the orange. It's more of white and a little orange which is going to act in as your background layer. Just go ahead, use a ampa, gently blend it in. If you want to pick up a little more orange to give in that bold glow on the edges, make sure it's well soft, blended into the sky. We'll just wait for a second or so for it to dry out and then add in the detail there. Until then, I will just use little of this light green colour and just create some lighter highlights. So just some lighter leaf details peaking out. Make sure that your first layer of the greens are dry before you go ahead with the second layer. And anywhere you feel that they are not looking well blended, just go dab dab, dab at the base, make them look well blended and settle into the base as well. Just some fine strokes at the base. See? Just some fine strokes. They add in so much more depth. So I'm using a mix of the light green along with the sap green, and that is why it's looking like a muted, well grounded green with the base. You see the color mix happening here? So just throw out across adding in these fine strokes. All right. And by then, this is also try. I'm going to pick up fresh white and just going to pick up a little hint of the yellow to give in the warmth of the sun effect and use this into the center to give in the setting sun effect. All right. And that is it. We are ready with our painting for day 29, our second last painting of this series. I am loving how each of the class projects have been toning out so far, giving in the beautiful creative reset vibes. Let's peel off the masking tape, see our final painting. Make sure you begin peeling off the masking tape against the papers so that you do not tear off the edges. So here's our final painting. I hope you guys enjoyed painting this. And now when you closely look at the grass strokes that we added, how it is adding so much definition to the bottom fee. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting, which is going to be our last painting for this challenge. Thank you so much for joining in and painting along with me. School. 35. Day 30 - The Sunset Bird: Hello, everyone. Welcome back to the last painting of this 30 day gouache challenge. And for today's class project, we are going to go with a very easy, you know, warm kind of sky with a simple silhouette of a bird and some leaves and, you know, some silhouette florals that we'll be adding in. So for this sky, you will need a sheet of light yellow and a medium yellow. A little hint of browns, and then you would be kneading in paints grate, which we'll be adding in little white to create in the depth at the base. It's going to be a very misty kind of a yellow sky that we'll be painting in. Begin in with the yellow first, the light yellow that I'm going ahead with. You see I'm going in very circular motions of the brush. I do not want a simple flat layout. I really want flow into the sky with different movements and swirls. All right. So just now next going ahead with a permanent yellow deep color. In the center, the space that I have left empty, I will be picking in little white and just going ahead, blending in these two colors in circular motions. Same way. Again, going to pick up white and add a lyre re at the base first. And now I'm going to pick up the pain's gray color and going to add it at the base. So just adding it in a bit and going to pick up white and blending into the yellow. At the base, we can have some darker values, but it shouldn't be completely dark because we'll be adding in the silhouette with the black color. Now at this point, if you see the blending look really absort and weird. So what we are going to do is just add in little highlights, go in with our brush, a dry brush, and at the meeting point, just softly dab dab dab and blend the colors in Alright. Blending in the light and the darker grays, as well, carefully at the base. You see the misty effect that we are creating in. Now, at the base, I really need a little more darker value. So just going with the darker color and going to blush it in randomly. Somewhere it's shorter in length, somewhere taking it above. But still, you can see it's not a black color that we've used directly. It has that little hint of white making it a little pastel towards the pastel side. Now I'm going to pick up white along with a little hint of the yellow and going to run here at the point of the meeting of these two colors. All right. So you see how well the gray blended in with the yellow as well without giving in that, you know, weird color blending. Now going in with a little bit of the brown. I will just pick up little red into the yellow ocher, adding it onto the left edge here. Now to blend these in again, just simply going to use the damp brush and at the meeting point of both the colors, going to gently blush it in. If you want, you can take help of the permanent yellow deep while blending it in. You see simple blends happening in how slowly we are getting in that cloudy effect also. Same way onto this side edge going to add in a little of this effect of the taker color. Now to blend these, I will use the lighter yellow and run on the inside edge, blend them in. So we've got a simple base layout for our sky so far. Okay. Now before we move on to the silht part, just going to blend the center as well. Everything well, soft blended with each other. Now I'm going to create a little glowing effect here. So I'm going to use in white. Pure white I'm using directly. Now onto the edges, I will just blend it gently with the damp brush. So this was the first layer that I added for that flowing effect. I'll wait for this layer to dry out, then move on to the next layer again, on the edges, using the yellows again so as to blend it and give it that effect blended into the sky. So it's a blurry sun effect that we're trying to create in the background. Now, again, picking up fresh white. And going to run in the center now creating in a smaller circle as compared to the previous time that we did. And even this is going to have a soft blended effect on the edges. You see slowly the glowing spot that's coming in. So we've got that little glowy sunset effect that we needed in. Now I will just pick up a little more white and drop in the center only. And again, just give it a little soft edge. Now, we'll have to wait for this to dry. Then we'll move on with our silhouette on top of this. So now, everything is completely dried. We are going to go ahead with the paints gray or the black, whichever dark color that you want to go ahead for the silhouette. And we'll just begin creating in the silhouette towards the right side here. I'm using a fine pointed tip brush so I can get the fine strokes first in place. Oh Now, from this, I'm going to keep on pulling out leaves as well, all overlapping each other. You can pull out smaller strokes from the bigger ones. Make sure you're using the paints gray or the black in a good thick consistency and do not apply a lot of pressure while adding in the details closer to the moon or the glowing space that we've created in the sky. Otherwise, the white color will begin to get activated. Now pulling out some one stroke leaves. See? Just begin in with a pointed tip, press the belly of the brush. Now, from here, I'm going to just drop in some dropping flour. A simple silhouette for the floals as well that I'm using it. And another small one here. Now going to add in some fine grasstrokes. Now, towards the left side of the silhouette as well here, we'll just go ahead, add in a few floral effects. Some small buds coming in. You see the details are very simple, easy. Just that you need to keep on adding in delicate details as well as some bold details to balance all of the, you know, detail into the bush area that we are creating. Now I will just add one detailed leaf here. So you see these one stroke leaves that we add in Oh. If you want, you can create in a background shadow layer as well first and then go ahead with this. So that will act in as another level of detail. Okay. Now we are going to add in the bird silohet. So if you want, first look at the outline that I'm creating in for the bird, and then you can go ahead and, you know, add in that. Before that, I will just turne this one also into a floral. Alright. Now, closer to this flower that we've created, I'm going to go ahead, add in the bird silohet So the bird is trying to move towards the flower out there. At the top, we'll just try to give in the feather effect. Go ahead very carefully and slowly. If you want, you can first give a pencil outline. Now, just trying to create in the feathers here. And now going to fill in this entire board. Small, tiny feet details as well. Alright, we've added in the pot silo heat as well. And that is it. We are ready with our final painting of this 30 day challenge. Let's peel off the masking tape, see the final painting. Go. I hope you guys enjoy this 30 day challenge. And in the next lesson, I will just give you a quick flip through of all the 30 paintings that we did. Thank you so much to each one of you for joining in, painting along with me and sharing in all of your beautiful class projects. And if you'd like this class, just drop a review so that it can help me reach maximum students. And, you know, if anyone wishes to join in, it can help them join in too. So I will see you guys into the next lesson, wherein I share a quick flip through of all of these paintings. 36. Flip through : And with that, we are through our 30 days of painting challenge with Wah. Let me give you a quick flip through of all of these beautiful paintings that we've created through this challenge. We worked with different color palettes, forming in our o colors, creating in different landscapes, adding in different siloads and even working with very limited color palettes, moving across different subjects of landscapes like seascapes, snowy mountains, winter landscapes, countryside. Adding in seascapes, sunset painting, you know, going ahead with all different types of trees, palm trees, pine trees and creating in simple paintings in between to just let us relax and just paint along. You see, through the 30 days, we worked with so many different color palettes, working across multiple, you know, color combinations and different sky layouts, creating in different kind of landscape elements. I hope you guys enjoyed painting each one of these with me throughout the 30 days. Thank you so much to each one of you for joining in, painting along with me. I can't wait to see all of your class projects coming in, and I am super excited to see how many of you complete this 30 day alongside. Thank you so much once again. I will see you guys soon into my next Skillshare class till then, happy painting, give yourself the creative reset that you need and the break that you need from the monotony of life. Go ahead and paint along and see you guys soon.