5 Easy Winter Postcards With Watercolors

1. Welcome: Hello and welcome back to my class. This is M. And notice an auto and a mom. I love to paint with watercolor, acrylics, and also with gosh. I'm a self-taught artist and painting is not just my passion, but it's a part of my life. I love Indian folk art styles like Madu, Bonnie and gone. And I like to use them in creating these contemporary characters and scenes in my very own style. But this is something that is my absolute favorite, and it's landscape. So whether it's a quick urban sketch or a please straight out of my dreams. Or an elaborate realistic landscape. I love to bring them all. And especially in water gala. And that's exactly what we are going to paint in this class. We are going to be these five beautiful Venter landscapes in watercolor. And don't worry, if you don't have any prior painting experience. It's a beginner friendly class that I will take you through all the basic tips and techniques of watercolor. But there won't be a separate lesson for the techniques. We will practice all the techniques alongside painting these beautiful landscapes. So vile, you will practice the basic techniques of watercolor. You will also be painting your class projects. Does that sound exciting? Delete. So take out some time, grab your art supplies, and meet me in the next lesson where I'll tell you vote all we need for this class. 2. Materials We Need: Hello and welcome to the class. I'm so happy that you decided to take this class. And these are the postcards we're going to make in this class. And no matter how difficult or intimidating day, look like, trust me, they're going to be very, very easy. So let's talk about the materials we're going to need for this class. First of all, as you can see, I have used this a 100 percent gotten people. This is the most important supply you need for the class. A 100 percent coordinate people, at least 300 GSM. All right. Because all the wet on wet and wet washes we are going to try. They are not going to support if you don't use a good quality people. I have used a decade edge people which is in gut in this size only. But you can go for regular postcard size paper. And if you have a bigger sheet of people, you can cut that in your desired size. Alright, so that's about the people. Then we will be meeting masking tape. Watercolor, I will be using scenario. It's a basic set from scenario has all the primary colors and some extra colors. And apart from that, I will be using Crimson, white, and viridian. Alright, then we will need a mixing palette. For the watercolors. You don't need very fancy set. You can use any basic sense that you have. Just go for. An artist grid set or a decent watercolor set. Not the very cheap. Children said, don't go for that, But apart from that, you can use any basic decent watercolor set, and that will work just fine. Right. Now, let's talk about the brushes. So I will be needing this fat brush round rationally and then a medium round brush. This is number 12, this number six. And also a very fine, The dealing round brush. This is, this is triple 0, right? 000. That is, then we will need a pencil. There's hardly any joint, so don't worry about that. And erase. Any result will do. Of course. Then we will need some fine liners. So 13 or eat, I will be using these. So any fine liner markers? And a jelly roll. All right, so this is number 10, jelly roll. Any white gel pen or white acrylic paint. Or you can use some white acrylic color or white gouache or white poster gallery. Also. Apart from that, we will need some paper towel or rough clot. Alright, you can use tissue paper also. And we will need our CUDA. So just keep a couple of Q-tips handy, and that's all. Grab all the supplies and see me in the next lesson. 3. Winter Postcard 1: Welcome back, and let's begin with the very first class project by dipping the people on a table or on a drawing board. This step will ensure that the paper doesn't buckle up with the use of water. And it will also give you a clean frame around the painting. And now, let's draw a horizon line and uneven line, leaving 1 third of the people for the ground and two-thirds for the sky. I have also drawn an additional line, and as you can see, I have drawn it very lightly. Now, Let's make the shopping too wet so that it activates. The colors for this painting are blue and green. I'm using ultramarine blue and viridian green. And we're going to use wet on wet technique for this being digs why embedding the people till the horizon line. And I'm being mindful that the people, it is not soaking wet and there are no puddles, but it's evenly wet. And now I start from one corner and one side of the paper with my blue. And as you see, I'm putting the color very randomly to get a lot of texture. I don't want the wash to be flat because it's going to be a snow event tree sky. I want a lot of texture. I use radon bet for this because wet on wet gives you a smooth blending and soft edges. Whereas when we go for a wet on dry technique, it gives you hard edges and it's not very easy to blend, especially not for you when you're just starting out. And here, I start putting the green of the sky in a swirling kind of V. And I'm also blending green with the blue little bit. And now I finish up the sky with blue. And as you see, I'm not even washing the brush. I'm letting the pen beans blend together like that. There. We almost finished painting the sky. Now next step is lifting. And for that, I will wash my brush nicely. And I have patented Dr. It's still damp but not soaking wet. And with that damp clean brush, I am lifting the color, meeting us through a couple of soils in the center to create the highlight for the aura effect. Like so. Make sure your people is still wet when you lift the color. And if it has dried or started to dry like mine, then you might have to revert it around the edges and blended properly as you see me doing the next. So here I'm lifting the color. Better, damp, clean brush, and now I'm wetting the people again over the corners and I'm adding some more blue to intensify the color. And I am going over the edges of the highlights we just created. Because I'm getting hot edges. And I'm blending it and smoothing it to get soft edges x. So now let's add some more color between those walls like that. This will make the soils or the highlights stand out even more. And by adding some more blue over the edges, we can smooth the edges even more because we have just made them red. And adding some more color over them give us softer edges and smoother blending. And because we want all the texture in the sky and we don't want a flat wash. We can put color randomly and not worry about the blooming cauliflower effect or, or even hard edges because we are anyway is going to create a lot of texture on this guy. So even if you accidentally get unwanted hard edges or texture, they will all be hidden in the textures we are going to create. Next one, right? And there on this. Dr. Gallo, I'm dropping in clean water with my brush as you see. And do you see it blooming like that? Look at that, how beautifully it's looming. The moment I put a drop of water, it blooms like flower like snowflakes. So this way, Let's fill up our sky with a lot of snowflakes. But keep, maintain distance between two drops of water. Otherwise, it won't look nice if we put droplets of water very close to each other. And once we are done creating those snowflakes, vivid let the sky before drying completely. So I'm done with those known fakes. Let this dry completely and by the time we can start working on the ground area. So here I'm setting this portion for another wet on wet. Now I'm taking very little amount of buying screen and some blue in my brush. But as you see, there is very little color and lots of water in my brush. And the dad, I'm going over the horizon line. Alright, and now I will drag this color down with my clean damp brush. I will spread the color to make sure that there is hardly any color. I'm putting randomly some blue over this area and I'm spreading it with water like that. But I still think it's too much because this is the snow area. This is the ground. And all I want is some reflection of the sky. It doesn't have to be completely blue or green. So that is why I'm dabbing it with a tissue and lifting all the color. And that's where you need a 100 percent cotton paper or a good-quality watercolor people, which allows you a lot of wet on wet, a lot of lifting and all those techniques. You can use. Bad quality of people of course, but then you will not get desired results. I read with paint brushes, you can still experiment, but I highly recommend using a quality watercolor paper because that's the soul of any watercolor painting. Now again, I'm going on the second line we had drawn below the horizon line. And I did it with blue. And now I'm dragging the color with lots of water. And at the bottom of the painting, I'm adding some green, the same green we used for the Aurora sky. And as you see, I'm using very little amount of color and lots of people to maintain the sorry people. I'm seeing lots of water to maintain that transparency and keep the color really, really light because this is the snow area of the painting, of the landscape. And I don't want to paint it blue or green because no has to be, right. It only has the reflection of the sky. Now I let it dry completely. And when it's dried, I use this white watercolor. It's not Gosh, it's not a critic, it's just the watercolor. I took it directly from the tube on my brush like that. My brush was read goals. And with that I am sprinkling some stars or you can say snow over the sky area like so that lots and lots of snow and sars. The splattering, this is called splattering. And now I'm taking my fine liner. And with that, I am going to draw the winter foliage, a tree without any leaves. Silhouette of a tree. And I'm not drawing continuous lines and making my lines every now and then. I'm digging very small strokes, smallest, smallest strokes one at a time. And that way I am going ahead. That gives the tree a more organic look. Let me give you a closer view like that. Small intervals. I'm lifting the pen every now and then, like that. And false and drawing the basic structure. And then I am darkening and making certain areas take the lower half of the lower part of the tree is going. Hey, go because that's the trunk. And as it goes upwards, it's going to be thinner and delicate. Small, small jagged lines. For the branches. Like that, I will finish drawing the entire tree. Now, if you're confident you can do this a step with the help of detailing brush and black color or dark gray color. But if you're not confident, you are very welcome to use a fine liner like I'm using. Maybe the next painting will use the brush for the foliage. But because it's the very first project and so we can use them, aka whatever you're comfortable with. You can use back. There's no right or wrong. This one. Now, let's make another tree closer to the viewer. Coming out of the second fold of the land. So this is going to be closer to the audience, like so. And the same process I am using to make some foliage here also, as we used for the background tree, like that, too, small, small jagged lines to create some random branches. Keep it as organic as you can. Don't make it look like to perfect because that will make it look artificial. Because natural trees are not at all perfect. They are so imperfectly perfect. And that's what we want for the postcard. Also. You don't want it to look like a made-up artificial to perfect tree. Here. It has to be imperfectly perfect and beautiful. There. You're done with the foliage. Now, let it snow. Yes, for that, I'm going to use my Gelly Roll and you can use any white gel pen. You can even use white gouache or acrylic paint to just outline some areas. Again, don't outline it completely and fully. Sparsely at some areas give a highlight of weight on the branches to make it look like the snow that has collected on the branches are looking for a word. The snowfall. So there's no VAT which has gathered on the branches for that. We are using this and there we are done. Remove the tape only when the painting is completely dry and remove it at an angle. So this was the first project. Next one is going to be a beautiful pink landscape. So see you in the next lesson. 4. Winter Postcard 2: After completing the first project here, Vr, but the second project, and I've already taped the people to the table, I suggest you to do the same. And now I'm creating a horizon line as usual and irregular line dividing the sky from the ground. And I'm also drawing, do three more lines to depict the layers of the mountain, snowy mountain. Now let us start vetting the upper part of the paper, which is going to be this guy. I'm using a bigger brush to cover more area. And we have to be mindful not to create puddles. Just maintain and even shine on the people. The colors for this postcard are going to be pines gray and crimson. So I start with a very light amount of pines gray, starting from one corner. Gray is a strong color. I don't want to make it too dark right in the beginning. And here I'm filling in the gaps, randomly fit crimson, again, keeping the condescension very late in density, very light. And now, since it's a wet on wet and watercolor, any ways dries lighter with wet on wet, it will try even lighter. I'm intensifying the color here and there, but still not making it too dark because it's going to be the sky. Now on the corners and at the bottom, I will add some Payne's gray on the vet, crimson. Keeping a clip colors really light because don't want the sky to be too dark. Now I am reading the area below the sky. Of course, you can see some color is coming down and that's okay. So here I am going to vet that entire area below the sky. So now the horizon line has gone haywire. We will just fix it. Fit. The technique of lifting that he had used in the previous postcard also. So with a clean, damp brush, I'm lifting the color to get the horizon line back. And I I made the area before lifting because I did not want hard edges. When I lift the color, I want it smooth edges, soft edges, that slide, I've wet that area before lifting the color. All right, so now it's time to vote on the snow mountains while the sky will dry. So that the same brush, I have taken some pines gray, darker than what I used for the sky. And I've taken little amount of water. And on the wet sky itself, I am going with this brush and by creating the silhouette of the pine trees. So I'm not covering the entire horizon line as you see. I'm just spreading a bunch of pine trees here and there. And I am not making proper trees. Also, I'm just trying to make the silhouette, the overall sheep, a conical or pyramid shape with jaggedy edges. That's what I'm making here. And as you can see, due to the wet on wet technique, color is blooming so beautifully. And I that I'm going over all the layers of the mountains. We had created. There. This tree here, and another one alongside it are going to be the foreground trees. So these are going to be the most detailed trees later on. But right now we're not going for the deals, we are just kidding. The root of the tree, the overall shape of the tree. They're just a straight line and a few branches here and there to make a pyramid. And now this part is partly dried. It's not completely dry. You can see the balloons. Beautiful, beautiful, beautiful blooms. So on top of that, I'm going in with a darker color and touching it here and there to get some shadows. You see the very first layer of trees, the two trees almost at the level of the sky. I have not touched them because I just want them to be lost in the mist and snow. Starting to detail the trees from the middle ground. And here the paper has dried. So I'm rewriting it. And I lifted the tree I just created because I did not like the wet-on-dry effect here. So I'm wetting the paper again in the middle ground and I am creating the silhouette of the tree. Once again, like that. You see that it's very easy to create loose binaries because we are not going for a realistic one. So you have to just dab, dab, dab, tip of your brush. Some color in it. Now we've been let this dry, but before that, let's drop in some clear droplet of water over the sky area to create the same snowflake effect, to create some texture as we did in the previous project also. So here with a smaller brush, I'm dropping in some clear water over the sky area and you see it blue. Creating the texture. Write that. And now at this point, only when it's partly dry it by the red. I'm taking the white watercolors directly from the tube on my brush. And v will splatter some snow, all star or whatever you say, it will create great texture. Some of the droplets will merge, will blend with a wet surface, but while some of them will just stay because the surface has tried. So it will give a different kind of texture. The surface is buckling, tried it but limit now, let this dry completely. Now with the same brush with very little amount of water in it and lots of color. I'm going on the silhouettes be just created but on the middle ground, alright? I'm not touching the trees in the background at all because that does not require any details. Then we don't detail the background trees. It will create the sense of depth, right? If the detail, all the trees evenly, your picture looks flat, so there's no perspective and there's no depth. So for maintaining the depth believed the background trees as it is. And we just detail though, middle ground and the foreground trees. With the tip of my brush. I'm holding the brush closely close to the tip and the dad, I'm just dabbing the color here and they're randomly on the silhouettes to create some shadows and some detailed foliage like that. And I'm also touching the horizon line under layers of the mountain with the tip of my brush to create some grouping patches, broken lines, some monks over those lines of the snow. Like that. I'm connecting the adjacent trees that, that broken line and here, let's make it softer. That a damp, clean brush like that. And I'm also touching the bottoms of the trees, the base of the trees, freshly painted trees. To blend the color to get the soft edges like that, this will create shadows over the snow. So let's read the entire area and drop in some color here and they're randomly. Now, the foreground trees, these are going to be the most detailed, yet. We are going for a loose and abstract approach. So we are not going to like realistically detail them. So the same way, just one central line and on both the sides of that line, I'm touching the tree. I'm touching the silhouette with the pain. This is the darkest value of gray I'm using. And as you see just some dab, dab, dab movements I am making BY entries like so. And not covering the entire syllabus. I'm leaving some gaps here and there. And just dabbing the brush slowly on both sides, making irregular branches. My Pyramid is not very defined. And that's what makes it look organic. Now let's drop in some shadows, the darker gray. And we have our foreground trees. Now let's plateaus some snow. Once again. And for that, again, take byte watercolor directly from the tube in your brush. But before that, make sure you clean the brush completely because we don't want gray snow or black snow ruining the paintings. So clean it completely and thoroughly and then take the white color and splatter all over the painting. All over the trees, the freshly painted wet foreground trees also to get that beautiful effect where white will merge bit gray and some of the droplets will not match with glee. And that will give a very misty and snowy effect to the postcard like that. But this step via done that this painting, the background voice almost dried so I'm removing the tape, make sure your painting is dry completely before you remove the tip at an angle like so. And they're beautiful. Second postcard of this class is ready. I hope you liked creating it with me. Let's have a closer look. It's so beautiful, isn't it? So this was the second project. The third one is going to be even more. They get that. That's what we are going to make for the current projects. So catch you in the next lesson. 5. Winter Postcard 3: Welcome back. We are here with the third class project. And here I'm very lightly drawing the horizon line. I have already taped the people to my table. And in the center of the horizon line, I am drawing a tree job for the please. Hello, I'm not going to follow the exact same drawing. I'm drawing it very lightly just so that I know the composition. So there's nothing in particular. And here I'm making some marks to please my looking tree stumps over the snow. So I'm not going to follow them exactly. Hi, I just wanted to check the composition. That's why I'm drawing it very lightly. So you can change the competition as per your liking. Here I am writing the top part of the people till the horizon line. I will be getting it nicely. Exactly. The baby that the people in the previous projects. Just maintaining a shine on the paper and not making produce. The mean colors of this painting are going to be solute in blue and dominant yellow. So here I start with civilian blue from top, more like a flat wash. And there I start making of curvy line with the blue, like a rainbow. So I am giving it a rainbow light movement. And I'm smoothing the edges of the launch with a damp brush. And now I'm dropping in some blue here and there. And now I put some yellow right at the horizon line. And from there I move upwards in a semicircular shape. And again, I am smoothing the edges. I like that. I don't have to create exact semicircle because I want it to be organic. Like so. And as you notice, I'm leaving a remarkable gap between my blue and my yellow because I don't want any blending. And I don't want any green in my sky. And that's the effect. I want a sum blue, then some white and some yellow at the base of the horizon, right? So I'm dropping in some more color too intense, the yellow. And here I am again, making the central bug little more wet so that little bit of gallows on the blue and from the yellow goes, moves forward. But I'm keeping a lot of distance between them. So even if they move forward, they don't blend into each other. There's there's still some white left in the middle. Right. So like that, now I'm dropping some clear water on the Vet blue wash to create the texture. The snowflake edx will be created in the previous projects also. And in addition, being done, I'm going to drop in some blue as well on this blue wash. This will create a different extra you'll see. All right, so water will create different color blooms and dropping in some red color. We'll create another kind of problems. Now. We will let the top part as is. And now I am working on the lower part of the painting that in the area below the horizon line completely to maintain shine throughout and avoiding the bundles like that. Now, I will pull the colors from the horizon a little bit just to make the horizon line software and not very harsh like so. We did this in the previous project, also innervating the area first and then adding some color and then smoothing the edges. Hard edges. So we've done that before also n here, I'm dabbing out some extra yellow badge, came down the horizon line. And now I'm taking some pines gray and dropping it there. I want to please the base of my tree and also dropping some drops of pines gray on the vet's office. There. I want to make my broken tree stumps right. Just to place them just as a preschooler and as you see it's going very light. These will form the shadows on the snow and he'll be the same clients green light consistency of buying spree. I am making the horizon line and I'm not making it very street and making it jacket. Of course, the yellow wash is still wet. It's blooming and blending. That's what I want. This they'll meet the side of the bushes, line of trees or bushes at a far distance. And here I'm dropping in some yellow and I will be dropping some blue also on the score for the reflection of the sky. So very light consistency of blue and yellow, very transparent, lots of water and very little pigment, and I'm spreading it all over the US no randomly, no particular plan. Just like that Here in there. And I want to devote some yellow from this corner and I mourn to make it blue. So the blue at the corners and yellow here embedded. And that's it. We're done. Now let it dry completely. There. It's dried. I'm taking brown and gray and mixing them together to form this very dark brown. And I've kept the milk consistency for this. Adrienne, the color in those same ratio, the less water and more color. And that this book, big, dark brown, I am now creating the tree. So the tree is the same way we had created the tree in the forest project, though it was a differently and this is a different one. That tree trunk is picker and this still the procedure of creating the tree is received. So the small strokes, broken lines, jagged lines, random, irregular lines to create this very organic and natural, very imperfectly perfect. 3, 2. We've done this in the first project, and I'm sure you'll find it very easy now. So like that, we are going to create this tree in that when we add meet two trees. Now here he will just make one tree in the center of the painting like that. So I have held gosh, very close to the tip and using the tip of my brush very lightly, I'm making bees delegate GI good branches. Now the tree is done. Add some more gray, green brown mix to make it more gray. And the dad, I'm holding my brush file from the tip and using it as an angle and making these broken trees dumps on this new ground. So cannot stamps I'm making at the distance and take a ones in front or closer to the viewers eye. And I'm also dropping in some chunks of small chunks also this darker gray to make some storms or rocks in the middle of the snow just like that. And we need to be mindful that we don't overdo this step and not to cover the entire small area with those don't still sparsely here and draw some different sizes and shapes of stones and rocks is like that. Even I need to remind myself to stop now. And it's done. Now. I am taking some more gray in the same mix and making it more darker. And the dad, with my fine detail brush, I'm going over the previously painted horizon line, the line of trees or bushes we had painted. I'm going over that and I am mindful. Do not cover it entirely. That is the reason why I've taken a very small brush. Alright, so I'm just painting at the base of the previously painted horizon and just dropping in some shadow or some line of trees or bushes. The same on irregular horizon. I'm painting with a darker color at the base of that. Leto previously painted horizon of the painting. Be mindful of not covering it entirely. And that's it. I'm covering my entire base of it too. But on top. Still see some light silhouettes of trees or bushes, right? And now it's time for scattering. So with my wet, medium sized round brush, I'm taking the white watercolors directly from the tube and splattering it all over the painting so that we have some snow all over it. Now becomes the Jelly Roll. And either make some snow gathered on the branches of the tree, on the rocks and trees, towns everywhere. But again, we don't have to overdo this step either. So be mindful, sparsely Dutch black structures here and there and do not meet these snow drops over the horizon we've been Did we don't need to do that. Splatters are there, that's okay. But we don't have to make the Jedi rule on the horizon. Just on the branches of the tree and the tree stumps and the docs. And now you can stop here if you want to. I'm going ahead and printing the silhouette of some birds on my tree. So this is completely optional, but I just thought I shouldn't add boards, so I'm doing it with the mock-up, fine liner marker. So I'm making this small soccer and teardrop and a line for the deal and a small dash for the beak. And that's how I'm making these basic solutes on the tree here and there. Just a couple of them, not so many. So it's completely optional. If you want to do that, you can do that all. If you want to leave the building just like that without the box, you can do that also. Last one field and get done. And they're via done. Let's peel off the deep at an angle. Because by now the beam must be completely dry as minus. So beat off the teeth and revealed a masterpiece you have just created. There. Isn't it? Beautiful? And you have created this so bad, you bank. So this was the code project. And I'm very sure you're going to love what we are going to create. The next. Shows a glimpse of what we are going to create. Next. Excited, catch me in the next lesson. 6. Winter Postcard 4 : There are at the second last project of this class might be, but as already taped to the table, let's begin vetting the top part of the people in circular form. Actually before that, let's, let's mark the horizon line. All right, so let's do the first step at the beginning. So then the horizon as month. Now, I will wet the upper half of the paper, but as you see, I'm not reading it completely. I am leaving a circular shape in the center of the top part of the paper. Dry. And I'm reading the paper, I round that circle, that's the negative space, right? So it's another technique of watercolor building or buildings where we paint the negative space around a shape. We are not actually building the cell good. They're leaving it unpainted and we're building around it. So in what are going to be, don't use white to paint with the US people. White as white. That's why I left that area for the moon. Now, the main colors of this being done are going to be a MOOC and blue. So I started with ultramarine blue and I'm Linda, ultramarine blue on the wet surface, again, leaving the sulcular sheep in the middle completely dry. And now I'm dropping in some crimson or pink on top of my ultramarine blue. So the two colors are blending to form beautiful book, but I am painting in a circular motion. So I'm dropping in more blue and more pain kid, and they're blending the two colors and in densifying colors better. But I like and as IDs, the horizon line, I just stopped there. And I don't go beyond that. I'll write. In this project, we are also going to learn another technique of exchange, which I will show you in a bit. I'm going over the inner edge of the circle with my damp and clean brush and I'm smoothing the edges like that so that they don't become harsh and don't look at the issue. And now I will add some more colors here and there. As I made that edge, read some color down inside this. Okay, so now I dry it, that also, and again, I see the blue becoming really light, so I'm dropping in some more blue to intensify the color. And now I let that be and I can see a hard edge forming at the horizon line, so I have to fix that quickly. And for that, I take my damp brush and go over the horizon line. You can see some colors sit down at the bottom. But and I just dab it with my issue people. And now I am putting some blue at the horizon night to intensify the color. And I smoother than the edge again because I don't want the hard edges. Now, we will let this dry party not completely. As you can still see, there is some shine on the paper. It's not completely dry, but it is not very much red as it was earlier. And now I am so good with a damp, clean brush and I'm digging very light lines gray in my brush. And the, that I'm touching the edge of the circle. That's Doolittle. Let's add some more. And that, that I'm touching this edge of the cell. And inside the circle also I'm dropping in some binds Gleevec very light value and spreading it with some water. And I, that we made full moon. There. It's not a perfect, so good, I know, but that's very organic. Also not a perfect circle if you have noticed. And right, so I dabbled any extra grease from inside this or good. And now I'm taking this special tool that's Q-tip. And with that, I'm lifting the color here and there. And as you see it forms small polka dotted texture. So that is why I said the color should not be completely dried. The surface has to be a little bit moist, not fully dried. And now, with the help of this Q-Tip, I am lifting the color and making these polka dotted structure texture and structure texture. Like so. This gives a bouquet like C. Because the color, because the surface was not completely dried and it was not for leave it also, we are not able to lift the color entirely. So even if he's left, lift the color. We can see very light value of the color in the circles or the polka dots. Also, it's not becoming absolutely right. If the color was completely vet and that diary feel if it would have become vital. So they would have been white dots right now they are speeded dots. So more like a bouquet effect. All right, So that is why you have to make sure that it's not completely dried and it's not completely wet. It's somewhere in the middle. Then you have to lift the color, the help of your Q-tip to achieve this effect exactly. So that x naught and some of the dots you have to go over and over again because when you lifted once it comes back again, so you have to just go over and over again on few dots. Now, let that be and let's work on the snow, the snowy ground. So here, again, this, there are some hard edges. Let's smoothen it with a damp, clean brush. And then with a bigger brush, I'm reading this area completely and evenly. And now my medium sized round brush, I'm geeking late value of minds green and making curvy line below the horizon line. The unevenness of the snow-covered land like that. And I will go over the horizon line. But this binds great to depict the horizon line. Also, very light value of pine screen, not dark, I don't. And then I will drop in some Payne's gray here and they're meeting some monks randomly to debate the unevenness of the snow-covered land, all depicting some shadows of the foliage here and they're out of the frame. All right, So just drop in some Payne's gray here and they're very light value of my onscreen. And months be done that, that we will leave this postcard to dry completely. Once it's dried completely, I will take darker value of green and make do find trees in the center. The first one, we'll start from this fold in the in the snowy ground. I'm using just the tip of my brush and lightly touching the people with it. And the second pine tree, I draw from here, very close to the actual horizon line. And that one is going to be to allow central line. And then I'm taking the BSW a little bit, pulling the color to the debate, some wild growth around the tree like that. And now dabbing the top, just a point of my brush in a random way, I am making this pine tree. We have done this in the previous projects. Also. It's very easy and simple to create a pine tree. Suggest dab, dab, dab, the tip of your brush. And put these chunks of color on the paper on both the sides of the line you've drawn. Just like that. Maintaining the canonical form, the pyramid form, vv, the base of the tree like that. I'm also leaving some gaps here in that I'm not covering it completely and making a solid pyramid. I'm basically keeping a denser at the center and scattered as the goal far from the center like that. So now let's work on the second tree. And the same baby created the phosphine. We have to create the secondary. Also. We have finished making the two trees roughly. Now let's drop in some shadows here and there to make it more natural and organic. 69 that. And now take a lighter value of the same green. Add some water to the color and the dark. Let's beam shadow of the tree on the snowy ground. Now, the damped clean brush and smoothen the edges of the shadow, like so. And now, let's take the detailing brush loaded with the same binds gray, and let's work on the tip of the tree. So very fine needles, I'm drawing on the top of the binaries and on few of the existing branches. Fine needles lose needles. I'm adding to these existing branches to give them more mature. Being did animated look like that? Some of them, not all of them Mindy, near the top of the g's. The same thing I will do with this tree also verifying broken lines. For some needles. I got some shadows here and there. And we are done with painting. Like literally. Now it's time for some splattering. And in this building we need lots and lots and lots of scattering. Processes. The same data down. Vet, actually wet medium sized round brush, take white watercolor directly from the deal and splashes, splatters slider, all the way. I via done. We are done with this one. Let's add some splatters. And now you see this snow covered by the ADA. Let's remove the masking tape and reveal the postcard. There you go. For a postcard of this class, isn't that absolutely gorgeous? Have a closer look of that. I just hope you created it with me. And I can't wait to see all these lovely postcards in the project gallery. So if you like creating that, join me in the next lesson to create this beauty. My right. See you in the next lesson. 7. Winter Postcard 5: So we have reached the final project of this class. As usually, I have taped the people to the table and I am drawing the garden lamp, which is the main subject of this postcard. I know right now you can't see it, but you can wait till I finish drawing it and both the screen and then jaw the guide and land on your people. You can also find this line drawing in the resources and download it from there and copy it from there. Or you can also choose to draw a different lump of your choice. And you can pin that also because the painting process is going to be the same. As long as it's made of glass, it's going to be the same. All right, so let's just finish sketching the lamp and then we will move on to the painting process. There. We are done with the lung. Now let's draw some branches from bitch. The lamp is hanging. And now they've got big brush. I am making the entire people bet, only leaving the area of the lamp dry. So just like the previous postcard here, I mean, colors of the painting are going to be ultramarine, blue, binds gray, and yellow, right? So leave the lamb and little bit of area around it dry and make the entire people bet. And now start dropping in ultramarine blue randomly here and bear. You don't have to go for it for an even boyish. So just randomly dropping ultramarine blue here and there. And you have to cover the entire red area. Like so, a noun with a smaller brush, I am drawing some branches. So for that, I'm giving some random strokes with my hands grade on the Vet blue surface. Like so. So as you see, I'm not following any particular pattern. I'm just randomly drawing some strokes here and there. So the only thing you have to keep in mind is that you don't have to cover the entire people with great. You have to leave a lot of blue showing. And I got just drag the color here and there and draw some branches wet in wet. And now I am getting the idea of the lamp and don't make a mistake like me, clean your brush completely before reading the people. Otherwise, you will be in the lamp gray, which we don't want. I by mistake Bei did agree and then I had to lift the color with the help of a tissue paper. So just in case accidentally you also do that. You can go to the tissue people for a skew. Here. I'm dropping in some yellow, wet on wet. And I am putting the color in form of a circle. I am making sure that I don't touch the blue or the green bit yellow because I don't want the colors to merge. And here, as you see in the center of this yellow circle, I'm leaving some white. Make that border control is the key of this postcard. So I made the entire area of the people very, very wet. But then I have to put a bet on bed, on the lamp. I made it very, very spicy. And now I let it dry completely. You can see it's completely dried. And after it's dried, I can see the sketch trauma underneath the watercolor. And now that my detailing brush and black color on that, I am going over the sketch and outlining everything with black. It might look like the most. Difficult or intimidating postcard, but this one was the simplest, isn't it? The light that I am quickly outlining the lamp, black with the help of my detailing brush. If you have a problem doing that with the brush, you can also use a fine liner marker. There's nothing right or wrong. Then it comes to making art. The whole purpose of making art is to have fun and enjoy the process like that. So now you see over the white area by dot, we have left in the middle of the yellow part. Over there, I have made the black line, the black outline very thin. So even if you are outlining it with a fine liner marker, make sure you do that because that's fair. The flame of the candle is going to be and that there we don't want a very prominent and hard outlines. We want to be want it to be a little pin due to the fire lead to the shine. Right. And now I'm going ahead and completing the the outline of the lamp. There we are done with the outlining. Now I'm going to show you another technique of watercolor. It's called glazing. Here we li a different color on top of the dried layer of another color. So Vito, very light value of gray. I am going over the yellow area of the lamp. And as you see, I am using the belly of my brush and I'm making sure not to grab it so much. I don't want to lift the yellow. I just want to put 10 layer of gray on top of the yellow as to depict the glass chamber to which the lightest coming. And now I'm getting a little bit darker value of green. And I'm going to make the candle right there. And I am not bothered about the candle being exact or Dropbox. I don't want it to be proper because it's we can see the candle through the glass and this is how it will look. Now, I did the week of the candle, bit darker, orange. And around it I am building great yellow. He had left, right? So they're making the candle a little bit more outlined, but still not very, very proper. It still looks hazy because of color bloomed due to the wet surface. And now I'm going to draw the branch through which the lamp is hanging. So as you see, I can't see the actual sketch because it's hidden under the layers of watercolor. It was very late. So I'm not worried about it. I'm making it. Again. Do a team being crushed. Here. Again, if you're not comfortable with the bean, great, you can make the branch also with the help of a fine liner. The process of making this grant is also just like how we made the trees in previous projects. And not overdoing it. Just a simple organic branch. Now let's make some highlights or glare on the glass with the help of a jelly roll. You can also do this step with the help of a fine detailing brush and watercolor, white watercolor in it. I got there. And now let's make some snow gathered on the branch and the lamp. It's the same step we followed in the previous, whose guts? Well done. Now finally, time for some splatter. Of course, this is a window painting and the can't make it without the splatters. So there we go with a wet brush, taking the white color directly from the Duke splatters lattice bladder all the way. And via done. I mean, splattering can never be enough. This was my favorite, but none of my paintings can go without some splatters. There's some more like so. It adds a lot of texture and character. The painting. Now let's remove the tape. And there, that's the final postcard. I just hope you loved creating these beautiful postcards with me. And I just want to see your creations in the project gallery. Just can't wait to see them. So please do share your creations with me and with fellow students. And I'll see you in the next video for the final goods. 8. Your Turn!: Now for the class project, I encourage you to be at least one of these beautiful postcards. It'll be great if you can paint all five of them. I just can't wait to see what you have created. I loved making these postcards that you all, I hope you enjoyed the class as well. If you have any queries, please reach out, write me in the discussion and I'll be happy to help. I hope you like the glass and I hope you could learn something today. Keep painting, take care of yourselves. And I will see you in my next class. Till then. Bye.