50 Days of Watercolor - Build a Daily Painting Habit

1. Intro: There's something truly magical about watercolors, the way water flows across the paper, how pigments meet and bleed into each other, creating soft transitions, unexpected textures, and dreamy blends. It's almost like watching colors dance. Each brushstroke carries a little surprise, unique, undepitable, and absolutely mesmerizing. That unpredictability is what makes watercolor so beautiful and so full of life. Hi. I'm Taparia, a chartered accountant, a watercolor, and a quash artist, a creative entrepreneur, and your instructor here on Skillshare. Welcome to my brand new 50-Day Watercolor Challenge. A few years ago, I had created my first 50-Day Watercolor Challenge class here on Skillshare. And the reviews and the projects from that class is what inspired me to create another 50-Day Watercolor Challenge. In this class, we'll be painting 50 different watercolor landscapes for the coming 50 days. Each day, you will pick up your sketchbook, your paints, your brushes, and sit along with me to paint a new project every day. But here's the most important part. This class is not about painting with perfection or masterpieces. It's about building our daily painting habit, about showing up every day, painting with ease and enjoying the process along the way. Most projects are around 15 to 20 minutes long, detailed enough to help you grow, but still easy to fit into your day. And to keep things light and balanced, I have also added some quick five to ten minute warm up projects in between. These are simple, playful, and perfect to keep your creative momentum going. And here's something extra special. We won't just stick to one size or kind of paper. We'll paint on bookmarks, A five landscape, portrait, mini squares, and more. So you'll see how detail and composition change with the size of your painting. We'll also explore different paper textures, hot pressed, cold pressed, mate, rough grain, so you can see how the same techniques and colors create completely different effects. Along with exploring endless color combinations, you'll experiment with different ways of layering, blending, and building depth. Together, we'll paint night skies, winter scenes, pastel landscapes, galaxies, northern lights, and so much more. Watercolors bleed in their own unique ways, and the results always surprise you. Through this challenge, you'll learn to embrace that unpredictability and find joy in the flow. By the end of these 50 days, you will not only have a collection of 50 beautiful landscapes, but also the confidence and a routine of painting daily, which is the most powerful tool an artist can have. Grab your favorite sketchbook and your favorite watercolur paints, and let's dive into this 50-Day Watercolor Challenge together. I can't wait to see what you create inside this 50 days challenge. 2. Supplies Guide: So before I begin diving into the lessons, let me quickly give you a material supply guide that I will be using for this 50-Day Watercolor Challenge. The first and foremost important thing is a watercolor set. Now, I am going to be using in different watercolor sets throughout the 50 days, but I have one curated watercolor set which I curated in between this 50 day challenge for myself. So this has 36 paints from different brands. I have a swatch card for this, as well so that I know which color which brand is eight. So these are, um, the colors that I have picked up depending on the most used colors. So I have some pastel shades here. You can see. I have the yellow, orange, pink here. I have a range of greens here, blue, and some browns. For the black, I only have a paint screen in my palette, which is the color that I use. I, you know, very rarely use in black. So this is the 36 color palette, which I have customized from different brands. So if you see, I have Midge Alo Mission, White Knights, Windsor Newton, PWC Shannan, so all from different brands and the most used colors that I need. And I have picked them up depending on the landscape subjects that I usually go ahead with and the colors that I wish to use. Now, you don't need so many colors. You can begin in with a basic 12 color palette, as well. And through every color mix, I will keep on guiding you with the colour mix that you can do with your basic palette. So say if you want this pastel pink color, you can just use in white along with the pink. If you need this royal blue color, you can mix in blue violet and white and get this royal blue color. If you need the aquamarine mist color, you can mix in green and colo blue and get in that color. So you don't absolutely need all of these colors. Even a 12 colour basic palette is enough. With that, you of course, need a white wash paint because this is important for creating in pastel colors because pastel colors are opaque. And to get that opacity, you need white quash, white what colors. Don't make the pastils too opaque. And plus for adding in highlights, stars, you need an opaque color, which is this white quash which we will be using in. Now, next thing after the paints is the paper that we will be using. I recommend using 300 GSM, 100% cotton paper. Now, you can go ahead with any brand that you wish to. So I will be using in this handmade sketchbook from my own brand. This is made using arches, 300 GSM, 100% cotton, cold pressed paper. So I can easily use them up on both sides, as you can see, and the paper doesn't buckle up. It's fresh and, you know, it does not wrap up on the edges or anything. So this is one of the sizes, 5.5 inch that I will be using for a few of the class projects. Apart from this, I will be using in this himi watercolor pad. Again, this is also 100% cotton, cold pressed, 300 GSM paper. And this is also cold pressed so you can see the texture of the paper. So a few of the class projects we'll be doing this size of paper as well. You see? The reason of varying the sizes of paper is so that we get a hang of painting on different sizes, understanding how details work with each size of paper. I will even be using in this archies 300 GSM. Now, this is a hot pressed paper. So hot pressed paper does not have any texture. It has a very flat surface, but this is also 100% cotton, 300 GSM and perfect for watercolors. But, of course, if you like texture, you can go ahead with the texture pad. I'm trying to use in different paper so that we can see the results on different paper, how some textures work differently with the base of the paper as well. And I will even be going ahead with some smaller size loose papers, which will be like, you know, mini paintings that we'll be doing some three inch, four inch by four inch sizes, and we'll be creating in different sizes of landscape throughout this 50-Day Watercolor Challenge. Next is the brushes. For brushes, you just need a flat brush, a round brush, a detailer brush, or if you want, you can even use a mob brush, you can use a round brush which has a pointed tip so that you don't need a detailer brush. So you just need very basic brushes available at your end. And you will be needing in a rough cloth to keep on dabbing the excess paint, cleaning up your brushes throughout the class projects. You need some basic stationary supplies, pencil eraser, a white el pen for adding few highlights, and a black technical pen for adding in fine details. Make sure it's a waterproof pen so that if you ever have to overdo anything on top of it, it does not spread out. We will even be using in a spray bottle for creating in textures at places or you can use this if your paper dries out quickly. You can use this to keep your paper wet for a little longer time. Will be using this ceramic palette for mixing in paints for some of the class projects, and it's easy to get the right consistency on the palette, and you would be needing jar of clean water for each of the painting for going ahead and painting. And of course, you would need a masking tape to tape down your paper while painting if you need clean edges. So this is the masking tape that I will be using in, and I will keep on taping all the four sides so you can see we have clean edges for each of our paintings coming in. So that is about the materials that you need for this class. So go ahead, grab in your basic supplies. The most basic or limited things that you need is a watercolor palette, watercolor papers, brushes, and a jar of water, and you are good to begin in this challenge with me. 3. The Very Basic of Watercolor: So before we move ahead to the class project, I just want to give you very basic details about, you know, the basic watercolor techniques. So first is a wet on wet wash. So for the wet on wet when we call it, basically, you have a wet layer, so you have a wet layer of water or paints. And on top of that, you go ahead with wet paints. So here, I have gone ahead with a layer of water, as you can see. Now this is wet because, of course, water, as soon as you apply it on the paper, it makes your paper wet. On top of these wet layer, you go ahead with wet paints. I will just randomly pick up wet paint. And when you go ahead on top of a wet paint, so this is called the wet on wet technique, wherein your background is wet on top of that, you are going ahead with wet paints. All right. So this is the wet on wet technique. Now, this layer of paint that we added with the Coval green color is already wet. On top of this, while this is still wet, when you go ahead with a different color. So say I pick up the indigo color and we go ahead with the indigo on top of this, this is still going to be wet on wet because your green color layer is wet, and on top of the green wet layer, you are adding in the indigo color. So this is, again, wet on wet. So this is one of the basics to begin with watercolors, wherein you begin with a wet layer to begin adding in details. And when the paints and the water flow together, they create in the basic, you know, basic magic of watercolor, which is the softness, the glow, and, you know, the transparency that comes in. That is all because of the wet on wet technique that you use in. This is the basic technique with which we are going to be beginning each of our class projects for the coming 50 days. Each of our skies are going to be the wet on wet technique that we'll be following along. All right. Now, once this layer dries out and then when on top of this, you go ahead with a layer that is called wet on dry. So we'll wait for this layer to dry out and then go ahead with the details on top of this. So now the wet on wet layer has dried out, and when on top of this, you go ahead with wet paint. So you pick up paint in your brush directly. And when you add in details on top of this, this is called wet on dry. Your background is dried. On top of that, you are going ahead with wet paints, and this is called the wet on dry technique. So you see, we are just going ahead with wet paints. This is used for adding in the details and creating in the textures into your painting, adding in highlights, creating in your landscape elements, giving in more depth to your painting. Now, this technique is even used by many artists to add in more details into the sky, but I usually work wet on wet for the sky. And for adding in the elements, I go ahead with the wet on dry details. So this is the wet on dry technique that we used in. Another technique or another kind of important thing to learn about what colors is the kind of gradients or wash that we have in. So when you just go ahead with one color and add a wash of that color, such that everywhere the color is of the same tone, it is called a flat wash. So you see we've gone ahead with only one color, and throughout our place, it is of the same color, the same color gradients. So this is called a flat wash. Then there is something called as a gradient wash. So you begin with a color tone, and then just using in water, you begin creating a gradient of that color. So this is called one color gradient. So you see at the top, the color is dark. And as you move towards the bottom, the color is turning lighter and lighter because of the water. So this is called a gradient wash. Now, of course, you can begin with a dark color at the top or dark color at the light, depending on the kind of study that you are going ahead with. So this is called a gradient wash. This was a flat wash wherein the color is same throughout. This is a gradient wash. You can see different grades of the color. And another kind of wash is a variegated wash, wherein you blend in two colors. So you begin with one color. And then you switch on to another color. So from the bottom now, I'm going ahead with another color. And at the meeting point, you try and blend these two colors with the help of water or white paints or any other technique that you wish to blend these colors. So this is a variegated wash wherein you have two colors blending into each other. It can be more than two colors as well blending in, and that will also be called as a variegated wash. Of course, while a variegated wash, you need to keep a lot of things in mind about the color study, complimentary colors, creating in muddy colors, secondary colors, tertiary colors, how they blend with each other. All of that is something that you will have to keep in mind. So we went ahead with a wet on wet technique, wet on dry technique, flat wash, gradient wash, of irrigated wash. And another important thing is a dry brush technique. So you begin in with a damp brush. There is no water, absolute zero water, zero pigment. I'm just tapping my brush onto medium to wet, dry paint. All right. Again, you dab it onto the cloth or a rough tissue that you're using so that there is no excess pigment. And then you go ahead holding the brush at an angle and creating in textures. You see the textures that are coming in. This is called dry brush technique, which we will be using a lot for creating in textures onto our mountains, snows, grass fields, you see, the texture that we are creating in using the drybush technique. That is what we'll be using majorly to create in the textures. Apart from this, I already have a class wherein, you know, I have covered up the details about watercolors in depth. I have linked that class into the about section of this class. So if you wish to go ahead with a lot of basics about watercolors, about creating in different skies clouds or different cloud studies, sea waves study, different elements studies, you can visit the technique section of the class that I've linked in the about section and go ahead with the basics of watercolors and then join us here into the class project. But here, I just wanted to cover up these minimal basics about watercolors. And if you just know these basics, you can easily and simply paint along with me for the 50 days because through each of the class project, I will be guiding you with the technique that I'm using, the way I'm doing it, the method of adding in the details so that even if you're an absolute Pign you can easily follow us along. But in case if you still wish to visit in, I have linked the class into the A section of this class. You can go ahead and visit the techniques of the class linked below. And now we will dive into the Class Project one. 4. Day 1 - The Beginning: So let's begin with our first painting of this 50-Day Watercolor Challenge. We'll begin in with a simple warm up kind of an exercise. I'm using the Archie's hot pressed paper for the first painting. It will take us just around seven to 8 minutes for today's project, and it would be a good beginning to go ahead with your further paintings in this 50-Day Watercolor Challenge. So let's begin with a layer of water onto the entire paper. So this 50-Day Watercolor Challenge is structured in such a way that one day you go ahead with a little detailed one. Then in between few days, you get these small mini practice exercises kind of thing, which will just take up like 10 minutes of your day, but you still stay in the loop, practice, and have that flow going in. So this exercise is going to be pretty simple. So I've just gone ahead with a layer of water. Now we are going to go ahead first with the orange color. So I'm using the cadmium orange color and just going to add in little orange first towards the bottom side. Now going to go ahead with a little bit of the fusian blue color, and we are going to let a lot of paper be white and let the, you know, paints to its own magic. So just adding in strokes like these of the white, leaving in the cloud white spaces automatically, then picking up a litter of the indigo color. So major cloud strokes coming in from the edges and towards the center, letting the white of the paper to the magic, create in the cloud details. Now, when you go closer to the blue and the orange spaces, be a little careful. And towards the bottom side here, I'm going to use in the violet shadow color. Or you can go ahead and use in pain scream mixed in with violet, as well. And in a very light consistency, just going to add in, like, a background misty layer because in the foreground, we'll be adding in a beautiful mountain range. So for that, I'm just creating in a little blurry look in the background. Now, closer to the orange, go ahead very carefully while blending this in as well so that you don't get in muddy tones. And now I'll just pick up a little more hint of the color and just add in some darker highlights from the edges only. Same way with the indigo, some darker highlights. You see, it's majorly using in the tip of the brush to do all the magic on the paper. And towards the bottom again, just using in little of the violet shadow color and just going to add in All right. So that is it for the main cloud details that we'll be adding. We'll wait for this to dry and then add in the final details into this painting. So now my sky is completely dried and we're just going to go with the simple silhtF that I'm using in the paint's gray color, and we're just going to be going ahead with a beautiful, simple mountain range at the bottom here. Now, in between here, I'm leaving that little gap, right, because there I'll use little hints of the orange. Now, make sure when you add this a little of the background violet color that you added in the sky is visible. And I'll just pick up little orange and join these two spots here and just add in this orange highlight. And in the rest of the space again, just go ahead with a bold paints gray color to fill in the space. So in between, you just have that little glowing spot into the mountain to show the orange light as well falling in. Make sure to use the pain screen of bold consistency because after drying, the watercolors become a tone lighter, so you need that bold effect onto the mountain at the bottom here with just a little simple subtle glow that we've added in, blending them all in well together. Of course, if you want, you can let that glowing spot be at anywhere else as well. That's perfectly okay. Now, I'll just define a little randomness to the peaks of this mountain. Making sure that it looks natural, uneven. All right. And lastly, just going to be going ahead, adding in a few birds into the sky with the pains gray color itself. So just some birds randomly that we are going to be adding in. So you can go ahead with different sort of silhouettes for the birds in different flight angles. I'm just using in the tip of this brush and adding in using the pains gray color. So, across the entire space here, I'm going to show birds flying up here. So I'm just going ahead with random movement of the birds. You can see they're flying off in different directions, different angles that I'm adding in. But I'm just making sure to use the tip of the brush to add in fine details for the birds. You see, through the entire space that I'm going ahead and adding in these ports, Now, just one thing here with the paints gray, I'll just, you know, elongate this till the orange space because this seemed a little off to me. Now this looks perfect. Why the orange is reflecting into the center space and giving in that perfect dimension. So I did this because it was still wet, but even if you don't do it, it's perfectly fine. And that is it. We are ready with this project in just under 10 minutes. So that's like a practice exercise in between the detailed projects that we do. So, like this simple projeq will help you just go ahead, maintain the whiteness of the paper, add in quick skies, just go ahead with different board studies, try to add in bods in different flight angles, and, you know, just go in with simple blends of the colors, creating in depth. So that's about, you know, sometimes even simplicity can bring out so much beauty of the painting. That's what we'll be doing in between our detailed project. I hope you guys enjoyed painting this with me today. I will see you guys into the next painting of this 50-Day Watercolor Challenge. 5. Day 2 - The Purple Hues: Welcome back to another painting of the 50 days Watercolor challenge. And for today's project, we are going in with this mini watercolor painting, which is a three by three inch watercour paper. For this, I am using the Saunders Waterford. 300 GSM, 100% cotton, cold pressed paper. First color that I'll be picking up is going to be the permanent rose from Windsor Newton. Alright, so this is a beautiful reddish pink color that I have in. And using in this color, I will begin into the sky. So at the bottom, we are going to have in a gradient mountain range. So at the bottom, I won't be going ahead with much of the colors. Just at the top, we'll first begin in with the colors. And then I'm going to pick up the permanent violet shadow. So I already have a little of this color out here on my palette. You see, this is a beautiful blackish violet color, basically. And going ahead very carefully. At the bottom, I'm just going to be diluting this because there we'll be having an gradient mountain range later on. Now in the remaining space of the sky, I'm going to be going ahead with the clear violet color. So I'm picking up the violet from this set, which is from the PWC that's a white bright color. So you see all the three colors are of the same color, family kind of pink violet, and then the violet shadow color. So just adding in colors gently. And you can see gap the white caps that I'm leaving in briefly and going ahead with very smaller size brush, depending on the size of the paper, and just, you know, creating in the cloud effect while adding in the paints itself so that later on we don't have to go ahead with much of the detailing. Now I'm just going to pick up a little of the pink color that we use. That's the permanent rose color and just going to drop in some clouds here at the top of the pink color in between. So very little highlights that you drop in. And lastly, again, I'll just shift on to the permanent violet shadow that we used in and create in some darker effects at the top spaces, moving from the top edge towards the inside of the sky. So this automatically creates in the darker highlights and the darker cloud effects. And very gently, you see on the pink, I'm adding it in such a way so that we have the pink highlights maintained still and just going ahead, adding in detail slowly. So that is for our sky. We'll wait for this to dry out. If you want, you can just go ahead with little darker hints of the bright clear violet as well into your sky before this dries out. Just some darker cloud effect. All right. Now, we'll wait for the sky to dry completely, then move further. So now my sky is completely dried and we are going to go ahead with the first layer of mountain. I'm going to mix in my violet shadow with a little hint more of the purple. So what you can do is just pick in your purple color and mix in very little hint of the black color. We are going to be creating ingredients of mountains, so begin in with the lightest color first, right. And I'm just going to add in the color and just go ahead and dilute it. So I've added a layer, cleaned my brush, picked up some fresh water, and just going to dilute this color towards the entire bottom space here. I'm just creating this layer of the mountain first. And onto this side here, I'm just blending it into the sky and, you know, giving in the damp blended effect to give in that misty mountain in the background. So you see quickly using in water. That is the reason you always make sure that when you want to go ahead with such kind of paintings, you take the sky with a gradient color till the bottom, so that when you add in these, you can blend these and create in these misty effects. So now, we'll wait for this first layer of mountain to dry, then move ahead further. So now you can see this layer is also tried out completely, and we're going to go ahead with the next layer of mountain. For the next layer of mountain, just ten up the value of this color and go ahead with a layer of the mountain. You can begin in from any spot that you wish to just go ahead, vary the shape of the mountain, and, um add in this layer. And again, we are going to create in a gradient for this color. So quickly just going to go ahead and create up a light wash. So at the top, you have the darker color hint, and moving downwards, you just use water and dilute it till the end. So in the background, you can see we've got that beautiful gradient mountain that has come in, and then we have the second layer of mountain that is coming in, and we'll be adding in another layer once this dries out. So we'll quickly just add in some more darker highlights at the top so that we have the lighter wash coming in at the bottom. Now the shape of the mountain, as I told you, you can define it as per your wish. I need not be same as mine. You can see this background mountain here. It has an open end showing in that misty effect. And here we have this one mountain. And in the background here, if you want, you can just go ahead, add in another small misty mountain effect using in a lighter tone of the color, just as we had added in the first layer on the left, same way, adding another one here. Just added a line of the color and blend it. Using the damp brush, just making sure that here it is well blended into the sky, and we have this one beautiful layer at the top as well. So the top layer, we have two mountains. They are not connected to each other. There are two different mountains, one on the left and one on the right. And you see, just adding the color at the top and then using water, I dilute it and create a good gradient, creating in that misty effect. Alright. Now, by the time this is drying out, I'll quickly be adding in a moon into my sky. For that, I'll be using in white quash. So I'll quickly pick up some fresh white quash on my palette here. And using the white quash, let's create in and using the white wash, let's create in a dull background for the moon that we will be adding. So just adding in a drop of the white color and using in the damp brush, let's quickly go ahead, blend this in into the background. So just using the damp brush, blending it in, and creating in that dull background for the moon. Now, of course, depending on the size of the paper that you're using, make sure to keep the size for the moon as well in accordance with it. Just using a damp brush on the edges, make sure to blend it well. So I'm just running across the edges again, making sure that there are no hard edges on the outside. All right. Now, we'll wait for this and this layer of mountain to dry out and then add in the final layer of detail into this painting. So now this layer of mountain is completely dried. And one thing I forgot to tell you about this violet shallow color that it's a beautiful granulating color. So you would be noticing when it dries out, it creates a beautiful granulation and some inbuilt kind of textures. So to the sky, if you see here, how the granulation is working and creating in that texture. So be careful about using such granulating colors into your sky to, you know, knowing how the granulation works out. Now for the last layer of mountain, I'm using this color in a very dark consistency and just adding in the last layer of mountain here. So you see I've picked it up in such a bold, beautiful consistency, added in that last layer of mountain. And now we'll quickly go ahead, add in the moon. So for the moon, if you see the white layer has dried out, like, you know, it's kind of completely banished away here. So I'll just go ahead and just create this layer again. So this way, you can just go ahead and add in the layers again for creating in this dull effect. So using in a smaller size round brush, I've just created in the dull layer again, which is now a bit visible, you can see, and now I'll pick up bold white wash in a good bold consistency. And just to the center of this, I will add in a dot, which will act in as the moon. So you see that is it. We are ready with our beautiful mini painting in just under 10 minutes. Now, you can see the size of the paper is just three by 3 ", and still it took us a good 10 minutes to add in the details. So it is not always that a smaller size of paper makes the painting done quickly. In fact, when you go ahead with such smaller sizes, adding in the details takes in more effort, more patience because you've got to go ahead carefully creating in the details. So here's the final look at our mini painting from today. I absolutely love the sky, the granulation in the sky, if you see here at the top, and this pink glowing space that we've achieved for the moon as well. So thank you so much for joining me in today's painting, and I will see you guys soon into our next class project of the 50 days Watercolor Challenge. 6. Day 3 - Pastel Pink Sea: So now let's begin with our next class project. And again, we are going to go ahead wet on wet with an entire thing together and then distinguish the horizon line. So we're going to be painting in a seascape this time. It's going to be a pretty simple one just under 15 minutes, and we're just going to go ahead with a layer of water first onto the entire paper. And then we'll go ahead and, you know, add in all of the details. It's going to be a beautiful pastel seascape that we'll be painting. Shades of yellow, orange, pink, and a little hint of the violet that we'll be using in. So I need to accordingly choose the size. So this is a one fourth inch flat brush and a half inch flat brush that I'm going to use in to create in. So first, I'll go ahead with the half inch brush. So to begin in, I'm going to pick up the beautiful pink, violet color from this set. It's a beautiful pinkish violet color, and I'll begin with this color at the top here. Then from the previous project, I already have this permanent rose from the Wincor Newton palette, and I'm just going to use this closer to the violet. Then I'm going to just use a damp brush and create a gradient to the pink color. If you want, you can choose to use in a little bit of white along with it to create in that gradient. Then I'm going to pick up the naples yellow color. So as I told you, we are going ahead with a pastel kind of consistency for the sky as well as the sea. So just added in a layer of the pastel yellow. And now I'm going to pick up the orange color and going to add it at the horizon line. All right. So these are just the base colors that we've added in so far. Now I'm going to pick up a little more of the naples yellow, add in here. Now, next, I'm going to go ahead and begin creating the reflection along. So first, I'm going to pick up the orange color and going to add in a little here. And then I'm just going to go ahead using the pink color and create in the entire C space. All right. So from the orange, we are going to be having in the sea and the horizon line. So till 60% or 70% of our paper is going to be the sky and then from the orange part, we'll distinguish the sea area later on by the horizon line. Alright, now let's go ahead, add in details. For that, I'm going to shift into this smaller size brush. I'm going to pick up some white color, add into the pink here to create a little more lighter and a pastel pink and going to go ahead, add in some smaller strokes. Going to pick up some violet at the top and add in closer to the pink. Now, again, using in a clean brush, I'm going to go ahead use in some white color between the blending point of the pink and the yellow. Of course, pink and yellow can be blended to each other easily, but I want to create that little lighter transition. And that's the reason I'm using white in between. Now I'm going to pick up the yellow color. Now we are going to begin adding in the cloud details to this. So again, going to begin in with the violet color mixing it with the pink and the white. That's already on my palette. And I'm just going to begin adding in the cloud details. So first here, make sure you add in white to your violet so that when you add it over the yellow color, it will not give you any muddy tones. Plus, going in very light handedly. You can see how I'm going ahead very light handed. And just using in the tip of my flat brush, creating in the cloud strokes here closer to the yellow and the orange tones, using in the pastel mix of the pink violet and white. You I'm using in white watercolors only not going ahead with quash because even white watercolors from this set is a good creamy white color, which is giving me very beautiful pastel tones. I'm liking the overall vibe of this white here. Now, you need to just go ahead, use in two to three tonal variations of this color mix. That's a pink violet and the white color so that you can create in some darker details. From the top, just pulling out some strokes, blending them all in giving in that softness. You see how diagonally I'm adding in these cloud strokes. And now you see the whiteness that we added in between the pink and the yellow is creating in such a beautiful, glowy space at that point. Now going to go ahead add in some darker colour details here as well on the horizon line space. You see very gently just using the tip, adding in this detail. So you need to add the darker details in such a way that you still have the lighter details in place. And now into the S space, we are going to add in the wet on wet waves detail as well, because in the sea, we are not going to have in much of the details. We're just going to give in a little of the wet on wet waves detail. So using in the same color mix, that's the violet, pink, and the white color, we're just going to go ahead, add in some details from the edge. Now my sea area has kind of begun to dry out already, but I'll quickly go ahead with the damp colors and blend them all in. So, you know, now in the sky at the top, we have the darker color. So same way at the bottom, I'm going ahead with the darker tone to create in the highlight spot. And I'm just going to pick up a little yellow color the naples yellow you can use in and just create in a little glowing spot into the sea as well. So you see where we have the glowing in the sky. Same way, just create in a little glowy wave detail into the sea as well. Very gently just giving in the same way, you know, like just how you added in the cloud detail. Same way I'm adding in the waves detail here. So we've created little simple wave details. Now I'll just go ahead given a little more pink wave details. So going to pick up a little more of the tack up pink and using the tip of the brush, give a little line at the horizon line. Now, of course, this will still be like a soft line for now. We'll distinguish the horizon line once everything dries up and just going to add in some waves with this pink color. So you see diagonally, I'm creating in some movement of water with this pink color flow. Basically, in the sky where you have the darker depth, same spots, you need to go ahead, add in the darker details into the water as well, and the lighter glows of the sky need to be maintained into the sea showing in the glow. So very loose wet on wet details that we've added into the sea, keeping it all simple. Alright. Now we'll wait for all of this to try and then add in little details into all of this. So let's go ahead, define the horizon line and add in a little more details. So I'm going to pick up the violet color. Now I'm going to pick it up in a very light consistency. This is the violet shadow, and on the horizon line, make sure it's completely dry. I'm just going to go ahead, add in a soft loose mountain range. Moving towards the right side, I'm just going to take it as a very fine line. So you see, we've got a distinctive horizon line look as well. And using in the pains gray color, just going to add in some rock details. So let's just add in some rock details. You see somewhere I'm dabbing and toning it very light and, you know, soft again. So very little details that we added of the rock into the sea, very light and easy ones. Now using this darker color onto this right side, I'm just going to create another fine range of the mountain. So this I'm taking it for the fine. So you see in the background, you can see the lighter mountain range that we added in using in the violet shadow color and now just adding in this detail. All right, little detail that we added in the foreground of it, as well. And now I'm just going to pick up some white quash. So I use the white quash from this huge tub that I have, and using in a size zero round crush. Let's pick up some white quash onto a palette and using it in a good thick consistency, going to add in a small moon from behind the mountain here. So, you see, I've not kept it center align. I've taken it a little off center towards the left side. Small moon that we added in. I'm so tempted to add in the birds to this one as well, but I will control my hands and let the beauty of the sky and the clouds just be there. You can see the clouds are looking so soft and softly blended between the pinks and the yellows, and even the cloud strokes that we added, all of them have such softness into them. So we'll let the softness of the clouds be there, and carefully, let's begin peeling of the masking te. So here's our final painting from this project, and I absolutely love the pastel colors of the sky and the soft blend into the sea, a very simple seascape that we went ahead, and it just took us almost 15 minutes to finish this painting. So I hope you guys enjoyed painting this, and I'll see you guys into the next painting now. 7. Day 4 - Pastel Hues: Hello, everyone. Welcome back to the next class project of this series. And today, we are going to go ahead with another beautiful pastel colour combination for our sky in the landscape. I'm going to use in this royal blue color. This is like a beautiful pastel, violet blue kind of a shade. It's a beautiful, you know, sky color to use in. And next I'm going to be using in the Naples yellow. So naples yellow, again, is just a basic pastel yellow color, which you can get in by mixing in white along with your cadmium yellow or yellow light. But, um, you know, the thing about pastel paints, it's that the opacity of the pastel paints. So try using in white wash to form in your pastel colors. That will give in a better outcome to your pastel colors because it will be opaque and given that pastel of flow. Apart from this, I'm going to be using in the lilac color a bit. So for the lilac color, I will just mix in a little bit of the violet to this royal blue color, and I will get a beautiful lilac violet tonee. And then I will be using in the pastel pink color. For that, I will use the pink from this set out here and mix it with a white colour. I do have a ready pastel pink as well, which is this pink peony. So if you have a ready pastel color, you can use that as well. But in case if you want, you can even mix in white with your basic color and then get in the pastel shades ready. So this is about the colors, and then at the bottom, we'll go ahead with a simple field kind of a detail for the pactal sky. So let's begin in with the sky first. There's no pencil sketch just directly wet on wet that we are going to begin with. So I'm beginning in with a layer of water onto the entire space. Make sure you have an even layer of water throughout, and especially on the edges, make sure there's no water collected. Otherwise, it will be, you know, flowing back into your painting, and that may cause in uneven edges, and, you know, you may get patchy edges as well. So there you go. I have a good even layer of water. Now I'm going to get the paints out. So firstly, squeezing out a little bit of the royal blue color. Now, this time I'm going to use a flat brush, and beginning in with this royal blue color, you see how beautifully it spreads as soon as you add it on the paper? Now, along with this, I'm going to use in a little hint of the white color. I'm picking up this opera pink from my shinan set here, laying a little bite on top of it again so that it has a beautiful pastel blending with the blue. Now I'm going to pick up a little hint of the orange, mix it with a little bit of the white and yellow to get a beautiful yellowish orange color. And just adding it out on this side of the paper. And onto this side, I'm going to go ahead with the pastel violet tone. So I'll just show you how I'm going to form my pastel violet color, picking up the violet. And I'm just going to pick up the white color and add into this. And you see I've got this beautiful lilac tone ready. Going to begin adding in the lilac color. Now, next going to pick up a little bit of the naples yellow. You see how going ahead, blending in with the pastel violet. And just going to create in the highlights. With the violet and yellow color, be a little careful so that you do not have any muddy tones coming in. Go ahead with the royal blue at the top. Just dropping in some pink clouds at the top, you see, these small highlighting strokes add in more depth to the sky. In between these purples as well, going to add in these subtle cloud details with the pink colour. I'm going to pick up a little orange color to add highlights. Again, when you're adding in highlights, you need to make sure that your brush doesn't have excess pigment or excess water. Only then you'll be able to achieve the, you know, softness as well as the glow of the highlights that we want to create in. You see, I'm just using the tip of the brush and adding in these highlights. Now I'm just picking up a little hint of the dark blue color, going to mix it with a little of the royal blue. I'm picking up the serle blue colour from this set. You can go ahead with serle blue or a sky blue color or any medium tone of the blue that's available in your palette. Avoid using Prusian blue or ultramarine blue. You can try for the thalo blue colour. Okay, I've added in a little of those strokes, and now using in the damp brush, I will just soften them up at the bottom. Again, I'm still walking wet on wet with all of these details, as you can see. Using in the same color, just going ahead with little details here at the bottom as well with just a little of the blue highlights. Just adding in some violet highlights as well. You see wet on wet we are able to achieve in all the softness as well as the clouds into the sky. So that is it for the sky. I will let this dry out completely, and then we'll go in with the foreground details. So now everything has dried out, and you can see here, I had a little excess water which how it has peeked back into the painting from the edge creating in this bloomy space. Though this is looking very pretty in the cloud here, and this part here will get hidden into the field space. But these are small things that I want you to be careful about because, you know, then with watercolors, it's quite difficult to go back and get these rectified. Now for the bottom space, I'm beginning in with this light green color. This is like the may green color or it's just a yellowish green color. You can begin with any light green in your palette, or you can simply add in a little bit of the yellow to your green if you just have one green and use it as a base. And then I'm going to go ahead and keep on darkening this shade with different tones of greens and create in the base for the field. So now I'm picking up the satren color, and at the top, just beginning to drop in randomly. So you see, since the light green is still wet, it's automatically blending it all well in. And once this paste will dry out, we'll go ahead with some detailed leaves and florals on top of these. So here, you see, I'm just using the tip of my brush and creating in the top space. Now in this also, you can keep on wearing in with the shades of green, pick up more darker green by mixing in black or dark blue browns and, you know, create in as many possibilities of greens as you wish to and just keep on adding them along the way. So right now I'm just creating in the first rough patch, and then I'll go ahead with some detailed leaves on top of these as well. At the top, you see, I'm just using the tip of this brush and adding all of these in. I'm just going to mix in a little bit of the pains gray to the sabtrene color so that I can get a dark green colour consistency. And with that colour, wet on wet, I'm going to go ahead add in some leaf details. See, I'm just dropping in simple leaf strokes, dabbing the tip of my brush to create in these leaves. So just pulling out simple leaves. Now for these leaves as well, you can use in different tonal variations of the greens again. So that is the reason in the base I created using in the light green and the Satrine color and then adding in these leaves with the dark green color so that we have all the different variations of greens popping out through different areas of our field. So I'm just going to quickly go ahead, add in these details, and then we'll wait for these to dry out before adding in the simple floral details into this small field that we are creating in here. So you see somewhere I'm just pulling out small branches, moving towards the top and adding in more leaves. The very simple one stroke leaf methods that we are adding them in just dabbing in the tip of the brush, giving in a pointed tip, and lifting up the tip. And if you want, you can leave it here like this because we'll be adding in the florals to this now. So I'll wait for this to dry and then we'll add in the floals on top of this. So now everything has dried out completely, and we're going to go ahead add in the florals on top of this. So for the florals, I'm going to use in two colors. One is going to be the naples yellow, and another is going to be a beautiful lilac tone. Now, make sure you use these colors in a thick opaque consistency because only then they will dry out vie print and opaque on top of the dark greens that we've added in. And if you want, you can add in white quash to your yellow and violet so that you get in that opaque consistency of the colors. Alright. Now I'm just going to go ahead add in simple daisy floorls so I'm going to be using in two of these colors. As I told you, it's going to be a lilac, and it's going to be this yellow color that I'm using. You can see how bold and opaque my yellow is here. I will even be using a little of the white quash to just add in some fill of laurels in between, as well. So just scattering up the yellow flowers first on places. You don't need a lot of florals. You need to let the green also do its own talk everywhere. You see somewhere I'm just adding in some very small florals. So now I'm done with a yellow part of it. Now I'm just going to quickly pick up my white quash. And using in the white quash, I will just add it to the violet colour on my palette already, and I'll get a beautiful pastel violet colour, which will be opaque as well. You see? And now using this, I will add in a few floorls I still want to make this a little more brighter, so I'm just going to add in more of the white quash to this. So now randomly, I'm just going to drop in some small violet flowers. So you see in between the leaves also how I'm adding in these florals. Make sure when you're adding in these florals, you do not have excess water. You really want good thick pigment so that when they try out, they try out beautiful and okay. So I just added in a little hint of the royal blue to my lilac as well so that it has this much more better glow. Now using in the white wash also, I will just add in some filler florals in between. Make sure you use in whitewash because white watercolors will dry out translucent. They won't be that opaque and vibrant once they dry out. So white quash will give you a good opacity. Now, if you want to some of these, you can create it as a glowing bud. And then to the center of these, just adding in the glow. Jesse, I adapt it with the finger to create a dull background and then just added on top of these. Now, lastly, I'm going to use in a little bit of a dark brown color. And to the yellow florals, just going to add in small bud details. Now, make sure before you begin adding in these, your florals are completely dried out. You see, I'm just pulling out some strokes. Alright, so that is it. Let's peel off the masking tape and see your final painting. Make sure that your edges are completely dried before you begin peeling off the masking tape. See the two florals to which we added in the glowing spot is glowing in so beautifully in between all the florals that we added. Very simple floral details that we added into this field and the beautiful pastel sky that's coming in altogether. I absolutely love how everything has turned out here. I'll just do one small detail that I feel is missing in here. So I'll just quickly pick up some white quash, and in between these lilac florals, going to add in the bud details. So thank you so much for joining me into today's painting, and I will see you guys into the next project soon till then, make sure to keep uploading your projects into the project section. And in case if you like this class, make sure to drop a review so that it can help me reach maximum students. 8. Day 5 - Loose Landscape: So let's begin with our next painting, and we are going to go ahead with a beautiful daylight landscape with a blue sky. So let's go ahead. Now, the field part, I'm going to go ahead with a loose style of painting this time. So I'm just going to begin in with a layer of water onto the entire paper. And then moving further, we'll go ahead and, you know, create in the details. So if you're someone who does not like working in a loose style, you can go ahead, mark out the field space separately first or little of the bottom space, and just go ahead with the sky first and then go ahead with the um, you know, field area. So I've added a good even layer of water, and now I'm going to begin with the colors. So the first color that I'm going to pick up is going to be a beautiful sky blue color, or you can even pick up the ultramarine color. So I'll just go ahead with this h blue. And to that, I'll just add in a little bit of this ultramarine color. And using this, I'm just going to begin in the sky. You see I'm just dropping in some colors into the sky, leaving in some white caps for the natural clouds to be there. As I told you, we are going ahead with a very loose kind of painting for this one. That is the reason just letting everything go loose free and keeping it all natural. The bottom is going to be the field space where I'm not going ahead with the clouds. Again, that also will be in the loose style only. Now, what I'm going to do is just going to go ahead, given some sharp edges at random places. Lifting in a little of the color to create that sharpness. I usually don't go ahead with these sharp style, but I want to let myself loose and, you know, experiment and just let the colors flow do its magic. That's the reason. I'm just going ahead loosely. Now, this is a mix of the pains gray and the violet color mixed in with a little hint of white, which we used in the previous project. The same mix I'm using in here, adding in some darker depths at random spots. Wherever you feel it's too dark, you can quickly just go ahead, dab dab dab. All right. Now, wherever you feel you want to create in that cloud shape, depth or, you know, that softness, just go ahead, lift up some colors, create in those blends. See how easy it is to lift up the colors. Now, if you want to go ahead with the lifting technique, you will have to do a color test of your colors first as to which colors are staining pigments, which are non staining, because if the pigment will be staining, by the time you go ahead to lift, it may have already stained your paper, so you need to know your colors well in that case. You see a very simple loose sky that we've created. Now I'll just pick up a little more of the blue, add in a little hint of the paints gray, and just give in some darker, you know, cloud spots. Just very little, not much. Because again, remember, watercolors usually dry or tone lighter. So to maintain the, you know, luminosity of these paints, you go ahead accordingly such that after drying also, they have that vibrant effect. You see, we've just added in less of the darker spots. We have some sharp edges. We have some beautiful grayish clouds coming in. Now towards the bottom side, let's go ahead and add in the simple field that we are going to go ahead with. For that, I'm going to first pick up a mix of the yellow and the yellow ochre color and just going to drop in very loose lightly. All right. Now, since we are going ahead with the loose style, the sky may still be a little wet, and that's okay. So you just need to control the flow of the yellow color there such that it does not move much into the sky. Now, I'll pick up a little hints of the green. So you can go ahead with any sort of greens that you wish to the may green colour, yellowish green colour, saprene color, olive green color, whichever name, various greens, whichever is available in your palette, you can accordingly go ahead and use them. So I'm just picking up the light green color first, then just adding in little darker green hints on the yellow ochre and the yellow mix that we had added into the field. And now, once your horizon line is a little dried out, I'm just going to pick up a little saprene color here and just going to go ahead create in that little bush detail which is, again, you see a little wet on wet that I'm going ahead. So the sky is still wet. Since I told you we are going ahead with a loose kind of a landscape, not going to go ahead with those precise lines this time. So very loosely added in little details on the horizon line. And while the bottom space will dry later on, then we'll give in some details to define the horizon line a little sharp. Till then, let's pick up a little more of the darker green and just going to add in some dark spots while this is still wet. Again, if you feel, all of a sudden two dark color has dropped in, just lift up little and drop in. You see the lifting technique is a very good technique to create in the glowing spots and the highlighting details into your field spaces. Now I'm going to pick up a little of the light brown color and just going to add in a small muddy pathway kind of detail. Again, lifting up the colors, creating in the lighter spots. You see how even between the greens, with the help of the browns and lifting the colors, we've created this pathway kind of a situation. Now I'll just pick up a little more yellow ocher, drop in at spots. Again, all of this, we are still going wet on wet. So the bottom space is wet onto which I'm going ahead with these details. You see, I've still been working only with one brush because this brush has so much possibilities because of the tip pointed tip that it has, you can add in the swift detail. Now across the pathway, you see how I'm creating in the darker green lines to create that distinctive line for the pathway. All right. Now, we'll wait for all of this to dry, then add in some details here a little bold patchy details. And then we'll be ready with this painting. So now things are almost dried out and we are going to go ahead with the darker green color. So I've picked up a mix of the sap green with a little hint of the paint's gray color. And now just we are going to go ahead loosely and define the horizon line a little more in detail using this darker color. Now with the darker color, again, you can see I'm going ahead and using in water as well so that we don't have too much of the dark color as well. And you can use a little of the dry brush technique as well in between. Like here, you can see. So this will create more textures into your field, more, you know, details, more depth, giving in more beauty of the nature. So the entire horizon line, I'm just going to go ahead giving this. Now just going to go ahead, dab my brush, and add in a little dry brrush effect as well. So you see how we are going ahead with a very loose style kind of detail this time. And if you've always been following me here, you may also know that this is usually not my style, but that's something that I'm trying to learn, develop, practice, different ways, different techniques to work because watercolors has a lot of possibilities, a lot of chance to explore. Very loosely adding in some loose details. So as I add them, I'm dabbing them so that they have that little soft texture blend. Same way here, also, I'm just going to go ahead, dab them a little. So you see they have that little more softness. All right, so we've given in a little more details. And now, using in the violet gray color that we created or you can use a beautiful shadow violet color and just create a little shadow space here. So you need to use it in a very light, watery consistency. I've gone ahead with a little darker color, actually, so I'm just going to quickly lighten this up by just tabbing and lifting up, but you can see how it's creating in that shadow effect. See, lighter shadows that we are creating in. Now with the green color, just going to define this path line a little more in depth. But again, the same technique just dab, dab, dab, dap, dab dab so that you can create in the blends, and just going to soften this up a bit. That just adding in some darker details with the mix of the sap green and pains gray color, creating in little more darker dip praises and now using in the mix of the violet and the pains gray color. Just some simple bird silo hits that I'm going to go ahead, adding. So this bird here, just trying to create in some feather details as well. All right. Now, as we go far, just going to add in some tiny dots as a flock of birds coming in from far off. So that is it. We are ready with this painting. A pretty simple, loose, kind of a field landscape. It took us just below 15 minutes to work on this small loose kind of a field landscape painting with loose details and then just some bold highlights. And that's how you need to incorporate little pieces of practice as well. So let's peel off the masking tape, see the final painting. Make sure that your edges have dried out completely before you begin peeling off the masking tape. So here's our easy loose landscape from this project of the Watercolor Challenge. I hope you guys enjoyed painting this and learn something new, creating in a loose landscape. I'll see you guys into the next project now. 9. Day 6 - Sunset Sky: So let's begin in with our next painting. For this, we are going to go ahead again with a loose style of a painting, and the colors that we are going to use is I'm going to be using in the callow blue color from this set, and then I'm going to be using in the Indian gold color from white Knights. So this is the Indian gold color from white Knights, which is a beautiful yellowish orange color, but you need to use it in a very light consistency. So I'm just moving a pinch of it. And then I'm going to use in a little of the naples yellow. So this is a pastel yellow color. So in case if you do not have a naples yellow, you can just mix in a little hint of white quash to your permanent yellow light color. Or try using in white quash because for pastel colors, white quash gives a better opacity. Then next I'm going to be using it is the violet shadow color. So this is the violet shadow that I have from white Knights again. Now, in case if you do not have the violet shadow color, it's okay. The color mix that we have been creating since the previous two projects, that is the mix of the violet with a little hint of pains gray. You can use that color in fact. Okay. And then I'm going to use in the beautiful light red tone from this color, or you can even use a pink color. So if you have an opera pink, then you can mix that with a little hint of red. So I have this permanent rose color which is kind of a little towards the pink tone. So I'm just going to squeeze out a tinge of this as well. Very little because I'm going to use it with her little hint of the red. So this is from the Windsor Newton Cotman watercolors. I absolutely love this pink tone because of the brightness that it has. And for the orange, I'm going to use the orange from this Mahini set that I'm using in because this orange is a beautiful, you see bright orange color that comes out. So as it is, I'm going to be using it in a very light consistency. And plus, when you create a pastel of this orange, it turns out really beautiful. So now let's go ahead with the layer of water onto the entire sheet. So I'm going to go ahead with a layer of water onto the entire sky. We're just going to go ahead with a beautiful sky with some cloud details, and then we'll just add in a very simple loose silhouette at the bottom, Oliate wet on wet, loose style. Now, make sure that your edges are perfectly wet. So run your brush multiple times on all the spots so that your paper is evenly wet. Otherwise, it may give you patchy and uneven drying. I'm using Archie's 300 GSM, 100% cotton, cold pressed paper skedjb. So that is the reason I know this paper will stay wet for perfect time. But still, you know, I want to be really sure. So you see I'm running my brush multiple times, making sure that it's evenly wet throughout and has that even glaze throughout on the entire paper. Alright. Now, let's begin in with the colors one by one. So I'm first going to begin in with the blue color. So just picked up a little of the blue color and going to begin in diagonally little this time. All right. Now, next, I'm going to shift into the naples yellow. So beautiful pastel yellow. Then shift into a little bit of the Indian gold colour, which is a beautiful yellowish orange tint. See such a beautiful highlight it gives in. Go to pick up a little bit of the orange now. Be very careful about the orange closer to the blue. You see, I just let it be there and let the blends happen naturally. Now running with a little bit of the orange over the yellow and the Indian gold as well. And now I'm going to pick up this beautiful permanent rose color from the PincerNwton series, which is, you know, a beautiful pink tone. You can pick up a neon pink as well if you haven't, or you can simply use any other tone of pink that's available in your palette. Now you see at the yellow and the blue blending point, you just need to go ahead gently such that you do not form in the green tones and using a dam brush, creating that soft blend happening in. Now I'm just going to go ahead with another layer of paint creating in the darkness or the bold effect because watercolors will be drying a tone lighter. So first, pigging in with the blue, just piging in with the darker tones. And again, using the damp brush running in here. Now I'll pick up the naples yellow again. Now going to pick up a little of the orange color. Indian gold. For the Indian gold, you can just mix in a little hint of the brown to your orange and you'll get a similar looking tone. And now, lastly, I'll again pick up the permanent rose color. All right. And now using in the violet shadow color, I'm going to go ahead and add in the cloud details. So just going ahead, blending in. As I told you, this violet shadow color is exactly a mix of the paint screen and the violet color that we have been using. So you can just go ahead and use the same color mix. And I'm just going to go ahead add in the cloud details using a little liquidity consistency of this paint. So you see I'm adding in a lot of water such that, you know, it has all the softness into the sky. Even on the orange and the yellow spots going ahead with this color, creating in the cloud details. So you see your paper has to stay wet for enough time for you to add in all of these details wet on wet. I'm going to pick up a little of the blue, mixing in with this color and give in little cloud details with this bluish violet color at the bottom. While blending, you got to be a little careful making sure that you do not get in muddy tones or complimentary color while mixing in these tones. I'm going to pick this color in a little darker consistency to add in little darker cloud details. So now I'll be using the tip of the brush to drop in these paints. Again, we are still working wet on wet, as you can see, Just using a damp flat brush going to get in a little of the color. You're in the center. You see, loosely using in the brush to create in the flow of colors towards the center side. I'm gently adding in some cloud strokes with the same violet color in a little darker consistency. And now at the bottom space here, I'm just going to pick up the pains gray color, mix in with this violet blue, or you can even use an indigo color if you wish to, and just mix in your indigo, or you can directly pick up an indigo color and just going to add in that foiliage detail here at the bottom, wet on wet. So you see the loose kind of foiliage that I'm creating here. I'm just going to pick up a little pains grey color on its own and drop it at the bottom to give in more of that darkness. So you see you get that little lighter color in the background, and then the pains gray gives in the further darker depth in the foreground space. Now, one last thing that I'm going to try is lifting up a little colour, creating in a glowing sunspot here. So I'm just using clean brush with a little hint of the water and trying to create in that soft sun space closer to the yellow area. You see slowly how that glowing sun is coming out. Every time you use your fingertip again to dab, make sure that your fingertip is clean. Otherwise, the color from your tip will begin laying out there. I'm just using a dam brush, running in a circular motion, creating in a circle out there to create in that sunspot. So you may have to go ahead two to three times to create in that glowing spot of the sun. Now, just going to use in a little naples yellow, and give it that definite shape. And on the edges, again, going to dab dab dab and blend them all in while this is still wet so that we don't have any sharpness for that space as well. See just created in that softness look as well again. Now, once this dries out, we'll go ahead, add in a few more details, wet on dry and then we'll be ready with this. So now everything here has dried out completely, and I'm just going to go ahead, add in some wet on dry details. For that, I'm just going to pick up the pains gray color and just going to give in some detailed bush detail with a violet or a dark pains gray color. All right. So in the foreground here, just adding in some dry brush bush detail. So just using in a spoiled brush, dabbing in, creating in this. You see how it is giving in that texture of the bush. For this, you need to make sure that your brush shouldn't have excess water, neither excess pigment, only then you'll be able to achieve this kind of dry detail at the top. And at the bottom, you can use any other brush and just fill in with the dark color that you're using in. So at the bottom, I'll just pick up this darker color and fill in with this brush. And at the top again so that these colors all have a beautiful blended look, dabbing in. So you see automatically all of this is blending with each other. You see the dry brush texture that we are getting in for the bush details? In the background leo that we added wet on wet is now acting in as the background shadow to this, and then you have this front foreground detailed bush detail that we are adding in. Again, this is also very simple method we've used using this spoiled round brush and adding in these details. Now, I'm just going to go ahead, add in a few more details before we, you know, are ready to peel off the masking tape for this project. So I'm just going to pick up the same dark pains gray color. And going to pull out some loose tweaks like this from the bush space and add in little foiage to them. Now, at this spot, I'm just going to give in some detailed leaves. So just going to pull out some leaves like these. And you just need to make sure that all of this has a blended look. So just going to make sure that it has a blended look with the base. So just go ahead, dab the color because at times one tone color variations may also create that little difference in the color tone. So, you know, it's easier to blend at the bottom again quickly. You see, I'm just giving in simple leaf strokes and some leaf branches at the top here, giving in a little more detailed look and dab dab dab blend it at the base. So I'm not going to go ahead with this detailed leaf throughout. So we just added one simple kind of a tree out here. I'm just going to extend the tip of this and give in more detail. Okay. Now see simple details using in the tip that I'm giving in, creating in those foliage look. And now towards the center space here, we have the sunlight glow. So we'll just use this Indian gold color, or you can even use in the brown color if you wish to. And since I have the Indian gold on my palette, I'm using this color. And using this color, I'm just going to create in some glowing leaves trying to show the effect of the sunlight coming in here, which is causing these leaves of the lighter color glow. But to blend them all in together, I'm going to use quickly the pains gray color around these leaves that I'm adding in. Such that the Indian gold color will look as the glowing highlighted spots. Do you see how we have that glowing spot? Now, into this, we'll have to give in a little definite detail. So once this dries out, we'll give in that detail. By then, just going to use the violet color in a lighter consistency and add in a few birds. This time, it's going to be very few. All right, so just a few birds on one side. You can see the glowing space of the sun is giving in such a beautiful glow into the sky and now using the fins gray. Let's just quickly give in some bold leaf details here. Now, you see the background yellow leaves are acting in as the glowing highlighting spots to these. So that is it. We are ready with our project of this painting as well. A very pretty simple sky. You can see the pink cloud highlights, which are still visible from behind all the details. Then we have the glowing effect of the sun that we've created, the violet shadow clouds that we created, and then a simple view of the background foolage that we added and then some detailed foolage in the foreground. So that is it for this one. Let's peel off the masking tape. Peel off the masking tape carefully always against the paper. So here's the final look at our painting. You can see the glowing sun, the simple foiage and the effect of the sunlight on the leaves that we've added in here. With the help of the Indian gold color, you can even use a brown colour. We went ahead with very simple filage simple leaves, a simple tree to add into the silhouette, and the glowing soft sunspot that we created. So that is it for this one. I'll see you guys into the next painting. Thank you so much for joining in and painting along with me. 10. Day 7 - Mini Autumn View: Hello, everyone. Welcome back to the next painting of the 50 day watercolor Challenge. And today we are going to go ahead with another mini, which will be a very simple, easy autumn landscape. So I'm just going to begin marking out a cabin out here, a very simple, you know, layout or the silhouette of the cabin that you can choose to go ahead with. You can choose a front view cabin, side view cabin, and that's absolutely your choice. And around the cabin space is majorly where it's going to be a horizon line. So this is going to be a cabin, very simple details that we'll be adding in. And this is going to be our simple autumn misty sky, and this is going to be the autumn field, which we'll be painting in autumn colors. And here in the background, we'll give a little wet on wet autumn you know, misty effect into the sky. And across this, also, we'll be adding in little of the blurry autumn details. So let's begin with the sky and step by step, we'll keep on adding in the details. So first, pinging in with a layer of water into the sky, we don't need an extra wet layer this time. A normal wet layer would be good enough to begin in. Now across the cabin that you've added, go ahead carefully so that there's no water running in there because we want to keep the roof white, and the rest of the details we'll be adding once this sky dries out. So just going ahead with a wet layer of water. I'm using Saunders waterfur 300 GSM, 100% cotton cold pressed paper. So this will stay wet for enough time for me to just give in simple details into the sky this time. Now for the sky, I'm going to be using in the pains gray color, and I just need a little hint of the pains gray you see a very light layer, and along with that, I'm just going to be picking up a little bit of the yellow Ochre color because as it's an autumn one, just going ahead with a very light mix of these two colors into the sky. Again, closer to the horizon line, I'm shifting into the Pain's gray color. So you see a very light, misty sky is what we need, with a little hint of the yellow ochre in the center. And the pain's gray also, you can see, it's a very light colour. But make sure to have that little pigment because watercolors dry out a tone lighter. Now I'm just going to be going ahead with some misty trees into the background of the sky while this is wet. So just picking up a little of the yellow ochre and the pains gray again. And just going to go ahead and while this is still wet, just creating simple pine tree details out here into the sky, creating in that mist only till the half of the cabin is where I'll be taking it, and now using the paints gray, I will begin adding in details in between this yellow ocher that we added in. So you see, we'll have both the colors in the background in a little misty form. Now, of course, if you want, you can give in little detailed fooliage to a tree or so out there. Again, just picking up little yellow ochre in between, adding in some more misty effect. Now, I'm just going to pick up a bit of water and drop it here. So automatically, the water will flow at the top space and create in that misty effect because towards the horizon line, we just want a simple plain sky. So you see just drop in water in between so that you get in that misty effect. And I'm just you see quickly moving in the water in all the directions. So that is it for the mistiness that we needed in the sky out here. Now, for the base field, we'll wait for the sky to first dry out and then go ahead year further. But while the sky is still a little wet, we'll just pick up a little mix of the red colour, brown color, and a little hint of the yellow ochre. So take up yellow ochre, mix in little of the yellows and red and the brown to get this beautiful reddish color for the autumn details. And wet on wet here, we are just going to go ahead, add in a little of the autumn details into the horizon line space. You see I just mixed in the bon sienna, my p roll red from Shinan and the simple yellow ochre from Mijello Mission. You can use whichever colors available in your palette from your brand. You can go ahead with just a mix of the yellow ochre and a little hint of red, as well. And if you add in that little brown, it gives in that beautiful, you know, autumn feels. So that's exactly the color mix that we've used here and just adding a little of that mistiness on the horizon line with this color while the sky is still wet. Again, just dropped in little water in between to create in that soft effect. And that is for the background sky that we needed. Now we'll wait for this to dry completely, then add in the rest of the details. So now my sky is completely dried and we're first going to begin in with the details into this field here. So I'm going to be using in just a little hint of the naples yellow first closer to this barn space here. And then I'm just going to go ahead with the yellow ochre first, and then we'll just darken it to the autumn color that we created. Now I want the yellow och also in a very light consistency, and I've laid down a very dark layer so I'll quickly go ahead and blend this into the rest of the space. Go ahead carefully at the horizon line. And I'm just blending it, creating in that autumn field. So this is going to be the base of our autumn layer here. I'm going to pick up this Pettersburg ochre, which is a very light pastel color, and just going to drop in a little in the center space because the yellow ochre was completely hidden. You can simply go ahead and use in a very light yellow hint, or you can go ahead and add in white to your yellow ocher and use it. Now to begin adding in the darker hints, I'm going to begin with a mix of the burn sienna, along with the red color because we need a beautiful reddish brown color, and just going to begin adding in little details at the bottom, wet on wet to give in that autumn effect. So you see we are working bit on bit onto this simple field that we are creating in here. And now I'm going to go ahead with a little bit of the Vendec brown color, which is a dark brown. You can go ahead with any dark brown that's available in your palate. And using in that little dark brown hints, just going to create in little bit on bit foolage effect. You see, just running my brush in simple strokes in such a way that we still have little yellow ochre, the reddish brown that we added, and now the yellow ochre, all sorry, the vindic brown all visible into our field space. Now, closer to the cabin that we've added, we will add in little of the brown hints wet on wet here while this is still wet so that all of this will act in as the details across the cabin. The cabin details we'll add in once the field dries out because we don't want the colors from the cabin to move here again. And closer to the craven space, I'll just pick up a little of the paint scree as well to add in the darker effect right now itself while this is wet. But very little details you need in just go ahead with a very light pick of the color and just see very simple outline basically to act in as the shadow, and then just using in a damp brush, going to go ahead and blend it in. Just picking up a little more of the vende brown color. Closer to the cabin space and blending it in. So that is about the simple field that we had to add in, and now we'll wait for all of this to dry and then add in the next layer of details. While our field is semi wet, I'm going to go ahead with a mix of the sap green and the paints gray color, and we're just going to be adding in little pine trees here onto our rightmost side. They're going to be very little and minimal. So your sky's dried, and we just need simple details. So we'll just go ahead so that we have that soft blend of the trees into the field space as well. So my field is kind of like 50% d. That's when I am going ahead with this detail. You can see those little sharp edges and quickly using in the damp brush, or you can even pick up a little of the brownish color at the base and blend it blend these trees into the base of our field. See? Same way, I'm just going to be going ahead with another one here. And this one, I'll add a little more detailed one. So just going to go ahead with little detailed foolage so trying to create it a little delicate because you see a size of our painting is very small and mini. So these little details add in more depth to the painting. And one between both of these, you can use in any dark green color if you directly wish to. I have just mixed in a little of the sap green, along with the paints gray and used in that. And now just quickly using in the dam brush here I'm running it so that we have that easy blend coming in. And I'll just add in one simple tree closer to the cabin, as well. A very small and tiny one. So that is for the details. Now we are only left to add in the cabin details, which we'll add in once the field is completely dried out. Now into the cabin, I'm going to be using in the Pain's gray color in a light consistency. So basically, a greyish colour is what you need here. And just go ahead, fill in the entire space, leaving the roof space. So I'll let the roof be white only and just going to go ahead with this color into the rest of the cabin. And on the edges, you can just pick up a more fine detailer brush and drop the paints gray in a darker consistency so that it acts in as the shadow details of the roof. So since my brush has a pointed tip, I'm going ahead with the same brush for this detailed wet on wet into the cabin so that it dries out and has that smooth, soft blend. You see how the darker colors are coming in from the edges, and in the center, you have that lighter effect. I'll just use a dam brush and create a smoother blend between the colors. See it's a medium grayish color that we've used in. Now, on the roof of the cabin, I'm just picking up water and just picking up a little hint of the paint's gray color. And I'm just going to give in a washed layer kind of. But I'm not touching it to the rest of the house, so I'm leaving that little white line there because you see, as soon as you touch in and it's wet, so the colors bleed in, I will quickly lift up this color with the help of a damp brush. So be very careful or else, wait for the rest of the cabin to dry out first and then go ahead with this. And using in the paints gray, I will add in a small chimney out here. Now, we'll wait for these to dry and then add in the details into the cabin. So now this is completely dried, and I'll just begin using in the white quash in a thick consistency and just add in the highlights to this cabin now. White watercolors will not dry out that opaque, so I recommend using in white quash, or you can even go ahead using a white gel pen if you wish to to add in these details or a white acrylic color or anything that dries out opaque and bold will give you a better effect. Just adding in simple details with a white colour to this cabin. I'm using a detail or brush which is three by zero, so I'm able to get in these fine details even into such a small cabin and just going to add in more highlights with the white, and then we are ready to peel off the masking tea, and we'll be ready with this painting for today. Now, into the rest of the space, if you want, you can just add in a few white highlights. So just adding in some white highlights. And that is it. So let's peel off the masking tape and see a final painting from today's mini project. And you can see, even despite being such a small size paper, it took us almost 15 minutes to create this mini painting with the tiny details that we've added in. The wet on wet details also take time to add in to create in the depth. And here's a final mini painting from today's class project autumn them simple landscape. I hope you guys enjoyed painting this with me, and I will see you guys soon into the next painting of this series. 11. Day 8 - Learn to Paint Clouds by Lifting: So let's begin in with our next painting in this series, and we are going to go ahead with a beautiful bluish violet sky this time, right? So I'm just going to add in a small mountain range here at the bottom. Okay. And then we'll just add in a little of a field kind of a detail here, very small, you can see. And we're going to begin with the sky. So for the sky, as I told you, we are going to go in with a loose kind of bluish twlet sky with the cloud details. So I'm going ahead with the layer of water into the sky first. You see, I'm running my brush carefully around the mountain range, and on the edges as well, I'm making sure that there is no excess water because in the last painting, you know how the water seep from the edge. Though we could cover that up easily, but still it's better to be careful because at times with watercolors, there's no going back. Once you lend onto something, then, you know, it's very difficult to undo with watercolors. I'm just going to begin with very soft and loose strokes. So I'm going to let the whiteness of the paper also add to the magic of the sky this time. And first, I'm beginning in with very light layer, as you can see, not going in with too much darker bold tones already because with watercolors, it's always better to build in from light to dark because once you lay down the dark colors, it's not easy to get in the lighter highlights into your painting. So go ahead with the lighter color tones first and then move on to building in. Now across the mountain, going ahead carefully defining in the outline. Now I'm going to pick up the violet color. Again, the violet, also, I will be adding it in such a way that we still have the blue maintained as well as the whiteness. But you see I'm just randomly dropping in paints to create in details into the sky. Along with the violet, I'm going to pick up a little hint of the paints gray, but paint screen are very light consistency because, you know, otherwise, it may give in very bold and dark effects, which we would not want. We just want little grayish hints between the blues and the violets that we are adding in. You see how loosely I'm just adding in loose strokes to create in the details into the sky. Now, this is just the first layer that we've added, and now we'll build in depth with the darker colors a bit, and then we'll wait for the sky to dry before we move on to the next leg of details. Alright, now I'm going to go ahead and add in some cloud details with some bold color into this. So first, I'm going to pick up the blue color and using the mix of little hint of the ultramarine with the erlean blue, I'm going to begin adding in some cloud details. You see how the dark colours are now popping up on the lighter strokes that we added. Similarly, going to mix in a little hint of the paints gray and drop in some cloud details. You see, if it's too dark, you need to quickly lift it up because we don't want too much of the bold effects either. But with watercolors, you know, the watercolors will try out a tone lighter. So you need to accordingly build in your depth as well, keeping in mind how your paints dry out. So it's always better to have a swatch test of your paints ready so that you know how which color dries out and the effect of each color that comes in. Going ahead with a little bold effect of the serle blue color. From the edges, I'm being careful this time, making sure that before the paints dry out, I have the perfect, you know, edges. And it's the wetness of the paper that's doing the magic to these clouds, adding in the softness still. Just going to add in little violet highlights, close to these bold blue clouds that we add in so that we have a blend of the colors coming in perfectly. All right. Now if you want, you can go ahead with a little bit of a lifting technique at spots to create in some cloud details. So you can either use a tissue paper or the edge of your cotton cloth and just go ahead with some dabbing at spots to create in the whiteness effect of the clouds. Of course, for that, one thing that will play a major role is going to be your staining property of your pigment. As to if your pigments are staining, they won't give you that effect while lifting up. But in case if your pigments are not that high level staining, they will easily get lifted up. Just as you can see, I just have that little stain on the paper, but the lifting technique has created such beautiful bold cloud effects in between. So that is it for sky. I will let it dry completely, then move ahead further. So now my skies dry completely, and I'm going to go ahead with the mountain space. So for the mountain, I'm going to pick up the violet color a bit to just give in a little glow into the mountain space. So very little layer that I'm adding in. You can see it's a very light, watery kind of a layer with just a little hint of the violet that I've added in. And now I'm going to use in the brown color. You can go ahead with both Sienna first and then build in the depth. We are going to go ahead with little dry brush as well onto the mountain range later on. So I'm just going ahead with a light brown first. And blending it with the violet color. And on the top, as well, I'm going to give in the outline with the brown tones. Alright. I'm just going to go ahead add in the color completely. Now, while this is wet, let's pick up the darker brown tones and go ahead and add in some more depth and detail. So for that, I'm using in the burnt umber color and just going to begin dropping in some patches of this dark color. Now, make sure that you add these in such a way that you still have the lighter highlights at spots visible. Just giving in the mountain range a very rough edge so that it looks more realistic and natural. You see, we have that little violet highlight spot still there glowing and right. Now, I'm not going to add in much detail right now into the mountain. We'll wait for that to dry because we are going to add in some dry brush texture this time. So, you know, we can build in the depth while adding in that detail. But in the bottom field space, I'm going to go ahead with the greens. So first I'm going to pick up this light green color. And just going to add in little into the center space. And on the edges, I'm going to go ahead with the dark green. So I'm just going to use in the sap creen color on the edges. You can go ahead with sap creen, olive green, whichever darker greens you wish to. You see excess water that is ruling out here. Now, I've not waited for the mountain range to dry or create a separation between the field and the mountain at the moment, because when I'll go ahead with the dry brush technique, I'll do all of that. So that is the reason I just went ahead with the field right now itself and adding in the details. Now, using in the darker green, just going to drop into the field. Just in the center, I'm going to let in little of the lighter green globe be there. And furthermore, on the edges, I'm going to use in the pains gray color. All right. So that is about it. Now, we'll again wait for all of this to dry and then begin adding in the textures into our mountain and the field. So now everything has dried out, my mountain, my field. This may look a very tacky space for you right now, but now when we'll begin adding in the texture to the mountain, you'll see everything coming in together. So for the mountain, I'll begin with this peak point here and just begin in giving in a little distinction point. Now at certain spots, what I'm going to do is just pick up a little color and first create in some spots like these. So like the pain's gray darker spots. Now when you go ahead with the dry brush technique, the most important thing to keep in mind is about the texture of the paint. That is, you need to pick up the paint in a good bold consistency so that you can get in these dry brush strokes. Also, you need to keep in mind about the wetness of your brush. Your brush shouldn't have excess water, neither excess pigment. It should have these dry consistencies such that it can help you get in these textures. So you see I'm just building in lines and then pulling out the dry brush strokes. If you notice the angle of my brush, it's approximately a 45 degree angle that I'm holding it at and building in the textures. So this center line that I marked out from there, I've pulled it towards the bottom left side, and from this side, I've pulled it towards the bottom right. So this way, you can create in the distinctive points and create in the flow of your mountain with the help of the dry brush. So again, here, I'll just give in a small flow. You see, in between, I'm just adding in some bold lines. Now, this side, I'm going to create in the texture falling a little first towards the bottom left. And then from the bottom side, going to pull in a little towards the top sides. So basically, these actually can go ahead in any direction that you wish to. But it's all about how you want to build in the flow into your mountain that you decide as to how you want your dry brush strokes to end up like. If you want, you can just go ahead with simple flows, and now I'm just going to go ahead add in some darker spots into the mountain, creating in some rocky patches. Oh so you see now, as soon as you add in these bold lines for this, make sure you use the color in a good bold consistency so that they dry out also bold and vibrant. Now, you see, as soon as you started adding in the dry brush, the field and the mountain is automatically getting in that distinction point, as well as you didn't have to wait much for the field details to add in because of this. So at the meeting point of the field and mountain, I've given in good bold, rocky kind of details. What Alright, you see how we build in the depth into the mountain with such easy techniques. And now into the field, I'm just going to take in a little bit of the dark green hint. And just going to add in some small bush details randomly. Okay, so just little details into the field as well. Now, going to go ahead, add in a few birds into Aski. You can either use black or pains gray for this, as well. So you see the different flight angles of the birds that I'm trying to add in. So that is it. We are ready with our class project. So let's peel off the masking tape and see our final painting. Make sure that your edges are completely dried before you begin peeling of the masking tape. And you can see in this painting, I made sure that the water from the edges doesn't see back from anywhere. So make sure that the edges didn't have excess water firstly. You can see the texture of the mountain is creating in so much depth, and the darker lines that we added is creating the flow in the mountain with a very simple, tiny little field that we added at the bottom space. I hope you guys enjoyed painting this, and I will see you guys into the next painting of the series. 12. Day 9 - Bright Sunny Day: Let's go ahead with the next painting in this series, and today we are going to go ahead with a very simple loose kind of painting. This class is more about learning small projects, easy, fitting into your, you know, simple time schedule, and that's how I've designed all of the projects. So I just added in a small field line, and I'm going to go ahead with a layer of water into the sky. This project may hardly take up like ten to 15 minutes of your daytime, but you'll get new techniques to learn in. You'll get in a new painting for yourself. Plus, it's going to be a good 15 minutes of self care, I would say, that you can do with just small exercises from this class. I agree a few of the paintings may have details and may take up a little extra time, but you can always split it into two and go ahead. So first, I'm going ahead into the sky space and add it in an even layer of water, running my brush multiple times, making sure that everything is dried out completely. And now I'm going to begin in with a simple blue color for the sky. I am more inclined towards using in the ultramarine blue this time, but I'll try to stick into a cobalt blue color maybe. So you can either use ultramarine blue or you can go ahead with a cobalt blue color. I'm going ahead with a cobalt blue color for this one. And using the cobalt blue, I'm just going to pull out simple worlds into my sky. And this time, along with the paints, I'm going to keep on using little water around it to make it more soft and, you know, easy going. So just going to go ahead with simple strokes like this coming into the sky and this time, I'm going to use in a little hint of the yellow occur as well into my sky. So anywhere you feel that you need a little water for the paints to spread in, just go ahead, dip your brush into the water and add in some simple water strokes along with the paints. So basically, you are using water as a color as well for this one. Alright. You see, I'm just going ahead with swirls into the sky with the cobalt blue color. Along with the cobalt blue, I'm going to use in a little hint of the yellow ochre and then the pains gray. You see how such a simple sky has come into the painting with just very simple details. Now just going to use in a little of the yellow ochre. Again, in very light consistency, just highlights. So if you want, make sure you add in enough water with the yellow ochre colour, such that you just add in these highlights. You see, just little highlights that I added in. And now using in the pains gray color. Again, the pains gray also we are going to be using in in a very light consistency and just going to go ahead, add in some flow and clouds. Now, wherever you feel that you just want to soften these up, go ahead, use in the damra, soften them up. Now just going ahead with a little more of the cobalt blue, darker hints at spots to create in some more depth. Overlaying a little over the yellow occurs as well. Now with the paints gray, adding in a little highlight. And that is it. We are ready with our simple sky in just under 5 minutes. And I'll just pick up a little more of the cobalt blue color. Now, again, make sure you have a look at your edges first before the sky dies out that there is no way water seeping in creating any patchy look. Now into the field, I'm just going to go ahead with the yellow ochre color. So I'm going to pick up the yellow ochre. I'll leave a very fine line between the field and the sky, and then I'm going to use in the bright yellow color. So I've just added a little of the yellow ochre, and along with that, I'm using in the lemon yellow color. You see, I'm leaving in that fine line in between. And onto this left area, I'm going to go ahead with the greens. I'm letting the white caps be there intentionally so as to create in little textures into the field naturally. You can see the white spaces are acting in as the textures. So here are the spaces that I've left in. And now going to pick up a little green, go ahead on the horizon line. So all of this is still wet. Okay. And on the wet only, I'm going ahead with this little green hint, giving in that soft bush detail on the horizon line. So my sky is actually still wet, if you can see, that is the reason the greens are getting in that beautiful blended effect. You see the softness of the greens coming in here. Same way, going to go ahead with a little green as well. I'm letting the white cap still be there at spots if you can see that is adding into the texture of the field, giving in that loose effect. Now, just going to pick up little pains gray color and add in some darker effect to these. Again, wet on wet. So the first layer of greens is still wet to which I'm adding in these darker hints, added in a little paints gray to the green and using in the darker green. Of course, if you want, you can directly use in a darker green from your palette, but I usually like mixing in the colors from my palette, which are already there so that I can reuse the colors. Plus, they create in much better blends. So just add it in the simple field you're leaving in those white caps intentionally, as you can see. If you feel they are too much, you can just add in little colour textures on top of them again. Okay. Now, we'll wait for all of this to dry out completely, and then just add in a few birds into the sky, and then we'll be ready with this painting. So let's wait for this to dry, then move ahead further. But by the time this is drying, before this dries out, what I'll do is I'll just pick up a little more of the paint's gray color and just add in a little more depth in the bottom of the field before it all dries out. So you see how I'm just going ahead with lose paints gray strokes. And if you noticed from the start till the end of this project, I have just been working in with this one flat brush to create this entire painting. So that's another challenge that you can give into yourself and use limited supplies, limited color palettes, and, you know, build in more practice that way. I just use the bigger size flatbush for the wash layer, and apart from that, all of the details I've been adding in with this brush, including the bush, as well as the field and all of the other details as well. So just added a little more depth into the field. Just going to soften it up at spots. Adding in litter of the lemon yellow. Alright, now, I'll wait for all of this to dry out, and then we'll add in the birds into the sky. So now everything is completely dried out. I'm going to use in this 0.3 nib pen. And this time, I'm going to add in very fine birds. Alright? So you see very small tiny birds that I'm adding into the sky and majorly on the top side close to each other. Just some different strokes and just at the top, very light, very tiny that I've added in. And last, one thing that I'm going to do is I'm going to pick up a little of the paints gray or the dark green colour, whichever you wish to and just go ahead with a little dryush at the bottom of the field. So you see just using in a little of the dark and green colour, I'm giving in a little dry brush. You can use either Pains gray or you can go ahead and use in the dark green colour as I told you, and just go ahead and pull out these little textures. Letting the center glow be there, not adding in much details there. So that is it. We are ready with our painting. I've let those white patches be there intentionally into the field to add in a little point of highlight. Now, if you want to add in another layer of highlight to this, you can even use a white pen and define these a little more a few into the field as well. So just pulling out some white strokes like these. Okay. So that's how you can use the white helpin as well to define these, but we've already left them with the dry brush, and that's all adding into the, you know, field part of the painting. And that is it. We are ready with this painting in around approximately 10 minutes time, and I'm so happy with how this has turned out. Small pieces of practice, small simple details, but yet an entire painting coming in together. I hope you guys enjoy painting this one, and I will see you guys soon into the next painting of this series till then make sure to keep painting along with us and keep up floating in your projects into the projects section, as well as if you like this class, do drop in a review so that it can help me reach maximum students and help people understand what this class is all about. And I'll see you guys into the next painting. 13. Day 10 - The Majestic Mountain: Hello, everyone. Welcome back to the next project into the 50 day watercolor challenge. Today, we are going to go ahead with a beautiful field view. So the major part of the paper is going to be the field space and the mountain range that we'll be adding along, and the rest of the top space will be the sky. So just marking out the huge mountain range that we'll be having in here, right? I'll just define it a little more. And then here at the bottom, we'll just have a little field space, or basically a dry field here. So for the sky this time, I'll be using the indigo from the PWC set. So basically, this indigo is not actually exactly indigo that I've been using so far. This is more like kind of a grayish blue color, which is perfect for the sky that I'll be going right now. Alright? So let's begin in with a layer of water first into the sky. So I'm adding in the layer of water, leaving in the mountain space for now. And I'll just go ahead with the sky first and then we'll move on to the mountains and the bottom space. All right, so I've just given in a generous layer of water, making sure that everything is even. No excess water needed because we're just going to be having a simple sky this time. So the top of the sky is going to be dark and moving downwards, we are going to make it lighter to show the glowing light effect here. So I'll just pick up the indigo color, which I already have on my palette here and just begin in from the top. And as I move downwards, I'm just going to be going ahead and diluting this color and spreading it with the water on the paper. So as I told you, we are just going to be having in a simple flat wash of the color. At the top, it's going to be a little darker hint and moving downwards, we are just going to lighten up this shade and give it a very light wash. Now, if litter off the paints are going into the mountain scape, it's completely okay because they will all get covered up when we go ahead and add in the details into the mountain. So just went ahead with a simple wash into the sky, as you can see, I will just go ahead with a little more layer of the colors at the top. So as I told you, the top will be dark shade. So just picking up the dark shade at the top again and moving downwards, we'll just blend it. You see, I'm not picking up any color for the bottom space, just using the water on the paper to dilute all of this. So that is about it for the sky, just a simple sky, as I told you. Make sure the transition is smooth and even. Alright. So that is it for the sky. We have this glowing part of the sky here, the light of which will show falling onto the mountain space. So you see the glowing part of the sky that is here will reflect onto the lighter spaces of the mountain here. Now, by the time this is drying out, we'll just go ahead and fill up this space as well. For this, I'm first going to go ahead with the born sienna color. I'm directly going with the colour wet on dry. My paper is dry on that going ahead with the wet layer of paint. Going to fill up this entire space with the bon sienna color first. And then using in the burnt amber color, I'll just go ahead and add in little details wet on wet. So the bon sienna color will be wet. On top of this, I'll just go ahead with the burnt amber color and just add in little details. So while adding in the details with the burnt amber color, make sure you use the color in a medium to thicker consistency. All right, and just towards the bottom, wet on wet, add in lines like these to add into the feel so the burnt sienna color is still wet, so you will get the softness of these paints as well. And on the horizon line, just going to basically the distinction point of the mountain and this base field, just going to add in a little darker color to act in as the shadow. And now I'm just going to be using in a little mix of the paints green to the brown and add in some darker effects as well onto the burnt amber color. So all of this is wet on wet, very simple part of the field that we are adding in. So you see every color is less than the previous color in such a way that the previous colors are visible and each color has its own look and detail visible. You see, we've maintained the glow into the field as well here. So that is about the field as well. Very simple that we've kept in. Now we'll wait for the sky to dry and then move on to this mountain space here. So at the top here, I'm going to begin in with this burnt amber color, which I have squeezed out on my palette here. And you can go ahead and use in any medium to dark brown tone and just begin in with the first layer first. So it's not going to be a complete brown mountain. We are going to have a lot of greens moving towards the bottom space. Now I'm first picking up a little bit of the browns. To this, I'm just going ahead with a little mix of the indigo or that I used in the sky to give in some darker light. Alright? Now, I'm just going to be picking up little greens. So this is the base leo that we are creating in first, and then we'll go ahead with the details. So now I'll just pick up little greens in between and add in in between the browns. You see, going to add little greens between the browns to create in the texture. And then moving downwards, we'll transition to the green. So you see how from the browns, we are transitioning towards the greens and then moving further downward, we'll go ahead to a lighter green. So I'm going ahead with the first layer wet on dry because as we build in the layers further we'll be adding in textures, so we don't have much wet on wet to work here. That is the reason for the first layer, I'm just going ahead with the wet on dry technique. Now just adding little browns into the greens that we added at the bottom. Now here we are going to have the glowing green effect because of the light in the sky here. So for that, I'm going to begin first with a permanent yellow light color. So adding in the layer of the permanent yellow light, and now around it, I'm going to go ahead with the greens. I'll go ahead with the yellowish green color, which is a very light green color. You can use any light green that is available with you. So this space will act in as the shadow light space of the field that we are painting. Basically, this is a greenery mountain range that we are adding in. And now, along with this screen, we are going to use in the Saprine color to keep on adding in the darker effects as well. Now, if you're worried about some of the blends or some of the spaces where they may look sharp or uneven, it's perfectly okay because when we'll be adding in the texture on top of these, everything will get hidden up. Alright. So now let's go ahead with the Saprine color. Now into the rest of the space, let's just go ahead with the sabrene color and blend them well. So by the time now I've reached the bottom space, as I told you, my bottom area is also dried out. Alright, now let's go ahead and add in some textures wet on wet. So just going to keep on darkening up the greens. And for that, I'm just going to be using in the tip of my brush now and using the same sabrene color, creating a little flow out here. So you see I'm just adding loose strokes. M I'm still maintaining the glowing effect that we need here and into the rest of the space, going ahead with the darker tones step by step, building in the depth into the space out here. Now, if you feel that here the drying is looking a little uneven, you can go ahead with a layer of the browns again and blend in with the greens, so you see. But go ahead in such a way that you have some lighter spots. So for the lighter spots, you can just go with a layer of water to blend them all in. Now, using the browns as well, I'm just going to go ahead add in little brown spots as well. At the bottom green wet on wet. You see everything is having in soft blends and easily getting in, you know, blend easy because of the wetness. I didn't want much of the wetness. That is the reason I went ahead with the wet on dry technique, and then just adding in little highlights because the paint is still wet that we added in. Now, just going to pick up little darker brown. So you can mix in indigo or pain screy to your brown that you've been using. And I'll just add in some darker effects while this is wet before we move on to the textures. So you see just adding in some darker highlights wet on wet. If your paper is something that dries out quickly, you can first add in a layer of water into the entire mountain space that we are painting and then go ahead with the paints to keep your paper wet for a little extra time. But in case if your paper is something that, you know, does not dry out that easily, then you can just go ahead with the way that I went ahead that is directly using in the paints and going ahead and blending adding in layers. Now, I've mixed in a little hint of indigo to the greens as well, and just going to add in some darker spots of the greens. Make sure to maintain this glowing light space. I will pick up this lighter green and add in some green at the top here where all of the greens have hidden up. So you see it feels like a transition from a rock to the bottom greenery space. Now let's wait for this to dry out completely, and then we'll go ahead and add in the details. So now everything is dried out, and we're just going to go ahead, add in some textures before we wind up this class project. So for the textures, I'm going to first begin using in a little darker brown color. I'll begin adding in little dry brush texture to the mountain at the top here. Now, for the dry brush texture, you need to keep in mind that your brush shouldn't have excess pigment, neither excess water. Go ahead with very little pigment onto your brush and just drag it a long way to get in textures like these. Now I'm first adding in these textures over the brown spaces. You see, pulling out small, small texture spots. And somewhere you can even add in some bold lines like these using the dark color first to create more flow into the rock spaces. Then here, I'm going to go ahead a little diagonally with the texture. So I add it in that line, and now just going to pull out little textures. So make sure again to dab off all of the excess pigment first. You see how the textures are flowing in. I'm leaving the green spaces for now bland because there I'll be using the green color to add in similar way of textures, and the rest of the space here as well, just pulling out these textures of the brown color. Do you see, simple way of adding in texture. Now, same way we are going to form in a dark green color. So I'm mixing in the paints gray along with the green and just going to use it in a dry consistency, dabbing off the excess pigment, excess pain. And on top of these, just create in textures. Same kind of textures that we used with the brown color, using the same just with the green tone. Now here, you see the flow of the mountain is diagonal from top to bottom. So the flow of the textures will also be similar. Now I'm just going to use in some green color to add in texture at the bottom space. Using the sap green color, just going to create a little texture effect. Now, make sure that your flow is maintained. And as I told you, we're not going to be going ahead with a lot of texture, just little texture into the field. A little towards the bottom side here. All right, so we're almost through the texture part. Now onto the browns, let's go ahead with the next layer of textures. Top space here, I'm going to go ahead with some darker texture. So sing in the pains gray color, just going to create in the second layer of texture onto the browns. Again, it's going to be the dry brush stroke method only that I'll be using in. Make sure to maintain the flow of the texture that you want in. You see? Adding them in such a way that we still have the lighter texture of the browns also visible, and along with that, we have the darker texture of the pains gray color. Alright, so we've just added a little texture. Now, let's go ahead, pick up a little of the darker brown mix of the pains grey and the brown color. And just going to add in some bold rocky kind of look as well. So in between at certain spots, see? Just adding in bold details like these to create in the texture or the depth. Now, here as well, we'll just give in some rocks or stone look like these. Okay. Oh. And I'll just add in very little bush detail towards the right side here at the meeting point of this huge rock that we've painted and the bottom dry field detail that we've added in. So you can either use in the dark brown color, paint's gray color, whichever color you wish to use and add in this little detail. And lastly, just pick up little brown or the pain's gray color and going to go ahead with a little dry brush texture onto the field, as well. So in the field, majorly texture that I'm adding left to right, all moving horizontal only, no diagonal, nothing. So let's peel off the masking tape and see a final painting with the clean edges. Make sure you peel off the masking tape carefully against the paper such that you do not tear off the edges or any excess water of the masking tape peeping back into the painting. That's our final painting from this class project. You can see the beautiful gradient sky that we've got and very simple texture and the details that we went ahead into this space and a simple bottom dry field, muddy kind of detail that we added in. I hope you guys enjoyed painting this with me today. If you are liking this class, make sure to keep uploading in your projects into the project section so that it motivates others to paint along with us and share their works too. 14. Day 11 - Snow Mountains: Hello, everyone. Welcome back to the next painting into the 50-Day Watercolor Challenge. Today, we are going ahead with another easy, you know, under 10 minutes landscape element that we'll be doing in today. So we're going to begin in with a layer of water directly. What we are going to be doing is we are going to paint in a simple sky basically, it's going to be just a wash of a blue color that you wish to use. And then once that dries out, we'll create in a layer of mountain snow caped mountain, along with some simple pine tree slow hit and a bit of the birds flying into the sky. So it's going to be like, you know, very much under 10 minutes. Now, for the sky color, you can go ahead with whichever color you wish to. I'm going ahead with her little hint of the Prussian blue color, and just going to give it a very light wash. You just need a hint of the blue into the sky. So entire paper I'm painting in. So that into the snow also, we have that light layer of the blue colour. So you see just a very light wash layer is what you need of the blue color. Don't need much color effect here. You can even use a little hint of the indigo if you wish to to just give in that little bluish effect. I'm randomly picking up the blues from my palette and just blending them in. You can go ahead with absolutely any blue color of your choice, no specific color, no specific tone that you need in a very light blue wash is all you need. And that's exactly what I've added in here, and that is it for the sky. We'll wait for this to dry and then go ahead further. But what I'm going to be doing is I'll just pick up my small brochure and just add in little movement into the sky as well. Very little. If you want, you can just let it be plain out there and just let the colors do its flow. But I'm just adding in little cloud details into the sky. You see, it's very little. Make sure the color consistency is very light, and you need a very light layer. So you see how I'm blending it in again so that we have the very light effect only. I'll just pick up a little hint of the cobalt blue, and give it a few gentle strokes. You see, using them in a very light consistency. That is it. I'll let this try out, and now then so that is it. I'll let this try out, and then we'll go ahead with the mountain and the other details. So now you see everything is completely dried out. That is basically a sky, which is dried out. And now we're just going to go ahead with a simple layer of the mountain that we'll be doing. Alright? So you can just go ahead, mark out a very rough mountain shape that you want. I'm just going ahead with a layer of water, marking out that mountain space that I need here. Okay? And into this, we'll just add in little color details. So just create an obt layer for the mountain. And using in the cobalt blue color, I'll just begin adding in little colors at the top of the mountain. So you see I'm just giving it a very rough shape that I wish to. You can use cobalt blue ultramarine, whichever color you wish to. It's absolutely your choice, or you can even go ahead with the pollution blue and the indigo mixes itself. So just defining in the outline for the mountain later on when this dries out, we'll even be giving in little wet on dry details as well. Now you can see I'm going ahead with very rough edges to define the top of the mountain and just giving in some wet flow. This is basically a snow caped mountain look that we want to go ahead with. So leaving in most of the spaces white and not adding much there. You see how I'm going ahead with a very rough edged shape to make it look natural, realistic. Okay? So just going to add in a little more from the bottoms here. But you see I'm adding it in such a way that the whiteness of the base is still maintained and we just have little flow of the colors coming into the mountain space. Now, just showing in a little flow by giving in little color spots here like this. So my paper is still wet, but now it's, you know, beginning to dry out a bit. That is when I'm adding in these little spots. Very little, you don't need to add much of the details in here, alright. Now, we'll wait for this to dry. Then we'll just be adding in little wet on dry details, and then just simple pine tree silets here and a few birds into the sky. So now this layer of mountain is also completely dried, and I'm going to begin with a little of the altumgen colour, which I freshly squeezed out, and I'll just go ahead with some wet on dry details again on this. So just some simple textures to give in, right? You can even give it in the form of little dry brush textures if you need. You don't really need to follow a set pattern or, you know, a set way of adding in these. You can just be as natural as you want to because this is just some more texture that we are adding in. Now I'll just go ahead give in some textures with this color. So I'm dabbing off all of the excess and just going to create in little texture. Majorly at the bottom spaces. This side, I'm going to let it be major white, giving in that snow caped look. So that is it for the snowy space that we really need to go ahead with not much to do with and not going to fill it up a lot. Just let the, you know, colors do its own flow, its own magic, and let the whiteness also play the role and just going to add in some bold lines like these to create in that flow. So just using in the tip and the color and giving in little flow to the mountain. You see, creating the left and the right partitions. That is it. Now let's go ahead with a little hint of the indigo or the pains grave, whichever you wish to use, you are free to use, but both in bold consistencies. And by the time this mountain completely dries out, I'll quickly add in a few birds here into the sky, very tiny one flowing closer to the mountain space. So you see just simple drops using the tip of my brush to create in the birds. You can even use a technical ten if you wish to if you are not sure of adding these so tiny details with a brush directly. So you're completely free to go ahead, use in a technical brush, and that is it for the bods detail as well. And now, lastly, let's just quickly go ahead, add in some simple pine trees. Again, for that, make sure that this space is completely dried off. We'll just be having in very little details of the pine trees. See how I'm just pulling out the foliage for the pine trees very swiftly and easily. So you're going to vary in the heights of the pine trees as well. Make sure to keep them moving in natural. Don't keep them across of the same lens. Vary the lens, the foliage, the textures of the pine trees as well. So just pulling out the textures. You see somewhere, I'm just pulling out these small strokes from the bottom. And that is it for the pine tree details as well. As I told you, not much of the details to add in. And that is it. We are ready with this painting as well. I'll just go ahead with a little hint of the indico and add in some thicker or bolder strokes on the side, giving in a little more layer of the detail. Very little strokes that are added in. Alright, so that is it. Let's remove in the masking tape and see your final painting. So I just used in a little hint of the white wash here because the blue seemed to spread a lot, and I just needed little white glue. So just added a little thick layer of white squash and blended it in so that I can maintain that whiteness. And that is it. We are ready with our simple class project for this 50-Day Watercolor Challenge, peeling of the masking tape, make sure that your pine trees are dried. If not, make sure you do not lay your fingers on top of it while peeling of the masking tape. So that is it. I just under 10 minutes, we are ready with another beautiful snow caped mountain, easy, pas, and just minimal use of colours, just some blue shades, and you're ready with a beautiful painting to hang it out, gift it to your loved ones. Thank you so much for joining me into this 50 day Watercolor marathon. I'll see you guys into the next project soon. 15. Day 12 - The Sky Story: Hi, welcome back to the next project of this series. And for the coming two to three days, we are just going to go ahead, paint in simple skies with a lot of cloud details. So not going to work much on the siloeat parts. Focus will be on building in the sky and the clouds. So first, pigging in with a layer of water onto the paper. As I told you, there's no siloed, so no pencil sketch, just going ahead with beautiful colors into the sky, building in the sky step by step. So I'm just going ahead with an even layer of water throughout, running my brush multiple times, everywhere, making sure that we have even layout throughout, picking up all the excess water so that when we begin working onto the sky, we do not have any excess water coming in from the edges. All right. Now, to begin in, first, we are going to go ahead with a simple paste layer into a sky. For the paste layer, first, I'm going to use in this John Brilliant color, which is orangish, peachish tone. You can see it's a beautiful skin tone kind of a color. I'm just going to lift a little hint of this color. Need very little. And I'm going to go with this colour on the base of my sky So as I told you, this is just a very base washed layer kind of color that I'm adding in. And on the top of it, I'm going to use a very light hint of the blue colour. You can go ahead with a sereline blue or a royal blue color or even cobals blue, if you wish to. A blue, but in a very light layer. So you see it's almost equal to, like, kind of a no color layer, kind of just a wash layer with a little hint of the pigment in here. So you see, I've just given in a very light wash layer that we have added in to just begin in with. Now, let's go ahead and add in colour details into the sky. So we are going to add in beautiful tones of violets to build in the clouds, and we are going to be using in the pink colour for some depth. Now, I really love this Wincor Newton permanent rose color, which is a beautiful pink. What I'm going to do is I'm going to just peeze out a little of this rose color. To this, I'm going to add in a little hint of the red, so we can get a beautiful reddish pink colour. All right. So here I have in the pink and a little hint of the red. So we have this beautiful reddish pink color that we are going to form in. And using this, I'm going to add in some cloud details. Now again, important thing is the pigment consistency, the wetness of the paper so that we can get in the flow into the sky and the clouds. So you see, again, just pigging in, adding in little strokes of these clouds somewhere even in lighter consistencies. Now, in between here, I'm going to use in a little bit of a mix of a yellow and orange color, yellowish orange color that I'm going to use in and add in some sunset hue here. You see slowly different colors coming in together. And now I'm going to mix in the Kobalt blue, along with a little hint of the violet tones and begin with the blue tones of the sky. Now again, I'm going to be adding in layers of these clouds, so I'm beginning in with light colors first, as you can see, and then we'll go ahead building in the darker tones as well. So as I always tell you with watercolors, begin small, begin light, and begin such that you can build in layers and depth. Now, you see, I'm just using in random cloud shapes using in my brush, adding in this pigment. So first, this is a mix of the cobalt blue, and the violet color that I'm using in with a little hint of the white which was there in my violet from the previous projects. Now, in between, we are going to let the light base of the sky that we did or do its own magic as well. So we are going to let the lightness also do its magic. Now, I'm using in just the tip of my flatbush to add in some details here. Now I'm feeling that my base paper is beginning to dry out. So I'm just going to go ahead with a layer of water quickly and make sure that my paper stays wet. So in between, you can run in some water layers with the base colors again if you feel that your paper is also beginning to dry. Now, I'm going to pick up this very light hint of the pink color and going to add it from the base. So on top of this peach tone that we had added, I'm adding in little of this pink highlight, but very light shade that I'm building in. Now I'm going to darken up the blue hint into the violet mix that we were using, and now I'm going to just begin dropping in some more bold cloud details. For this, one thing that you need to be careful about is the water consistency of the paints. Now, you need to control the water pigment in your water ratio in your pigment such that they have in the softness, but yet they retain the space in which you add them, still having in soft because of the wetness of the paper. And you see I'm adding them in such a way that we still have the lighter layers visible. We also have the pink highlights in the clouds visible, the yellow highlights here visible. So that's how you need to go ahead, build in the layers. You see, I'm just dropping in random patches with the paint here such that we have the different color tones visible. Very loosely just filling in a very simple, pretty sky. Again, the wetness of the paper is very important. You need to make sure that your paper is still wet for you to add in all of these details, create in all of the depth. Now I'm going to pick up a little darker hint of this pink and reddish mix that we were using and just going to add in some darker highlights here. Now, this is too dark, so quickly picking up a damp brush. You see how the wetness plays a very important role. Now using in the pink, just going to begin dropping in some highlights at the bottom of the sky here. But I want them very soft and blurry. So quickly after adding them in, I'm going to keep them on blending into the sky using in the dampness of my brush. And I'm using the pigment very light, you can see. Now I'm going to pick up a little bit of the pains gray color. And just going to begin adding in some details, very little highlights. If you want, you can mix in the paints gray with your blue and then add in. Or if you want, you can directly go ahead like this, add in little highlights. You can see the yellow orange highlight that I've still maintained in here. Now, at the bottom here again, I'm just going to go ahead with a little more darker hints of the pink. Basically just going to go ahead, add in a darker leer. And to this, I'm just now going to pick up a little orange hint as well and blending in. Just adding in little blends with the red tones here at the top. Now going to pick up very little hints of the violet and the purple colour to create in some smaller and darker depths. You see, I'm still playing along wetness of my paper. So it's approximately almost 10 minutes that I've been working on the sky, but my paper is still wet. You need to be a little quick with these things. That is the reason I've included them into the project so that you can just go ahead, practice these with limited time and try building in and working wet on wet quickly. So just add it in little darker hints as well into the wetness, and that is it. Now, I'll wait for everything to dry. And then we'll just add a very simple silo head to our sky, and we'll be ready with our project as well. Alright, so my sky is completely dry, and as I told you, we're just going to go ahead with very simple ilutate this time. I just want to keep it minimal. The main focus was building in the clouds and the sky. So just going to first add in a few lines into the sky to act in as the wy lines. I'm using a 0.3 waterproof pen, which is perfect for adding in these details because even if I go ahead with any detail or layer of water on top of these, the ink marks of the pen will not spread out nor create any issue. So make sure if you're going ahead using in a pen, you use in a waterproof pen like this. And now using in a smaller size brush and the paint's gray color. Let's just add in a few birds. So this time, as I told you, the silo heads are going to be easy, quick. So you see very simple strokes that I'm adding in to build in the birds. I'm intentionally letting in a little of the dry brush stroke be there to add in more of the depth into these birds that we are adding in. So you see, we just added in simple board slow hit, added in simple violins into the sky and letting the sky do its magic. So that is it. Let's peel off our masking tape and see our final painting. So as I told you, a few of the class projects in the coming days are going to be focusing on building in simple skies in under ten to 15 minutes, which will help you build in your hand motion for adding in strokes quicker while working wet on wet. These exercises are focused on building in your hand exercises to move faster so that you can use the wetness of the paper to build in the depth and let the softness of the colors play its magic into the sky. So a few more of the class projects in the coming days are going to be more like these, which will, you know, help you buckle up your wet on wet game and help you progress much better and faster so that even you learn techniques, how you can keep your paper wet or how things are working out for you to keep the wetness of the paper alive to build in the depth into the sky. Of course, you can go ahead with the re wetting technique as well, but it's important to even get your hand movements fast and get the flow of the paints coming in. So that is it for this project. I will see you guys into the next painting of this series. Thank you so much for joining me into today's painting. Okay. 16. Day 13 - The Bold Night Sky: Let's begin with our next painting in this series. And again, as I told you in the previous project itself, we are going to be going ahead with, you know, loose skies only and practicing more of wet on wet hand movements quickly so that we can play along with the wetness of the paper for a longer time, keeping it wet, adding in the details step by step. So I'm beginning in with a layer of water into the sky here. And this time as well, we are going to go ahead with more of the cloud details only, no silhouette and main focus onto the sky, the clouds, developing them step by step. For that, I'm going to be using in the shades of blue indigo, pink and white this time, and a little bit of lilac or a pastel violet color. And in case if you do not have a pastel violet, you can simply form one. So I have added in a layer of water. Now, beginning in with the pink color first. So I'm going to pick up the rose color that's on my palette already. That's the Winsor Newton rose that I'm using in, and just going to begin dropping in some shades of the pink here. You see, I'm just going ahead with little strokes of the pink first, and then we'll be moving on to the violets and the blues. And then I'm going to be using in the indigo from White Knights. That's my favorite violet from all the brands I've tried so far. The Michelomision, indigo color is a little towards the Pain's gray side. Then the other palettes, indigos that I've used, eventhough Shenan PWC indigo color, it's more towards the Pain's gray tone. I don't like the indigo or flow in that, so I prefer using in my white knights indigo color. So this is the indigo that I love using, which is from White knights. Before we move on to the white knights color, I'm going to pick up the Prusianblue color and begin adding in the Prusian blue. Now I'm going to maintain in some white glows into the sky closer to the pinks majorly. And you see automatically when the Prussian blue is mixing in with the pink that we've added in, it's creating in the violet hints. Now, again, here, as I told you, we are going to be playing along with the wetness of the sky. So make sure you use the paints in a little flowy consistency so that they will help in maintaining the paper wet for a little extra time. Now, while adding in the Prussian blue, make sure you have some white spaces, move in circular motions. You can see despite I'm using in a flat brush, I'm moving in circular angles so that I can get in the cloud formations coming in and going to and fro, building in the depth, and leaving in the white caps as well, making sure the pinks are also visible. Oh. Alright, now I'm going to pick up a little of the lilac color. You can simply mix in your violet with a little bit of the white to get the lilac tone. So I already had a little from the previous projects, which is the same that I'm using in here. Just going to go ahead again, move in circular motions to build in the depth into the sky. You see the cloud shapes that I'm trying to form in by just moving my brush in circular motions. That's how we are just going to begin adding in some lilac and the violet details. Now again, I'm going to pick up a little bit of the white color. You can use white watercolors or white quash, mix it with the pink together pastel pink. And using this pastel pink, I'm going to begin adding in some pink cloud details here over the violet. So you see I'm going to move in circular motions over the violet as well and over the blue at the bottom here, which again, blends with the blue and creates a beautiful violet at the bottom again. Make sure after every stroke you clean your brush and then pick up fresh paint again because, of course, while blending, since we are applying pressure, a little of the blue gets lifted onto the brush. Now, in between, I'm going to just pick up some pure white colour. You can use white watercolors or you can go ahead and use white quash and add in some white clouds in between as well. Again, you're also with every stroke, make sure to clean in your brush. So major league closer to the pinks, you will see I'm adding in some white highlights. Now I'm going to squeeze out some indigo color. And using the indigo, I'm going to add in a lot of depth into the sky. Now, while picking up the indigo, make sure you do not pick up with a lot of water. Begin in from the edges, adding in the darker details into the cloud. But in such a way that we still have all of the other colors visible along with these dark detail that we are adding in. Again, the motion that you see is going to be circular, somewhere just pull out some strokes. I'm still playing with the wetness of the paper, so you can see the indigo is dropping in in such soft blends on their edges everywhere. At the bottom also here, you need to make sure that the white, the pinks, the blues, lilac, everything is still visible and maintained. You see in our Sky, we have all the colors still visible. Now I'm going to pick up a little of the Plcian blue color again, and closer to the indigoat spots going to build in some lighter blue blends. So whichever color was closed, you can pick up those colors. So here I want to give in a little blend with the pink, so picking up the pink again a bit, blending it on the edges. Then here, I'm going to pick up a little of the lilac color. And add it closer to the indigo again, create in the soft blends and the flows. Same way, you're also going to add in little indigo highlights. Sorry, the lilac highlights. Again, in the center, going to pick up some pink. You see, it's very important to keep cleaning up your brush with every stroke because the colors get lifted. And here, I'm just going to pick up a damp brush and blend the white of the base already. So it's not necessary everywhere to keep picking up paints. You can just go ahead with damp brush as well for creating in the softness, such that the white glowing spots are still maintained. Now I'll just go ahead with a little more indigo color. And using in the tip, just create in some small flow, basically to just connect everything now. You see? Just added some small cloud strokes out there. And now I'm just going to pick up white, mix it with the pink here, and drop in some glowing spots. And let it do its magic. So I'm dropping this pink in a little flowy consistency. So you will see that when it automatically spreads, it creates in the glow that is needed. You don't have to do anything. You just need to drop the paint for it to do its own magic. Same way, I'm going to pick up a little bit of the white alone in a good flowy consistency, which is with a little extra water and just going to drop it wherever I want the white to flow and do its magic. You see automatically how it's dispersing, creating in that glowing spot? In case if you feel that you want to give them a little shape, you can, of course, go ahead with a damp brush and just drop in a little hint of water along with the white so that no does not have a very vague dispersement coming in, and it also blends in well with the rest colours of the sky. You see how beautifully it's created in the cloud textures out there. That is the beauty of watercolors that they can flow and create in such beautiful, you know, textures on its own. Now, wherever you feel that you want to give the whites a little texture just on the edges, run in with a damp brush, blending them in, creating in the softness. I absolutely love how this cloud is turning out here. Lastly, just going to pick up little white, drop in here at the bottom. I'm just going to squeeze out a little more of the indigo color. And going to go ahead at the bottoms, making sure that everything is well settled on the edges. You see how I'm just dabbing in thick layer of paints, creating in some cloud textures. So in this project, we mainly focused maintaining the wetness of the paper, but along with that, we've even tried to get in some bold cloud strokes as well along and add in some darker details as well into the sky. Along with that, we learned adding in the gluing highlights, just using the simple technique of dropping in the paints. And now just adding in the final darker highlights, blending everything in well. You see at the edge here also, I'm just using the tip of the brush, dropping in some simple strokes to make it all look blended well into each other. Small strokes closer to each other to act in as the cloud. Alright, I'll let all of this try now and then see how everything turns out. And so now everything has dried out and you can see how beautiful night sky kind of a view that we've got in with just little hints of the pink and white clouds peeking in. Now I've picked up some white quash out here, and we're just going to add in a glowing moon. So you can pick up any spot that you want. I would advise you to pick up a dark area. Alright. Now, I have first added in a spot of the white kah. Now using in a damp brush. Let's create in the glowing spot. So let's begin blending it from the edges and giving it a soft edge and create in that glowing space for the moon. Make sure you keep this in a circular motion only, and towards the edge, make sure you give it a soft blend into the base of the sky. Can you see the glowing spot that has come in? So now you can see that glowing spot. It has dried out beautifully, and now picking up bold whiteqh, I'm just going to add into the center of this and create that small moon. And you will see how the glowing light automatically adds such a beautiful glow to the moon as well. Let's peel off the masking tape and see a final painting. Make sure that there is no excess water or paint on your edges. Otherwise, lift up very carefully such that you do not ruin up the edges. So here's a final look at our painting from today. I absolutely love the bold effect of the sky that we've added in with very minimal glowing spots, plus the magic, the water and pink and the white paints that year, creating its own glow into the clouds. I absolutely love everything about this project and how under 15 minutes you could create such a beautiful night sky. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next class project. Thank you so much once again for joining and painting along with me. 17. Day 14 - Skies of Dreams - Part 1: So let's begin with our next painting in this series. And today, I'm going to be using in a few of the different tones. First, is this naples yellow. This is from magellomsion. This is basically a pastel yellow color. So you can simply mix in your permanent yellow light color with a little bit of a white tint. If you see the pigments, you can see PW six, which is a white pigment, which makes it a little opaque because pastel colours look beautiful when opaque. Then this is Venice purple. This is basically a tone towards the maroon side moving towards the family of purple. So for this color, if you do not have this, you can simply use a dark red or a maroon color from your palette because we are going to be mixing in a little hint of purple with it. And lastly, the aquamarine mist. This is a bluish sky color that is there, but it has a little more towards tin going towards the cobalt green color, which is like, the cobalt hue, which has a little hint of greens in it. So that is the color that goes inside this. Alright? So I have the swatches of all three ready for you here. So this is the aquamarine mist. You see, it's a beautiful light blue colour. Then this is the naples yellow color, which is a pastel yellow. I have diluted it, but if you use it in a little thicker consistency, it will be like a very opaque color. Then lastly, the venice purple, which you see is slightly towards a maroon color, right. So these are the colors that we'll be using separately, along with the orange from this my palette that I'm using in. So I'm going to use an orange with this and along with the orange, I'm even going to be using a little hint of red. And then for the silhate we'll just go ahead with the, um, you know, purple and the paints gray mix. All right. So let's begin with our painting. First, we are going to go ahead with a layer of water. Again, as I told you, we are working more towards, like, you know, practicing in skies wet on wet, trying to master the wet on wet art and getting your brush and your flow quicker so that you can work wet on wet. So I'm just adding in a layer of water. So I've added an even layer of water throughout. I'm first going to begin in with this aquamarine mist color. I'm going to use it in a very light consistency, little highlights that I need with this color. If you do not have this color, you can even go ahead use in your serle blue color, or if you want, you can even go ahead use in the cobalt blue color if you do not even want to use a Cerlean blue. So I'm just adding in first, the blue patches into the sky. You see, I'm beginning in with very light layers first so that we have the space to build up our painting. Now I'm going to pick up the orange from this set. And going to go ahead, add in some highlights with the orange color. Now, close to the orange and blue, you got to be careful because when they will mix together naturally, they may not give you muddy tones. But if you try to rigorously mix it, you will have muddy patches in between. So you see I'm intentionally leaving in white caps and letting the color and the water flow and do all of its blending there. You see in the white caps that I'm adding in this orange color and letting it blend naturally. Now at the bottom space, I'm going to go ahead with the naples yellow. Right? Now, first, I'll pick up this Venice purple in itself and just add in light strokes at the bottom space here. Again, what plays an important role is the water content because if it will have too much water, the colors will just spread out. Now with this same color, adding in highlights closer to the orange colors at the top space in such a way that we still have the blues in between coming in. If you do not have this color, I told you you can use a maroon color or you can go ahead and use a red color as well. Now I'm going to pick up a little bit of purple color from this set and going to mix it with a little hint of the Venice purple that we are using. And with this color, let's begin adding in some highlights. Again, you see, we are still playing bet on bet. I'm mixing in enough color so that I can add them quickly. Now, again, when you add highlights with this color as well, be careful about the water in your pigment so that it does not spread out much, but it's wet enough that it spreads on its own to get in the softness into the sky. Now, just using in the dam brush, going to run across this and give them all a soft core. I So you're also at the bottom. You can see I'm adding them in such a way that we have this yellow glowing sunset spot in between. And we also have the Venice purple highlight in itself coming in. Now, I'm just going to pick up the aquamarine mist color with a little bit of the Cerlean blue. Just adding in some darker highlights. You see how I'm just dabbing in the brush to blend in? And since there was orange color there, you see how when it mixed in with the blue, it automatically gave in that muddy tone which I had been avoiding since so long, so I quickly added the Venice purple on top of it. And now just going to pick up a little of the violet color in itself in a little medium tone consistency and just going to add in some spots of this. You see we're still working wet on wet. It's approximately almost 8 minutes that we've been working on this painting and everything is still wet on wet that we are working. Mm. Again, with the purple, you will see I'm just adding some highlighting spots. Now, since this mishap has happened here, and I am a little bit unsatisfied with that spot. So what I'm going to do is I'm going to pick up a little of a light pink tint. Mix it with a purple color and just going to create a little cloud detail here. You see, little tricks that can help you overcome the small errors that happen in. Or you can even go ahead with a lifting technique there and create in a cloud space. Now, at spots, I'm just going ahead with a damp brush, creating in some small cloud flows, giving in some lifting technique to create in some glowing spots. Some gentle lifting. You see, creating in these lighter spots into the painting. Just simple dam brush, but after every lifting, I'm dabbing it onto the cloth so that all the pigment that gets picked up is cleaned before you go on to the next space. Now, just going to pick up a little blue You see the paper is still wet, dropping in some darker blue highlights and letting it spread on its own with the wetness of the paper, and then using in the dam brush, jars plenting them on the edges. Alright? So that is it for ky. I'll wait for this to dry completely, and then we'll go ahead further. 18. Day 14 - Skies of Dreams - Part 2: So now everything is completely dried, and we are going to go ahead with a mountain range here first. So for the mountain, I'm going to use in the same purple colour or the lilac color, whichever you've been using in and mix it with a little bit of the Venice purple colour that we had, and just go ahead here. Now, I'm going to let this yellow part do its sunlight glow magic. So I'm going to go ahead, add in a rough line, considering a little hint of the yellow from the sun part. All right. And now using in water, just going to add in across the space. You see I'm leaving that yellow gap still, now going to clean my brush thoroughly, and just using in a damp brush, going to blend in here. In case if you want, what you could do is you could go ahead, pick up a little bit of the yellow color. So I'm going to pick up a little hint of the yellow as well. First, let me just add this mountain range completely. Now I'm going to pick up a little bit of the yellow and going to add it here so that we have that little glowing spot. And now I'm going to pick up some violet on its own and just going to add the darker highlights. So you see the darker highlights, I'm adding it in such a way that the lighter tones are still visible. Alright, we've got our mountain range ready. And now we are just going to go ahead with some simple silhete. See very gently going ahead with a light layer on top of the yellow such that the yellow is visible. But it also has that purple hint mixed with it. Now, going to use in a detailer brush. So I'm going to use in this very thin tip flat brush and going to pick up a mix of the violet mixed in with the Venice purple. And using this, let's add in. So basically here, I'm going to keep it a little dry brush kind of a texture as well. So you see a very rough pole that I've added in and another one here. For that, I'm using the flat tip. All right. Now let's go ahead, add in some details. So I'm just using the tip side of the brush and adding in these fine lines. You can of course, go ahead and use in a fine line or brush, but I like to challenge myself using in different tools to add in the details rather than again and again shifting in between brushes, and now using the same color, we are going to go ahead, add in some details here. So you see this brush is such a thin tip, so that is the reason I can use the tip side of it and add in these fine details. And using the flat side of the brush, I'm able to add in the other details. So basically, I'm just giving in some street details. And you can see how roughly I'm adding them, not going ahead with a very detailed detail kind of a look. I want it very rough and draw. Adding in some more details here from behind, adding in a small pole further. Now I'm going to shift into a smaller size detail or brush. So go ahead with any fine tip brush that you wish to and picking up the same colour, just going to go ahead add in some lines into the sky. You see such fine lines, and I'm using the same mix of the Venice purple and the violet color. See the dry brush texture that I'm adding in here. Now, just going to go ahead add in some small vinins here. Okay. And now using in a little more diluted consistency of this pain, I'm just going to add in a few birds sitting out here. S simple bird silhouets that I've added in using in the same colour. I did another set of birds here, and that is it. We are ready with our painting. As I told you, our main focus is about the sky and then a simple slow at. You see, we used very rough lines to add in the details. Then we added in a few wire lines which were not completely straight, giving in some very light strokes like these, and then some dry brush textures like these, as well. All of these add to the natural effect of the painting. So let's go ahead, peel off the masking tape and see your final painting. Make sure that your edges are completely dried before you begin peeling off the masking tape and also that there is no paint onto the tape. Otherwise, it may see pack into your painting. So here's the final painting for today's class project. I absolutely love how the sky has turned out and how we went ahead with different colour possibilities, learning a connection that we did here because of the mishap of the blue and the orange blending in. And still we avoided it in the muddy color by the end of aight. So these are small tips and tricks like, you know, even for me, it is not always perfect. A few things maybe a hit, a few things maybe miss. So it's always about going on, trying to correct it, learning in new ways, how you can get in things right. Alright, so this was about today's painting, and you can see the glowing spots that we created by doing a little of the lifting technique. They add in so much more character to your sky. So this is about it. I'll see you guys into the next project. Thank you so much for joining me once again. 19. Day 15 - Winter Sunset: Hello, everyone. Welcome back to the next painting of the 50 day watercolor challenge. Today, we are going to be painting a beautiful winter landscape. So we'll just mark out the horizon line on the center of this paper. The top is going to be the sky and the bottom will be the snow space. On the horizon line, we'll have a range of pine trees coming in here, and we'll have a glowing sun effect into the snow. And same way, the reflection of the sun will be coming onto the snow space as well. Alright, so let's begin in with the sky first. It's going to be a simple sky. So let's begin with a layer of water. For the sky, I'm going to be going ahead with the Prucian blue color and yellow to depict the highlight of the sun closer to the horizon line. Major space is going to be the blue color, that's a Prusian blue color, and just the sunlight effect closer to the horizon line will be of the yellow color that we'll be using in. So I'm just going ahead with an even layer of water throughout. Now, let's begin in with the paint one by one. So first, I'll begin in with the yellow color. I'm going to pick up the yellow color in a light consistency. You can go ahead with any yellow, which is light in tone and just begin in closer to the horizon line. Alright, you see a very light tint of the yellow that we've given in closer to the horizon line, and just going to create in a little sun space. So just marking out the light of the sun in a circular motion, the rest of the space around this circular will be blue color. Now begging in with the Prussian blue color. At the top, it's going to be dark in tone, moving downwards. I'm just going to be using in the water of the paper. And as I reach closer to the yellow color, I will let it move naturally blending without using in much of the movement so that we don't form in any green tones. I'll just use in the dam brochure and blend in these color spots. Again, taking up some color, moving from the top to the bottom. You see how at the top, we have the beautiful glowing dark effect and moving downwards, letting the colors bleed in naturally into the yellow color. You can use a dam brush like this to blend in. And make the flows happen. Now here, we are going to go ahead with a little color lifting to show in the sun space. All right. So pick up a smaller size brush and just lift in. So see my brush had a little pigment. Now, just go ahead, lift in little color from here, creating in that glowing sunspot. You can even go ahead with the lifting technique using in the paper towel or the cloths that you're using in. Now just defining the shape again. I'll just pick up a little of the white quash. And since I laid down a little of that color there, I'll just take help of the white quash to create in that glowing spot. All right. So these are small trips how you can use and correct these, you know, errors that happen, by mistake, and around the white color again, just going ahead with the yellow, blending in wet on wet. Now, I'll just use this damp brush and pull out these little strokes of the yellow into the blue very gently trying to show in the sun rays. After every stroke, make sure to clean it. So just pulled out a few three to four strokes here and two towards the bottom space and rest of the areas, just blending it gently softly and maintaining in that white spot in between that we've created. So that is it for the top space that we needed in. We're ready with our sky a pretty simple one. If you want, you can go ahead one step further and use in a little of the Plutian blue color and create in little cloud movements into the sky. I'll leave it at this spot, let it all get naturally blended well. Now, the bottom space is going to be the snow area, so it's majorly going to be white, but with just a little reflection of the sunlight and the blue sky. So we are going to go ahead with a layer of water. Be careful if your sky is wet or wait for it to dry out completely and then move further. And closer to the horizon line, I will just give in little yellow highlights, and towards the bottom side, I will be giving in little highlights of the blue tones that we used in the sky. So just going to be picking up the same yellow color. Very little i because you just need to create, like, a light effect, right? So just dropping in little light effect of this. So basically, it's kind of a water layer that you're adding just with the little hints of the color. So you see such light effect, and now just going to use in the prussian blue with a little hint of the indigo and going to pull out a little of the reflection. Moving it you see diagonally from the bottom, moving it towards the center spaces, and from the edges, moving it towards the center again. You see, we've just created a reflection of the sky color falling into the snow area. And now I'm going to be using in the mix of the indigo and the Prussian blue color. And without much of excess water, we are going to begin adding in little of the darker hints into the snow space. So just like this, we're going to begin dropping in a few of the darker shadow effects. So we are going to be having in the pine trees here, so showing the light of them, shadow of them, falling towards the bottom side here like this. And from the bottom again, just pull out some darker strokes. All of this, I'm still doing wet on wet. So while my paper is wet, I'm able to add in all of these darker details as well. Now, remember what colors usually dry a tone lighter. So keep the tones of your snow and all of the details such that when they dry out, you get the perfect desired tones that you are looking in for. Now I'll just pick up little orange and add little highlights over the yellow. Just very few strokes that I've added in. So as I told you, on the horizon line towards the right here, we are going to be having in the pine trees the shadow of which is falling in here. That is the reason we are adding in the shadow wet on wet. Again, used up a little of the paint's gray color. Now, this is too dark, so I'll quickly go ahead and just blend it all in while it is wet. Again, we'll just pick up a little blue hint to add on. You see how I'm pulling it diagonally so that it will look like a shadow of these falling out diagonally here. So that is it for our snow area as well. Now, we'll wait for this to dry out and then move further. If you want, you can add in a little more hints towards the bottom space here as well. Just a few more highlighting strokes, but do this only if your paper is still wet. Otherwise, you may get in the sharp looks. All right. So that is it. Now we'll wait for all of this to dry and then add in the details on the horizon line. So now everything has dried out. So now everything is dried out, and I'm going to be beginning in with the pains gray color. And I'm going to use the paints gray first in a little dry consistency and just go ahead and create in some background dry brush here. So just going to just use the tip of my brush, drag in and create in some background foiage. Now, we're just going to be having in the pine trees till the sun space here. Also, remember, my sun is a little off centered. It's not centered, so you keep it accordingly. Alright, so this is just the background layer that I've added in. Now, to the foreground of this, I'll go ahead and add in detailed pine trees. So now I'll just use in this smaller size round brush, which has a pointed tip, and I'll go ahead with the detailed pine trees in the foreground here. Now, you can go ahead with some scars, some dense pine trees, and just creating simple looking pine trees. So the basic motive of the pine trees is the triangular shape that it should have by the end of it. And you can vary the heights of them as well. Now moving downwards, going to define well the horizon line as well with the darker tint. So somewhere, you see, I took the foliage moving towards the bottom side, now towards the top side. And in the background, you can see the lighter gray foliage now creating in so much more depth and just going to keep on varying the heights of the pine trees that we are adding in. You see, such simple method to add them using the pointed tip brush, very simple foliage, very simple details that we are going ahead with. So at first, the background detail may feel like, you know, why do we even need it? But when you go ahead and add in the rest of the details, you'll feel how the background layer makes difference and adds a layer of depth to the pine trees that you're going ahead with. Just make sure that for the foreground layer, you use the paints gray color in a good bold consistency. And now moving here, I'll just go ahead with some simple foolage you see a very scarce looking pine tree that I added in. And now here, I'll just go ahead with one huge pine tree. You see, I'm leaving in gaps in between, as well. Just go ahead, add on the foliage, and it's very simple to add in the pine trees, the most easiest kind of trees and the beautiful of them all out there. Okay? Now, if you want, you can use the paints gray or the black color in much bold consistency and add in some more bold trees. So this will create in layers. So you see, I went ahead with some lighter trees in between, and now in front of those again in the foreground adding in some more detailed looking trees so that the background layers built on and given more depth. Alright, now, towards the left side, we're not going to be adding in much of the pine trees. So firstly, on the left side here, I'm just going to create in a small rock bed. So I'll just use the paints gray color in a very diluted consistency and just go ahead create in the shadows to these. So pulling out from the spot, moving out diagonal, then use the damp brush and blend it across the edges so that it has a soft blend into the snow space. So you see how the shadow is now acting as a darker spot, and now I'll just use my smaller size down brush and the paints gray color. And while this is still wet, just add in a few more strokes like these. Wherever you want the softness, just go ahead with a damp brush and blend it all in. See how the shadow is building up in layers. Similarly, here as well, I will just add in a very fine line of a very diluted consistency of the paints gray to act as the shadow for this spot here. And now into the snow space, we'll just go ahead with some light dry brush texture. And for that, I will use in the pains gray color. All right. And we'll just create in little texture. You see, I'm going with very loose strokes and very gently. And I'm not onboarding the texture a lot at a specific spot altogether, going ahead very carefully. It's very important to make sure that your brush shouldn't have excess water, neither excess pigment. I made sure my brush didn't had any water. I just picked up raw pigment and at the bottom, moving in diagonally for the dry brush and towards the edges from the top, moving in inside. That is it. I'm not going to add in more texture, and, you know, we'll just keep it very minimal, very basic. So that is it. Let's peel off the masking tape and see a final painting. Make sure your edges are completely dried, and peel off the masking tape against the paper so that you do not tear off the edges. So here's a final look at our winter scape from today's painting, a pretty simple sky, the glowing sun effect that we've given, the range of pine trees, and then adding in the shadow. You can see now how everything is softly blended and just the shadow is making the space look darker. And then a little texture into the snow as well. So that is for this class project, thank you so much for joining me into this class and painting along with me. I will see you guys into the next painting of this series. Make sure to drop a video if you like this class so that it can help me reach maximum students, and I'll see you guys soon into the next one. Oh 20. Day 16 - The Green Pines - Part 1: Hi, everyone. Welcome back to the 50 day watercolor challenge. And today we are going to be painting in a beautiful misty kind of a simple painting. So the two colors that we're going to be using in for today's painting is the viridian green and the Pain's gray color. Now, VaritanGreen, if you do not have, you can go ahead use in Hooker's green color or you can even then go ahead with sap green if you wish to. But the viridian green or the emerald green you can use in. So the viridian green or the emerald green will actually give you a or, you know, beautiful misty kind of an effect that we want to achieve in for this painting. So I'll quickly squeeze out a bit of this color, and I'll just give you a quick swatch so that you can know if you have any similar tone and if you wish to use that. So I'll just quickly go ahead and swatch this for you here. You can see it's a beautiful green which we are going to be pairing in with pains gray color for the rest of the details. So you see it's good, you know, a little closer to the turquoise green color or the turquoise blue because the turquoise blue also has this green hint, the same pigment in it. Alright? So this is about the green which we are going to be mixing in with the pains gray. You can use even HokasGreen or emerald green or sap green. If you do not have this specific green, that's absolutely okay. So this time our painting is going to be something like we are going to begin in with the horizon line here, almost in the center space, just a little below. The top is going to be a sky. The bottom is going to be a simple C. And on the top here, first, we are going to go ahead with some blurry background or pine tree effect. And then in the front, we'll add in some detailed pine trees, the reflections of which we'll be adding in the sea already. So that is the layout of this painting. Now let's begin in with, you know, painting first, the base background. So first, let's begin in with a layer of water onto the entire paper because we are going to be painting in the base altogether. Make sure you go ahead with an even layer of water throughout. Dunning perfectly on the edges, making sure there is no excess water anywhere. All right. Now, let's begin with the colors into the base layer first. So for that, I'm first going to be using in the indigo color. So just picking up a very light tint at the top, mix in a little hint of the green that you're using, whichever green you wish to go ahead with. Add this color base layer onto your entire page actually. Now, of course, go ahead in one stroke, either horizontal or vertical. Preferably, of course, go ahead in the row format so that, you know, you have that layout as well coming in into your sky and the sea. So we just went ahead with a very light base layer, as you can see of the pains gray and the viridian color mix. Again, whichever green you are using, you can add the hint of that to your pains gray and go ahead. Now, on the horizon line here, beginning with your green which you wish to use in a little thick consistency. With not much water, make sure to dab off the excess water because our paper is already wet, and we are going to create a little of the glowy background effect. Go ahead with a very light consistency and just drop in the paints like these. Now, along with this again, I'm going to pick up a little bit of the pains gray color. Now just use in water and spread this over to create in that glowy background or the blurry background effect, actually. And just below the horizon line also I'm taking the same color effect because that will automatically act in as the reflection. Pairing it with the paints gray, as I told you. All right. So we've added in the background pase. Now, into the sea at the bottom here before going to the sea, just at the top, I'm blurring it all out more at the top, blending it into the sky. You see such a blurry background effect that we are trying to create in. Now, into the sea here, what I'm going to be doing is first using in a smaller size brush, go ahead and add in a little bit of the pebbles kind of detail with the same colour mix. Make sure that you don't go ahead with much of the darker tint also, a very light flow of the water effect, you see, wet on wet that I'm adding in. So just simple strokes of this color. Now, just going ahead with little liftings in between. So we just added that little flow of the water. Now, go ahead, pick up a little darker mix of the paints gray and the green that you wish to use. And using that without excess of water. Now, in the center here, once this dries out, we are going to add in the pine trees. But the reflection of that we are adding in right now itself because we want the reflection to have that soft effect. So to have that soft effect, we'll add the reflection while the sea area is still wet. So you need to add the reflection in such a way that on the top, again, you will have to add in the pine trees of the same length. So wherever you take the length of the pine tree is taller, like this here, I'm taking it this tall. So the pine tree at the top will be taller like this. So you see, we need to create the reflection wet on wet. With the wet on wet, you need to be careful about two things. The wetness of the paper has to be there and don't pick up the paints in too much of a wet consistency because they will spread out completely. I'm controlling the heights because as I told you, similarly on the top space, you will have to add them of the same height. So go ahead with the heights that you wish to go ahead at the top. Now, that can be your personal choice where you wish to go ahead with the larger pine tree, where you wish to go ahead with the smaller length of a pine tree. So you see, I've defined the horizon line, and in the rest of the space just creating a reflection for the bush kind of the detail that we'll add at the top. The center space will have pine trees and the rest of the space will just have simple bush effect. Now I'm going to pick up the pains gray in a thicker consistency and towards the horizon line, just going to create a little more darker reflection. So on top of these, just going to add in some darker color only at the top line here. So automatically, you see it's bleeding into the greens, creating in that two variations of the reflection. Because in our pine trees as well, we are going to give in darker depth at the bottom space, and at the top, it will be the viridant green or the green that you use in. You see, we've created a reflection space already. The water flow is visible light, we have the blurry background as well. Now, again, just using in a little mix, going to blend it on the edges, creating in some flow of the water. So again, I'm using it in a very light consistency, as you can see, it's the mix of the same paint screen and the green color. I'm just going to mention it as the green color because, you know, whichever green you wish to use in from your palette, you are free to use it. In case if you do not have the pains gray, you can of course use in the black color, not necessarily to have a paints gray only, even the black color will give you the same effect. Now, one thing that you can do is create in some cuts into the reflection. You can even do that later on using in the white paint. But if you want, you can go ahead with the lifting technique here as well. I'm just doing a little lifting technique at sports and then later on I will use in the white paint as well to demonstrate to you how you can use the white paint. Now, if you want to make the reflection a little more detail, you can show a little of the foliage to the pine trees as well. You see the paint screen, also how I'm pulling them out, blending it well with the green. So that is it. Now we'll wait for this to dry out, then add in the details at the top. 21. Day 16 - The Green Pines - Part 2: So now everything has dried out. Let's go ahead, begin adding in the pine trees one by one. So I'll begin with the green that we're using in. Of course, you can go ahead again with the green that you wish to use in. And that's begin adding in the pine trees. So make sure you use this green in a beautiful medium tone consistency such that it gives you bold effect. And then we'll alter it with the pain's gray color on the go. Now, here, the reflection is this short. So accordingly, the tree here will be of a similar height. So make sure you maintain the reflection length into your trees. Now, somewhere you can go ahead with sparse pine trees and somewhere you can go ahead with a dense one or any length that you wish to choose, you can go ahead with. It's not specific that you need to add a dense one here or a sparse one there. It's absolutely your choice how you wish to go ahead with. Now before we move further, let's do one thing, pick up a mix of the pains gray and the green color and give a horizon line first. Alright. And now pick up the pains gray color. And this side just going to add in simple bush detail according to the reflection that you may have added in. Now, at the bottom of the pine tree also, as I told you, here we added in the reflection with a pin slay same way. Just go ahead with the pins gray. So I'm just adding in the entire pains gray patch for the pine trees as well. And again, on the rightmost edge here just going to go ahead with some simple bush detail. So just using the tip of the brush, adding in these details. Now, use a damp flat brush. Alright? So this is without any pigment or water. And just pull out a little of this reflection towards sorry, not the reflection, a little of this paint that we added towards the bottom side so that it adds in a layer of a texture reflection as well. Alright, little and now again, go ahead with the same painscrem mix of the green that you used on the horizon line and add a layer on top of this again. So you see this will basically give in just a little more of the texture effect to the reflection. Now let's quickly go ahead using the green color, add in the pine trees. All right, so let's go ahead and add in the rest of the pine trees now. Make sure to vary between the spars and the dense looking pine trees when you coming to the foliage effect. I'm just going ahead with very loose kind of pine trees. And when you reach towards the bottom space, pick up more of the pains gray color to add in the foolage. In between, you can just add in some very simple pine trees like these. You see how at the top green I have used and towards the bottom, automatically when it blends in with the paints gray that we added here, it automatically creates in that blended effect, and you get that glowing green effect at the top. So that's how you need to vary the paints, depending on the reflections that you've added. Again, while adding in the pine trees, make sure that you keep in mind the reflections that you've added in. Now, here, I have one big pine tree. You can see this reflection. So you just need to keep on wearing these lens. And this is the last pine tree that I'm adding in here. You see how we've used in some darker pine trees, then a mix of both the color tones, and then just some darker dipths at the bottom spaces. Now again, defining in the horizon line a little well. Now, I'm going to pick up the pain's gray color in itself without the green and going to just pull out some strokes from here, like these in between to give in those spas kind of pine trees effect along with the greens that we have in. You see just adding in the pointed tip at the top. Similarly, here as well. So that it all blends with the bushes also well, and it looks like a sink going on altogether and does not look very abrapt at any spot. Now, again, these lens, also, you see, I'm wading them across throughout making sure that they are not of an even length anywhere. Now, using in the flat brush, just going to pick up some paint scree without much of water, tap it again onto the cloth or tissue. And given these little dry brush kind of reflections falling out here, blend it with the last layer of the paint that you've added in. But again, keep in mind the length that you have to add in. You see, now, so it will all have a beautiful blended effect. Plus, it gives the reflection, a beautiful blend with the main elements. Now somewhere using in the tip of the blush, I'm just making the reflection go taller, depending on the trees that you've added at the top. So you see the reflection gets one more layer of depth because of the texture that we add in. And now quickly using in the mix of the pain's gray and the green color, more of the pain's gray just a little hint of the green. Just going to add in the darker layer here again. And one last time going to do the flat crush technique again. So this basically gives in the darker effects and maintains the color throughout. Alright. Now, using in the white wash, let's add in some cuts into our reflection. Use a pointed tip brush along with your white wash. White watercolors will not give you that opaque look, so that is the reason I recommend using in whitewash or white plc. And using a pointed tip brush, just add in some simple small dots or lines like these in between the reflection so that it gives in the flow of the water effect as well. You see very fine lines that I'm adding in? See not much, just enough to given that flow of the water look coming in. H. Adding in a little of the foolise texture at the tops here. And that is it. We are ready with our class project for today's painting, a pretty simple one where working on the reflection was important. We created a little blurry effect at the background and the reflections and then added in the final details. So let's peel off the masking tape and then see our final painting. While peeling off the masking tape, be a little careful that there is no water or paints onto the masking tape that seeps back into the painting. So here's a final look at our painting. You can see the beautiful misty effect that we've tried to achieve in, and we just used two colors in this painting, a green tone and the pain's gray color. You can again, go ahead, choose in the greens that we wish to. And if you want to make it more detail, you can go ahead with another layer of pine trees in front of these pine trees once this dries out. But I really want to keep it simple for everyone to follow along and fit into a 15 to 20 minute practice schedule. So yours are painting for today. I hope you guys enjoyed painting in this and loved working on the reflection, as well as the blurry and the misty effect in this painting. I will see you guys soon into the next painting of this series. Thank you so much, once again for joining me into this class and painting along with me. 22. Day 17 - The Misty Pines: Hi, everyone. Welcome back to the next painting in this 50 days Watercolor challenge. And today, Ken, we are going to go ahead with a misty painting. And this time we are just going to go ahead with one colour, which is the indigo. And then if needed, we'll use a little hint of paints gray. That's it. So this time we are going to go ahead again with another misty painting. So first, let's squeeze out a little bit of a fresh indigo paint. So this time we are not going to go ahead with the reflection kind that we went ahead in the last painting. This time we are going to add in a range or series of pine trees into our painting. So for the first layer, let's begin in with a layer of water onto our entire sheet. Make sure you have a good even layer of water throughout. Your edges are perfectly taped down and no excess water on the edges. Just lifting up all of the excess water from the edge, making sure there is only an even layer of water left. And now let's use in the indigo color and just add in a misty layer. Now, this is too dark, so just going to dilute this with water and spread it onto the entire paper, which is going to be a first layer. At the top, I really want very light effect of the color, so pulling out all the color. Actually, I should have begin from the bottom space only that is my fault. So you be careful about this little error again, right? Just making sure that at the top, we have a very light layer of this color coming in. Now, let's begin in with our round rush and create in some foggy effect at the bottom space using the same color. So just creating in that blurry background that we went ahead in the last project as well. Again, we lighten this up as well, because we don't really need much of a darker effect. At the top, first, going ahead, taking it towards the top, blending it such that it has a beautiful blurry blended effect with the base color that we added in. In case if you want, you can just use in your flat brush to create in that smooth blend without any sharp edges. Now, again, going to pick up some color, go ahead with the next layer, which is going to be a little more towards the bottom space. You see the color variations that we're trying to create in here? So you've got three color variations into our sky already with just one color that we are using again. Now I'm going to go ahead with first layer of wet on wet pine trees. So the background is wet onto this, using a very light tone consistency and just create in some loose background trees into the first layer that we had added. So you see very light consistency of the paint that I'm using in. Make sure you don't use it in a dark consistency and very loose kind of just some shadow or background trees that I'm adding in in a blurry consistency. It's majorly water that I'm using in, but just adding in the shapes of pine tree. And here I will just add in a little detailed one. So detailed but yet blurry. You see the wetness is making in all of the softness into the pine trees. And remember, when watercolors dry, they dry your tone lighter, so you need to maintain that tonal variation as well. We've added in the first layer of the background pine trees as well, wet on wet. Now we'll wait for these to dry out a little, not completely, approximately like 40% dry and 60% wet. And then we'll go ahead with one acoler of pine trees just below this, which is again going to be a little blurry. So we'll just wait for a minute or so not beyond that. So it's been a minute and my paper is a little dry, not completely dry. Now just going to pick up the colour in one tone darker consistency than this previous layer and add in the second layer of pine trees. This color seems a little too dark, so I'm going to quickly go ahead, lift it and dilute it into the rest of the space and add in this huge simple pine tree out here. Same way. Going to go ahead with another one here. You see, the water control is important. If too much water, it spreads out quickly. So you need to lift the paint, dab it onto the rough cloth or the tissue that you're using in such that the paint in your brush is very limited with limited water. All of the excess water gets dabbed off onto the cloth or the tissue that you use in. You see, now the trees that are coming in. Now to this one again, if you want, just go ahead, add in a little foliage because you see excess water, it spreads out, then you need to go ahead with another layer to add in the details. Now we'll add up another one here. This is still wet on wet on the first layer that we are working in, creating in the background patch of the trees. I'm wearing the heights of all the pine trees. You see the foliage that we add into these blurry soft trees is very simple, quick. It hardly takes a few seconds to add these. And then in the foreground, we'll have a beautiful range of mountain, which will be detailed, bright, vibrant, and, you know, very bold looking trees that we'll add in. These are just the background fillers that we are adding in creating in layers. So we had the first layer of pine trees, the second layer of the background pine trees, and then we'll go ahead with the third layer as well. So this is the second layer. Now again, I'll wait for this to dry out for a minute or so, not completely dried again, and then we'll go ahead with another blurry or a soft layer first before we move on to a final layer. So I just waited for a minute, and now this is approximately a little dry. Now I'll pick up the indigo color again in a little more thicker and darker consistency and go ahead with this last layer of the soft pine trees before we move on to the final layer of the detailed pine trees. You see, this is again, too dark at the moment, so I'll quickly go ahead, lift up a little of the tint from this. You don't need it in a very dark consistency because the final layer that we'll be adding will be of the darkest consistency. So make sure you maintain the color depth of the trees that you add in. I'll add up another one here. And last daker one here. You see, all of this is still wet on bed that we are working since our first layer, we've created in three variations already. Now to this one. Since of the excess water and the lifting that I went ahead, you can see the foolage is not that clear visible, so just going ahead with a quick layer to get in some filiage look. Alright, now we'll wait for all of this to dry and then begin with our final layer. So now wait for this to dry out completely, then move on to the final layer of pine trees. So now you can see all of our background layers are perfectly dried. You can see the color variation, one, two, three. So you see so many color variations into the pine trees also that is coming in. And now we are going to use in the indigo in a good bold consistency and go in with our final layer of pine trees. Now the final layer will be such that all of the background layers still have a view coming in between. So I'm going to go ahead with a pinetree range like this, letting this be a little blurry towards the end. Alright, so let's begin in from this space first. Now, as I told you, we are going to be varying in the heights of the pine trees, as well as making sure that the background pine trees that we added are visible. And these pine trees that I'm going to be adding are mostly going to be dense pine trees, not the past ones that I'm going to go ahead with, alright. And very simple foliage that I'm pulling out for these as well. But you can see the indigo is in such a bold consistency, giving in the dark bold effect. Towards the bottom space, I'm going to just fill it completely like this. So let me just fill out this entire space like this first. You can see the bold consistency of the indigo that I'm using in here. Now, same way. Going to go ahead with another pine tree here, but, of course, keep on wearing the length of the pine trees. You see the quick way of adding in the foiage to the pine trees. Now, I'll go ahead with one huge pine tree here, so I'll first go ahead add that in. This is not pains gray color. This is the indigo color only that I'm using, but I'm using it in a good bold consistency because of which you can see the darker depth coming in. And once this dries out, it will have that beautiful effect as well. So make sure that in case if your indigo is not giving you a good dark depth, then of course, you can take the help of the pains gray color to darken up your color. You see how simple way I just pull out the foliage dragging my brush randomly on both the sides. Just the main important thing about pine trees is that at the end of it, they should get in that triangular shape coming in altogether. And a little of the dry brush effect at the bottom also adds into the texture. Now, in between, to just act in as the fillers, I will just add in simple strokes like these that we used in the last project also here. You see, simple strokes acting in as the f of pine trees. In between, if you want, you can just create little foliage kind of texture to these as well. Now, here I will go ahead with another pine tree. So you can see how the entire painting is coming in altogether. And now this side, I'll just go ahead with some simple strokes like this. And just going to pull out a detail pine tree from in between these. Se simple details got so much depth. And now, lastly, just going to add in a few birds as well into this one, going to use in the same indigo color. Make sure while adding in these birds, you don't have excess water or, like, just have the right consistency of the paints. Is he just adding in some detailed words? All right, that is it. We are ready with our class project, and you can see in just under 15 to 20 minutes you could create such a beautiful, misty outcome. Let's begin peeling off the masking tape carefully. My last layer is still wet, so I'll go ahead very carefully. And you can see the first background layer that we began with has tried out so beautifully in such a light, misty background layer, which is exactly what we needed in with the indigo color. So that is the reason we went ahead with a light watch layer. So we just used one color and created in this beautiful misty painting. So these were two misty paintings from this 50 days challenge. I hope you guys enjoyed painting both of these with me today, and I'll see you guys into the next class project. And if you are painting along with us, make sure to keep uploading your class projects on daily basis so that it can inspire others in the class to, you know, paint and share their progress as well. No matter how the painting has turned out, it is going to hold in a story that you have to share, and it will be your journey that will be reflected through the 50 days. So don't give up if Oda does not turn out well. Keep on trying. Keep on sharing your projects, and we can encourage each other as well. And if you like this class, don't forget to drop a review so that others may get motivated to join this too. Thank you so much for joining me. I will see you guys soon into the next painting. 23. Day 18 - Mini Sunset: Hello, everyone. Welcome back to the next mini painting of the 50-Day Watercolor Challenge. And today, we are going to go ahead with a very simple sunset misty or, you know, that windy kind of painting that we'll go ahead with. So this is going to be a sky, and this is going to be a simple field. It's going to be a very windy thunder kind of, you know, soft and soft painting that we'll be doing in. Alright, it's going to be pretty simple, easy, quick, again, and we'll first begin in with a layer of water into the sky. The colors that I'll be using into the sky is going to be a little hint of the Prussian blue. Along with some yellow orange to show in some sunset effect. And then for the field, we'll be going ahead with the greens and browns. And on the horizon line wet on wet, we'll just give in some bush details, creating in that soft background blurry bush effect. So first, just going ahead with a layer of water into the sky quickly. It's going to be a pretty simple, quick one. The main detail that we'll be adding is going to be some foliage at the top into the sky. That will be like the detailed silhet that we'll be going ahead for this one. So just going ahead with a layer of water. Now for the colors, I'm going to be beginning in with the Prussian blue first at the top. So I'll just pick up the Prussian blue from the PWC set that I have here and just going to begin in with this color at the top. So I'm using a very smaller size flat brush, as you can see. At the top, the blue color is going to be a little of the darker tone. And as we move towards the bottom space, I'm just going to lighten this up. Next, for the yellow, I'm going to pick up a little hint of the Naples yellow color. And now I'm going to pick up the Indian gold color. Now, in case if you do not have an Indian gold color, you can just go ahead mix in a little hint of orange and brown and get an orangish brown color. So in the center, we have the sunlight with the yellow. That's the naples yellow that we used in. In case if you do not have a naples yellow, you know, you can just mix in a little hint of white or use in a very light pastel yellow color. Now, I'll just pick in a little more of the Prussian blue and blend things out again. But Now, using the Prussian blue just going to go ahead onto the yellow orange spaces. That's the Indian gold color a little and create in some wet on wet cloud details, much closer to the horizon line, basically. So you see I'm just using the tip of my flatbush to create in these strokes. So we have the yellow maintained in the center, and towards the rest of the space, we've given in the details of the darker blue at the top. Just adding in little highlights of the Indian gold color at the meeting point of the yellow and the blues. Now, as I told you, wet on wet at the horizon line, we're just going to give in little of that bush detail. So I'm just going to be going ahead with the pain's gray color. So I have a little on my palette already, and just going to lift very little and not going to have in excess water either and just going to create in that soft bush effect on the horizon line. Alright, very little details that we've given in. Now we'll go ahead into the field space. And on the field space, we are going to go ahead with a very dark green color first. So now you can pick up either sap green when they're green or any darker green that's available in your palette. Now your sky is still wet. So you either leave a little white gap or wait for your sky to dry out completely, then go ahead with this, or you will have to have that water control. I want that little soft blend, so that is the reason I'm beginning with it right now when my sky is, you know, a little wet. So that by the time I reach the horizon line space, I can get in that soft blend. Now I'm mixing in the green, paints gray, and the brown color. We want the field to be of a very dark color. Now, very carefully, going at the horizon line. So you see we got that soft and soft blend into the sky and the field. And now closer to the horizon line space, I'm just going to create in some lighter depth by lifting up the colors majorly on the right side. And towards the left, I'm further going to be adding in more darker depth of the brown and the pains gray. You see the light of the sunset that we are trying to show into the field that is coming in with that lifting that we did here, you can see how the light is reflecting. That is exactly what I just wanted to get in there, and that's the reason I just went ahead with that little lifting out there on the center right side and we have that beautiful glowing sun effect falling into the field here. And in the rest of the space, we have the blended aka highlights. So just adding in a little more of the pains gray and browns on the edges. Now, we'll wait for all of this to dry and then add in the silhouette details of this painting. So by the time this field dries out, my sky is completely dried, and at the top, I'm going to begin in with the silhouette out here on the left side. For that, I've picked up the pains gray color, and I'm just going to begin pulling out simple thin branches like these from the left edge. Make sure to use our pointed tip brush to get in these fine lines. And now to these, I'm just going to add in simple foilage detail. So just dabbing in the tip of my brush to get in random foilage shapes. I'm just going to shift into a fine pointed tip brush and add in some more fine details between these. So I'm using my size 0.3. You can see how fine the nib is. And now from these, I'm just going to begin pulling out some very fine details. If you want, you can use this detail or brush to add in some foilage as well at places to give in more detailed foliage look. I'm just pulling out some very fine raw branches outside from this detailer brush that I'm using in. See how I'm giving in some of the branches moving towards the top as well, and at certain spots just adding in some very detailed foilage using in this detail or brush. So that is for the detailed fooliage that we had to add in. Now I'm going to pick up a little of the orange mixed in with white colour, and using that, we are going to create a very beautiful pastel orange color to give in that sunset effect. So the setting sun that we'll be adding in. Now, I would recommend you to use in white wash because white watercolors will not give you that opaque look. So now here closer to the yellow spaces, adding in a small orange circle which will act in as our setting sun. And now on the horizon line, we're just going to add in little detailed bush. For that, I'm going to be using in the technique of the spoiled round brush that we go ahead with and add in the details. So using in this spoiled round brush? I've just picked up some pains gray color, and on the horizon line, just going to create in some bush details. So you see, we had already added in the blurry background for the bush. So make sure that at certain spots you have that blurry background still visible and just go ahead with a very dry brush technique and create in these bush details for the horizon line. And then using in a round brush, we'll just give in a finishing detail. So you see, I'm just defining the horizon line and giving in this finishing detail on the horizon line. Now, from these as well, if you want, you can just pull out some detailed foolage Now, using in a little of the pastel yellow color or if you want, you can even use in white. And using that onto the sun, we'll just add in the second bright layer. So I'm using the naples yellow color, and on top of the orange, just going to add in little naples yellow to create in that bright effect. You want you can use in whiteqh as well, but whatever you wish to use, use it in a very thick bold consistency so that you get in that opaque effect after it dries out. So at the top majorly I'm creating in that lighter spot. So you see at the top, we have a little lighter glow and at the bottom, we have that darker effect. Now, to give it a little more dark highlight on the edge, I'm just going to use in pure orange color without white and just on the edge creating that darker effect. See little bold orange that I wanted to give in. So what I'm doing is I'm just creating a soft background of this orange and the yellow color that I created because the circle had gone up too big. So what I'll do is I'll create this as the glowing background. And then using the white color that is the white quash, I'll just add in that sunset effect. So I'll just pick up the white quash in a thick consistency. Picked up some very fresh white quash. And just going to add it to the center of this space, make sure you pick up the whitewash in a very thick layer and just create a small circle into the center of this orange space. So this looks better, giving in that better sunset effect as well as you know that orange is acting as the glow of the sun. I'll just go ahead with one more layer of white because this seems to be a little dull. I'll just pick up more thicker white and add in here. So that is it. We are ready with our painting for today. It took us like 15 minutes to create in this mini landscape. And you see simple sky and the simple feel with the glow in the field that we have, and the simple silhouette at the top. Let's peel off the masking tape and see a final painting. Make sure to peel off the masking tape against the edges so that you do not tear off your paper and go ahead very gently. So here's a final painting from today's class project. You see, I messed up the sun space, but how we could just go ahead with another way and correct it out and get a beautiful setting sun effect. So I hope you guys enjoyed painting this mini three by three inch painting with me today. You see, minis also take time, and you can add in so much more details in there. I hope you guys enjoyed painting this, and I will see you guys soon into the next painting of the series. 24. Day 19 - Northern Lights - Part 1: Hi, everyone. Let's begin with our next painting in this series. And today we are going to go ahead with a beautiful Northern light. For that, I'm just beginning in with a pencil sketch to mark out a rough mountain space at the bottom for the silo hit part. You see, I prefer taking the peaks of the mountains off site not centre towards the center. So that the painting looks well balanced. So this is going to be a sky path, and this is going to be a mountain space. Now for the Northern lights, I'm going to be using two colors. One is the Kobal green hue, which is a beautiful pastel greenish blue tone, and the other one is going to be the indigo color, which I already have from the previous project on my palette. This is the white knights indigo color. So let me just show you that as well. This is the indigo that I love using in. It's perfect indigo shade. You know, I've tried it from multiple brands, and this still stands my favorite. And the Michelomsion copalcreen hue. Now, in case if you do not have a copalcreen color, you can go ahead and use a yellowish green color because that will create that beautiful glowing light effect, as well. I'm going to take a help of little of this color as well to give in the lighter tones. Alright? So let's begin painting a sky first. Now, first, I'm going to begin with a layer of water into the sky. Make sure you're given an even layer of water throughout. Across the mountain space, I'm just going ahead carefully and giving in a peaceful outline. Now, usually, for the Northern lights, we go ahead with the vertical strokes. That is the strokes like these. But this time I'm going to go ahead with little horizontal strokes and create in a beautiful horizontal way of Northern lights. Alright. Now first, let's begin with the green tones. So I'm first going to be using in this beautiful yellowish green colour, which is a beautiful pastel light green tone. So you can just mix in a little of your green with the yellow if you do not have this color, and just begin adding in swolls of these into the sky first. So at the top, I'm going to have a lot of indigo coming in, and towards the mountain side, it's going to be more of the green tones. So with this green, I'm going to add in the mix of the cobalt green hue that we have squeezed out, and then just given very little indigo highlights between these, as well. So you see, we've just given in simple spoils for now. Now let's shift into the cobaltrine hue. When you pick up the cobaltrine color, pick it up in a little medium consistency, not too watery. Otherwise, it will spread completely and not blend in easily. So we want these strokes to maintain the shape and the position in which you add them, still having in the softness with the water. So just on the edges of the green, you see, I'm adding in this color such that it blends in with the green creating in that beautiful glow into the night sky. Across the mountain, go ahead very carefully. Now, let's pick up the indigo color. And into the spaces, wherever you've left in blank, it's going to be the indigo color, but you just need to pick it up in the world's motion. After this, we'll still have to go ahead blending in these colors with each other as well. You see how gently at certain spots, I'm laying the indigo over the green as well, creating in that swirl that movement into the Northern sky. Now, towards the bottom space, going to add in some lighter strokes. Now, as I told you, we have to go ahead and create blends between these colors as well, because right now, if you see, it's a little patchy. So I'm going to pick up this light green color that we used in a little medium to light consistency. And across the meeting points of the greens and the indigo, just run this color gently. So you see automatically how the blends are beginning to turn out soft turnout. Alright. Now, after every lifting that you do or every blending that you do before picking up the color, clean your brush because now you have a mix of the indigo and the green, and you just need the lighter tones for the next blending again. So you see how the blends are turning out now? Now, somewhere you can even just go ahead use in a damp brush for blending in. Now, at the bottom again, I'll just pick up some green colour. Now, at certain spots, if you feel that the colors are drying out too dark, you can just quickly go ahead with some gentle lifting with a damp brush. So I'll just quickly pick up my round brush now. As I told you at the top, we are going to have in more of the indigo with very little green highlights. Now, I'm going to pick up a little hint of a bright yellow color. And just drop in at spots. You see, I twisted my brush such that if the indigo color is lifted, it's cleaned again. And now just go ahead, Blend this in on the edges well. Now, one trick that I'm going to do is I'm going to be using in this spray portal and just creating little flow between the color. So because of the spray bottle, you can see the paints being reactivated and in a good moving consistency, that will help you get some natural glow and flow into your northern lights. So just two sprays, you see, and now the paints are moving and creating in some soft smooth blends. But you need to quickly keep on turning this into different angles so that you can maintain the color or glues as well. Now let's pick up a little bit of wite Just creating in some more glows at the top. Closer to the mountain, as well. And you see you're already getting in this white glowing spot out here as well. I'm just going to pick up little indigo and add in some spalls in between. Okay. And again, while this is all still wet, just turn and twist a little so that you see the indigo is automatically flowing and creating in smooth blends with the yellows. You see how the colors are flowing because of the water? That's the magic of water that you can use in for your Northern lights. So we are almost ready with the sky. You see a simple way that we just went ahead and used it. Now we'll wait for this to dry out and then move further and add in the details. 25. Day 19 - Northern Lights - Part 2: So now you can see everything is dried out, and I am picking up some fresh white quash from this tub, and we're going to add in first the sprinklers for the stars. So I've got a white quash in a good dried consistency, and now I'm just going to dab in some stars into the sky first. So just go ahead, dab in in the or, you know, on your brush like this with two fingers, or you can even use a second brush for that. But just make sure you have the paint in a good thick consistency so that you get in these fine star details into the night sky and you don't get in those big patches of colors. If the paint will be in a flowy consistency, you will get patches of white paint instead of these tiny stars. After this, of course, you can go ahead, add in some detailed stars if you wish to. Okay? Now, uh, by the time this settles in, let's go ahead for the first layer of the mountain. For that, now, I'm going to begin with the Pain's gray color, and I'm just going to go ahead, add in little drops of the gray color like this, and then just use in water and dilute it and create in the snow effect. So just little patch of the paint and then just water in the rest of the space to blend everything in. Make sure that your sky was completely dried before you begin this. Now, from the top, just dropping in litter of the pain's gray color like this. Same way, I'm going to go ahead into the rest of the space as well. Very little hint of the pain's gray color is what you will be ding in. Like this, drop in a little of the snow mountain effect between the snow at south end spots. Then we'll be adding in the dry brush texture. This is the first layer of the mountain that we are adding in first. So basically, you are just using water to act in as the snow and using in the paint's gray color to give in little detail of the mountain that is actually covered with the snow. On top of this, when we create in the dry Brush te show, you will get in the effect that I'm talking about. For now, just adding in some patches of colors. See, simple details. Majorly at the top space here, I'm giving in the darker effect at the top, wet on wet only. And then when we add in the dry brush, the rest of the things will be taken care of. So just defining the mountain a little better. So at the peaks, you can see, I'm dropping in the paints. The mountain is still wet on which I'm going ahead dropping in this wet paint. So you can automatically see how things and the colors are spreading out naturally on their own. And just adding in a little more of the color. Now, the rest of the details, we'll be adding in with the dry brush once this layer dries out. So let this dry out naturally, splendid and lift it up a little from this pitch. Now till that time, we'll go ahead with the next layer of stars here into our night sky. For that, we are going to go ahead, create in some flowing stars. So we're just going to drop in some white drops a little bigger than the ones that we have splattered. So you can drop them at random spaces. It's not necessary to drop them at the same spaces that I'm dropping in because your splatter of stars may look different than what mine look at the moment. And now just going to create in and blend these into the background. So these will act in as the glowing spot for the stars. To the center of these, we'll add in the stars. So as I told you, your placement of these stars can vary depending on your splatters or your need of the sky. Just on the edges, make sure it's well blended, using in a damp brush. Alright, now to the center of these, using in a thin or a detail of brush, which has a good tip for you to add in. Pick up the whiteqh in a good thick consistency, and just using in the tip of a smaller size round brush, drop in simple dots to the center of these. You see how the background dull space is now acting as the glowing spot to these stars. Same way, at certain spots wherever I feel, we can add in a few bigger stars, dropping in some bigger white patches. So that is for the stars into our night sky as well. Now, we'll just quickly wait for this space to dry and then add in little texture to this snowy mountain, and we'll be ready with our class check. So now this layer is also tried, and they're going to go ahead with the dry brush tech pie. I'm going to be using in this size four round brush. Oh, so this is Oh, you know, this is the best brush that I like adding in the dry brush texture. Now I'm going to pick up the paint's gray color in a very dry consistency. So here, if you see, I'm not adding in any water to this. I'm just picking up dry pin. You see how dry my brush is, no water on the brush as well, and I'm just going to create in some textures at the top. So you just need to drag your brush out here. You see the textures coming in slowly. So build it with patience so that you don't get very rough and, you know, bigger textures like that so that you can control the textures as well. I'll quickly squeeze out a little more of the fresh paints gray color. You can even use a black color if you do not have a pains gray color. Now, again, picking up the color, let's just go ahead, add in the textures at the top first. We're just going to create in more of the textures at the top spaces only. Very little at the bottom that we'll be going ahead with. Now, in between the textures, just going to go ahead and define the outline a bit and just give in a few bold strokes like these. Again, these are also little dry brush if you see them closely. Just going ahead, adding in this, creating in the rock texture at certain spots. Now you see the background glory layer that we added in is acting in such a beautiful background to these textures that we are going ahead with. Make sure every time you pick up fresh paint, you dab it first so that you don't have excess paint left onto your brush because we need very little pigment in a very dry brush consistency to get in these textures right. Just adding in a little texture here. Every time I'm picking up the paint, I'm just dabbing it well. See just adding little texture at the bottom, a few drops here and there. And now I'm picking up the paints gray in a bold consistency. I'm just going to add in some darker texture on the peak points at spots. You see? This adds in so much more depth We're almost through this painting as well, another minute or so, and we'll be ready to peel off the masking tape. Just adding in a darker effect here as well. So that is it. I'm not going to go ahead and overboard it with the textures. I'll let the snow effect do the magic. We are ready with the painting. So let's peel off the masking tape and see the final painting with those clean edges. Be very careful on the edges that your edges have dried out completely before you begin peeling off the masking tape. And here's a final look at our Northern sky from today's painting. I absolutely love how the colors have blended naturally here. And this glow, if you see, because of the water and the white space that we left, you see these small water magic that has happened here. This is the beauty of what colours and I absolutely love how everything has turned out in this painting. I hope you guys enjoyed painting this, and I will see you guys into our next painting of the series. 26. Day 20 - The Glow Northern Light : Hello, everyone. Welcome to the next painting of this watercolor challenge. And today, again, we are going to go ahead with another beautiful Northern sky. This time, we are going to add in pine trees as a silhouet. So at the bottom here, I'm just creating in a small snow space. Alright. So this is going to be the snow space. And here we are going to have in a few pine trees, and the top is going to be our Northern sky. Last time we went ahead with a little of the horizontal pattern, and today we are going to go ahead with the classic night lights, Northern lights with a beautiful color um, palette, it's going to include a little hint of yellow, orange, reddish tones, and then the main indigo and the green tones. So that's about the colors that we are going to choose for this time. And this time, we are going to be creating in a little of the reflection of the Northern sky colors into the water space here. So I'm going to go ahead, add in a layer of water completely to the entire space. Now just make sure that you have a good wet layer of water so that it's easy for you to blend in. Like last project, if you remember, we used in a spray bottle to activate the pains or, you know, add in a little more water depth to make the flow of the colors. This time, I'm going to first only keep the paper wet and let the colors and everything blend on their own naturally with the base layer water itself. So the paper this time is going to be a little wet than the usual that we keep in, but not that excess that, you know, it has a lot of patches of water on the edges. So just make sure that, um it's wet enough, but not extra wet again. Now, let's begin in with the colors one by one. So first, I'm going to begin in with a little hint of the yellow color. So I'm going to use in this beautiful, permanent yellow deep. So this is like a mix of the yellow and the orange color. So beginning in with this color first here, now going to go ahead with a bright yellow color. So going to use in this lemon yellow from my heinie palette blending it with this yellowish orange and now the beautiful reddish tint. Very little in a light consistency that I'm going to add in here. You see, going to pick up a little more of this and go ahead and blend in at the bottom. So I want the flow of these colors to go towards the top space. Now I'm going to pick up the green colour and begin adding in simple swirls like last time. But this time, you see, I'm going ahead with the vertical ones. Going to use in the Kobal green color. Now, before I begin and move on to the indigo color, I'm going to go ahead add in a little extra water here so that I can get in the flow of the indigo right. Now, picking up the indigo in a little flowy consistency first, let's begin adding in the strokes at the top and let it bleed naturally like this into the paper with the water. So just going to go ahead and play along with the indigo. So I let little of the white spaces do the magic of the glow into the night sky, and you need to be sure about a few things. If you will keep it tilted in one angle for a longer time, the colors will have a very weird effect, so you need to quickly keep on rotating the transition or the tilting of the paper that you want to cheap in. So you just keep it rotating here and then quickly turn it around so you see the colors will flow and have that natural soft blend maintaining in these white spots as well. So basically, I just want that little flow of the indigo, but the white space is also maintained in. Now, if at any spot you feel like you see the excess paint that is running out here, lift it up with an extra brush. Don't lift it up with the brush that you are using in. Otherwise, again, once you go ahead with that brush, and, you know, if the colors stay on that brush, it will be difficult to get rid again. Now at the bottom as well here, so you see such a different way of adding in the Northern sky this time that we went ahead with with a different color combination, different color palette, and different close style that we used. Now, into the bottom space here, I told you this time we are going to play along with the reflections. So pick up the same yellow that you used at the top and just using a flat brush, create in the reflections of the colors lightly. You know, blend in the colors with each other well. And in the remaining space, just pick up a little very light watery consistency of the indigo color and just pull it out as well. You see very light. Now, in between these as well, you see I'm moving ahead diagonally here to give in the flush of the indigo color in between the reflection. So just trying to create in the indigo top effect here as well. Now, onto a horizon line as well, going to pull out a little hint of the indico. Just giving in little effect. You see how the glue is coming in here. Now, I'm just going to pick up a little bit of the green and darken up the green before this dries out. So you can either use the same light green colour or a little of the cobalt green hue and add in little darker hints of the green because remember, watercolors dry out or tone lighter. So, you know, to maintain the vibrancy once they dry out, make sure you use them in a good consistency. All right. So that is it for our piece of the sky. Such a simple sky. I hardly took us like seven to 8 minutes. Now, we'll wait for this to try and then add in the pine trees on the horizon line and balance out everything. Just one last thing is I'll pick up the little indigo and add in a little more of the horizon line effect here. Again, I don't want a lot, so blend it well. And one thing that I forgot was adding in a little of the green glow as well. So just pulling a little of the slant effect of the greens. Now you see all of the reflections, we've gone ahead diagonally, trying to show the reflection falling in in the reverse method, or Alright, so that is it. Now, let's wait for this to try and then go ahead further. So now you see everything is tried out completely. We're first going to go ahead, pick up a good thick layer of white quash, add in a few splatter of stars into a sky. So majorly, the stars will reflect over the indoor space because rest of the spaces, the white will, you know, not be that prominent and visible, but it's okay. Let's just go ahead and add in the stars. Alright, now I'm going to go ahead and add in the pine trees on the horizon line. So for that, I'm going to go ahead with a little bit of the indigo at certain spots and the pain scare at certain spots, and just going to go ahead add in some pine trees. So you can go ahead with different kind of pine trees that you wish to. You need not follow the same pattern as mine. Just go ahead with random pine trees of your choice, however you wish to. Along with it, I'm just defining in a little of the horizon line first with some dipras strokes only. So so here I'm just adding in some dry brush background texture. See? And now in front of this, I'll go ahead with a paints gray color and add in some bold pine trees. Do you see in the background how the dry Brush texture is adding in as a different layer again to the pine trees that we are adding in the foreground. You can just use the indigo color or just the paints gray color as well if you don't wish to use both of the colors, or you can go ahead with a blend of both colors alternatively. So we've done with the right side of it. Let's move on to the left side. So on the left side as well, what I'll do is first pick up the indigo color and create in a similar dry brush pattern like this, very rough and random. So just add it in the block of color and just creating in a dry feel of the pine trees in the background. So see? Just a dry patchy background that we've added. And now let's go ahead with the paints gray on the foreground. Now, if you see somewhere I'm adding in the scar pine trees and somewhere I'm going ahead with tense pine trees. So that's absolutely your choice. You can keep wearing and alternating as per your wish. Also keep, you know, remember to keep on varying the heights of the pine trees so that they look natural. You see I'm just moving randomly criss cross for the foliage effect of the pine trees. And the best thing about pine trees is you can add them however you wish to. There's no fix rule or a specific method that you need to add them in. They are the most forgiving landscape element, I feel that, you know, even the weirdest one will look pretty when added in the perfect landscape. You see how we vary the length of all of our pine trees and the foliage as well. The most important thing that is with the pine trees is the triangular shape that it should have at the end of it all, is what you need to just keep a look at. Now, you see the background foliage is adding in so much beauty to the foreground mountains that we've added in. Now, just using in this damp brush, I'm going to go ahead and create a softness at the base of this so that this looks well, blended into the snow. So just blending the edge of these pine trees into the snow area. Oh so that is it. We are ready with our Non sky painting for today. Let's peel off the masking tape. What I'll just do is before peeling off the masking tape, just pick up a little more of some fresh bold whiteqh. I'm just going to splatter in a few bold stars. That's it. Now, one last thing before we begin peeling off the masking tape, is just adding in some right brush texture into the snow as well. Very little majorly from the bottom space. I'm using in the indigo color. See very little of the dry brush. Add a little picture. So that is it. Let's peel off the masking tape, see the final painting. Be very careful because, you know, on the masking tape edges, you can see excess water that will be there. So you need to pull it against the paper. If you will pull it out this way, this water will see back into the painting. So very carefully peel it off against the paper gently. So here's our final painting from today's Northern Sky. I absolutely love the glow that we've got into our sky here and here and how softly the colours are blending into each other and the background pine trees that we created with a very simple technique of the drybush method. The reflections, everything of this painting looks so pretty, so beautiful, so simple yet gentle. I hope you guys enjoyed painting this, and I will see you guys into the next painting of this series. Thank you so much once again for joining me into this class and painting along with me. 27. Day 21 - The Valley - Part 1: Hello, everyone. Welcome back to the next project into this watercolor challenge. And today, we are going to be painting a beautiful, you know, valley kind of a view. And for the pencil sketch, we are going to be having in two mountain ranges, one on each side. Alright. So the first one is going to be here, and the second one will be moving like this towards the top right side. Okay. So that's about the two mountain ranges, and then we'll just have a little more of this bottom field space, and then here we'll be adding in a hut. So for that, the pencil sketch is not needed because we'll directly be adding in with the paint's gray color that. So first, let's begin in with the sky. Now for this sky, we are going to have a beautiful, misty kind of a sky this time. So let's begin in with a layer of water. Alright, so I'm just going ahead with an even layer of water onto the entire sky. If a little of the color moves into the mountains, it's okay because the mountains is going to be of a quite darker color as compared to the sky. Now for the sky, you either use a little mix of the indigo with the pains gray or a blue mixed in with the pains gray. We basically need a grayish, kind of a blue tint into our sky. And this time for the sky, I'm going to go ahead with a very different way of adding in. So I'm just going to begin dropping in the colors randomly. So I have this grayish blue color. Basically the indigo color from this palette that I use, the PWC palette is more towards a grayish blue color, and I like to use it as a grayish blue color instead of the indigo color. Closer to the meeting point of the mountains here, we are going to have in little of the dark hint of the color. So here I'm adding in more of the color. Okay. And in the rest of the sky, for the first layer, I've just added very little of the colors. Now I'm going to go ahead with the spray bottle and just going to spray a little water and let the water flow and do the magic of the paints in all directions. So I want a lot of white misty kind of spaces as well. So that is the reason I have only added paints at very limited spots for now so that we can build up in layers. All right. So you see all of the excess pigment, water. Just keep it tilting in all directions so that it's not, you know, stick to one place. We can have the flow in the colors happening again. Now going to go ahead with the brush and create in some misty effects. You see, I'm just moving my brush in circular motions to create cloud shapes, mist. Now again, let's pick up a little more colour, add in some more cloud shapes onto this wet layer. You see how I'm just going ahead and gently adding in very less colors from the edges. And in the center, I'm trying to maintain in that glowing spot that we have created with just a light hint of the base color. So if you feel the need, you can even keep on adding a little more blue hints. So to this color, I am still adding in a little more of the blue hints so that I can get in a little more of the bluish gray effect. You can see how beautifully we have different cloud shapes and, you know, simple details coming in altogether. Now I'll just darken up the color and just towards the edges going to add in some darker hints. You can see I'm playing along with the liquid consistency of the paints and letting the paint the water do its magic for the blends. Just using the tape, dropping in little highlights at spots where I feel there is too much of the whiteness of the paper so that they all blend, bleed naturally, and create in that depth. See, slowly step by step, wet on wet, we've created a misty kind of sky that we needed. So that is it. We'll wait for the sky to dry, simple, easy, and then we'll move ahead to the rest of the details into this painting. So now my sky is completely dried, and we are going to begin with these two mountain ranges first. For that, I'm going to use in this viridian hue from the PWC set, so I will just squeeze out a little. Along with this, we'll be using in tones of browns and other green tones like sap green, light green. You can use opera green, olive green. Whichever greens, basically you want to wish to use them, you can go ahead and use various tones of greens so that you can create in beautiful, you know, different undertones of the greens as well. Now, let's begin into the mountains step by step. So I'll just begin in with a light layer of water into this first mountain range here. And beginning in with the green color, that's the viridian green. Let's go ahead and define the outline to this entire mountain range. Alright, so just added in the first base layer. Now, going further, let's keep on building in the dip. So I'll pick up the brown color. I'm using the burnt umber colour and using this at the top, let's begin adding in strokes like these in such a way that you have greens in between and you have darker hints with the help of the brown. So major top of this mountain range is going to be brown and just with little glowing spots of the greens that we wanted to be there. You see, wet on wet. Using the tip of the brush, I'm adding in the darker highlights with the brown color. So you see wet on wet, everything blends in easily with each other. Now I'll pick up a little bit of the olive green color. And just add in little green hints of the olive in between. So you see now the viridian green has some highlighting spots, and then you have the darker spots. And now, lastly, going to be picking up the pain's gray color in a good bold consistency. And wet on wet itself, we'll just add in some more darker highlights. So majorly using in the tip of the round brush, just drop in the darker highlights of the paints gray color, all wet on wet blended with each other. Now, you can see in this, we have the greens, the browns, the light tones, everything visible, yet having in all beautiful textures together. As I told you, towards the top, we are majorly going to be having in the darker look and towards the bottom, little highlights of the green. Now, after this mountain range dries out, we'll paint this one. By then we'll just go ahead with the bottom field space, which is, again, a very easy one. So we are going to begin in with the yellow color here first towards the center spot. Then move on to a light green tone. I'm using this may green color, which is a yellowish green hint. So over the yellow as well, give a little washed layer. And now on the edges, we are going to have in the darker hints. So I'll just pick up a little hint of the viridian first. And now moving on to the olive green. So from the edge towards the center space, I want the olive green color and Alfordo darken up the edges with the help of the paints gray as well. Again, from the bottom, moving in diagonally towards the top spaces. Now to create the blends, go in more smooth. I'm going to go ahead with the light green colour again in the center so that we can blend all of this in naturally. Just go ahead with a damp brush across the blending point so that the blending is smooth. Now I'll pick up the paints gray color and darken up the edges further. You see, simple strokes that I'm adding in creating in the darker depths. Just using the pains gray color, adding more on the edges. And that is it for the bottom space here as well. Now, we'll wait for all of this to dry. Then go ahead with the details here. 28. Day 21 - The Valley - Part 2: Now let's go ahead with the last range of mountain here. And for that, I'll first begin in with the olive green color and just go in with an entire layer of olive green onto this entire space. I'm going ahead with the color directly, and then we'll build in details using the browns and the paints gray. Alright. Just going ahead with a very rough shape. And towards this site, so as to distinguish the mountain, I'll go ahead with a little light green first. All right. And rest of the space, again, just going to pick up the olive green color. Now, while this space is wet, we are going to go ahead on top of it with darker tones. So I'll first begin in with the brown. Now, let's go ahead with the pains gray color and begin adding in textures onto this. So you see how the pains gray color is automatically spreading around and creating in that beautiful blend because of the wetness of the paper, and now just going to go ahead add in some strokes with this darker color blend in. Mm. See, using in the paint scray in a medium consistency, adding in textures, creating in more of the color variations. Now, till the time this is half dried, I'll just go ahead with little textures on this one. So for that, again, I'm going to use in the paints gray and add in dry brush texture, moving from the top towards the bottom. So this I'm doing wet on dry. So this mountain space has dried out. On top of that, going ahead with some dry texture. Towards the bottom, I will add very less texture towards the top. We added in more of the texture. Along with the textures, I'll just add in some darker lines of the pain screen as well. When you add the texture, make sure that the greens in the mountains are still visible and accordingly, add the textures and all of the details. Now onto this mountain. This is half tried, and I'll just go ahead with some darker hints of the green color and add in some flow into the mountain. And in between, I will use the lighter green in a little thicker consistency to give in some lighter spots. So you need to do a little dance between the lighter greens and the darker greens to build in textures and simple, you know, just movement into the mountain range that I'm trying to build in here. So you see simple curvy strokes, but all wet on wet, blended so that they have a soft and smooth flow. Now, using in the dry brush, I'm just going ahead creating in some wet on wet textures and blends. So just some lighter spots. Now, using in the viridian green, just going ahead, adding in little darker spots mixed in with the pinscre color over this lighter stroke that we had added in. You can just even use in any other darker green if available in your palette, not necessary to use the same green tones. If you don't have a viridian green, you can choose emerald green, hookers green. Any green that's available in your palette, nature has its own beauty, so, you know, not necessary to stick into the same tones of green. Now, we'll wait for all of this to try and add in the final details here. Now for the last detail, I'm just going to be going ahead with a very dark brown or blackish color. And we're just going to add in a small cottage here. Just filling the entire cottage with the black color for now. And then once it dries out, we'll use the white gouache and add in little highlight. And a small cottage just close to that. All right. And around the cottage space, we'll just use the same color and create little strokes like these to give it a well bended look into the field. So you see very simple strokes with the same color. At certain other spots as well, giving in little textures. And now, by the time that this dries out completely, we'll just go ahead and add in little other details. So I'm going to pick up my white quash, and using the white quash, I'm just going to be adding in a little flow of water here onto this mountain range, so just a small fine line disappearing somewhere in between. And similarly, water flowing area here. See I'm using kind of the dry brush texture of the white so that we have that natural effect. So just a little water flowing space at the bottom here as well. It Now, we'll wait for this space to dry and add in the final detail. Now using in the white gouache, I'll just go ahead and add in the details into this cottage that we've added. So we'll just mark the outlines so that we can get in the Oh, you know, three D dimensional look to these cottages. So very simple white lines. I'm using in the white Koh. So just adding little dry brush in between and given in the edges. Same way here as well. I'll just given very fine lines. You can even give a little cuts in between the lines so that, you know, it gives in more of that texture look like this. Okay? Same way to this one as well, I'll just given a very fine line, very little, and that is it. We are ready with our class project. Let's peel off the masking tape and see a final painting. I know this class project took a bit longer as compared to the 15 minutes, but then I really didn't want it to skip any of the mountains or the details. I wanted to keep it simple yet something new to learn upon. So here's our final painting from today's class project. I hope you guys enjoyed painting this with me. I love how the sky has turned out misty, yet so beautiful forming in the clouds naturally with the help of water, and then adding textures, creating this glowing light space into this feel. Thank you so much for joining me into this class and painting along with me. I will see you by soon into the next painting of this series. 29. Day 22 - Winter Cabin - Part 1 : Hello, everyone. Welcome to the next easy painting in this 50 day watercolor challenge. It's going to be another practice exercise where we'll be focusing on one element. So that's going to be adding in a cabin. We are going to basically be going ahead with our winter escape this time. So I'll just begin in with a very simple pencil sketch. The pencil sketch is just going to be distinguishing the sky and the snow. So this is going to be a sky. This is going to be a snow. And here in the snow, we'll be having in a cabin. So let's just go ahead and sketch out that cabin, which is the only important sketch that you need in this entire painting. Alright, so just adding in first the outline that we need. Alright, in front of the cabin, as well, we'll be having a lot of the snow space. So giving a very rough border at the bottom, you can see to show the snow depths out here and then here at the top. So now, I'll just erase this extra horizon line that we have. Or when you go ahead with watercolors, the lesser the pencil marks, the better it is because once you lay down water on these, these marks become permanent. So it's very important to be careful about these small things. Now, just going to give the cabin outline, giving in details. So we'll focus only on adding in the details into the cabin this time. Alright. So I'm giving in the front view of the cabin, and then inside as well, we'll just give in little details. So I'm marking out all the pencil areas so that we know how many details we are going ahead with. And then the door to the cabin here, the main door, a little window. All right. Another little window here. And this side we'll just keep it plain with just one window. Okay. And in the background here, I'll just go ahead with another cabin, which is kind of hidden behind this. So just a very small one and then another one behind this as well. So in these two, we won't be adding in much details, major details in this one, and the sky and the snow is going to be the simplest of all that we'll be painting. Alright. So let's begin with the details into the sky first. Alright, we'll go ahead with a layer of water into the sky. It's a pretty simple sky that we'll be painting. It's not compulsory for you to use in the same size of paper or either the same type. That is, I'm using the hot press paper. So if you see this paper has more of a matte finish or very sleek finish does not have much greens, and it's a very smooth finished paper, but it's 100% cotton, so perfect for watercolors, 300 GSM. You can go ahead with the cold pressed or hot press paper, grainy paper as you wish to. Now for the sky, I'm going ahead very carefully across the cave in details into the sky because I do not want any colors to enter into the cave in space and making sure the edges have perfect clear of water. All right. And now we're just going to go ahead with a simple indigo color sky. So I'm just going to begin with the indigo color at the top and just going to dilute it towards the bottom space, creating in a beautiful gradient wash of this color. The top will be dark towards the bottom, it will turn light. And then again, towards the horizon line, we'll just darken up a little. Be very careful to not run this color into the roofs of the cabin because the cabin roofs are going to be white, snow cape completely. All right. So just going ahead with a soft smooth blend of the indigo color for the sky. Now, I'm just going to be picking up little indigo color. And on the horizon line, just going to give in some pine tree looking structures. So this is wet on wet. The sky is wet in which I'm adding in these structure details. We won't be going ahead with much detailed pine trees. We'll just add in a few randomly here and there, if needed. Across the roofs, go ahead carefully, and just pull out these small strokes like these to act in as the pine trees. Make sure to vary the length of these. Do not keep them of the same length throughout. Just go ahead with a very variegated layer. So you see some background soft trees that I'm adding in. Now again, in this wet on wet itself, going ahead with some more details in such a way that we still have the background lighter layers visible. So as I told you, we won't be adding much of the detailed look once this dries out. That is the reason just building in the depth, wet on wet and just adding in some darker details as well. So darker details are in such a way that the lighter ones are still visible. And while this is still wet, you can just go ahead, add in a few strokes of the pine tree movements like these wet on wet. So into the wetness itself, I'm maintaining this. Even on top of this roof here, I'll just quickly go ahead, add in some pine tree structures. So all of this is wet on wet that we are doing. You see, just some quick pine tree looks that we are adding in. You see how the details are coming together? So that is it for the pine trees as well. We are done with the wet on wet details into the sky. Pretty simple, pretty easy, as I told you, not much details to add in, everything wet on wet, letting the water and the paints do the magic, the glow. Just defining the roof space well. Hello. So now, everything is completely dried out, and we are going to first begin adding in the details here into the small cozy cabin that we have. So, into the windows of the cabin, I'm going to be going ahead with a little yellow light effect peeking in from the inside. So just in the window pane spaces, just going to add in little yellow and keep it for now. Alright. In between the door, also just adding in a little peak of the yellow color. Now I'm going to go ahead with the brown. I'm going wet on dry for the cabin space. It's a small space details that we need to add in, and into the rest of the space here, just going to go ahead with the brown color. This triangle at the top, I'm going to leave it blank, going to add in little dry brush details with the browns later on. So you see wet on wet how the yellow and the brown are blending in with each other, creating in that glowing effect out there. And into the rest of the two pins there, I'm going to go ahead with a little darker brown, which is the bunt amber color. You can use raw sienna or any darker brown available in your palett. Now I want the yellow and the browns to have that soft blend. That is the reason I'm going ahead while my yellow is still wet. Alright? Just adding in the details out here and then we'll just give in little darker hints once these dry out completely. So you see now the yellow light peeking from between the browns is what we needed. Then we'll just give in little details with the white color and some darker hints for the snow. So while this is wet, what you can do is you can just pick up little darker color and on the edges at the top, create in that shadow while this is wet, wet on wet. So just on the turning points and, you know, section bifurcations, you can give in these darker hints. You can use Pains gray or use in brown in a darker consistency. And you see wet on wet just along the edges, giving in these darker depths. Same way. You're as well, going to drop in some darker details. Into the door also for now, I've added in little darker hints. And when that will dry out, I'll give in the distinctive, you know, bold lines out there. The roof of this cabin is going to be like completely snow cape. That is the reason I'm just leaving it white for now, and we'll add in the details later on. Into the center here where we use borne Sienna, I've added a little more of the darker hints. Now, same way into the base of these two huts, as well or the cabins. Basically, I'll just add in little brown hints, leaving in some random white spots there to act in as the rough snow spaces. Alright? And across the cabin as well, you can just give in a little of the mud kind of details like this, blending it into the base snow area well. So this is going to be the snow space. We are not going to be having much details there. Alright, that is the reason I've added these for now here. And now into the base area, what we'll be doing is we'll just go ahead with a little hint of the indigo color. So I'm just going to go ahead with little layer of water here. Very carefully so that you do not run into the sky. Just pick up a little hint of the indigo, and only at the bottom areas is where you need that indigo light. Across the cabin space also, run very carefully, across the horizon line also, run ahead very carefully. All right, so you see, we just gave in a little wet layer of the indigo color. Very little basically majorly towards the bottom space is what you need that snowy effect. So just a simple snow effect. Now, into this, what I'll be doing is use in a pointed tip brush and just add in some highlighting spots so that you have well defined horizon line, well defined details. So basically here across the horizon line, just going to go ahead with a little fine line defining this well. So you see naturally the colors will bleed in here at the bottom space while this is wet. And just giving in some flow wet on wet. Now if you feel the colors go too dark, quickly lift it up with the other brush. So your lines can actually, you know, flow in any direction that you need, not necessarily to follow the same pattern as mine. Just going ahead with defining the horizon line well, and then just some snow bowl details wet on wet. So this area is wet, or that is the reason I'm adding this and blending them all in. You see simple effects that we've added in here. How quickly just using in another brush, I'm making sure that everything has a soft, yet, beautiful, bold blend with each other. So that is for the snow area. We are done with the snow area as well. Now let's just go ahead into the roofs first. So into the roofs, I'm just going to be basically using in water with a little hint of the paints gray because it's, again, a snow cape thing. So just a little hint, you can even use the indigo itself and just give in a wash like this. Half of the space will be only water, and in half of the space, you can give in this color if fat. Onto all of the roofs, we'll be doing that. Using the indigo color. Let's go ahead and just define in some details here. Okay. Just going to go ahead, given some darker details, you can use the pains gray color, or you can use a darker brown color or any dark color that you wish to go ahead with. And with this, you see I'm defining the outlines to the windows, doors, everything. See how adding in little darker details, And then we'll just use in white to depict a bit of snow textures. Now, just going to use the tip of my brush again and using the paint's gray color in a very light consistency, going to define these outlines that we marked across the top roof space. You see, simple details that we're adding in. And now into this roof here as well, just going to go ahead with simple vertical lines. In between, just going ahead, blending a bit, giving in that blended effect. Now, we'll wait for this to dry and finally add in details with white wash, and we'll be ready with this painting. 30. Day 22 - Winter Cabin - Part 2: So by the time the cavin dries out completely, I'll just go ahead and add in a few detailed pine trees here. So I'll just go ahead with the indigo color in a good gold consistency, and we'll just be going ahead with some simple pine trees like these. We won't be adding it into the entire space, just a few here and there over the background that we've created. Alright, so just go ahead and add in a few detailed pine trees, the foliage of which you can use car students depending how you wish to go ahead. You can even use a blend of it all. So I'm just going ahead with a few pine trees, as you can see. You see how easy it is to add in these quick pine trees. You know, I hardly takes a few seconds, but they add in a level of detail again. As I told you, we won't be going across the entire horizon line. So in between, I'm leaving in spaces as well and just going ahead with a few randomly. Okay, now I'll just go ahead with a few on this side. I'm using just the tip of my brush and the indigo color in a bold consistency and adding these in. You see, I'm wearing the foliage as well, moving them top down, random zig zag, criss cross, whatever you wish to call it. So just trying to make them look as much natural as possible. And, you know, the more you let it go loose and natural, the more it will give in that realistic effect. Sometimes it's, you know, leaving and letting the details loose that gets in the perfection, rather than trying to get everything perfect. The more the natural details, the more it looks realistic. So I'm done adding in a few on that side as well. Now just connecting these with a little bold line. So that is for the pine trees that we had to add in. Now, quickly, let's go ahead, use in the white quash and add in the dry brush details that we have to onto the main cabin. So make sure that the cabin space is completely dried. I'm just making sure it's completely dried out. Now, first, I'll go ahead, use in either the paints gray or a very dark brown color and just going to add in the outline points like these, breaking down the cave in much more detail. You see just defining? Now, the door space someway, you can just give in half lines and still let the, you know, lines do its magic and create in that depth. Now, just going to go ahead with the white color. Using the white wash. Let's just go ahead, add in textures like these to act in as the snow. So very simple dry brush texture that I'm giving in. Not much of it you need, little So here I feel that the texture has gone too much, so I'll quickly pick up a little brown and blend it in. Now, just going to use in white quash, and these lines out here going to fade them up a bit with a little white hell. Alright. So you just have those points, but not that bold and, you know, prominent. And you can even define the top roof if any of the indigo colors have bled in from the sky, can just define them as well. So this space, I want to make it completely dark, giving in that shadow effect and the dimension to the cavin And here I'm using in a little bold yellow again to depict some light. And that is it. We are ready with the project. I won't overdo this. So let's peel off the masking tape and see your final painting. Make sure that your edges are completely dry before you begin peeling off the masking tape and always peel off your masking tape against the paper. So here's our final painting from today's, you know, landscape bookmark kind of a painting, wherein we went ahead with a beautiful winter landscape again. This was a little detail when it came to the cabin and adding in layers of pine trees, but yet easy to follow along in just like 20 minutes ' time. So I'll see you guys into the next lesson of these watercolor challenge series. Thank you so much for joining me and painting along with me. Can't wait to see you painting and see your class projects coming into the project section. So I hope to see your paintings and recreations soon. O. 31. Day 23 - The Garden Book - Part 1 : Hello, everyone. Welcome back to the next painting in our 50-Day Watercolor Challenge. A today, we are going to be painting this open book into a meadow, kind of a painting. So I've just outlined the silhouette for the book. It's an open book, giving it a little three d dimension on the left and the bottom sides. And the entire space is just going to be like a field that we'll be painting and then adding simple details into the book. So we are going to begin with a layer of water, and I'm just going to be adding in the water, leaving the book space. So make sure you leave the book space completely empty because the book is going to be of a very light grayish or wash kind of a color that we'll be adding in. And in the rest of the space, we'll be creating in a beautiful field kind of a detail. That's also going to be a simple, easy, quick one that we'll be working with. But just across the outline of the book, go a little slow, gentle, and make sure there's no water moving into the book space. Okay. Now for this project, we are going to be working in with the greens for the field. So while walking with that, make sure that you pick up the greens in a good thick cold consistencies. Alright, so that you have a good opaque kind of a look. So I'll first begin in with this light green colour. This is like a yellowish green colour in major sets, and just beginning in with a thick consistency of this green colour at the top first. Along with this, if you want to give in a little more of the bright effect, just pick up a little yellow. Now, next, I'll move on to a little darker green. So I'm picking up the sap green. You can use a simple green color as well in between and then move on to much more darker greens. For greens to make them darker, you can take help of browns, indigo, paints gray, and to make them lighter, you can take help of white and yellow color. Now I'm using the olive green color as well. Closer to the book, we'll have much of the darker, you know, shades of the greens coming in. And in the rest of the spaces, we'll try to keep a balance amongst all the different color tones. So I'm just giving an outline to the book with a darker tone of the green so that this will act in as the shadow as well. I'll still be further darkening up this color, but just giving a clean outline using in the tip of my brush. So on the outline of the book, you can go ahead and just directly use in a bold consistency of the paint's gray color itself and given an outline. We'll further be still going ahead and darkening up these color tones. But just keep on varying the use of these tones and use different tones green here and there so that you have that realistic field effect coming in. Towards the bottom side, I will just again use in a little hint of the lighter green as well. Just a little, and then again, move on to my different tones of green. So I have used in three tones of green from my PWC set, which is the sap green colour, the olive green color, and the light green. Let me show you the light green name that it goes by. This is cadmium green light, but it also goes by the name of um you know, in most of the sets, it goes by the name of greenish yellow color as well. So that's the same color. Now go ahead, use in a very dark color and create in the shadow to the book wet on wet. So while this is wet across the outline of the book, go ahead and add in the shadow effect. So for the shadow here, I am using in a little hint of the violet shadow. Since I have a little of this color on my palette, I'm going ahead, using this color, defining the outline of my book first. You see the benefit of having your paper taped down on a movable surface. This makes it easy to just rotate around and give in the details easily. All right. Now in the rest of the spaces as well, just go ahead with some darker color. As I told you, you can take help of indigo, you can take help of browns, you can take help of Pains gray to just create some darker shades of the green tones and add them as well wet on wet. So you see now I'm just dropping in some darker shades loosely. So I have picked up a little indigo, mixed it to my green, and then just adding it into the spaces wet on wet. You see, at the top and bottom, we still have the light glowing spots. If you feel that you need to just create smoother blends between that, you can drop the lighter colors again like this so that they also blend with the darker tones. You see, closer to the dark spots, again, just going swiftly so as to make sure that those spaces are completely dark. Again, as I told you, you can go ahead, use in any darker tones that you need. So wet on wet, going with another layer, closer to the shadow space for the book. Now to balance it closer to this also, just give in little highlights of the darker color. Again, for these, you can go ahead using darker brown, Pains gray, indigo, but all in a very dark consistency to create that shadow effect for the book. Now, just going to drop in some more darker greens. Taking up little browns, as well. So as I told you, your color layouts can vary completely. You need not follow the same layout pattern. You can just go randomly with any mixes of the greens that you wish to and just let it go free and wild. So that is for the base layer. Now, once this dries out, we'll give in little grass details on top of these and just a little floral details, and then we'll add in the details into the book. So let's wait for all of this to dry out, and then we'll move further. 32. Day 23 - The Garden Book - Part 2: So now everything is dried completely. I have picked up a little bit of the white gouache, which I'm mixing along with my light green colour. Now the reason of adding in white gouache is to get a good opaque look to this lighter color so that when we add in the grasstkes, we have that opaque looking grass strokes. And using in this liner brush, I'll just begin adding in some grass strokes. So you see, we'll just be going ahead with some random placements of the grass strokes. If you want, you can go ahead and fill in the entire space with detailed grass strokes, but I'm going to keep it a bit loose and flowy, kind of. Just adding in loose grass strokes using in the line of brush, you can see how the opaque color effect is coming in because of the white coach that we added while adding in the color here. So you see with watercolors, if you just add in a little bit of white quash to create in the pastel tones, or they stand out opaque and give that beautiful effect even on the dark tones. Otherwise, if you would have gone in with the lighter green colour directly for adding in these strokes, they wouldn't have stayed out opaque and it would be very difficult to, you know, get in that opaque look. So I'm just going ahead with loose strokes so far, and then we'll just go ahead with some flons on top of this. But before that, we'll add in the first layer for our book as well so that even that can dry out for us to add in the details later on. Now, in between, if you want, you can even use in little of the darker green colour and add in some dark green strokes for the grass. So again, to the dark green, also, if you just add in a little hint of the white gosh, it will give in that little opacity so that it stands out. And then I'll just go ahead with some darkest green. For that, of course, we will not need any white colour because that will any which way stand out on the light background that we have for that. H So just add it in. Now I'll wait for these to settle in, then go ahead with the darkest color stroke. Till then, let's quickly just go ahead and add in a layer for the book. So for the book, I'm just going to be going ahead with a little hint of the yellow ochre colour. It's going to be like a wash of the yellow ochre, basically. So I'm just pinning in with water first. And I'll just pick up a little hint of indigo along with the yellow ochre. Picking up very light end of the yellow ochre, and I'm just going to spread it into the entire space, giving in kind of a washed layer for the book first. You see, it's a very light layer, majorly water, just a little colour touch so that it is not white. All right, so we've added in that layer of detail. Now we'll go ahead with the colors on top of this once this dries out. But by the time this is still wet, I'll just pick up a little of the dark hint of the mix of the violet, sorry, the mix of the yellow ochre with a little hint of the paint screen and just going to go on the fold points of the book, giving in some wet on wet details. And then the outline of the book here. So this will basically act in as the wet on wet shadow that I need in later on. So just on the edges, creating in this little you know, darkness, basically, or, you know, calling it like the shadow effect. So just on the fold of the center and on the edges, this space is as it is going to be of the dark color later on, so I'm not worrying much about it right now. Now, by the time this dries out, let's quickly go ahead with a very dark green color and add in some grass strokes. For that, you can either pick up a very dark green colour or mix it with the help of indigo or pains grey and create in a very dark, dark, dark green and add in a few grass strokes with the darkest green color. So you see with the dark, I'm just adding in very limited strokes, not going with much, much strokes with a darker color. Now, into the greenery space, we'll be going ahead with simple florals. For that, again, we'll have to mix in our white wash with the yellow so that they stand out opaque and beautifully. Alright, so I'll just quickly pick up some white wash and mix it with the bold yellow colour and get a good yellow pastel color. And we'll just begin dropping in simple florals like these. So you see, I'm just going ahead with random shapes to act in as the florals. Once these dries out, we'll go ahead with a little orange hint on top of these to give in a little dimension. In between, I'm just dropping in some petals to act in as some budding florals. Once we add in the details on the book, we'll add in a few florals and grass strokes overlapping there as well. Till then just in the remaining spaces. You see, just because of the white quash, we have such a beautiful bold effect to the yellow as well, and I'm just dabbing in the tip of my brush to create random floral strokes. That's the beauty. You can just go ahead with any kind of loose strokes. Let nature have its own glow, its own variation. Once this dries out, as I told you, we'll pick up a little darker color and add some darker hints to these to add in a little dimension to the florals and a little more dip. So for now, I'm almost done with the yellow layer of the florals. And the white quash has done a real good magic to all of it. See how at the top, I just dropped in little simple details. Now, we'll wait for all of this to dry. And if by then our details on the book has dried out. So let's go ahead and add in the details there. So I'm going to be picking up the pains gray color and adding in the details. So I'll quickly just squeeze out a little bit of the paints gray. And and we are going to be using the paints gray in a very light consistency. So it's going to be a very dull grayish color. If you want just add in a little hint of brown to it to make it look natural. And let's just begin adding in the details to this book. Now, what I'll do is after adding in these lines, I will just tap the paints at certain spots to give him that, you know, more of a detailed look. Now we'll go on this side as well with the same layout. And at the bottom s pieces here, I'm just going to be going ahead with a watery layer. So now here at the bottom fold, just going ahead with a little hint of the brown. Now, this is too dark, so I'm going to quickly dab it like this. Alright, same way. I'll go ahead on this side of the book leaves as well. That is the pages of the book. And just going to dab this as well. So you see it has given in that dimension. Now, once this dries out, we'll give in lines to act in as the pages as well. And to the notes of the book, let's just go ahead with a little hint of the color and just show in as if something is written. See how simple writing effect. Same way onto this side as well. Of course, if you want, you can use a pen and go ahead with some detailed writing. If you really want to gift it to someone, you can write a letter on this and send it to them. That's a great way again to write down your letters. So I'm done with the writing part on the book as well. Now we'll quickly go ahead with the next layer of floris. So now I'm going to be picking up the white quash and mixing it with a little hint of the orange color. Now, again, the same logic so that we have a little pastel effect and the colors pop out well. That's the reason I'm adding in the white wash. So I need a yellowish orange color. So I'm just mixing in a very little hint of the orange with the yellow and the white wash. I'm just going to go on top of these and add in some, you know, detailed strokes with this color. You can see the color variation. It's very slight but yet different. So just some overlapping the yellow and some just randomly at certain spots, adding in these yellow orangish spots, making the florals pop out. Now, as I told you, we'll be adding in little details of the florals on top of the book as well. So on certain spots, just add in some florals like these over the book and same way, use the yellow sorry, the yellow mixed in with white quash, and add in the yellows Now, to these leaves out here, giving in some lines to act in as the pages between the books. So I'm using the lino brush and using in the gray color or the paints gray color you can use in in a very light consistency and add in strokes like these to act in as the pages of the books and towards the bottom as well, if you want to just give in a few strokes to give it more detail. So you see, just given in the pages of the book effect as well. And now, lastly, before we just peel off the masking tape, just going to pick up some green mixed in with the whitequah and going to add in a few grass strokes, moving on top of the book as well. So first, go ahead, add in all of the details into the book and then add in these strokes overlapping the book. Otherwise, you know, the color will begin to spread when you add in the details into the book. You see just some strokes moving into the book? Don't overdo it also, but just going to go ahead and add them. And that is it. So we are ready with our class project from this painting. So we are ready with our class project for the 50-Day Watercolor Challenge for today, and we went ahead with a little detailed painting. Actually, it was detailed because we had to work in layers to build in the depth. But of course, if you want to keep it simple and much easy, you can skip the florals, you can skip the grass strokes. You can just keep a blurry green background and add in the book details. So that is about this beautiful bookmark that we painted, a book between the meadows. I hope you guys enjoyed painting this with me, and I will see you guys into the next painting of this series. 33. Day 24 - Sunset Fields - Part 1 : Hi, everyone. Welcome to the 50-Day Watercolor Challenge. And for today's class project, we are going to go ahead with a simple sky and a simple bottom silhouette space. So what we're going to be doing is we're just going to add in a small field kind of a detail at the bottom, moving diagonally. On top of this field, we'll add in some bush details with the greens, and the rest of this space is going to be our sky area. That is how we are going to just break down this entire project into. Alright. So first, let's begin in with the sky. For this sky, we are going to be using in the shades of cobal blue, yellow. And then a little hint of the violet to add in the cloud details. So first, let's begin with a layer of water into the entire sky. I'm moving ahead with a wet layer first. We are going to be working wet on wet into a sky. So just going ahead with an even layer of water throughout. Alright, making sure that we have enough space, sorry, enough wetness of the people to work wet on wet into the sky, adding in all of the details. So just till the field space, going to go ahead and add in the layer of water. Make sure that it's evenly spread out. Now let's begin in with the colors. So for the top of the sky, I'm going to be going ahead with the cobalt blue color. So I'm picking up the bald blue from my Shenan PWC watercolor set, which I have it here. And at the top, I'm going to go ahead with the Cobalt blue color. So major part of the sky is going to be blue. And then at the bottom space, I'm going to go ahead with the yellow. For the yellow, I'm going to use in the naples yellow color. So I have the naples yellow removed from my yellow mission tubes, so I'm going to be using in that. If you do not have a naples yellow, you can simply use in a pastel yellow color or mix in white to your yellow to get this beautiful pastel yellow. Now moving towards the bottom space, just going to add in the yellow hints. Now in between the cap that I've left in, I'll just go ahead with a damp brush and create a smooth blend moving between both of the colors. Now, towards the top area, I'm going to go ahead with more of the cobalt blue, darkening up the space a bit. So with watercolors, you can build in from light to dark. That's anytime easier because, you know, once the dark colors leave their stain, it will be very difficult for you to get in the lighter hints. So always work from lighter to the darker strokes. Alright. So I'm just building up the blue color now at the top first and then we'll move on to the purple color for adding in some cloud details as well. So for the violet color, the color that I'll be using is going to be the violet shadow color. So this is the violet shadow color from the white knights. You can go ahead and use in your basic simple violet as well, and that's perfectly okay. I'll just squeeze out a little of the paint here. And I'm going to use it in a little medium to light consistency, or we don't need much bold effects of this. So now I'm shifting into my round rush, and I'll just begin in with this color. Make sure you first do a swatch test always of your color so that you know how it is going to come up on the paper. All right. I'm just pigging in with this color. And while this is wet, just going to go ahead, add in some clouds at the top. You see the wet on wet magic that happens, the paints automatically spread, get in their own softness and the blends go in smoothly. So basically, this violet shadow is kind of a color that is majorly used to add in simple shadows, but it has a little hint of the black tone, I would say, because of which you see, it's automatically giving in the grayish violet hint. Now onto the yellow as well, going ahead, very softly adding in some clouds with the violet. So all of this wet on wet, just adding in simple cloud details. So just adding in some second layer onto this to build in some darker depths as well. Very little, not much to go ahead with. And now using in the Cobalt blue color again. Just adding in some darker blue effects as well in between the violet clouds majorly at the top space. Now, at the top, the violet clouds, I'm just going to darken them up a bit a little. Maintaining in the softness wherever I'm feeling that the softness is, you know, drying out or something like that. And now using in this flat brush, just going to soften up the edges and the blends. I'm using the brush in a damp consistency so that the colors blend in easily. That is it for our sky. Now we'll go ahead and add in the base layer for the field as well. For the base layer of the field, I'm going to begin with the yellow first. All right, so beginning in with a major chunk of the yellow. If you feel like your sky is not dried out, you can wait for it to dry out or leave a small white cap between your sky and the field so that the colors don't bleed into each other. Now I'm going to begin in with the yellow ochre color. All right. So basically, I want the yellow glow on this side. So the rest of the space, I'm going to go ahead and build in the depth with the yellow ocher. Now, while building in the depth, I want to show in two moving crossways here. I'm just going ahead with some easy lifting technique. All right, you see, just going ahead with a damp, smaller size flatbush lifting in some colors from here to create in the walkway in between this feel. So at the top here, it's thin. As you move downwards, it's going to be broader. Sometimes you may need to just go ahead with two to three times to get the lifting technique perfect. Now, you could have left it white as well, but I needed that little color stain at the bottom. That is the reason I went ahead first adding in the color and then picking it up so that I can get in that glow of the shine of the yellow color, basically. And now using in the browns, let's just go ahead, add in little hints over the yellow ocher as well. So I'm using in the burnt sienna color, sorry, the burnt amber color. I'm just going to go ahead, add a little effect over the yellow och on the edges across the pathway, just given that darker shadow effect while this is still wet. Now, using the dam brush, I'm just going to blend in all of this, create in that soft looks, and then we'll wait for all of this to dry completely, then move further. Now, make sure that this yellow glowing space is maintained. I'm just running from the top towards the bottom spaces. I'm just going to be picking up little hints of the green color, and we are going to be adding in the green bush at the top. So while our field is still wet, just add in little green hints at the horizon line spot so that you have that shadow kind of a detail to the greens that you will be adding in at the top of this space. All right. Just going to go ahead with a soft blend. So I'm doing all of this while my field is still wet, right? Now, if you feel that the lifting again needs a little help, just go ahead with a damp brush and do the lifting again. Now, I'll give in more of the textures once everything dries out. All right. So let's wait for this to dry completely, and then we'll go ahead further. I'll just soften up these lines as well. So let's wait for this to try. Then we'll move further. 34. Day 24 - Sunset Fields - Part 2: So now everything is dried out and we're first going to begin adding in textures onto the field. So what we are going to be doing is onto the pathways, we'll just pick up the yellow aqua color on a dry brush and just create in some dry brush textures like this. You see, just some dry brush texture. Now, at this point, I'll just quickly go ahead with a little damp brush and create in the pathway space again. So even after everything dries out, you can even create the pathway space. Now I know it's difficult to distinguish the pathway at this point. So now we are going to pick up a little medium to dark tone of a brown in the same, you know, technique of using it as a dry brush, and then just go ahead, make sure the color is not too bright and across the pathway going to define its outline and add in texture like this. Same way towards the center of the pathway. You see now the pathway is perfectly visible. So just using in the brown color in a medium to light, medium to dark consistency and giving in the dry brush into the rest of the field You see now the pathway is lifted because it has the light texture and across it, we have the dark textures. Now at the top of this, we are just going to go ahead with some green bush detail. For that, we are going to begin in with the yellow ocher again. And I'm going to use this color in a very, you know, watery consistency and just creating a rough bush outline, leaving in some random gaps in between. And then on top of it, we are going to go ahead with the greens, adding in the greens. So the greens also we'll be using in some flowy consistency. So first pigging in with the light green tone. Just drop it in between these yellow ochre droplets that you've added in. Let the colors bleed naturally and create their own magic. And now we'll go ahead with the dark green color. So I'm going to begin dropping in the dark green as well. Now, you drop the dark green in such a way that the yellow occur and the light greens are still visible at certain spots. All right. So that's about. I'll go ahead, use in a little hint of the pains gray towards the bottom side and add in the darkmost effect. So you can use in Pains gray indigo, or if you have a very dark green in your palette already, you can even use that. You see just adding in these dark greens. All right. So we've got this beautiful bush effect. Now into the rest of the space, just going to be adding in small bush. Somewhere with the darker ones and somewhere just some lighter effects of the bush. So if you add in such a dark bush altogether, you can even go ahead, lift in little colours like these. You see you get that light effect already. Now, again, I added up one bush, I'll use in the darker color and add in some darker highlights like this. And now onto the edge here, let's go ahead with the same technique that we went in here. And here also, if you want, you can just go ahead with little lifting technique at spots to create in those effect. Going to go ahead with the yellow ocher. Moving on to the green. Now, of course, you can keep on wearing the tones as per availability in your palette. You need not exactly have in the same greens or the same tones of yellow aka as mine. You can just go ahead and use in whatever is available in your palette. You just need to make sure that you have the lighter and the darker effects of the bush details coming in, creating in the lighter details and the shadow parts as well. And now Simma just going to go ahead, use in the paints gray color and add in some darker details. All right. Now, one thing that I'm not happy with is my bottom pathway space. I don't know, it's not looking in that appealing to me. So what I'm going to be doing is I'm going to pick up my flat brush and run a layer of water into the entire field space. And since my green at the top is wet, it will make the colors from the green bleed in here, and that's perfectly okay, giving in that beautiful blend. So you see using the rewetting technique I've corrected in this field spot, and now I'm just going to go ahead and, you know, I'm just going to go ahead and just correct this entire space. So I'll take it into the green effect a little and just go ahead, creating or feel kind of a detail all connected. But see the colors that I have bled here completely once this dries out, we'll define it all again together. All right, so I'll wait for this to dry out and then we'll correct it. I have tried and maintain a little yellow glowing spot here still. But in case if that also goes away, you can add in a yellow layer again. So let's wait for this to dry, then we'll move further. So now all of this is completely dried and I'm going to pick up the green mixed in with the paints gray, and I'm just going to go ahead and define our horizon line space well again. So I'm even going to be adding in some texture like this onto the bush. All right. So this is going to be the second layer of the bush and I have to move in diagonally towards the bottom space, just going to go ahead. In between, you see I've left in that little gap. The, I'm just going to use in the damp brush with little water and let the colors flow and get in that lighter and the darker glow effect again. So you see in the center, you get in that little light effect. Just going to add in some darker dips at certain spots again. And now I'm usually on the horizon line space, going to go ahead with the darker if. And moving downwards, I'm going to go ahead and keep on creating in the darker values and moving diagonally, just defining in the horizon line well. All right. And now just going to use in a damp brush and soften up these edges a bit. So it looks like blended into the field, but still distinctive. And into the field, we are just going to add in little texture with the green color. So I'm going to be using the green in a dry consistency and just going to be dragging in some texture like this from both the edges. For this, you need to make sure that your brush does not have excess paint and it's completely dry so that you can get in this dry brush texture. All right. So I've just created in the dry brush texture into the field. I'll use in a little hint of the paint scree as well and add in some more darker texture at the edges. All right. So that is about it. We are ready with our painting, and I'm just going to add in I'm going to go ahead with my smaller size round brush. Okay? Now, I'm just going to dip this brush into water. Still remove off the excess water and just going to create in a little color lifting at this spot to create, like, a glowing sun naturally. You can use white quash as well, but, you know, the lifting technique will go much better. So I'm just going ahead with a little lifting technique, dropping in little water, lifting up. Basically, I want a very small glow. You can see the glow is coming in slowly. You may need two to three attempts because we are going ahead with this lifting. At a little later stage. So make sure when you use your finger, your finger is completely clean and use in clean water. So you see, I got that little glowing effect, little that's exactly what I needed in. And now I'll just use in a little hint of the white color as well to add on to this glow and just going to pull out small rays like these. Towards the bottom space, very little. You see this one ray that I pulled off? So that is it. We are ready with our project. Let's remove in the masking tape and see the final painting with those clean edges. Make sure that there is no water on the edges of your masking tape, and always peel off the masking tape against the paper so that if there is any water on the edges also, it should not come back to your painting. Okay. So you see the masking tape is peeling off the paper on this edge because I may have gone in too quickly. So I'll just quickly try and fix this up by going ahead from the other side here now and go in slowly and there. Now, I'll just quickly tape this out. There we go. We are ready with our painting from the 50 degree watercolor challenge, a simple sky, a simple field, and just some bush details. I absolutely love the glow of the violet colour clouds into our sky and this last sun that we added in. So here's the painting from today's class project. I hope you guys enjoy painting this with me, and I will see you guys into the next painting soon. 35. Day 25 - The Bird View Ocean - Part 1 : Hello, everyone, and welcome back to the next painting of the 50-Day Watercolor Challenge. And today we are going to go ahead with a portrait style of the bookmark painting. This is the Archie hot pressed paper that I've been using in this series. And I have just added in a simple boat silhouette here. I have got the pencil sketch ready. You can see you can choose any boat silhouet. So today we are going to be going ahead with an overview or sea painting or a beach painting, as you can call it. And we are going to have this boat silhouete from the overview point that we'll be painting in here, okay? So we are going to go ahead with the waterblue colors, and I'm going to be using in a little of the cobalt green hue color and the aquamarine mist color, which are the perfect tones, you know, to create in those water details and a little hint of the ultramarine and the pock blue for darker tips that I'll be adding in. Now, if you do not have these exact same shades, you can simply pick up your turquoise color, or you can just begin in with your Cerlean blue color and the ultramarine blue and go ahead with that. Or you can create in your cobalt green with a mix of the u you know, a little bit of the green color. You can use emerald green or viridian green with a little hint of blue and white and get a cobalt green color. So I'm going to begin in with the four colors that I told you, cobalt green, ultramarine for highlights, or peacock blue for little daca details and the aquamarine mist color. So we are going to begin in wet on wet. For the sillod part, let it be empty. Just add in a layer of water into the rest of the paper. So I'm just adding in a layer of water onto the entire sheet, you can see, and across the boat silhouette that I've marked out, I'm going to go ahead carefully so that there is no water and paints seeping inside there. And just going ahead, adding in the details. For the area around the boat, I'll shift into a smaller size brush to add in the water layer. You see very carefully marking the outline because across the outline, we'll have to add in the highlights to the boat, the shadow effect to the boat, the moving boat water effect. So we need that layer of water there. Now quickly make sure that your paper is good wet because we'll be playing on wet on wet, creating in the base out here. Now for the paints, let's begin in with the colours one by one. As I told you, if you do not have these exact same shades, it's perfectly okay. You can go ahead with the shades available in your palette. I'm beginning with a little hint of the cobalt green hue. You can create this pastel color by mixing in green, blue and white, more of green and white, very less hint of the blue. And randomly, I've added in the spot of this color. I'm purposely leaving in some spaces white as well. Next, I'm going to pick up the aquamarine mist color, which is a beautiful turquoise kind of a color and just begin adding in this color. So beginning with a light layer, don't move ahead with very dark tones of the color because then you won't be able to build in the depth. Let the paints flow on its own, blend in. And if you feel at any spots, you need little water to make the paints flow, just drop in water like this as well. So I'm making sure that the lighter, that is the cobalt green color is also visible. And in case if you have the aquamarine miss color or a turquoise color, you can just mix in white to get the cobalt green color look to your paint, and that will also do all the magic that you need in. And intentionally, you can see I have some white caps as well left in, and I'll just begin dropping in some water to create in some water effect. So you see you will get those lighter patches of the paints. Now, I'll just pick up the ultramarine in a little darker consistency and wet on wet itself, I will just begin dropping in some darker hints as we dropped in water to create the lighter hints, dropping in the ultramarine in a darker consistency to create in the darker spots. Now, using in a smaller size brush, while this is all wet, I'm going to pick up a little mix of the ultramarine with a little hint of the paints gray and create a very dark kind of a mix of this ultramarine color. And towards this side of the boat, I will add in the shadow for the boat. So I want to show that the light is falling in from this side here. So automatically the shadow is falling that side on the water. You see this will give a three d dimension to your painting, and wet on wet, I will first blend this first layer of the shadow that we've added in. See? Blending it with the rest of the space so that it looks well blended into the painting. Now, picking up a little of the cobal green color here. Go ahead very carefully across the outline so that we don't run on the inside out there. H. Now I'm just dropping in little cobalt green at certain spots. You can see the white has done such beautiful magic of spreading the paints and creating in those glowy spots. Now I'm going to be picking up a little of the ultramarine deep color. You don't need much. You just need little to create in a few highlights. If you do not have the ultramarine color, you can just go ahead with your cobalt blue color as well. And you see I'm just dropping in little pigment of this to create in that another layer of water depth. As I told you, this color is just going to be kind of like a highlight that we are using it for. So very little highlights that we added in. Now you can see how this beautiful shadow effect is coming to life. Now we are going to go ahead with the second layer for the shadow there. And this time it is going to be majorly across the line. So the first layer, we made it a little softer, blended it across in the inside space so that it looks well blended. And now for the second layer, we are just going ahead closer to this boat silhd that we've added in and just adding it across the outline. So it's the same mix of the ultramarine and the pains gray that we're using in wet on wet. You can see we are still working wet on wet on our paper. And now with this second layer, the shadow has turned more bold, more detail and gives in that perfect you know, shadow effect falling in of the light. Now, in the background, I want to add in little detail of the water. That is, like, you know, the boat is moving, so creating in those wavy effect in the background. And for that, I'm going to pick up the white quash color. And using the white wash in a little liquidty consistency, I'll just begin dropping in a little line here at the back of the boat. So closer to the boat, it's going to be broader and moving downwards, it's just going to get diluted. And you see automatically this is creating a little flow of the water. And once this dries out, we'll even add in some drybush texture on top of this. I'm just pulling out simple waves out from this in the first layer itself. Then go ahead with another drop of the colors. See how zigzag zigzag zigzag I'm dropping in. And what you could do is you could use this smaller size brush like this and just pull out wet on wet some waves as well. So to build in that opacity of the water foam that gets formed because of, you know, the motor of the boat that runs in, you need to build in depth by adding in layers to create in this effect. And across this line also, using in a smaller size brush and a mix of the aquamarne mist and the paints gray color. I'm just going to be adding in little shadow and just going to go ahead, use in the damp brush and blend it in. You see how the shadow is coming in for this wave as well. On both the sides, we'll just go ahead with this little shadow effect. So little details, but they give in so much more depth to the painting and bring the painting to life. Now, before everything dries out, we'll quickly just go ahead with some darker details. So first picking up the aquamarine mist, adding in some darker spots. So some darker spots randomly that we've added in here and there and just going to pick up little flow of the water again and drop it in between the aquamarine mist as well. So you see, again, little blooms will happen and create in that proper variations to the watercolors that happen in And that is it. Now we'll wait for this to dry out completely and then add in the next layer of details. The important part here is the wet on wet shadow and the wet on wet white part that we create in. Rest of the details. Now we'll go ahead, wet on dry. 36. Day 25 - The Bird View Ocean - Part 2: So now everything is completely dried out and we are going to begin adding in the details into the boat first. For that, I'm going to begin in with the indigo color. And using the indigo color, I'll just begin adding in the details into part by part of the boats. So alternate parts, I'll be adding in the indigo color. So firstly, at the top here, adding in the indigo color. So I've added on the edges, and now using in water, I will just create a lighter wash. Make sure you use a detailer brush to add in these details. Now into this next part here, that is the next block. I'm going to go ahead and use in a mix of the burnt umber, sorry, I'm going to be using in the mix of the burnt sienna along with the red color so you get a reddish brown color, or you can even directly use a reddish brown color if in your palette. Same way, just as I went ahead with the blue pa same way on the edge, I will add this color and in the center, I will just use water and create a lighter gradient. Out to the next block again, I'll go ahead with the brown color. For that, I will use in more of the red this time and just going to mix in the brown and the red together and get a reddish brown color. And the center space here, which is going to be the sitting space in the overview, just going to go ahead on the edges. So we are going ahead, wet on dry this time because these are small little details that we are adding in. And now using in water, just going to go ahead and spread it across. Oh now the next one, I'm going to go ahead and use the indigo color again. If you don't have an indigo color, you can use even the same aquamarine mist color that we used in the sea and use that itself. That is also fine. You can use any dark blue color. Basically, for the overview of the boat, you can go ahead with any color combination of your choice. You don't need to be rigid to the colors that I'm using in. And the last block here again, going ahead with the reddish brown color that we mixed in. So you see between each of these blocks, we have a gap line, and that is why we are able to add in all of these details together here. Now, once all of these details dry, we'll add in the rest of the details for the boat. First, we'll just go ahead with the white wash here and create in the little dry brush or water texture here. So I'm picking up the white wash in a good thick consistency and just going to begin adding in simple waves around this area. So just go ahead with simple swirls like these. I'll shift into a detail or brush so that we can get in the fine waves. You see the water details that I'm trying to add in moving from the edge of this boat. I'm going very simple strokes, you see, moving my brush randomly crisscross. So you need to use in a mix of some bold strokes, some very thin strokes to show that water effect coming in from while the boat is moving in the foam that gets created, basically. You see how we're creating the bold effect to the foam. Now on top of these, go ahead with little more bold white tones. Same way here as well onto the other side, just going to give in little water waves effect. You see in the rest of this piece, just adding in highlight to get in that blend. Just tabbing in little of these waves, creating them dull, so that we have that shadow effect also there. I'm going to pick up a little more bold white quash. Now the boat is completely dried on the inside. So we are going to pick up the indigo color in a very light, watery consistency. Basically, you need water with just a hint of the indigo, and we're just going to give in a washed layer to the outside of the boat here. You see the white gaps that we had just filling it with light tone of this indigo mixed with water, basically water mixed in with indigo, actually. So a very light layer that we've added in. Now, again, we'll wait for all of this to dry, then add in the final layer of details into this painting. So now everything is again, completely dried, and we're just going to go ahead with the final detailing into this painting. Firstly, I'll pick up white wash, and I'm going to be going ahead and adding in some dry brush texture. So I have not picked up any pigment onto my brush. And now just using in a dry brush and the white wash in a thick consistency, and dabbing off the excess onto the rough cloth and just going to get in little dry brush textures around this space. You see bold white giving in more of that foamy effect. So when the boat moves, the foam that gets formed behind is the texture that I'm trying to give in here in between the water kind of movements that we've created. So just across that, added in little dry brush to give in more of that depth layer. So closer to the boat, the details are more in depth and bool. And as you move far away, the details get smaller and, you know, less in detail. Same way, just on this side as well, adding in little dry brush. Oh the dry brush technique. You see how it's adding in texture. Now, if you want at certain places as well, you can drop in little dry brush foam effect, but I'll stick limited to these two spaces. Now the last detail that we have to add in is adding in the outlines to the details that we've added in. I'm going to pick up the indigo color in a bold consistency and using in this line of brush, I will just go ahead and begin adding in a very fine outline to our boat. You see the outline as soon as you begin adding in, the board begins to get in more of the depth. So you see, since my paper is taped down on a movable surface, it makes it easy for me to just tilt my board to my hand comfort and get in these details easily and swiftly. Same way to the inside blocks that we've added in. I'll go ahead for the indigo colors with the indigo color for a dark layer detail and mark the outlines. Make sure to use a fine brush while doing this. See, I'm adding in little details on the inside as well. So first, I'm just going ahead with the indigo parts, and then we'll move on to the brown color. Now, I'll pick up a dark brown color. If you have a dark brown, you can directly use a dark brown or you can mix in a little bit of the paints gray to your brown and get a darker brown color. And just with a dark brown, add in the outline to these blocks. You see the fine lines that I'm adding in there. I'm using a three by zero size brush so you can see how detailed this brush is. So you see on the inside, the brown lines, I'm not taking them completely. I'm just some of them. I'm taking them only till the halfway. So that is it. We are ready with our class project for today. So you see on the inside, wherever the color was bleeding, I just gave in the white on the edges again to fill in those outlines if they had gone out of space. So you can use white quash like this to give in more of the details. And that is it. We are ready with our class project for today. Simple, easy, wet on wet background C and then the details of the boat. And let's peel off the masking tape and see the final painting. Oh the years are final painting. You can see the white drybrush that we gave in here is creating in so much depth to the phone. And I hope you guys enjoyed painting this beautiful overview seascape with me today. And I will see you guys soon into the next painting of this series. Thank you so much for joining me into this class, painting along with me each day. I can't wait to see your class projects into the project section, and do drop me a review so that I can improve myself, as well as, you know, it can help others to understand how this class is and may inspire them to take up this class as well. Thank you so much for joining me, and I will see you guys into the next painting. 37. Day 26 - The Dreamy Sunset - Part 1 : Hello, everyone. Welcome back to the next painting of the series. And today we are going to go ahead into this landscape mode. So this is four by six inch paper that I'm using in here. So this is a four by six inch paper that I'm using. This is Archies 300 GSM, 100% cotton paper. Today, we are going to go ahead with a beautiful pastel landscape. So I'll just mark out a very small field space here. So this will be the field. This is going to be the sky, and then we'll be adding in a lot of bush details. So for the sky, I'll be mixing in pastel yellow, pastel orange, pastel pink, and a pastel purple color. So I have some white quash ready on my palette, as you can see. Now to this, I'm going to go ahead, add in the pink color. So for pink, I'll be using in the quin pinacin crimson lake from Michello mission. So I'll be using this color to create my pastel pink color. So closer to the white wash just adding in the pink and keeping it. Now, for the orange, I'll be using this orange color and keeping it. For the pastel yellow, I already have the pastel yellow, which is the naples yellow color. And for the pastel violet, I'll be using the bright clear violet and mixing it with the pink mixing it with the white. All right. So I've just removed a little bit of the colours and kept them ready so that when we go ahead step by step, we can mix them with a Y. So with watercolors, it's important to keep your paints ready so that when you begin working wet on wet, you do not have to go to and through. Now, first, I'll begin with a layer of water into the entire sky. So you see I'm going ahead with an even layer of water, making sure that it's evenly wet and no water on the edges. Now, first, I'll begin in with the naples yellow color, which is already a pastel yellow. In case if you do not have the naples yellow, you can even mix that by adding in white. Topping in the yellow hints. Now I'll move on to the pastel orange. So mixing in with white quash. If you ever take a pastel tube ready, and if you read the color pigments on it, you will notice that pastel colors usually have a white pigment to it, which makes it opaque, and that gets in that beauty of the pastel colors. So that is the reason I have been adding white quash to get in that opacity to the pains. Now for the pink, mixing in the quin rose with the white quash. Now, at the blending spots, I'll quickly be running in with damp brush so that the colors blend and bleed into each other naturally. So while mixing in your own pastel paints, you have that freedom to, you know, adjust the tonal variations of the colours and, you know, somewhere use in darker hints and create more flow into the sky. Now, at this spot, I'm going to keep it a beautiful white color. So I'm just going ahead with a layer of water here so as to blend in this little pink highlight of the sky and getting in the yellow and the oranges flowing in here. But this area here will be like a glowing patch into a sky. Now, just picking up the same colors in a little lighter watery consistency, basically, and dropping them again so that we can create a good flow between the paints naturally. So I'll show you what I'm talking about. So I'm just dropping in the paints. You see in very watery liquidy consistency. And now I'm just going to tilt my board like this and let the paints flow naturally into each other and create in those blends. So for this, what I'll do is I'll mix in a little bit of the violet now with the white color. And begin dropping this as well on the edges. So see, from the edge, I'll just drop in a little. Make sure to mix the violet with white quash. Otherwise, it will create a muddy color there. So just on this part here on the edges, we'll be having little of these violet highlights coming into the sky. And with that, I'll even begin picking up the orange color in a little bold consistency and begin creating in some bold cloud details using in just the tip of my brush. See? Moving in circular motions, creating in those darker hints, giving the softness to these violet details very carefully because otherwise, you may get in those muddy tones. To blend in, you can use the lighters at the base like this and blend them all in, giving in that softness to these darker strokes as well. Now, I'll just pick up a little bit of a plain white wash in a little medium consistency and give in some white highlights into the sky, creating in some cloud shapes. You see, just choosing the tip of the brush, giving in some cloud shapes with a white colour. And lastly, for the sky, I'll just pick up a little more yellow now. And given some yellow highlights. So you see we've been working wet on wet. If you feel that you need to make your yellow a little more bright, you can add in little white to it. And now at the bottom space here, I'll just be using in the tip of my brush and a little medium tone orange color and given some cloud details like this using in the tip of my brush. So I'm just using a medium tone of the orange color and adding in some highlights. M See, I'm using the tip of the brush and adding in these strokes. If you want, you can even create some highlights with the pink color as well. Alright, so that is it for our sky. Now, by the time the sky dries out, after that, we'll go ahead and add in the details into the foreground and the rest of the details. So let's wait for the sky to dry out completely, and then we'll move ahead further. 38. Day 26 - The Dreamy Sunset - Part 2: So now, as you can see, my sky is completely dried, and we are going to begin in with the field. And for the field, we are going to begin in directly wet on dry. So first for the field, we are going to begin in with a beautiful olive green color. If you do not have olive green, you can go ahead using sap green. So picking up the olive green in a medium to light consistency, going to add it at the bottom. And then at the top of it, just going to add in a little bit of the yellow ochre color. One line. And the major part at the top that is left white still, there we are going to go ahead with the pastel pink color, creating in that beautiful blend of the sky tones and like, basically reflecting in the sky colors into the field here. So just going to go ahead with this line of the pink color into the field as well. I'll just square ahead again with a little bit of the green. So you see now in between the pinks, also, I'm just dropping in little greens such that the pinks will look as floals in between. And then once this will dry out, we'll add in a little more of the details. But for now, I'll just pick up a pastel pink color now. First, we picked up a medium dark tone of the pink, now picking up it in a pastel consistency, just going to drop in using in the tip of my brush. H. Now, again, we'll wait for this to dry completely and then begin adding in the bush details into this painting. So now my field is dried and we are going to begin with a medium light green color. So I'm picking up the sap green color and using the sap green, I'll just begin adding in some dry brush stroke. So I'm picking up the green onto my palette. I've picked up this boiled drown brush. I've not dipped it into water, directly picked up little pigment, and we are going to begin creating in the bush details. So just dabbing in the tip of my brush, creating in this bush at the top. All right. Now, along with this, I will keep my other brush also ready so that I don't have to dip this brush into water. And I will just begin adding in the pans at the bottom space till the horizon line and create in the darker details. So you see, I'm defining the horizon line, and I'll just go ahead with the sabrine color again. And now at the top, just going to give in another layer to blend in the bottom dark details. Now, just picking up little paints gray color to drop in from the bottom. So you see just dropping in at the bottom, so it will automatically blend in and move at the top. While it is all wet. Same way, we are going to go ahead, create a little more of the bush details. So I'll again shift into my dry brush brush first, which is basically a spoiled on brush or as you see, even a spoiled brush can do so much magic, and just dabbing in at the top to create these raw grass kind of look. And for this one at the bottom, I'm just going to go ahead with the paint's gray color directly and add in the details. So basically, you need that little green highlight and then the darker shadow detail at the bottom space. Now, first on the left side here, I'll go ahead with the green color again. And here we are going to have in one huge tree coming out from this side. So you see I'm just pulling out the rough foliage with the green color. Now, same thing. I'll go ahead with the pains gray color and create in the foliage. So to this tree, I'm not going to add in, like, you know, a patch of the color. It's going to be this tribra strokes only that is going to stay there. See, Blending it well into the base green here. So at the background, we have the lighter green, and in the front, we have the dark paints gray effect. I've picked up a little yellowish green colour and adding in little highlight to create in that glowing spot because here we have the light glow. So trying to show that light falling in here and giving in these lighter foliage detail. So you see just with dry brush texture also, you can create in so much depth and character into your painting, giving in so much more natural effect. So we're almost through the painting. We'll just go ahead with some detailed strokes onto these foolage you see how the dry brush texture is creating in the realistic effect. So just adding in some darker paints gray foilage effect at spots. And now quickly, I'll just go ahead with a fine tip brush. And using a medium to dark consistency of the sap cream with a little hint of the paints gray. Just going to pull out some detailed foliage. So my brush has a pointed tip, and that is the reason with this size zero brush, I am able to sorry, a size two round brush, I'm able to pull out these fine details. Do you see, simply pulling out simple strokes like these. Now into these as well, just pull out some detailed foiage if you wish to. Just picking up a little of the paint's gray color, giving in some darker filage at the piece here again because it was drying out a little lighter than what I had expected it to be. And lastly, I'm just picking up a little bit of the pastel pink color and going to give in little hints like these. Just very simple dry brush in between. And to these, I'll quickly create a soft blend and given that embedded effect. All right. So that is it. We are ready with our painting. Let's peel off the masking tape and see a final painting. Make sure your edges are completely dried and peel off the masking tape against the paper. So it took us a good 20 minutes for this painting today, but you can see the beautiful pastel sky. I lock the violet clouds coming out from the top out into the sky and from behind this soilage space as well. So here's a final class project from today's painting. We created the light effect falling here on the foolage, the dark effect falling in here, a simple floral light effect falling onto the field as well. So I hope you guys enjoyed painting this with me today. If you like this class, make sure to drop a review, and I will see you guys soon into the next painting of the series. 39. Day 27 - The Indigo Mist - Part 1 : Hello, everyone. Welcome back to the next project into this 50 day Watercolor challenge. And today, we are going to go ahead with our monochrome painting using just the indigo color. So we are going to go ahead with a sky, sea, and a beautiful misty mountain range in the background. Alright? So I'm just going to be marking out the sea space for now, which is going to be the space. The top is going to be the sky. Here in the background, we'll have a misty mountain, and then here in the foreground, we'll have two more prominent mountains coming in. So we'll first paint the sky and the sea together wet on wet. And then once these dry out, we'll go in with the mountain ranges one by one. I'm going to be using in the indigo from the White Knights set. This is my favorite indigo from all the brands I've tried across, and I'll just peeze out a little of the indigo on my palette again. And we'll begin in with a wet on wet technique. So let's go ahead with a wet layer of water onto our entire paper. Since we'll be painting the mountain ranges later on, we'll get the definite line at the horizon line while painting in the mountain ranges. For now, we'll just go ahead and paint in the sea and the sky both together. Make sure you don't have excess water on the edges. I'm just making sure there is an even layer of water everywhere. Now I'll begin in with the indigo color. So I'll just pick up very little hint of the indigo and begin in from the top. And I'll just clean my brush a bit so that if there is any excess paint, it all goes out. I'll keep it a bit tilted and just create a light, you know, transition of the color. Basically, I just need a simple flat wash of the color, which is at the top, it is darker so it's like a variegated wash that I'm going ahead with moving on from the dark at the top to turning it to a very light hint of the color at the bottom space. Now here, we'll be having the mountain glows coming in, so we don't really need much of the color effect because we want to create in the misty look. Alright, so that is it for the sky. Now for the sea, we are going to go ahead with the same way that is just using the indigo color. So first, we'll begin in with a wash of the indigo color in the sea as well. So begin with a lighter color so that you can build in little movement of water wet on wet with the dark tones. The color is too dark, so I'll quickly clean up my brush and just dilute this everywhere around. So you see, for the sea, I'm just moving to the horizon line. Now I'll shift into a smaller size brush and using the indigo. Just going to begin in. First, I'll add in a little darker effect on the horizon line so that this will act in as the shadow to the mountain that we'll be adding on top of this. And then just begin adding in some darker effects from the edges, pulling it towards the center spaces to act in as the wave out of the water movement. So just going in with a very soft layer for the water. Now, it's okay if the little of the dark color is moving into the sky. When the mountain will come in, it will hide in all of those things. Now, same way, just going to move in from the edges a little more, moving towards the darker tints and blending it all in. Need very soft blends. I don't need any sharp look into my waist, maintaining a little glow in the center and from the edges, beginning to build in the depth. So you see we've got the natural looking water space. If you want, you can even just go ahead with a little lifting techniques at sports, creating in some cuts in between for the water. So you see I'm just giving in a little glow in between on the left side. Just going to soften all of these up again. Now, just from the very close to the edge point, adding in some more darker effect. Alright. So that is it for the water, the sky. Now we'll wait for all of this to dry and then move on to the mountain ranges. Don't be worried about the color that's moving in here. It will all get hidden once we add in the layer of mountains, alright. But as much as you can avoid it, avoid going into that space. If you can't just let it flow naturally, and the things will follow on. So now you see everything is dried out, and we're going to go ahead with the force layer of mountain. For that, using the round brush, I'm just using in water on the brush and defining in a rough outline for the mountain. The mountain is majorly going to be, you know, a misty range, and it's just going to have light tints of the indigo. But we just need to go ahead with a layer of water into the entire space to make sure that there is no unevenness after drying out. So till your horizon line, add in this layer of water where you want to end up your horizon line. Alright? So I'm just adding in the horizon line till here. All of these colors that are bleeded from the sea will all get hidden up perfectly. I'm just giving in the rough shape with the water itself for the first top layer of mountain that I need in. And now using in a smaller size brush or the tip of a rounded brush, go ahead with the indigo color and just begin dropping in little hints at the top. So just at the peak of the mountain, go ahead and drop in this little hints of the indigo color. Now I'll again use this same damp brush and just run again here so that the colours bleed naturally. Alright. And they get in that flow. Now just at the top edge defining in this line so that we get that little colour hint on the borderline, but we don't really need a thick thick colour effect. So just a little hint of the damp indigo color. I'm just picking up like a very tiny size, pin size, basically, and blending it all in So majorly at the peak, we've got the darker effect, and now towards the bottom, we've just diluted in the entire color. Now, at the bottom here, I'll again use in the tip a little and just created little darker spots, very little, not much, you see, blending it all in so that it's not visible or prominent trying to make the shape of the mountain as irregular as possible. H. You see, creating in the misty effect using in the flow of water and the paints. So I dropped in a drop of color there and then just used water onto the wet mountain range for the color to spread naturally and create this misty effect here. Basically, you just pick up the colour, drop in the color like this, then pick up water on your brush and drop in a drop of water on top of it and let the colour do its own magic creating in the mist. Now, if you want, you can just create little tilts and movements in that using in the flow of paper. I'll just add in a little more darkness here at the peak point. And this side creating in the entire Mr. Effect All right, see, I'm heaving it tilted, so the comes are flowing naturally downwards, creating in that flow and the flow. Alright, stat is for the first misty background mountain range that we've worked on. Let's wait for this to dry and then go ahead with the next two layers of the mountains. 40. Day 27 - The Indigo Mist - Part 2: So now this first mountain range is dried out and we are going to go ahead with the next mountain range, and we are again going to be picking up the indigo color this time a little bolder than the previous layer and just going to go ahead with a second mountain range out here. Make sure to keep the peak of this mountain away from the first peak, alright. Even if you don't want to give it a peak range, it's completely fine. And now just going to use in water until the horizon line going to go ahead and just give it the perfect outline. So you see this is just one tone darker than the previous one. Now, into this as well, if you want, you can just pick up little darker hints and drop in at certain spaces to create in the misty looks. And rest of the spaces, you can let the glow and the water do the magic. You can see here how we had created in that one spot of the misty look, and it's giving in such a beautiful view. I just define this range much better. H Now, by the time this dries out, I'm going to go ahead and add in little textures onto this mountain. So for that, I'm going to use in the indigo color in a very watery light consistency, tap off all the excess water and pigment and just going to create in little textures. No, it's going to be almost like negligible, but still texture effect that will be coming in, you see, very little texture. Make sure to go ahead in a very light consistency of the color, move along a little diagonally. You see in between, I'm leaving in spaces as well, but I'm not adding in texture. So that is it only this much texture is what we need. And now using in the white color, you can either use white quash or a white geltin, make sure that the color will be opaque. So that is the reason I prefer using in white quash and not white watercolors and just using in the tip, going to give a little texture to the peak here. To just some random lines onto the peak to show in some slow misty effect. And now just going ahead with little dry brush effect to blend in the white moving upwards. All right. I'm using the same indigo color with a bold consistency, and we're going to add in the birds into the sky, and then we'll go with the last mountain range by the time that this mountain will dry out. So closer to the mountain here I'm going to be adding in the birds in flight, right? So just going to go ahead with the indigo color, bold consistency, small silo heads to act in as the birds. If you want, you can use in the pain's gray color. I'll stick into the indigo color in a bold consistency, which will give in the same beautiful effect for the birds that we need in. So, you see, I'm just going ahead with random silhouettes for the bird. First, moving up in a beautiful same line. Alright now, I'm going to add in a few at the top, as well. So very simple quick strokes that I'm adding in for the birds. You see, simple iluhts that act in as the bods. And we're almost adding in the bods as well. So that is for the bods part. Alright? A lot into the sky. And now we'll wait for this last mountain range to die and cut in the last mountain range. So now this is dried completely. And for the last layer of mountain, you're going to pick up the indigo in a bold, dark consistency, not dark as black, but dark as indigo. And we're going to add in the last mountain range here. Again, you see I'm going ahead with a very tough outline. As you need, you can define your mountain accordingly. Just make sure that the color is bold, beautiful, and just want to go ahead and just add in this last layer of mountain. So you see all the paint that had seeped in while adding in the water is now completely heading up as in how we went ahead, adding in the layers of mountain and everything has all come together. You see, we've added in this beautiful last layer of the indigo color for the mountain as well. And that is it for this. Now we'll wait for this to dry and then peel off the masking tape. So now everything is completely dried in, let's peel off the masking tape and see the final painting. Make sure that your edges are completely dried off and go ahead very carefully while pinging off the masking tape so that if there is any excess water at any space, it does not see back into the painting. And also, you do not tear off the edges. So here's a finding look at our painting. I hope you guys enjoyed painting this monofom painting with me today. I absolutely love the glow in the water, the movement of water wet on wet and the misty Mountain ranges that we created in this one. Thank you so much for joining me and painting along with me. I will see you guys into the next painting of this challenge. 41. Day 28 - Mini Autumn Field: Oh everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And today we are going to be going ahead with another beautiful, misty autumn kind of mini landscape. So I'll just mark out the horizon line, which is going to be pretty below the center line. So we'll have a beautiful, simple sky with some background blurry mountains. Then here we'll have a small green field, and then in the foreground, we'll have beautiful orange autumn colored flowers coming in. So that's how we'll be laying up this class project. Not much of the pencil sketch. We'll directly begin in with a layer of water into the sky. So the sky is going to be of, uh, pretty green tones, mixed in with a hint of pains gray, creating in that mist. And in the background, we'll go ahead with misty, um, you know, mountain ranges wet on wet only. So we'll have those, you know, simple, blurry mountains in the background that we need in the sky itself. So just going ahead with a layer of water completely, and then we'll go ahead with the green color that we wish to. So I'll use the vende green color, which is from Mgelomiion in this set that I've squeezed out. It's a beautiful, you know, grayish green color. So I'm going to use it in a very light consistency. If you want, you can use sap creen with a little hint of the pains gray. But you need it in a very light consistency for the first background layer. So beginning in with a very light layer or into the sky, So you see, it's green mixed in with paints gray. That is gone in as the first layer into the sky. At the top, I'll just pick up little hint of the indigo color and add in little hints of the indigo. So my indigo is from white knights. Now to begin with the background misty mountain ranges, I'll just pick up the same green in a little darker hint and in a little medium consistency and add in the first blurry background mountain range, wet on wet. So my sky is wet. That time only I'm adding in this layer of the mountain. And same way, I'm going to go ahead with another layer of mountain while this is also wet. So for that, again, I'll just add in a little more hint of the paints gray to the same mix, and we are going to be using it in a little lighter, like, muddy consistency, basic sorry, in a little liquidy consistency, not muddy and just going to add in the next layer in the foreground. So you see, they've all gone soft and well blended into each other. Now, I'll just go ahead with little more darker hints to define the shapes of the mountain. So just picked up a little paints gray. And for the background mountain, picking up a little more of the vende green color. So you see, we've gotten two soft glory mountain ranges. So basically, they are blurry, so you cannot see much of the details of the mountain. That is exactly what we need in. Just need the shape of the mountain coming in. Now, we'll wait for this to dry, then move into the field space. So my sky and the mountain ranges are tried, and now I'll go ahead with the greenish yellow color into the field here. I'm directly going ahead with the wet layer of paint, not adding in a background layer of water. And in the bottom space, I will just go ahead with the yellow aqua color. So getting into the autumn wipes with the field at the base and just going to go ahead with this first layer into the field. Now I'm going to go ahead and use in this brown color, which is the vindic brown color out here on my palette and going to use a smaller size brush. I'll even pick up the sepia color and mix in a bit and just begin dropping it at the bottom here and let it disperse. And same way at the horizon line. Just going ahead with little of the browns. Now, to create in a little darker brown, I'm just mixing in a little hint of the paints gray to this brown and going to drop it like this wet on wet. So my base of the field is wet when I'm dropping all of these details. So here we need to maintain the green highlight, and in the remaining space, we are just going ahead, adding in the brown hints. Now, by the time this is drying out on the horizon line, using in the same vindic green color or whichever green you may have used in, we are going to go ahead add in bush details on the horizon line with the same green. So just going to go ahead and create in bush like these. So this time I'm not mixing in the paint's gray color. My field is wet, so automatically a little of the green, and the green from the fields will blend into each other and given that natural effect. And that's exactly what I want. That is the reason I'm going ahead while my field is still wet. So for the bush, you see, I'm just dabbing the tip of my brush and wearing throughout the lens of the foliage. Just dropping in some darker hints at tops at certain spots with the same green, not adding in any paints gray. Somewhere, take the foliage a little more taller than the rest of the spaces and try avoiding it to be the center space. Now, with the same green and a little darker consistency, I will just pull out some small branches like these. And just adding little, you know, thorn kind of details to them in between. So that's it for the details on the horizon line. Now we'll wait again for all of this to dry and then add in a final layer of the floral details to this. So now my field is dried, and I have mixed in a little bit of the white quash into the brown and the paints gray color that we used here at the bottom. And I'm just going to go ahead and give in some grass details like the dried grass details before we move on to the floris. So just pulling out simple grasses like these, the dried grass. Now, if you want, you can add in a little more white so that it's visible. I'm using white gouache so that it gives in that beautiful opaque look over the dark color as well. So I added few with the darker color. Now I've just added little more white gouache and you can see how vibrant the color turns out, and it becomes much, much, much opaque and beautiful on it. So just pulling out simple strokes randomly, as you can see, and then we'll just quickly go ahead with some orange floral details on top of all of it. Now, in between, if you want, you can go ahead with a few of the sap cream color strokes into the grass area. So I'm just mixing in a little bit of the sap creen with a little darker green colour and using that just going to add in a few strokes. Now, since the green is, you know, already a darker color, so you will not be kneading in a Now, since the green is already a dark color, so you will not be ding in, you know, any white quash or anything to add into this because it will automatically be visible. And only at the bottom space you see I've added more of the greens. Now again, we'll wait for these to dry a little bit till then to my white quash, I will quickly mix in beautiful bold orange and red colour. And using this, we'll create in a good pastel color. So you need a beautiful autumn color coming in, so I've added in. So I've added in the red color. And to this now, I'll add in a little bit of the orange as well. So my orange is from Migo mission and my red is from PWC. And you see a beautiful autumn color that's coming in. I'll add a little more of the orange. And I'll just add in a little more of the white wash. Yes. Now, the reason to add in the whitech again here also is so that we have that opaque look. So now using in this, we're just going to go ahead and use the tip of a round brush and keep on dabbing, you know, florals like these. Now, at the bottom in between the grasses as well. So you see how randomly we've left the gaps and added in these details. Now I'll quickly go ahead with a little darker mix of the same color. So to this itself, I'll just add in a little more of the red colour and create one layer darker color. I'm just going to add in some darker florals in between the lighter ones. If you want, you can, of course, directly pick up the red color as well, and it will give you a beautiful effect. So at the bottom, you see, I've added very scattered florals, and here I've added a good bid of the florals, taking some florals moving into the top bush area as well. And now I'm just picking up the orange color without any white and going to drop in some orange highlights, which of course, may be on the camera from a far view, you may not be able to see. But when you add it on your paper and you'll see the three colors that you get in for the florals of the autumn that you try to add in Now, just picking up a little off the green hint and adding in a little effect here in between. And now, lastly, I'll just pick up a little bit of the green colour with my smaller size brush. And in between the floals just going to drop in some green highlights. It's very limited details of the greens that I've added in. Just blending them in And now using my 0.1 nib pen, I'm just going to be adding in a few birds into the sky. I want them very tiny. That is the reason I'm going ahead with this pen. So that is it. We are ready with another beautiful, misty autumn themed landscape, and it took us around 15 minutes for this mini painting as well. Peel off the masking tape once your edges are completely dried and peel it off against the paper like this. So here's a final look at our painting from today's class project. You see the beautiful, misty sky, the background mountain ranges, and the simple floral details that we added in. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting of the series. 42. Day 29 - Galaxy - Part 1: Hello, everyone, and welcome back to the next painting of the 50 day Watercolor challenge. And today, we are going to be going ahead with a simple galaxy, wherein the entire magic will be created with the flow of water and the paints that we'll be using. So we'll be going ahead with a beautiful blue toned galaxy. So I'm going to be using in the shades of blue here. So I'll use a little of the aquamarine mist first in a lighter shade to get that glowing spots. Then we'll be using in Prussian blue indigo to get in the darker depths. And on the edges, if needed, we'll add a little bit of paints gray if needed. Otherwise, indigo will do a good job. And then we'll be using whiteqh to create some highlighting spots and the stars. So first, we'll begin in with a layer of water into the entire space because it's a galaxy, so you have no pencil sketch. You just need a good layer of water. Make sure that the layer of water is, you know, a little extra wet this time because we are going to be working wet on wet and letting the flow of the water and the paints do all the magic into the galaxy. So make sure that you have a good even layer of water, and it's wet enough for you to work with paints and the water flow magic. So first, beginning in with the acamarne mist color. I'm just beginning to drop in this color hint randomly. So you see I've randomly just begun dropping in with the aquamarine mist color, and now I'll move on to the little hint of the piock blue colour. So you can use Cerlean blue colour. That's kind of like the piock blue color that I have in here. You see, it's a tone darker than the acumarin mist that I had used in and just beginning to drop in at spots. Now, in between, beginning to add in little swirls and flow into the galaxy as well. And now I'll move on to the Prussian blue color, wherein we begin adding in in medium tone consistencies first. So just beginning in from the edges, you see, I have picked up the pigments also this time in a little darker, sorry, in a little watery consistency, and you see how as soon as I added them, it began to flow towards the center and create in these dispersement, because of the water around it. So that's the magic that we need into our galaxy. Same way. We'll go ahead with the aquamarine mist colour again a bit and just drop in a little more of the highlights. Now from the edges, I'll begin in with the indigo color. Again, just beginning to drop it in a little liquidt consistency for the first layer. And as we keep moving further, we will build on the depth. Now, I'll again go ahead with a little of the Prussian blue. Now you see with the aquamarine mist color, I'm beginning to create in that diagonal detail into the galaxy. All of this, I'm still working wet on wet and going ahead with a lot of wet consistencies of the pins so that they can do their magic. Again, on the edges, begining with the indigo. Basically, you just need to keep on going to and fro with the darker, lighter tints and create in all of the details such that on the edges, you have a good dark consistencies of the colors and moving towards the center space, you have the lighter glows and the glow into the galaxy. Now again with the Prussian blue, you see I'm just dropping in patches of the color to create in the texture into the galaxy. So till now, I have been majorly using three colors. That's the aquamarine mist, or you can use a turquoise color instead of that, if you do not have it, or you can simply use in any lighter tone of blue that you have in your palette, the Prussian blue color and the indigo color. In case if you do not own an indigo color, you can just mix in black to your Prussian blue, get a darker blue hint, and use that. Now, with every color you see, I'm just dabbing, dabbing, dabbing, maintaining the darkness on the edges and towards the center, keeping it light. All right, so just going ahead with the Pru hindru again. So to build in the depth into the galaxy, you need to build up layers only then you'll be able to get in this detail. If you will go ahead with a darker color layer altogether, you will not begin getting in these layer of details which have in the lighter details, the darker details, building in the depth. So it's very important to begin with lighter colours. You see how we had begin with very random patches of the aquamarine mist color and a little hint of the pick of blue. You may feel what that color did, but if you keep on building, you will get to know how every layer is being built up with the help of the lighter tones in the center that we began with. Going ahead with the darker hints again. And on the edges again layer of indico. You see how the wetness of the paper is getting so much softness into the painting. You don't have to do much the wetness of the paper is doing its own magic. Now, in between in the center, I've just given in some darker spots with just the tip of my brush swirls. Now, I'm just plattering in some darker paints like this. I have indigo on my brush and just splattering. Now, these platters will cause your table to be messy. So if you want, you can just go ahead, keep in a newspaper or a rough paper underneath so that you don't have messy tables around. And now coming to the magical part, I'll switch to a smaller size brush and begin in with the white quash in a very light to medium consistency. And while this is still wet, we'll just go ahead, begin dropping in some random white spots to create in that further glow into our galaxy. Now, I'm just going to begin tilting my board to let that flow off the plaint and water do all the magic. I'm going to pick up a little of the pastel pink color. I had it from one of the claspjqsVin. I had mixed in white quash, along with the pink color from my palette, just adding in little pink highlights. And in the same way, I'll pick up a little of the lilac color. You can mix in violet and purple and just go ahead, add in little violet highlights. These act in as little glowing spots, creating in that glow. See how the details are coming in. Now, of course, along with these, you will again have to go to and fro with a little hints of blue in between to get in the blends and, you know, all of the blending, along with the blue smooth and soft. So you'll have to keep altering a bit between the blues again. Now if you see my brush strokes have been very random and there's no fixed place that you add in. Your galaxies are going to be different from each one. It's just about the process to follow. That's going to and fro with the pants, blending, the paper tilting, and all of the details to build in the depth. Now I'm going to pick up this damp brush, splatter in some spots of water. You will see when this dries out, it creates in that beautiful glow into the galaxies. Very little. They should be minute. And in the similar way, I will pick up white quash, but in a medium to thin consistency, not too bold, but not too light as well. So medium consistency. And from far, going to add in a little bit of the white splatters as well, wet on wet majorly in the center space to create that glow of the white colors. And again, a little of the waters platters along with the white. And now we'll wait for everything to dry out completely and see the magic unfold. If you feel anywhere the white patches are too huge, you can just drop in little water and see what magic it will do. Alright, now, we'll wait for all of this to dry and then move further. 43. Day 29 - Galaxy - Part 2: So now as you can see, everything is completely dried. You see the water droplets have done such small glowing effects. Now we're going to go ahead with white quash first and create in some texture into the galaxy. So what I'm going to be doing is you can either go ahead with a rivetting kind of a technique or what I like doing is I'll just pick up the white quash and just add in simple squirls like these. Alright, now I'm going to clean my brush, just dip it in water and blend it onto the edges, creating in that soft glowy kind of a detail. So you see just using a dam brush, I'm running on the edge. Just making sure that it does not dry out patchy. So this way, I'm going to go ahead and create in a few swirls into the galaxy. The same process just going to go ahead and create it soft and glory on the edge. Now onto this one, I'll just give in a fine line at the top side. Now, in the same way, just going to go ahead with some more swirls. So you see I'm trying to create a spiral kind of thing with these swirls as well. So that is the reason you see they're majorly in the center space that I'm placing them and just going ahead with a soft glow. I'm just going to go ahead with a few more of these. You see overlapping each other as well, creating in that beautiful glow space into the galaxy. Now using the white gosh in a little thicker consistency at certain spots, I'm just going to go ahead given a little dry brush texture. You see how the dry brush texture is further adding into the depth. For this, you need to make sure that your white gosh is in a good bold consistency and your brush also does not have excess of the pigment. See? What a beautiful glow this is creating into your galaxy. Just from the swirls that you added in, at those spots, just go ahead, create in these little textures with a white wash. You don't need to go ahead everywhere, of course, but at certain spots, creating in these. And you see I'm taking it in circular motions a little towards the top side like this. Going to blend it a little on the edge to create in that glowing space in the center. And just a little more texture before we move on to the final details. Now, just adding in some fine bold lines along with the texture that we've added in. So you see the texture that we created with, you know, damp ways of the spiral and blended them in, they are now acting in as the glowing space to these that we are adding in the bold consistency. And you just need a little of them only, not much. And you can even give them a little soft blend at spots. Oh And now, lastly, going to pick up the white wash and using it in a good medium consistency, I'm going to splatter in some stars. Alright, some tiny stars into the galaxy. And now I'm going to use my fine tip brush and using the white quash Let's go ahead, add in some shooting stars. I'm creating in some shining stars. So you draw a plus and then a diagonal cross. Giving a small tip on the edges to it all. You see, I'm using a fine brush. This is three by zero. It has such a fine tip. And to the center of it, just going to add in a small star. See? Same way, just going to go ahead, add in another one of this. Maybe this side here, a smaller one. Alright. And now I'm just going to create in some glowing stars, and we'll be ready with this project for today. I am absolutely in love with how this galaxy has turned out. Believe me, I didn't have any reference for this. I just knew I had to choose colors of blue to create in this galaxy painting, and I just went ahead with the colors and simple flow and went on creating and playing along with the water and the flow of the paints. And everything that has turned out into this galaxy is what I am loving. Now I've put in some white dots going to go ahead and blend them into the background, and just going to create in the soft spaces. So you see I've added in these glowing spots, just added white dots and blended them using a tam brush and created these flowing spots, and now they're completely dry and now picking up fresh white quash and use them in a good bold consistency without water, and use a fine tip brush and just add small dots to the center of these glowing dots that you added. And you will see the glowing stars coming in, which will look in and add so much more of the beauty to your galaxy. All right. And that is it. We are ready with our class project. Just one more thing. This star, if you see it has dried out, a little dull. So I will quickly just go ahead and do a relayer on this. So let's peel off the masking tape and see a final painting. Now edges, you see there is wet paint because of the watery consistency that we had played along with, and it will automatically begin lifting up onto your fingers and hands. So you need to go ahead very carefully. You see. You need to make sure that while peeling off, you do not, you know, lay them onto your edges again, and then your white edges will get ruined. So you've got to go very carefully, and that is the reason you need to begin lifting it against the paper like this. You see, even underneath the tape, there is so much pigment that goes in because of the watery consistency that we used of the paints. So here's our final painting from today's Galaxy, and I am in love with this. You see, we had added subtle glows of the violet color, which are not even visible, but they are creating a beautiful glowing effect at the spots. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting of the series. Thank you so much once again for joining me into this class, painting along with me and cheering on to each other to carry along and set a routine of a daily challenge. 44. Day 30 - Autumn Landscape- Part 1 : Hello, everyone. Welcome back to the next painting of the 50 days Watercolor Challenge. And today, we are going to go ahead with another autumn landscape. I'm just beginning to add in a very rough, background mountain that we'll be adding in before our autumn foliage that we go ahead with. So I've just added a very rough outline. The top is going to be a simple grey sky. We'll be painting a gray mountain, so basically a misty kind of view that we're going to paint in. And then in the foreground, we'll be adding in the autumn color, um, pine trees and, you know, simple foolage at the base. So first pigging in with the sky, I'll just go ahead with a layer of water into the sky area. And then once the sky dries out, we'll go ahead with the paints into the mountain space. Making sure adding a good even layer of water into the sky area. So as I told you, the sky is going to be simple of a gray color. So I'm going to be using in the Pain's gray color. In a very light consistency. And to my pain scream, just adding a little hint of the violet shadow color. You can just add in a little hint of a purple color. You use this color in a very light consistency and just add in a very light layer of water like this. So it's basically a layer of water with just a little hint of the Pinscree gradiation that we are adding in. Alright, a very simple sky that we've gone ahead with. I'll just pick up little hint of the violet shadows and add them at the top here like this to act in as some cloud details. So that is for our simple easy sky in just under a minute. We'll wait for this to dry and then move on to the mountain space and then the foilage detail. Now, my sky has dried out. I'll begin with a layer of water into the mountain space as well. And then once the mountain also dries out, we'll go ahead with the foilage detail. It's easy, simple, and, you know, a quick painting that we are doing on the postcard size of the paper. I've just added in a layer of water into the entire mountain and the bottom space as well so that all of it dries out even. And now into this, I will just begin in again with the same gray color mixed in with a little hint of the violet shadow and define the outline of the mountain well. And as we move towards the bottom side, I'm going to create a gradient into the mountain. So just going to dilute this color into the first layer. Now I'm going to pick up a little more of the violet shadow color and begin adding in at the top, creating in more detail into this mountain space here. You see I'm defining the outline of the mountain with the second dark layer now that I'm adding in. You just creating in lighter values at the bottom space. Now, again, going to pick up one more layer darker value, mix up the same two colors I'm using in still, and at the top, going to begin adding in some more darker values, creating in the wet on wet texture as well. See I'm just dabbing in little here and there while my mountain is still a little wet, automatically, it's creating in different gradiations into the mountain. I'm not adding any details here because here, as it is, we'll be having in the autumn foilage. So just for the background to have in little values, I'm adding in these little details here. And that is for the mountain, as well. We'll wait for the mountain to dry out completely, and then we'll go ahead with the details of the foilage. But before that, I'll just pick up a little more darker value. While this is wet, just going to drop in some more darker values to create more texture into the mountain. All right. Now, we'll wait for this to dry, then move further. So now everything is completely dried, and I'm going to go ahead and begin adding in the detail foliage. So first, I'm beginning in with a very watery layer of the green color. I have picked up a mix of the hookers green and the vende green, and beginning in with a very light consistency, just beginning to drop in here. You can go ahead with sap green color. If you do not have the same green, you can begin in with the hooker's green. You can begin with EmralGreen, Pidian green, whichever available in your palette. And at the bottom, I'm going to be using in the Indian gold color. You can go ahead and use in a mix of the yellow ocher with a little bit of the orange. I'm using in the Indian gold. That's beautiful autumn color, and that's the color that I'm using at the bottom here. Now, at the top, while it is still wet, I'm just going to give in little of the detailed foliage of the pine trees. So I'll shift into a smaller size brush. And just at the top, begin adding in some foliage while this is still wet. See? Very simple foliage that I'm creating blending it with this base here that we've created. So I've just added a little hint of the paints gray to the same mix so that you see at the top, you get in this beautiful dark effect. And at the bottom, it's blending with the base wet layer. Don't go ahead with a very dark green altogether in the beginning because we are going to be adding in some detailed pine trees in the foreground once this layer dries out. So for now, we are just creating in this background layer. So you need to work quite quickly for this one while everything is still wet so that you can create these, you know, wet on wet details. Now, at the bottom, I'll again pick up a good layer of the Indian gold colour and add in. So you see I'm working wet on wet into the bees foilage space as well. I'm picking up a little yellow ocher, creating in some lighter spaces in between. I'm going to pick up a little of the yellow color in a good light consistency and drop a little to create some lighter spaces in between the greens and quickly blend this again with the help of the Indian gold color. So you see, we've got a little of the bright autumn color as well coming in. Now, while this is wet, I'm just going to pull out a few grass strokes wet on wet just using the back of my brush that will create in an in built texture. So be careful about these strokes that you put in very mindfully, just a few strokes at the base. Once they dry out, you will be able to see the grass effect that I'm pulling out. You can see slowly the grass effects coming in. Now, I'm going to pick up a little of the dark brown color. I'm picking up the vindic crown and just going to drop in little like this. You see wet on wet. Everything is spreading, creating in that beautiful blends. Now, I'm going to mix in a little bit of the orange, along with the Indian gold color and get a beautiful reddish orange color for that autumn glue. And just going to be adding in a pine tree here in the background with this color. So that after when this dries out, we'll be adding in the foreground detail trees with the green. So in the background, you'll have this little orange autumn colors coming in. Same way here, I'm just going to go ahead, drop in some foliage. You see, I'm just dabbing in simple leaf shapes. Then we'll give in the branch details once these dry out. All right. Now, we'll wait for all of this to try, then move on with the next layer of details. 45. Day 30 - Autumn Landscape- Part 2: So now everything is completely dried and you can see the grass strokes that we added using the pat tip of the brush, wet on wet. They are visible and giving in that little in built texture. Now using in the wendy cretan color, or you can just use in any darker green that you have. We'll begin adding in some detailed pine trees. So I'll just go ahead and begin adding in the pine trees from the left. I'm using my size four round brush. I'll just dilute the color a little. And now just going to begin adding in the foliage. You see? The orange tree is also completely dried, so now when the foliage will overlay on top of that, the orange tree will look like a background tree and in the foreground, you'll have this green tree. Same way, we'll be adding in a tree towards this side as well. M So you need to add the green foliage in such a way that the orange tree is visible in the background. Now for the paste, I'm picking up a little of the paint's gray color and going to darken up the foliage at the base and add the base to make it look blended, just going to go ahead with a dam brush and blend it into the base of the green field that we've added already. Just adding in some darker foliage to this pine tree as well. Now, I'll go ahead with one more huge pine tree here. For that, I'm mixing in a little bit of the pains gray to the vindic green colour, and I'm going to take a bigger pine tree on this side. See the foliage of pine tree. You just need to move crisscross and let the natural strokes do its beauty into the pine trees. So by the time we reach the base of the pine tree, it just takes a triangular shape altogether. Again, just blending the base with a damp brush. I'm just going to go ahead with a few more pine trees at certain spots. Using a dam brush, going ahead with the same softening at the base. Now you see the background trees that we added in the first wet on wet layer are acting in as such a good, you know, layer of the background trees for these main trees that we are adding in the foreground now. Same way, going to use a damp brush, soften it up at the base. Now on the rightmost side, we are going to go ahead and add in branches. For that, I'll shift into a detailer brush and using a mix of the paints gray and the brown color, let's begin adding in some branches. Make sure you use in bold colour and a fine tip brush for this. Just going to pull out some branches. From the bigger branches, just pull out some smaller branches on which the foolage is basically there. Just make sure that the color that you use is bold and use a fine tip brush. Just pulling out some smaller branches, very rough, very crooked. And, you see, I'm just going very loosely, making sure it looks natural and tried and those fall effect coming in. We'll go ahead with a layer of foiliage or get on top of this so that it brings in more depth. Now, same way. I'm just going to add in some twigs here as well in between the pine trees that we've added in. See very fine details that we are going ahead with. This will bring in the delicacy into your painting and give one more layer of detail as well. See some lighter twigs that I'm pulling out in between. So smaller fine branches. Now, I'll pick up a mix of the orange with a little hint of the Indian gold color and just given the second layer of foliage here. So it's a bit darker than the first layer. Now, accordingly, this will look in as the second layer and give in more detail. At certain spots, I'm just dabbing the tip of my brush and giving in simple you see the leaf detail for the autumn. Into this one as well, adding in some more detailed foliage at the top space. And lastly, before we go ahead and peel off the masking tape, I'm just going to pix in a little bit of the white to the, you know, Indian gold color. So I'm using white gouah so that we get that beautiful opaque look. And again, using in the fine liner brush, just going to add in some grass strokes. You see, as soon as you add in the white quash, it gives in that opacity because of the, you know, quality of quash that is there. If you will add in white watercolors, it will give you a translucent and a transparent look and it won't stand out after drying. So make sure to use in white quash for mixing in for these highlighting grass strokes. So just a few scattered strokes that I'm adding here and there. So more lighter strokes. So using one more tone darker color than the previous layer of strokes that I added. So now you see getting in more of the highlights. Now, just dabbing a little to showing us some foliage, very little. And that is it. We are ready with our painting for today's class project. So let's peel off the masking tape and see your final painting. Make sure to peel off the masking tape against the paper and once your edges are completely dry, only thing I feel what could have been better into this painting was a little more of the yellow ochre highlights into the field. But since my green had already covered up a lot of space and it was a staining pigment, I could only get a little at the base clear. It's still looking beautiful, but to give in more of the autumn vibes, if it would have been a little more brighter with the yellow ochre, it would have turned out much better. But here's a final look at today's landscape painting. I hope you guys enjoyed painting this with me, and I will see you guys soon into the next painting of the series. Thank you so much, once again, to each one of you for joining me into this class and painting along with me. 46. Day 31 - The Blue Sea - Part 1: Hello, everyone. Welcome back to the next painting of the 50 days Watercolor challenge. And today, we are going to go ahead with a simple, easy, beautiful beach painting or a seascape painting that you can call it. I'm just beginning with the horizon line, which is a little below the center line. Our top is going to be the sky and bottom will be a beautiful sunset beach that we'll be painting. For the sky, the colors that we'll be using is going to be the pastel shades of orange, yellow, and a regular sky blue color. So beginning in with a layer of water into the sky first, we'll be working wet on wet. So I'm just going ahead with a good even layer of water, not too wet, not too dry. And beginning in the sky, I will begin in with the blue tone first. So for the blue in the sky, I will be using in the pick blue colour that I have, or you can even use a Celan blue colour. So I'll just begin with the blue. I'm just adding in a little hint of the serleanblu to it as well. So just beginning in with the blue at the top. Now, while I'm adding in the blue, you will see I'll intentionally leave in some white caps into the sky at the top space to act in as the cloud spaces into the sky at the top. Now towards the horizon line, I'm going to be going ahead with the pastil yellow and the orange tones. So for that, I'll first pick up the pastel yellow. So I have a naples yellow in my palette which is a pastel yellow already. So just adding in a layer of this yellow closer to the horizon line. And now I will go ahead with my smaller size round brush, and using that, I will begin adding in the orange details. For that, I'm going to be mixing in my orange color from this with white quash to create a pastel color. You can even use a yellowish orange color or you can directly go ahead and use a peach tone if you have it ready as a ready tube, or you can just simply mix in an orange like this and begin adding in some cloud details closer to the yellow. So I'm using in a smaller size size four unbrush which has a pointed tip and using the pastel orange over the yellow, I'm creating in simple cloud strokes in such a way that I still have little yellow visible at spots and over the blue as well, just beginning to add in little cloud details very gently. Because remember, when orange is laid over blue, it begins to create in muddy tones. But since we are using in a pastel consistency of the paint, you will see when you lay it gently, it does not create much of a muddy color. And if you just lay it very gently, it will just give in that soft blend wet on wet. So just adding in simple strokes with this at the top as well to create in some cloud in between the blue. So that is the reason we had left in a few lighter strokes or lighter spaces into the sky as well. Now, I'll just go ahead with the blue and add in some darker clouds. So just adding in some darker highlights with the blue. Now, I'll just pick up a little bit of the white quash. And while this is still wet, using in the white wash, we are going to create in a good glowing sunset effect. So I've picked up the white quash, and in between the yellow and the orange spaces here, just begin adding in a little of this white. You see, just blending it adding in another layer of the white. And now I'll again go ahead with a little bit of the orange around this and show in that glowing sun effect. So I've just picked up some bold orange as well, and adding in some highlights, using the tip of the brush with this bold orange colour. Now you see the white has created such beautiful glow at that spot out there. So that is it for our sky. Pretty simple you see. Now we'll wait for the sky to dry out completely. And then we'll go ahead with the details into the sea. So for the sea, we'll be beginning in wet on wet and beginning wet on wet, we'll go ahead and create in simple waves and then add in the reflection of the orange clouds as well. And then given some crashing wave effect. Using the white, I'm just creating in some highlighting spots while my sky is still wet. Okay, so we'll wait for all of this to dry, then move further. So now my sky is completely dried and we are going to begin with the sea. We'll begin with a layer of water into the sea. So I'm just going to go ahead with a layer of water. Be careful closer to the horizon line this time, such that you do not run into the sky. Go ahead very carefully with an even layer of water. Now, to add in the reflection of the sky that is the sun area, I'll just be adding in a little of the yellow and the orange highlights in the center for. So just a little of the yellow and a little of the pastel orange. And now in the rest of the space, I'll go ahead with the aquamarine mist color. If you do not have an aquamarine mist, it's perfectly okay. You can use the same cerule blue that you used for the sky and go ahead and add in that layer of water. So begin in with a very light layer force so that you can add in some wet on wet waves detail, going ahead very carefully at the horizon line. And from both sides of the edges, pulling out the colors towards the inside, make sure to clean your brush if you lift up any of the yellow and orange tones. Now, carefully going to go ahead with the aquamarine mist color and run gently over the yellow highlights like this. After every runaway like this, this is called the glazing technique wherein you have a Best color added, and on top of that, you add in this next color. So now you see you have that reflection of the sunset, but you also have the water effect on it coming perfectly. Now we're just going to begin adding in the darker depths into the water. So I'm just adding in pulling out the darker color from the edges. And now I'll just shift into a smaller size brush to begin adding in some fine details while this is still wet. So I've picked up the aquamarine mist color only in a little daker consistency, and I'll just be adding in some cold water wave details. So you see wet on wet, we are trying to create in some wave details. And then wet on dry, we'll give in little highlights. So I'm just using in the tip of my brush and the acumaren mist color in a thick consistency. And wet on wet, I'm adding these wave details so that it has in that softness, but also has that beautiful bold effect. So on this left side here, I'm just pulling out a few strokes closer to each other. And here, I'm going to be creating in the foam effect with the white quash. So just creating in some foam flow of the water. Now, if you want to darken up this color and give in more depth, you can go ahead and add in little of the indigo color to this color itself and create in some more darker depth. I'm using the same color in much darker consistency, adding in some darker wave details. You see, creating in the flow of water. So wet on wet, we've gone ahead, given in a little detail. Now, once these will dry out, we'll go ahead with some wet on dry details and add in some foam effect here at the bottom. And we'll give in some wet on dry details, and then we'll be ready with this painting for today. 47. Day 31 - The Blue Sea - Part 2: So now everything is dried out. I've shifted into a very fine pointed tip brush, and using the same comen mist color, we'll begin adding in some wet on dry leaves. So I've picked up the color first in a little darker consistency, and I'll just begin adding in some bold waves. So you see we had already created in the depth for it while we were adding in the wet on wet details. So these bold waves now from these, just going to pull out very fine lines like these towards the bottom side to show in the flow of water. Same way towards the bottom side. So you see, I'm just using the tip of the brush, and wherever first we had added in the bold spots, just showing in little flow of water there. So just adding in the line and pulling out little sea strokes towards the bottom side. And now using the color in a little lighter consistency, first at the top, I will just go ahead and begin adding in smaller strokes like these. You see just small strokes close to each other with a light consistency of the same blue colour to add in the wave details. Make sure to use a very fine liner brush or a brush that has a pointed tip like this so that you can get in these fine wave details. Now, closer to the horizon line, we'll be going ahead with very fine waves. You can see they are very light and very fine. Since they are far off from the view, that is the reason. They are light in shade and very tiny and not visible much in detail. And these waves here are much closer to our view. That is the reason we added them in a bold consistency and with much better clear details of the water flowing in. Now, as I'm moving towards the bottom space, you can see I'm increasing the length of the waves and beginning to create more depth. And as we move towards the bottom side, we'll even keep on darkening the color of the waves because those waves are much more closer to our view and closer to us. Now, along with these lines, blend them into these old waves that we added these waves, blend them along so that it all looks well together. So, you know, when you add these wave lines, add them overlapping them as well a bit so that it will all look together a part of, you know, the same water flow. Now, as we move further towards the bottom space, I'll increase the length or the depth of the weaves and give it some thicker waves as well. Now, towards the bottom space, I'm not going to be adding in much of the waves because we are going to go ahead with a white quash and create a good foaming wave effect at the shoreline kind of a detail. So we'll pick up the white quash now. And to this white gouache, I'll be adding in a little hint of the same aquamarine mist. So basically, I don't need a white white effect. I want the sky effect of the color falling into the foam as well, so you see, adding in this little tint. All right. So it's a very light hint of the same acamone mist that I've added in, and just beginning to give in the foam effect here. So you see, I'm going ahead with a very rough criss cross. And now from the bottom, just going to begin with simple dry brush. So you see simple patches of the color along with little dry brush, and you get a beautiful foaming effect into your water. At the top here as well just giving in little foam and connecting it to the bottom foam here. And from the left edge here, just pulling out little dry brush. So you see how the foam effect has come. And you see now the glowing effect that we have that we added of the yellow and the orange color earlier. Now I'm just going to pick up a little white separately and onto the foam as well. Going to give in little highlights of the white spots. Oh You see, at the top also of the foam, I'm keeping it very rough, natural and with that dry pash effect. I haven't added any water to my white and using it in that dry consistency. Now at the base as well, just giving in little texture with the white over the green that we had already added in. So we've got that foaming effect at the bottom. Now, lastly, I'm going to go ahead use in a little bit of the pastel orange color. So you can use whichever color you used in the sky instead of the orange, and I'm just going to add in some fine strokes. In the center space area majorly where we have the yellow highlights. So if you notice the yellow highlights are visible, but the orange highlights are not that much visible. So you can just create in little highlights of the orange color as well, some very fine strokes to given that sunset glow falling into the sea as well. And with white gouache, even on the blue tones, it will be perfectly visible because we've created a good opaque color of the orange, and you can see how it's turning out slowly. So much details just 20 minutes, but everything is coming together slowly. You see, we've just added little highlight. And now, just one last thing before we move on to the masking tape peeling off is going to pick up the aquamarine mist color again. And using this in a little darker consistency, going to create in little shadow closer to this dry brush details that we added in off the foam, creating in that little darker depth to show the shadow of these waves falling in. It's a very dark color just on the outline of the tie brush area. And if you want in between the tibush also, you can just pull out a little flow of the water. Adding in little green hints. Right, you see. And you see, my brush, it's moving all downwards like this, trying to show in that waterfall effect. Again, just giving in a little white on top of the greens if it's too much of the greens. Hey, we've got a beautiful foam effect. I won't overdo anything. And lastly, just going to go ahead and define the horizon line with aquamarine mist color. So just added a beautiful gold line of the mist color and blending it at the bottom side. If you already have a well defined horizon line, you don't need to do this step. But since I had a little unevenness, I wanted to give it that beautiful clean effect. All right. And that is it. We are ready with hard painting for today. Let's peel off the masking tape and see the final painting. I love everything about this painting, especially the wave details that have come in so detailed yet so easy to add in. So here's a closer look at a final painting from today's seascape painting. I love how we have the glowing highlights of the sun colors into the center of the sea, the waves detail that we have added in, for creating in the wet on wet details and then adding in the subtle wet on dry bold details to show the water flow, the bottom foaming effect, the beautiful sunset. And I hope you guys enjoyed painting this detailed painting with me today. I will see you by soon into the next painting of this series. Thank you so much for joining me into this class and painting along with me. 48. Day 32 - Warm Sunset - Part 1: Hello, everyone. Welcome back to the next painting of the 50 day watercolor challenge. For this painting, I've just marked out a small boat silhouette on top of that, a small both silhouette and the horizon line. You can choose the both silhouette of your choice. I have gone ahead with a very simple one. Now here we are going to have a white space, which will be the glowing sun space. So while adding in the paints, we'll maintain that white space. Alright? So we'll first begin in with the sky. I'm going ahead with a layer of water into the sky only for now. It's okay if the water goes into the bird area, and if you do not want to add the bird at all completely also, because the bird is going to be of a eluate color, so it will be perfectly okay if the colors of the sky going in there at the moment. So I've just added in a layer of water. Now, first, I'll begin with a little bit of the naples yellow color. And with the yellow color. So here I want this circle to be So I want this area to remain white. So I've just marked out a circle, and now around eight, I will begin dropping in the yellow color. And I'll be majorly going ahead in circular motions only. Now next closer to it, I'll go ahead with a little hint of the orange color, or you can even use the Indian bold if you wish to. All right, so moving into the darker tones now. Now in the center, if you see that the colors are moving in, make sure to run a damp brush and lift up the colors from that white space that you have to maintain for the sun area. Okay? And now I'll just move on to a little hint of the orange mixed in with a little bit of the brown. So you see, we get this warm orangish brown color. And now at the topmost space, I'm going to use in the Vandek crown and a little hint of the pains gray mix. So it's a pretty simple sky in that way, if you see, but just maintaining in that white spot is going to be the tricky thing. Again, I'll go ahead with a little lifting technique with a dry brush. So using this round brush, I will just run in circular motion. All right. So you see that white space is maintained. Now, I'll just go ahead with the darker hints of the colors before everything dries out now. So I have used a little bit of the Indian gold with brown and then brown with orange and pink screen. And that's it for our simple sky. And we have that beautiful sun effect. I'll just pick up a little more of the yellow So I dropped in water at that white spot. So automatically, the colors will disperse from there and create in that spot again. And I will just use in a little yellow around it to blend it in with the rest of the space. So you see, that's a small trick that you can use a drop of water to get in that round glowing sun area again. And then just go ahead and blend in the rest of the details again. Just using in the darker hints of the browns and the Indian gold on the edges. Right, Susy, just got in a beautiful sunset effect. I've just picked up a little orange. I'm going to blend it well. And that is a sky. We wait for this to dry and then move into the sea area. So now the sky is completely tight, and we're going to create a reflection of the sky into the sea area. We'll go ahead with a layer of water as well, and we are going to go ahead with the same colors in the sky. Now in the sky, we maintained a beautiful glowing sunspot. Same way we'll maintain that spot here as well, closer to the bottom edge of the boat. So you see the alignment. Here's the sun and here's the reflection that we'll be maintaining in. Alright. And we're going to go ahead with the same colors. So I'll begin in with the naples yellow. So leaving in that huge white cap to begin with, because the colours will flow in there and then moving into the Indian gold. Let the colors go into the boat. Also for now, it's okay because the boat is going to be of silhouette black color. Just maintaining this glowing spot at the bottom of the boat or wherever your sunlight is falling in. Go in with the same colors that you went in with the sky, the gold, orange, browns, whichever color you used, you can just go ahead, create in a same reflection of it into the sea. Into the sea, the only additional thing that we'll add in right now itself is going to be a little reflection to the bush that we'll be adding on the horizon line. Here that is the reflection that we'll add in right now itself while adding in these colors. So you see here again, I've maintained in that space. We'll just add in little orange highlights as well. And now I'll just pick up a little bit of the bean scree. So you see, we've got a similar looking detail into the sea as well. So just as the sky is looking, same way, we are going ahead with the sea. Making sure that the spot here remains bright. See? Now, here, while this is wet, we'll pick up the paint's gray color in a little lighter consistency and just add in the reflection to the bush that we'll be adding at the top. So just some lines. So we're going to be having in a simple bush detail across the entire horizon line, the reflection of which is what I've added in here. So when we'll add in the bush detail at the top, you'll be able to judge it better. So just adding little lines with a medium tone of the pains gray more towards the horizon line, moving downwards, you see a decrease the length of these. And in the center, keeping it little light. Alright, now, we'll wait for all of this to try again and then move on with the final silhouette details into the painting. What 49. Day 32 - Warm Sunset - Part 2: So now everything is dried, we'll begin in with the port silhouette first. So let's go ahead with details into the port silhouette space. I'm going to be beginning in with the brown color there, and then we'll just be giving in the details with the paints gray. So go to the outline of the silhouette that you had added in. And even to this silhouet I'm going to be adding in the glowing space where the sunlight is falling here. So there I'll just pick up little hint of the yellow to blend it with the browns. And now I'll use the Pinscrek color and just add it on the edge that is the outline that I had made. You see, very gently wet on wet, adding in the darker highlights on the edge, and in the center maintained in that glueing highlight, falling off the sunlight there. You just did a little lifting of the color to get that light effect. And now at the paste same way, here, we'll have the taker hints and here, we'll have the lighter color. So there I'll go in with a lighter brown only. Very carefully across the outline. And now I'll move on to the taker color at this edge on the left side. Same way as we did at the top space now on the edges, beginning to drop in the paints gray color. So you see we have that light golden effect coming in here, and the rest of the details are dark. Just going ahead with another layer of bold paints gray color so that after drying out also, it is bold and black. Now to the bird as well, I'm just going to go ahead with the pain scree on the outline. And just going to use the Indian gold color, or you can use a little bit of the Bonsiena color and add it into the rest of the silhouette to show that golden effect. To just pulling out little feathers of the birds as well. See simple bird silhouette that we've added. Now, by the time this dries out, we'll quickly go ahead and add in the fooliage detail on the horizon line. And for that, I'm going to shift into that spoiled round brush through which we add in the texture and picking up a mix of the paints gray with a very little hint of the brown. On the right side here, we're going to have in a little lengthier filiage. So the length will be a little taller as compared to the left side. So I'm just giving in the top area first and then we'll go ahead with the base filling, which is going to be pretty simple. All right. And now let's just go ahead with our brush and using in a mix of the brown and the paints gray. Just blend all of these in. Now, I'll pick up a little of the pain screy again. And using this brush, just going to dab again so that it all has well blended effect. And now you see the reflection of these that we had already added into the sea area here. Same way onto the left side as well. Tap, tap, tap to blend in. Now, one mistake that I actually did was closer to the board. I should have taken the details very thin and lighter. But I went ahead with a very dark color here as well. So now the board silhate is a little bit merging in with the background. So maybe what I'll do is there's nothing much actually that I can do about it. So let it be there. I won't true in up the rest of the space, actually. I'll just go ahead and add in the foolage detail here as well at the top, just dabbing in. And now with a little bit of the Indian gold colour to give in that. So you see where the sunset is there, I've just added in a little of a bold Indian gold color if ft. And now, lastly, we have to add in a reflection to the boat as well. So let's go ahead with the reflection of the boat. And for that, I'm going to be using first, the brown color or the Indian gold color in a light consistency. And I'll just go ahead with a rough outline. So it's going to be the reverse. Mm. Just going to fill this completely. Intentionally leaving in some gaps of the sea closer to the meeting point of the reflection on the boat and now just going to go ahead with the pains gray color. All right. And just going to final up this reflection. Pulling out these lines to the reflection. Do you see the reflection to the boat that you're adding in? The reason of pulling out those lines from, you know, random these random spots. And now this string that we've added a tiny reflection to that, as well. Alright? So when you add the reflection, break it so that it looks like a reflection. I'll just add in the bold detail again to the boat. So I guess I'm pretty much satisfied with the reflection. I won't overdo it or pulling out some small lines closer to this. See the reflection has turned out so beautiful and pretty. Now, the only thing that I'm going to do is pickup little bit of the paints gray and try to darken up this silhouette of the board so that it's also visible. And that's the max that I can do to save this board out here. So I'll just let that be there, and now into the sky, just going to add in some more board silhouettes. You see simple silhouettes that I'm going ahead with of the porch? Alright, that is it. We're ready with our painting for today. Another class project in almost a 20 minute time schedule. So let's peel off the masking tape and see a final painting. I love the reflection of this painting and how the sunset has turned out. I'm just a bit unsatisfied with the both silhouet thing, the mishap that happened while adding in the bush details. But I guess it's okay. It's a learning. Still, it's better. It's beautiful. And here's a final painting from today's class project of 50. Day 33 - Purple Sunset - Part 1 : Hello, everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And today we are going to go ahead with Anata's simple yet beautiful seascape. So for the pencil sketch, we're just going to be having in a simple outline of the horizon line. So I'll quickly just mark out the horizon line, which is going to be a lot below the center line. So our major space is going to be the sky. And then here, we'll just be having in a very small sand or the main beach area coming in. Alright, so this will be the sand beach area. Here we'll have a simple, you know, small black silo hit at the end. And this will be the simple water body area that we'll be painting, and this is going to be a sky. Now for the sky this time, the colors that I'll be using is going to be or the royal blue color with a little bit of the Cerlean blue, a pastel pink color. So I have the pink peoni already in my palette here. You can simply mix in white to your pink, whichever is available, scarlet crimson, quinacin rose, permanent rose. By whatever name it is in your palette, you can choose that color and just go ahead with a layer of water into the sky first. Now, beginning in with the colors one by one. So first begin in with a little bit of the cerule blue color. Pigging in with small strokes first. See, I'm leaving in white caps for the colors that we'll be adding later on. That is going to be the pink and the violet tones into the sky that we'll be adding in. Now I'll move on to the pinks first. So I'm using this pink peony as the first base for the pink. Now, when the blue and the pink naturally mix with each other, they form that beautiful blending violet tone. So you will see automatically a mid tone of the violet color coming in, and that's a beautiful mid tone that gets formed naturally. Now I'm going to pick up a little bit of the royal blue color. And just begin adding in cloud details like these. The royal blue is also a pastel color. So in case if you do not have one, you can simply mix in a little bit of your violet, blue, and the white color to get a royal blue color. And we're just building in a very simple sky, as you can see, with the tones of pink, violet and blues. Now I'm going to begin adding in little cloud depth into these, so I'm just going to pick up a little hint of the indico along with the Cerlean blue mixed in with a very little hint of the purple. And if you want, add in a little white so that you get that lighter consistency and just begin adding in simple strokes like these to add in the depth. So you see, I'm just using the tip of my brush and adding in some cloud details with this bold color. Same way at the top, just going to go ahead, build in. So you see, you need to make sure that you have the pink highlights visible into your sky. All right. And just go ahead, building in, adding in simple details like these. And now at the top, I'll just go ahead with a little hint of the violet mixed in with the white that I have on my palette here and just going to add in little bold strokes with this color. And using in the pink, blending it all in using in the same dark blue mix, just adding in little cloud highlights at the top, as well. See how I'm just using the tip of the brush to add in the fine details, and I've been sticking into the same brush for adding in all of the details into the cloud. So just the wash with a bigger brush and then using the same brush to add in the lighter details, the bold details, and creating in the depth. So that is it for our sky. Now, I'll wait for it to dry. Then we'll move on to the sea and the water body area. So now my sky is completely dried and we are going to go ahead into the sea area. So, into the sea, it's going to be the same colours that we'll be adding as in the sky to create reflection of the colours of the sky falling into the sea area as well. So just going to go ahead with a layer of water very carefully, and then begin in with the same colors of the sea. So first, I'll begin in with the pink highlights. And then moving across with the violet and the blues. Now, across the beach line, I'm going to go ahead carefully and mark out this space for the sand area separately. And now I'll move on to the blue highlights. So you see, just randomly, as we have in the sky, same way adding in little reflections, making sure that we have the violets and the pinks also visible. And into the water space, we'll be adding in the details once everything dries out and creating the foaming effect as well. For now, we just need a base layer wherein we want in a good glowing detail of the sky. Now, I'm just going to go ahead with a little bit of the pink and create in some more highlights. And now across the line where we have this shoreline, there we'll go ahead with a darker color and add the shadow while all of this is still wet. So a little shadow to the beach line. So for that, I'm just using the indigo color, and just across this line going to drop it. So when we add in the details of the sand, you will see this will act in as a small shadow to this area. And add this while sea area is still wet and blend it all in like this so that it does not look like a separate detail that you've added in. Okay, you see, we created in that dead. Now we'll wait for again this to dry. Then we'll go ahead with the foam details and the little wave details that we need to create into this. And then we'll add in the sand and the rest of the details as well. 51. Day 33 - Purple Sunset - Part 2 : So now my base of the sea has also dried out, and now Alphas begin in with the sand area. So for that, I'm using my Pettersburg ochre. You can just go ahead use in a lighter shade of the ocher color by mixing in a little hint of white, and then I'm going to shift into the yellow ochre color. So just a little at the top and now a little of the yellow ochre at the bottom. Now at this pace here, I'm going ahead with the wet on dry technique only, not going ahead with a wet leopos just directly wet paints and blending it all in. So you see how with a yellow ochre, now I'm just blending everything And now I'll just pick up a little bit of the bone sienna color. You can pick up bone Siena or you can even pick up a little hint of the light red color if you have it, or you can even go ahead and pick up a little bit of a reddish brown color or any brown for that reason and just go ahead add in some darker depths, especially across the outline and blend it all in well. All right. So that is our simple sand area that we've added in. And now, I'm going to go ahead with the details of the waves. And for the waves, I'm going to be using in the colors that we've used and the base layer, the same color shades we'll be using in, but just in a little, you know, bolder consistency so that they are visible on these layers, and we're going to create in the details. So first, I'll pick up a little hint of an indigo and add in some Daco wave or the bold wave details that we need in at spots. So you see, I'm just using a fine pointed tip brush and creating in this bold wave detail. I'm just pulling out small strokes like these to make in the flow of water. Make sure you use a fine pointed tip brush to add in these details so that, you know, they stay in control. And plus you have that detail of the painting intact. Now, to my pink peony, I'm just adding in a little bit of the quinacnin rose color so that I can get a little darker pink tone, and just going to begin adding in waves with this darker color now. Again, I'm using the same pointed tip brush. This is Princeton round velvet touch. You can see the fine tip of this so it's letting me add in these fine waves. Now, the same logic closer to the horizon line, go ahead with very small tiny length waves closer to each other. And as we move towards the bottom space, we'll go ahead with the longer waves. Then we'll be adding in the foaming effect with the white quash and creating in the flow of the water and the foams, as well. Now, with this pink as well, just going to go ahead with another beautiful water line like this. And when we go ahead with a little bit of the white wash detail, you'll be able to get all of these much better. You see, I'm just going ahead with simple swirls to add in the flow of water at the moment, and the major details will come live when we go ahead with the white quash. Just adding a little dry brush at the bottom here. Now let's move on to the white wash and then move to the rest of the details. So to my white cash, just going to add in a little hint of the pink this time. Getting enough color ready. You just need that little hint of pink. So I have that little hint of pink, and now I'll just begin adding in the details. So first, to this bold line that we added, just going to go ahead and add in the foam details on top of this pink line such that the pink line will act in as the shadow to this foam effect that we've added in. All of the water flow is happening towards the left side. So you see I'm pulling it all towards the left. Then here just going to go with a little dry brush. You see, the foam that's there on the beaches. That's what we're trying to create in here. We'll be going ahead with a bold white layer as well on top of these, but this is the first layer that we are building in. Now here, we are going to go ahead with the foam effect in the center space here. You see, creating in that foam using the dry brush texture and a little of the dabbing technique. Same way onto this indigo line as well, going to give in a very light highlight of the water detail flowing in. Now picking up the pink peony again, just going to go ahead with some highlights of the bright pink color. Make sure you use the pink peony or the pastel pink in a good bold consistency so that you get this bold effect. And now I'll use in white quash without any water or any other tone and going to go ahead and create in the next layer of detail. You see how I'm using the dry Bush texture to create the foam effect into the painting and the water space here. Same way, adding in the white highlights here as well. So it's very important to go ahead step by step. Every layer of detail makes the difference and is important. So just added in good detail of the foam coming in. Now just going to pick up the darker colors that we use to create in the shadow and give in little highlights in between again. See, everything needs to go well, blended into each other. So you need to go to and fro with the colors to blend them all in and create in that flow into the water. So you see now using the indigo color, how I'm building in with the white and blending them in. And same way, just going to use in a little bit of the pink again and add in this spot. I'm adding in a little hint of the violet, as well to the pink. See, very loose free strokes. Now at certain spots, just using the white uh and giving in one more layer of the bold detail of the phone. Now, just giving them a little soft blend at spots so that they look well, blended and soft. Is just using a damp brush, running in a bit and creating in some softness. Now, using the Pain's gray color, you'll quickly add in the last layer of details. I'll quickly create in a small bushy detail here. See filling it completely with the pinks gray color at the top, creating in some detail using in the tip of my brush. All right. So fine details. And using in a dark brown color, just going to add in little texture. Sing in the pains gray color, just adding in little human figures on the beach just simple strokes that I'm adding in to act in as the human figures in the beach area. And lastly, here into the sky, we just add in a few words. Right. So that is it. We are ready with our painting. Let's peel off the masking tape and see our final painting. So this painting took us a little about 20 minutes because of the details that we had to add in and, you know, slowly building in the depth. But I absolutely love the final outcome. Simple details. T so beautiful. So here's the final look. I hope you guys enjoyed painting this with me today, and I will see you soon into the next painting of this challenge. Thank you so much for joining me and painting along with me. 52. Day 34 - Mini Pink Sunset: Hi, everyone. Welcome back to the next mini painting, and we are almost halfway through the challenge, and I'm so happy to see in your paintings coming in. For today's class project, we are going to go ahead with a beautiful pink, orangish sky, and we are going to be having in a very simple feel and two simple mountain ranges in front of these. So I've just marked out the first one, second one, we'll add it as a layer on, and we are going to have in a very beautiful, bright sky. So we'll begin with the sky first. So for that, we'll go ahead with the wet on wet technique. Now for the sky, the colors that I'll be using is going to be the violet color. So I'll be using the bright, clear violet. Uh, the bright clear violet, I'll be using in a little bit of the quin rose color, which is a beautiful pink color. And then, of course, the orange color for the beautiful orange sunset glow that we'll be going ahead with. So just pinning in with a layer of water into the sky first, leaving the mountain and the little field that we are adding in blank for the moment. And just wet on wet, we are going to be going ahead with a simple, beautiful sky. So let's begin in with the violet color first. I'm using the clear violet from PWC. And using it in a very light consistency first, just going to begin adding in at the top. So the three colors that we are using is a shade of violet, pink and orange. Now for the pink, you can even use a little bit of the bright opera if you want to give in some really bright and bold pink effect, or you can just go ahead with any pink of your choice from your palette. So I'm using a little of the bright opera, as you can see, and then the quin crimson lake from Michelo Mission, which is a beautiful violet pink color. And if you want to blend these all in, you can use a pastel pink or just mix in white to your pink whichever you are using. I'm using in the pink peoni that's there in my set. And in the rest of the space, we are going to go ahead with a beautiful orange layer. So just going ahead with the orange. That's too much water, quickly lifting it up. Just go ahead and define the mountain outline well at this point itself so that, you know, you have that beautiful outline to the mountain. Now, just lifting a little orange and adding it into the pink spaces, creating in those cloud details. Now, I'll just go ahead with a little more of the pink color. I'm using the pink peony color and going to add in blends between the orange, creating in some cloud details. All of these, we are going wet on wet, as you can see. And at the top, I'll just pick up a little more of the violet color, add in some violet clouds. I'm using a very smaller size flatbush as you can see, and just using in the tip in a little tilted angle to give in some cloud details. Now at certain spots, I'm just using in my damp brush and going ahead with little lifting technique to create in some cloud highlights. So you see how the lighter highlights are coming in. So I'm moving in circular motions, even with my flat brush, creating in some cloud details. Now, just dropping in some darker hints at the top. So that is for our simple easy sky. It just to cut like what, four to 5 minutes to build in the sky. Now, while the sky dries out, we'll quickly add in our simple field space. So there I'm just going with a simple layer of water. And I'm going to begin in with the cadmium light green color. You can use any yellowish green. And on the edges, I'm going to drop in the olive green. So this is the olive green from the PWC set. Now, at this point, also, the distinctive point between the field and the mountain, just go ahead and define it well. Now to add in some darker highlights, I'm simply using in the browns and the greens that are on my palette and just adding in the darkness from the edges. Again, for this project as well, if you see, I'm just been working with one simple brush since the beginning h so just add it in a simple field. Now we'll wait for all of this to dry and then add in the further details. So now everything is completely dried, and we're going to begin with the mountain range. So first I'm picking up the light red color, which is a reddish brown color from this palette that I have. So this is from my PWC set. You can simply go ahead, use in any lighter brown color. It can be burn Sienna or any other lighter brown that's available in your palette. Or if you want, you can mix a little reddish hint to your normal brown to get a light reddish brown color like this. And I'm just using it in a very light consistency, medium to light consistency, and going ahead with the first layer of mountain. And then once this dries out, we'll just add in a foreground mountain in front of this. So just adding in this layer first. And while this layer will be wet, on top of it, I'll just create in some wet on wet texture with a little darker hint. So I'm picking up the ndeg brown. This ndeg brown is again from the PWC brand that I'm using. And just at the top, you see I'm dropping in that little darker hint. And at this spot here, I'm going to create in a little light glowing space. So just going ahead, lifting in little color and you see the lightness that I'm trying to create into the mountain. Now, if you want, you can lay in a little of the orange color there. I'll just pick up a little of the pastel pink hint, as well and lay onto this glowing space that I'm trying to create for the mountain. Now, by the time this first lao dries out, I'll quickly go ahead, add in a few birds into the sky. And for that, I'm going to be using in my very fine tip technical pen, which is a 0.1 nit, and we'll just add in a few birds into the sky. You can, of course, use in the detail or brush and the paints gray or the black color and add in these birds. If you don't want to add them using a technical tip pen. But since the size of a painting is very small, I prefer adding these with this fine tip pen so you can see how fine the details come in. So just add a good number of birds as well into the sky quickly. And now this mountain range is also completely dried out, and I'm going to go ahead with the next mountain layer. For that, I'm going to use in the dark brown color. So I'm going to be using in the vende Brown. You can go ahead, use in a dark brown color, or it can be with the name of fendi Brown, burnt amber, or you can just mix in a little hint of the pinks grey to get this dark brown color. Make sure that the mountain space is completely dry and just go ahead with this second layer of a mountain. And again, just going to fill it till the horizon line. See this is a very dark brown color that I have used. And in this also, if you want, you can just go ahead and create in some highlighting spots at this point. So just going ahead with a little color lifting at this point. And in the rest of the space, also just dabbing in to create in the textures while it is wet. So automatically when it will dry, it will have little lighter highlights. And now just using in little of a dark green hint. Adding in little grass strokes at the bottom of this field here. I'm using a three by zero inch brush, so you can see how fine these grass strokes are coming in. So just little of these that I'm adding in. So I'm randomly using the greens that they're on my palette. You can go ahead with a medium to dark ton of a green color, and you can even use little of the brown, paints gray, yellow ocher to create in a blend of the greens. So some simple grass strokes that I'm adding in here, just at the base. Of course, if you want, you can add in more details, more floals, leaves. You know, there is so much room for creativity, even in a small piece. So that is it. We are ready with our painting. Easy, quick. Let's remove in the masking tape and see the final painting. Make sure you peel it off against the paper and once your edges are completely dried, so here's a final painting from today's class project. You can see the glow in the sky that we have. So here's a final painting from today's class project. You can see the glow that we've created in the mountain here with the pink and the orange highlights and the simple dabbing that we did on the second mountain range, the mini grass troops at the bottom, the little glow in the field with the light green color, and the glow in the sky here. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting. Till then, make sure to keep uploading in your class projects into the project section so that we all can share our creations with each other. 53. Day 35 - Unwind the Galaxy - Part 1 : Hello, everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And today, we are going to be going ahead with a beautiful galaxy painting. We'll be beginning in with a layer of water directly. I'm using the Archie's hot pressed paper this time. So you see there is no much of the texture that is there, usually in the cold pressed and the rough green paper. It's a beautiful flat surface, and we'll just begin in with a good layer of water because galaxies, the glow that will come in is with the help of the flowy consistency of the paints and water. We're going to be going ahead with warm tones. So we'll be using in yellow, orange, browns and then moving on to darker tones. So I'm first beginning in with a pastel yellow color. I'm using in the naples yellow. You can just use in any bright yellow color with thumx of the white if you wish to. Then I'm moving on to the Indian gold color, which is a beautiful orangish red color and just adding in little spots with this color. Now, between each of the colors, you will see I'm naturally leaving in spaces and gaps for the flow to happen naturally between the tones. Now, next, I'm going to move on to a bright orange color. So I'm using the orange color from my palette and just going to begin dropping in. You see, I'm using all of the paints in a good flowy consistency so that they blend naturally, move naturally and create in those blends. Now, next, I'm going to be using in a little of the light red colour. Now if you don't have a light red color, you can just go ahead and use in a little bit of the bon sienna mixed in with a little hint of the red color or even directly a bone sienna color will do the works. Just little, you see, I'm just randomly dropping in paints in the first layer here. Everything is messy, nothing is clear, nothing is, you know, in place as of now. Next, I'm going to pick up a quin rose color or a red violet color that you can use in. Just a basic pink tone that you need for a little highlight at a spot here. Now, I'm going to move on with the same colors that we used so far, so going to go ahead, add in the yellow again, where I added the yellow, going to pick up the yellow orange, or sorry, the orange and the Indian gold color again and drop it exactly where I had dropped them previously. So this second layer that I'm adding now will create more of the flow between the pains happening in. So drop them in a good liquid consistency with water in it so that you see it will naturally begin to flow. And now I'm going to pick up the light red color or the bon sienna that you can use if you don't have a light red color. And now I'll just drop in little drops of water at spots. Depending on the size of the paper, you'll have to adjust the water droplets, and now just begin rotating it in all directions. You see the paints are beginning to flow into each other, create in that natural blend. S. Now we'll begin with the next layer, building in more depths. Make sure you maintain these glowing spots. So now, first, I'm going to go ahead and use in a little bit of the violet shadow color. Again, dropping it in a good bold consistency. So we are going to have a good orangish, yellowish glue at this spot here diagonally, and the top and the bottom is going to go on building darker with the darker tones. So beginning in with the violet color or violet shadow, whichever you have, you can use that and then move on to the pains gray color. Now I'm moving on to the pains gray color and going to begin dropping it at the top and the bottom spaces. You see the diagonal glow that I'm maintaining in? Now, after you add in the pins gray color, do not lift your paper directly. First, go ahead with the same colors that you used. So moving on with the orange, adding it at the orange spots. Be careful that your brush is clean, picking up the yellow, dropping it again at the yellow spots in a good liquidy consistency. Moving on to the Indian gold colour. And moving on to the final light red color that we used. And now, again, picking up a little of the dark consistency of the paints gray, topping it majorly at the top and the bottom edge. And now we are going to go ahead and do the magic of the paints again. Now, you need to be very careful such that the paint's gray color does not move much into the center glowing spot. So you see you need to be quick with the top and bottom swirls. Now into this yellow space, I want the orange and these colors to flow in. So just going on, creating in some swirls see the texture that's happening in. Very gently the color that's lifted on my brush. I'm just topping it up and creating in some swirls topping in the darker color at the base again, at the top again. Now I'm going to pick up a little bit of the white quash. I'm picking it up in a little flowy consistency and just begin dropping it using in the tip of my brush. I'm just going to pick up a little bit of the pink and drop it here as well. Now again, just going to let the water flow. You see the white paint that is flowing and creating in that glow. See how the black is flowing quickly. You need to control these worlds and flow in such a way that it all looks natural. Now I'm just going to splatter some water droplets from far. You see the water droplets are creating in those blooms and the glue into the galaxy again. Just going with some more splatters. You can see the natural blooms that they'll create in. I'm just blending colors at spots before we let all of this to dry out. All right. So we'll wait for all of this to dry. Then add in the next layer of details into this galaxy. This yellow spot here, I'm just going to blend it with a little hint of the orange. In such a way that the glow is maintained, but with a blended effect, okay? Same way here as well. Just a little blend. Now, we'll wait for this to dry, then move further. 54. Day 35 - Unwind the Galaxy - Part 2: So now, as you can see, everything is completely dried, and we are going to go ahead with a white quash to create the glow into the galaxy. You can see those small water splatters have created such beautiful spots naturally into our painting. Now, firstly, I'll begin in with the white quash and begin creating in some swirls and some, you know, simple textures into the galaxy. This is exactly how we had done, even in our previous galaxy project, which was a blue colour galaxy, if you remember, from this 50 day challenge itself. Same way, we're just going to be going ahead with the white coach and just begin creating in some simple swirls. So I'm just randomly adding in some simple soles with a white ch, and then we're just going to dilute them into the background and create in that blended effect first. I see simple thunder effects that I'm pulling out. And now using in the damp brush, I will quickly first blend this bold layer into the piece. So I'm just using the damp brush, running over the white color on the edges and blending it all in. Just pulling out simple thunderstrokes. See, using the dam brush, how I've just blended those strokes well into the background. I'm going to pick up the white quash and splatter in some stars first. So I've picked up some cold pool white quash, I'm just beginning to splatter in. And now I'm going to go ahead and create in some glowing star details. So to some of the platters that look huge, I'm just going to go ahead and turn them into the background for the glowing stars using in this damp brush. You see how the spots are turning dull. And once they dry out, they'll act in as the background to our glowing stars. Simple technique, just a white spot, and you dilute them and turn it into a dull, white background. See, we've added a few of these. Once they try out completely, they will have a few toful bold effect. Make sure that the edges are well blended. Just adding in some more white spot in between and just going to blend it. S. Simple technique, a simple white blend, and we've got such beautiful glow coming in. And now, just to the center of these, I'm going to go ahead and add in these spots. So you can see now the glowing stars that are just beginning to pop in. Just creating in blends wherever I feel that, you know, the veins are looking mismatched or something. We've given in very light in details, if you see, and a good patch out here to this patch, again, just going to add in some white quash and just go ahead and blend it and create in that, again, glowing spot. So it's in such a way that the yellow orange browns are still visible in that spot, but still there is this huge glowing glow that's coming in. And to closer to this now, I'll just create in some broken swirls trying to create an orbit around this glowing space. Now, just to the last layer of this as well, I'm just going to give it a well blended effect into the base. So just using a damp brush, running over it. So all of it has that distinctive view, but still it's embedded into the painting, having that soft blend. That is what we try to achieve with these simple blends that we do in. Alright. Now, just before we begin to peel off the masking tape, I will shift into my fine tip brush. So I'm using in the size three by zero Princeton. Fine tip brush, sing in the whitewash in a good fold consistency. Just going to create in some stars. You see fine stars that I'm adding in? Just a few of them. Not much. All right. So that is it. We are ready with our painting. Let's peel off the masking tape and see a final painting. Make sure while peeling off the masking tape, you peel it off against the paper because since we had worked with the wet on wet, you can see the excess paint that has dripped through even through the masking tape. So, you know, the paints shouldn't be wet while peeling off the masking tape. Otherwise, they'll fall back into your painting. So here's a final look at our painting from today's galaxy. I love how this cloing spot has turned out and all of the details in this mini galaxy that we've painted along. I hope you guys enjoyed painting this with me today, and I will see you guys soon into the next painting of this challenge. Thank you so much to each one of you for joining me and painting along with me. 55. Day 36 - Winter Lamp - Part 1 : Hello, everyone. Welcome back to the 50-Day Watercolor Challenge. And for today's painting, we are going to go ahead and paint a beautiful street lamp in the winter scenes. So I'm just going ahead and creating a silhouette for the street lamp towards the right center side. It's not exactly in the center, as you can see, but it's towards a little right of the center. I'm just going ahead with a very simple silhouette for the lamp. You can choose your own silhouet for the lamp, and that's perfectly okay. You need not follow the same slouhet as I am going ahead with for the street lamp. And just go ahead with a very simple pencil sketch for this, and then rest of the details we'll be adding in. And it's going to be a pretty simple one or simple way to create in these lamp details, paint in a winter scene winter street basically. And given that glowing effect to the lamb, that's going to be the focus of this painting. I'm just beginning to add in the pencil sketch, as I told you, and a very simple sketch. I've added in. Now we'll just add in the coal to this lamb. Just getting the symmetry right of the lamp shade. All right. So that is about it. Just add it in. I'll just cantalize this again. Okay. So that's our silhouette for the pole. Now, we are going to paint the rest of the scene with a very simple, you know, indigo color and the Prussian blue colour layout. And around this lamp space, we are going to keep it yellow and orange to keep the glowing light effect. So while painting only we need to maintain all of these details. So we'll begin with a wet on wet layer onto this entire paper. And wet on wet, we'll add in the glow effect of the lamp already. And then once everything dries out, we'll just give the perfect outlining to the, you know, outline of the lamp so that it gets that silhouette effect. But the light effect will be all wet on wet when we add in the panes. So first, closer to the lamp shade area, that is around this circle of the lamp where the light comes out. There we are going to have in the yellow and the orange effects. So I'm going ahead with a naples yellow. You can choose to use in any light and bright yellow color. In the center, I'm still leaving a little of the white cap, and around this, I'm going to go ahead with a little hint of the orange color mixed in with a little bit of the yellowish orange so that it's not too bold of an orange as well. So you see just marking that glowing light space around the lamp. And I'll just pick up a little hint of the white. And with the white, I will just go ahead in the center. So you see in the center, using the white, I just blended in the yellow. Now, as I move towards the round side, I'll just pick up a little bit of the Indian gold across the orange colors so that it becomes easier for me to transition into the blue colors. You can just use in a little hint of the browns if you want, so that, you know, while blending the blues and the orange, it will automatically give you that brownish hint, but this will make the blending also easier. You see the orange, also, we've gone ahead with very light effects, not too bright of the orange colors that we've used in. And now I'll begin in with the Prussian blue color. And first using in the Prussian blue, I will go ahead and add in a good blue layer around. So make sure now that you're maintaining in that glowing spot. You see with the Prussian blue color, I'm going ahead in circular motions. And now I will pick up the indigo color. And from the edges, begin adding in the darker values. You see, again, I'm moving my brush in circular angles. Now if you see the colors are very light in the center space still. So now to blend in, I'll go ahead with the same colors. So first going ahead with the Pusianblue again on the inside space. And then moving into a little bit of the Indian gold color. And now from the center again, move on to the yellow and the orange. So you will see then the blends becomes smooth and even out. See how you need to run your grass to and fro to get the blendings right, smooth. I've just added in the yellow color again and closer to that, again, going ahead with the Prussian blue color. And then with the indigo on the edge again. You need to make sure that around the lamp, you have limited space basically outside the lamp area, a limited space that's emitting in the glowing light effect. Now, just using in a little bit of the white around this space at the blending point of the yellow and the blue so as to get in that transitional effect happening in and the glowing light coming in much better. You see? And I'll just pick up a little hint of the yellow again and move towards the inside with the white. Make sure your brush does not have any sort of blue colour while doing the yellow part again. Otherwise, it will not give in that, you know, glowing effect to the light. And now I'll just pick up little hints of the orange again. From the lamp space, lifting up a little light so that the rest of the space now acts in as a glowing light. You see, step by step, we are getting in that glow slowly coming in. So towards the left side, I'm maintaining in this little orange glow of the light, and towards the right side, I have the yellow glowing effect of the light. And from the lamp space, I almost have a white color with just a layer of the yellow coming in. You need to be very careful about your brush, whether it has any color lifted. Alright, now, we'll wait for this to dry completely and then move ahead further. 56. Day 36 - Winter Lamp - Part 2: So now you can see everything is dried out completely. We've got a beautiful glowing spot across the lamp area. Now we'll first begin adding in the details into the lamp and then go ahead with the rest of the details. Basically, the rest of the details is just going to be simple snow foliage that we'll be adding by using in the white pine. But first picking up the pains gray color, you can either use Pains gray or black, and I'll just begin defining in the siloeate. Now, when we begin defining in the silhouet for the lamb, you need to be careful that you need to maintain in this glowing spot. And at certain spots of the silhouet as well, you need to give in that light effect of falling in. So let's begin in simple and quick. So I'm first beginning in with a pains gray outline. You see, since my paper is taped down on a movable surface, it's so easy to just tilt it around and adjust according to the convenience of my hand. Now, what I'm going to be doing is I'm going to begin picking up a little bit of the light red or the Bonsiena color and at certain spots here to give in that light effect falling in, I'm going to add in little brown hint first. And then using in the paints gray, blend it with the brown. So you see you have that warm brown effect because of the light falling in there coming in. Same way, even in this bottom space here, I'm just going to be picking up a little hint of the brown color and blending it with the black. Now, at the bottom here again, I'm just going to go ahead with a little hint of the browns and then add in a border of the black color or the pains gray whichever you are using in. You see wet on wet, the colours bland and it's getting in that lowing effect. And now to the pole, just going to go ahead with the pains gray color. Now, in the center of this, I have to create in a few lines. For that, I'm going to be going ahead with the brown color first because the light is inside and it's of course, falling on the siloed parts inside here. Make sure you use a fine tip brush. Do you see how with the browns, we've just added in. And now I'll just use in the pains grey color and add in a little on the edges of these browns. So actually, these rods are of the black color, but because of the light effect, there is that light falling on those. That's what we've tried to depict in here. Now, I'm just going to be picking up a little bit of the pains gray color. And I'm going to add in a pine tree silo heat towards the right side. So it's going to be this huge pine tree that we are adding in. I'm not going ahead with much of the details into the pine tree because when we add in the snow details, we'll, you know, define it much better. And now using in the paints gray, from behind of this pine tree, I'm just going to pull out a few branches. You see just pulling out the smaller branches from the bigger ones. The branches are from behind the lamb space, not onto the lamb. So, you know, there are no branches coming from over the lamb space, all are behind. And I'm just pulling out simple smaller branches from these bigger ones. You see, I've been working with just one brush for adding in all of the tiny details as well and adding in the background layers as well. So you see this mop brush has such a fine pointed tape and I'm able to add in all of the details without shifting in between brushes a lot. Now, using in the pains gray again, I will just go ahead, add in a layer of detailed foolage now. So now, this time I'm using the pains gray in a little much more bolder consistency. See, the foliage is quick but a little more detailed than the previous layer. Now we'll begin in adding in the snow details to all of this. So for that, I'm going to be picking up the white wash. I've picked up some fresh white quash. And now using this, I'm going to begin adding in the snow details. So first, using the white wash in a bold consistency. Over these branches that we've added, go ahead and add in small white lines to act in as the snow collected on top of these. You see? Simple details. It's not necessary to have it on all of the branches. You can skip a few and just show a little snow on the joint parts. Just adding a little snow over this lamp space also here randomly. You see simple snow details. And now onto this huge pine tree that we've added, we'll be adding in the snow details there as well. So from the center, just show the snow deposited on some of the foilage. Now, be very careful. Don't dab your brush too hard because otherwise, the paints gray will begin lifting into your brush because we are using watercolors and they get reactivated with water. So you need to go very gently. So you see, we've shown in snow collected onto the pine tree as well very randomly. So you just need to show some snow collected at spots. And now, lastly, I'll go ahead and splatter in a little bit of the white quash to show the snowfall effect. See, the beautiful snowfall effect that's come in with a white quash. Make sure to use in white quash for this because white watercolors will dry out, you know, very dull and will not give you that white snow effect falling in. Now using in the paints gray, I'll just highlight a little of the pine tree details, and then we are ready to peel off the masking tape. All right, so that is it. Let's peel off the masking tape and see your final painting. So here's our final winter painting from today's class project. You see the simple lamp detail that we added in simple highlights into the lamp using in the browns, and then the simple sillohad of the pine trees and branches. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting of the series. Thank you so much once again for joining me into this 50 day transformative watercolor journey and painting along with me each day. L 57. Day 37 - Simple Mini Field: Hello, everyone. Welcome back to the next painting of the 50 day Watercolor Challenge. And today, we are going to be going ahead with a simple field view landscape. So I'm beginning to mark out this simple field space at the bottom. And here we'll be having in a simple, you know, misty kind of background or pine tree effect. And then on this horizon line of the field, we'll be adding in simple pine trees, simple brown field and a beautiful sunset sky. I'm going to be using in this Naples orange this time. So it's basically a pastel orange color. So you can just mix in a little bit of white to your orange and use a pastel consistency of the orange color, whichever you have. To this also, I will still be adding in a little hint of the white or you can use John Brilliant color directly, which is a beautiful skin tint color for adding in the details. And the other color that I'll be using in the sky is going to be the cobalt blue color. So I'll first begin in with a layer of water into the sky first. So just ping in with a simple layer of water. I won't be running into the field space, and I'm just adding in this layer of water into this simple pine tree range that we'll be adding here. But while adding in the colors, I will avoid adding in a lot of colors in there. So just going in with a good wet layer of the water. And now beginning in with the paints, I will pick up a little bit of the John Brilliant color, which is a beautiful peach skin tint and just mixing in with a little bit of the naples orange. And I'll just begin adding in the first layer of the sky that we have that is simple clouds with the orange color. Now next, I'm going to be using in the cobalt blue color. I'm going to let in some white gaps be there into the sky this time and in the rest of the space going ahead with strokes of the blue and the orange, creating in the details. Closer to the John Brilliant, go a little careful with the cobalt blue color so that you do not form in any sort of muddy mix. But since it's a pastel color, you won't get in that muddy mix, but still be a little careful. Very gently overlaying on top of it. Now, wet on wet itself, I'm going to begin building in the darker depths with a blue colour as well. So I'm just using the cobalt blue color in different consistencies. First, I began in with a very light layer and now beginning to darken up the layer step by step, building in the dark effects of the clouds. So as I told you, the space on the left side, I'm going to leave it a little blank for the misty range that we'll be adding in there. And in the rest of the space, just going ahead, building in the depth. You see, I'm just using the tip of my brush to add in the cloud details. So over the John Billin color, you can see how carefully I've overlaid with the blue colour, such that we have that highlight of the orange into the sky. Very carefully, just adding in a layer there again, such that it looks well blended with the blue colour. It I've just laid a little bit of the ondan color here and blending it with the blue. Now, I'll again pick up the cobalt blue colour and layer on top of this. You see, I'm layering again on the top space as well, such that it blends in with this space look as well. All of these I'm still working wet on wet with two colors, just blending them, creating in the depth into a sky. We even have some simple white caps into a sky, creating in that beautiful glow. So that is it for our simple sky. We'll wait for this to dry out completely and then move further. I'm just lightening up this space a bit. And here I'm just running in with water so that it all dries out even here when we add in that layer of the misty effect. All right. Now, let's wait for this to dry completely, and then we move further. So now my sky is completely dried. I'm going to begin in with the indigo color and begin adding in the mountain range or the misty pine range that I'm going to be adding here on the left side. So I'm just pigging in with simple spikes at the top first. So I'm going to vary the heights and moving towards the center side, I'm going to take it moving downwards, as you can see. And at the bottom, we are just going to fill in the space with, you know, indigo color. So while adding in this itself, make sure to add the colors accordingly at the bottom so that it does not dry out uneven. So you see I'm running to and fro, making sure that everything dries out evenly. Now, depending on the space that you've left, accordingly, you will go ahead and fill in this space, and then I'm just going to be using in water and creating in diluted range at the bottom here. And so that everything blends well with each other, I'm going to quickly just pull out from the top again so that you see it does not dry out uneven because the top layer may have already begun to dry out. So when you pull it out from this, you see it again gets all a blended look and well blended with each other without having any uneven edges. So that's for the simple misty range that we needed it here, just going to go ahead with a little water to and fro. You see at the bottom, I've maintained the color in a very light consistency. And now into the field area, I'm going to be going ahead with the burnt sienna color mixing with a little bit of the ndeg brown and beginning in from the bottom, just adding in this color. So for the field, you see, I'm just going ahead with a simple wet on dry layer, picking up the yellow ochre a little at the top, and towards the right side here at the top, I'm just going to be going ahead with a little bit of the greens. All right. Now, I'm just going to be darkening up the brown color. You see just darkening up the tones one by one. And then once everything dries out, we'll just go ahead with a little bit of the pine trees on the horizon line. Now, since my misty layer here is wet and you can see the colors are bleeding into each other, it's perfectly okay because everything will get hidden once we add in the layer of the trees on the horizon line out there. Now I'll just pick up a little more of the green. M very simple field to add in. Now I'll just go ahead with a little bit of the darker hint and create little textures. So I'm picking up a mix of the paints gray and the brown color. And while the field is wet, just going to go ahead and create some details into the field wet on wet. Now, when you add in details wet on wet, you need to be careful about the water control. You need to take care about the wetness of the paper so that you don't get sharp edges, you need to go very gently. Use a smaller size brush to maintain the details according to the size of the paper. So you see just added in simple dark details. And now we'll wait for all of this to dry and then go ahead with the final layer of pine trees. So now my field is also completely dried, and I'm going to go ahead with the paints gray color in a bold consistency and begin adding in the final detail of the pine trees. Now, these are going to be simple, quick, easy. Make sure you use the color in a good bold consistency, use a pointed tip brush, and I'm just going to begin adding in these pine trees. So I'm going to be varying in the heights of these pine trees. Some of them are going to look detail, some of them are going to look quick, and some of them will look like fillers in between. So across the entire line of the field, we are going to be going ahead with the pine tree range. See I'm just going ahead so quickly adding in these pine trees. Now, make sure to vary the heights of these throughout so that you get in that natural looking effect and make some of them dense and some of them, you know, filled in with fooliage and some of them just very scarce and limited foliage. In between, you can even add a few just, you know, the stems or the branches of the pine trees like these. You see you just coke criss cross with the foliage. In between, I'm just adding in some simple strokes just as we added in the misty range to act in as the filler trees. To those also, you can see I'm varying the length so that they have that natural effect. You see simple pine trees. So the entire line of the field we've added in. Now I'm just going to add in some simple strokes in between the pine trees to add in the background depth. And now using in the pains gray at the bottom of the pine trees, just going to create a little dry brush texture to the feel. So you see it looks like a well blended part of the field and also adds in a layer of depth to the field, very little dry brush. All right. So that is it. We are ready with our painting. Let's peel off the masking tape and see a final painting. I'm just a little bit unsatisfied with this blend of the misty trees that has happened here, though it's looking natural and, you know, the blends are smooth, but the colour transition could have been better, but it's okay. Sometimes you learn, sometimes you grow, and sometimes you just, you know, let things be there and let the beauty of the nature do its work and the paints do its magic. So here's our final painting for today's class project of the 50 days challenge. If you're liking this class, make sure to drop a review so that it can help me reach maximum students, and I would like to see all of your class projects into the project section. Thank you so much for joining me into this class and painting along with me. I will see you why soon into the next painting of the series. 58. Day 38 - Pink Glow Aurora - Part 1: Hello, everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And today, we are going to go ahead paint in a beautiful Northern lights. It will be quick, easy, no pencil sketch. We'll begin with a layer of water onto our tie of paper. When we paint in Northern lights, the magic comes with the flow of water and the paints, and you know, the natural flow that happens because of the wetness of the paper and the wet layer of paints. So make sure you go ahead with a good layer of water such that your paper can stay wet for a good time. And plus, when you add in wet paints, it can flow naturally blend and bleed into each other. Alright, so just begin in with a layer of water. I'm going ahead, making sure I have a good wet layer for my pains to flow easily and naturally amongst each other. Now for the colors, I'm going to be pining in with a peacock blue color this time. It's kind of like a cerulean blue color, actually. So in case if you do not have a peacock blue, you can actually mix in serlean blue with a little bit of the turquoise blue color that will give you this peock blue colour, or you can even directly use the turquoise color if you wish to. So I'm just pigging in with this pecock color at the top. And you see I'm beginning in with a light layer first because we are going to build in depth with the colors. Now next for the pink, I'm going to begin in with the opera pink. If you do not have an opera pink, go ahead with any lighter tone of the pink that's available in your palette. And when you lay the pink over the blue, it will automatically give you this violet tone you see. So somewhere we just need simple pink tones, so laying that down. Now I'll go ahead with the indigo color first. Now indigo, I'll be using it in a liquid consistency from the top, beginning to create the darker highlights. You see how the paints and the wetness of the paper is doing the magic, making the paints blend into each other naturally. At the bottom here, we are majorly going to be having in the, you know, highlight of the pine trees. So that's why I'm not going ahead with major of the colors out there at the moment. We'll just go ahead at the end and give it a water wash. Now, I'm just using in the pink color. That's the opera pink, and you can see automatically blending in with the blues. It's giving in the violet hints into the Northern lights. If you want, you can even directly use a bright, clear violet or a purple color. And if you want, you can just use the pink to do the blending and create in the depth on its own. Now I'm just going to pick up water and drop from here so that it creates that glowing highlight. You see how the water is flowing in, creating in that glowing spots. But you need to make sure you need to keep rotating quickly because if you will stay at one spot for a longer time, it may even create a dull patch then. Now going ahead with darker highlights of the indigo. If you do not have an indigo, you can simply mix in pains gray to your blue that you're using or pains gray to your Prusian blue and get this darker blue hint and use that. Now, again, you see the indigo. They don't have blends with the pink, so I'm just going to go ahead with a layer of pink closer to the indigo again. And then, again, just drop in water to make the blends happen naturally and smooth. As I told you, if you want, you can even use a little bit of the bright, clear violet color. But I am happy with how the pink is doing the job of the violet as well. Now, just to get the blends right and smooth, I'm going ahead with little of the water technique, dropping in water from this bottom center point and letting it blend with the colors and create in, you know, blends and the smooth flow. But you see you need to keep rotating quickly in directions so that the blends go smooth and, you know, they have that soft blended effect. You see how beautifully the colors are blending into each other. I'm just going with a layer of water at the bottom, because otherwise, the bottom of the paper will dry out giving in uneven edges. Now, to create in certain glowing spots, I'm going to be going ahead with a lighter color and drop it simply So I'm going to be using in the shell pink color from the brand Michelomssin that's here in my palette. You can just go ahead mix in a lot of white to your pink and a little hint of orange and use this color in a good watery consistency and just begin dropping in a little from here. And to this again, I will just go ahead, pick up some pink in a good liquidity consistency and drop in. And you see now how the shell pink color and the opera pink color will flow and create in its own path because of the water and the liquidty consistency of the paints that we are using. Just a quick, you know, turnaround of the paper is what will play the blending roles here. You see how quickly I'm rotating my paper, making sure that it's not in a single position for a longer time. Now to this, I will just drop in little water from here so that I have a good white spot glow. You see the glowing spot that's formed here. And now before letting this to dry, I will just give in little darker indigo highlights at spots at the top. You see how naturally the blends are happening. They're looking in so beautiful. The entire play here is how you make the colors quickly flow with the help of water and create in those smooth blends. So that is it for the Northern sky. I will let it dry completely. You see the glowing spot we have here. Now I'm not going to touch it. I'll just wait for it to dry, then move in further with a layer of the pine trees into this. And before letting it to dry on this spot as well, I will just give in a little bit of the pink highlight. Maintain this glowing spot, bad? All right. Now I'll just wait for all of this to dry. You see, I have a beautiful glowing spot out around this area. Now, let's wait for this to dry and then move further. Make sure the indigo layer is good and bold because once the paints dry out, they dry out a tone lighter. So wherever you feel that before drying out only you want to give in dark indigo layer, you can just go ahead and add in the darker color effects. I'm just adding in little dark indigo on the edges. And now I'll just wait for this to dry out and then move further. Oh 59. Day 38 - Pink Glow Aurora - Part 2: So now as you can see, everything is completely dried. You see a little of the water flows, the texture that it has created at certain spots. It's beautiful. At spots, if you feel that you want to cover up these, you can, of course, use the stars that we'll be splattering right now to cover those up. So first, we'll begin splattering in the stars into our night sky and then move on to adding in the pine trees. So I'm beginning in with white quash for the stars. Make sure to pick up the white quash in a good cold consistency so that you can get the opaque star look. If you will use white watercolors, after drying, they may turn out dull. So it's important to use a color. Which will give you an opaque look. So I'm going ahead with this white quash, and I will just begin splattering. I'll just close my palette so that the colors don't splatter in there. If you want, you can splatter it keeping a newspaper or a rough cloth underneath because it's going to be messy. So you see there is paints everywhere. So you can just be a little careful about this. So we've splattered off enough stars. Now I'm going to go ahead and add in the pine trees first. So for the pine trees, I'm going to be going ahead with the pains gray color. You can go ahead and use in the black color if you do not have a pain's gray color. Once these stars dry out, we'll even be adding in some glowing stars. But before that, let's go ahead with the pine trees. So I'm using in the pains gray color. You need to use it in a good bold consistency. And I'll just begin adding in a good range of pine trees. You see, the foolage is going to be quick, easy, simple. Now, if you're someone who likes painting in detailed pine trees, you can choose to add in a good detailed range of pine trees, but I really like to go ahead with these quick ones first. Now, at the bottom space here, I will first just quickly go ahead and add in this space. Now I'm going to go ahead and add in more pine trees. You see I'm going a little diagonal and adding in the pine trees. There are a little tilted that I'm showing in. Just blend it well into the base here. Now, in between the pine trees, you can even use in just some simple, you know, twigs like these. Now, in the center, make sure you maintain in this glowing space that we have formed out here. So just go ahead quickly, add in a good range of pine trees at the bottom space completely, but make sure to vary the heights, the angle of the pine trees so that it gives in that beautiful natural effect. You see, with every layer, I'm going ahead and blending it in the bottom again so that they don't dry out uneven. I'm just going to go ahead with some smaller pine trees here. I'm dragging my brush left and right and giving in this detail into the pine tree. I've learned one thing while adding in the pine trees, the more you let your brush dance and let it loose, the more natural effect you get into your pine trees. So I'm just using the tip of this mop brush to add in these pine trees. Now, in between these, I'm going to go ahead, add in some dense looking, sparse looking trees as well. So just the twigs, basically. See, just adding a very simple foliage to these. You see, we've created up such a beautiful, simple space with the pine trees. Now, let's go ahead, add in some star details. So for that, I'm going to be using in the white wash and create in some dull spaces for the glowing stars. So you drop the white colour and then using in the damp brush just create a dull space. So like this, I'm going to quickly go ahead and create a few of these. On the edges, make sure to blend this well. Make sure you create these spaces dull and the edges are well blended into the base of the Northern sky. So I've dropped in a few of the spaces more, and now quickly using the damp, I will turn them dull. Now to these spots that we've added, pick up fresh white quash in a good fold consistency. So I'm just picking up some fresh white quash. And using it in a good cold consistency, I will just begin dropping it into the center of these glowing spots that we created, and you will see the stars coming to life. Oh Now, depending on the size of the paper that you are using, and if you want to create in a few more of these, you can go ahead, create in a few more of these. I'm just randomly adding in some bigger stars without the glowing spots because the splatters that I did, you could see they were very tiny and small. So just to balance out everything, All right. So that is it. We are ready with our painting for today. I am in love with this glowing area that has been formed here with just the flow of water and a light pink color. So it's not absolutely white, but it has a little highlight of the pink that we need it. Now, let's peel off the masking tape and see the final painting. Make sure that your edges are dried and be careful because you see there is so much of the paints that has seeped in because my masking tape was not laid properly. Be careful while pulling off the masking tay. So I quickly used in a good bold layer of the white wash at the top and bottom and corrected the spaces which had those bleeds happening in. So you can quickly do the same in case of any painting that you feel the issue of bleeding of the colors on the edges. You can use telics or white wash, but in a thicker consistency so that, you know, they stay and don't dry dull. So here's the final painting from today's class project. I hope you guys enjoyed painting this with me today. And I will see you guys soon into the next painting of the series. Thank you so much, once again, to each one of you for joining me into this 50 Day journey and painting along with me. 60. Day 39 - Winter Landscape - Part 1: Hello, everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And today we are going to go ahead with a simple winter landscape, and we're just going to have in a good wooden log, and we're going to create in a beautiful snowfall landscape, and it's just going to be simple sky and the snow details that we'll be creating. So it's kind of like a field wherein so I've just added two wooden logs, and then we'll be having in some, you know, the metal as crossing through these log. I'm not adding much of the pencil sketch for that. We'll directly add in with the black paints. And then at the past, we'll just add in some simple dried grass effect with the brown tones. And for the sky, we are going to go ahead with a beautiful blue, snowy winter landscape. So let's begin in with a layer of water onto the entire paper. Now, if the color goes into the wooden log, it's okay because we are going to be working in with the browns. But if you can avoid adding in the paints there, then that could be better. So just beginning in with a good layer of water. So for the background sky, we are going to be going ahead with a gradient color. So at the top here, we'll be having in the dark blue effects. And at the bottom, it's going to be like a white with just a hint of the blue colors to show in that snow effect, right. So we'll begin in with the blues at the top. Now to choose in the blue, I'll be going ahead with a little bit of the aquamarine mist first and then move on to a little of the crucion and just very little of indigo to give in some darker highlights. So first, beginning in with aquamarine mist color. As I told you, at the top, we are going to have the darker gradient and towards the bottom side, we are going to have in the lighter color. So I'll keep my boat tilted so that the color flows towards the bottom side naturally. You see how the color is just flowing in from the top towards the bottom. We are going to create in textures wet on wet into this painting as well. Now I'll just shift into the Prussian blue color. You see, from the top towards the bottom when I'm running, I'm not even lifting pains. I'm just using water and creating in that lighter effect at the bottom layer. Every time I pick up color, I begin in from the top and just keep on creating in a good gradient, moving till the bottom space. Now remember, watercolors or tone lighter. So if you will leave just bottom space completely white, then after it dries out, it may actually turn out white. So it's important to add in that light blue layer that we are moving, creating in the gradient. Now using in a little hint of the indigo, I've added a layer at the top. I just added in a little indigo highlight. And now I'm going to use water and splatter in here and create in the splatters to give in that snow effect. You see how naturally the snow effect has come in. Same way, I'm just going to pick up a little bit of the fusion blue colour and splatter. So you see now everywhere that the Pushienblue color is going, it's giving in that natural splatter. Now, at the bottom here, I don't need much of the blue strato, so I'll just quickly blend them in. But towards the top of the sky, I'll let them be there. Same way, I'll just go ahead with a little layer of water again. You see, after it dries out, it will give a beautiful snowfall texture that we need it. And then we'll add in some snow droplets with the white as well. Just dropping in some darker indigo highlights at the top again. And I will just go ahead with the splatters again at the top, but I'll just go ahead and blend this first. Now, make sure to add the water splatters at the bottom also. You may feel that at the bottom, you don't have much of the color, but you can see that little light blue color also creates in that effect. Now, just dropping in some indigo highlights, creating in some darker spots randomly. See the water that I dropped in here that will create a beautiful, you know, the texture of the water splatters. I will give you the beautiful snowy texture that we are looking in for. I'm just going to pick up little hints of the Prussian blue and randomly drop it at spots, but in a very liquidy consistency so that it automatically blooms in and create in that blooming effect. Using the damp brush, blending it all in. So we are ready with our sky, just some last flue splatters of the water. Now we'll wait for this to dry completely, then move on with the details into this painting. Now, at any spot if you feel that the indigo is too dark, then you can just simply blend it in at spots. Alright? So now I'll wait for all of this to dry completely and then we'll move further. 61. Day 39 - Winter Landscape - Part 2: So now you can see my sky is completely dried. You can see the blooms, the effects that have come in. Now I'm going to first go ahead, add in a layer of reddish brown color. You can either use a bon sienna color or you can mix in a little hint of red to your brown or use in a reddish brown color directly. So I'm just going to use a light red color with a little more hint of the red, and I'm just going to add in the first layer into these wooden logs. And then once this layer dries out, we'll add in some textures into this as well. Now, for the first layer, also, you can see I'm going ahead with a very uneven outline because I really want the wooden log to look natural and realistic. Now, if you've given in the pencil outline, make sure you follow that. Otherwise, that will be visible. And if you've not gone ahead with any outline, you can just, you know, go randomly with whatever shape you wish to. Now, while this is still wet on the edges, I will add in the darker hint using the ndic crown color. So I'll just pick up a little bit of the ndic crown and using the tip of my brush, I will just begin dropping in a little on the left edge. So you see this is giving in a dimension to these wooden logs. See, I'm giving it more of an uneven outline. Same way to the smaller one as well. I will again just go ahead, give it a little more darker outline on the left side. Now, by the time this dries out, we'll go ahead and quickly add in some dried grass at the base of the painting here. So for the dried grass, you can use a simple brown or a yellow color. I'm just going to go ahead with a light red colour and just add in some dried grass effect like this at the base. I'm using a liner brush. You can see how fine tips I'm able to get in. Plus, it's able to hold enough paint for me to add in around seven to eight of these strokes altogether so that I don't have to quickly, you know, go on lifting in the paints. You see I'm going ahead very randomly with this. You can just go and drag your brush as you wish to give in this bottom detail. I'm just overlaying with some darker strokes as well. You see, I'm just moving my brush very loosely, pulling out some smaller strokes from the bigger ones as well. So that is for the simple base grass detail that we had to give in as well. And now I'm just going to be going ahead, using in the pains gray color. And using the pains gray color remumi And now using in the pains gray color, I'm just going to be going ahead, adding in a beautiful or, you know, dried flower kind of an effect. So using in the pains gray, I will just create in the branch to the flower first. So you see very loosely, I've just added in a branch. And once this dries out, when we go ahead with the white quash, we'll add in the detail into this. All right. So just a simple branch in between that we've pulled out. Now, of course, if you want, you can just go ahead add in smaller thorns to this. Okay. Now, using the same pains gray, I will just add in a few strokes at the bottom so that, you know, the floral strokes also looks well into the synchronization of the color palette. So just a little that I've added in. Now, using the pains gray itself, let's just quickly go ahead, add in those wires into this field. So you see these buyers, also, I'm taking them very loose and not going ahead with simple straight lines Poincris cross. All right, we've added four of these as well. Now what we are left to add in is the snow details and the texture onto the wooden logs. But for the wooden logs, it's still not completely dried, so we'll go ahead with the snow texture till then. So for that, I'm going to pick up fresh white quash. Make sure you pick up the white cash in medium consistency, not too watery. Now, I'll quickly for close my palette because we're first going to go ahead and splatter in the stars. Sorry, not the stars. This is the snow detail that I'm splattering in. So it's a snowfall scene that we are creating. So a lot of snowfall that I've created. Now, using in the white quash, I'm just going to be adding in some bud details to these. So very randomly just pick up a good layer of the white quash and add in the snow bud details like these on top of these marks that we created in for the florals. You don't need to go ahead onto all of the branches that you've added onto a few that you can go ahead and add these in. Make sure you pick up the white wash in a bold consistency so that after this dries out, it gives in that bold effect because on the light blue snow effect that we have, it may not turn out that bold. And using the white wash itself, I'm going to be adding in a little snow collected onto these lines as well. Basically, the wires that we've added. So not onto the entire space, but just onto some spots I'm adding in some snow collected in. In between these branches, also, you can show the snow collected at the joint points. For this, you need to be sure that the whiteqh is in a good thick consistency. Going ahead with another layer so that, you know, it has that bold effect after drying. Adding in some snow at the base of the wooden logs as well. I'm just going to pick up a little hint of the red colour and drop it into the florals here at the base of the white, drop in that little bud kind of a detail with a red colour. So you see the florals get another dimension again. Just very simple drops at the bud points. And now, lastly, let's quickly go ahead add in the textures to the wooden law. For that, I'm going to be going ahead with the dark brown color. And let's just go ahead and add in the patterns and the textures. You just need to go ahead with uneven lines. So you see in between, I'm just giving in simple spirals, and they're very uneven, if you see. That's the beauty of the wooden thing. You can just add in little dry brush textures as well in between. Same way to the smaller one a Ben There are times when, you know, I just don't feel like going in with details that look real, real, real or, like, you know, completely perfect. I just let my brush dance and do its own magic, and then the outcome really looks so natural and so realistic, just as these wooden logs now that you see. Now, lastly, just going to pick up the pain's gray color once again. And under these lines, just going to give in that bold effect so that the snow details is visible much better. You see watercolors dry or tone lighter. And if you will add in too much water to your darker colors, and then they dry out dull, just like the paints gray that happened here, and now I have to go ahead with a overlaying. And that becomes difficult because you need to really run onto that line that you set in in the light colour tone and getting in that, you know, flow right again. I'm just going to give in some knots to this. Just giving in a little darker depth to these as well because I feel they've dried out dull. So that is it. We are ready with our painting for today. Let's peel off the masking tape and see our final painting a simple wooden simple winter landscape. Just use a little of the whitewash. You see, despite using it in bold consistencies, after drying out, they look dull at spots, and you can simply just quickly go ahead and overlayer Now, let's peel off the masking tape. Be careful because your masking tape may have water collected at the meeting points because we had gone ahead with a good, flowy landscape this time. So here's a final window landscape from today's painting a very simple, easy one, simple details. I hope you guys enjoyed painting this with me today, and I love creating in these blooms into the sky showing in that snowfall effect and the texture on the wooden log that was free and easy to get in. I hope you guys enjoyed painting this, and I will see you guys soon into the next painting of the series. Thank you so much for joining me into this 50-Day Watercolor Challenge and painting along with me each day. 62. Day 40 - Beach : Hello, everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And today, we are going to go ahead with a simple beach painting. I'm just going to begin in marking out the horizon line. The top of which is going to be a simple blue sunny sky with the white cloud effects that we do naturally by leaving in the caps, and the bottom will be the beach. So I'll just mark the water and the sand space as well. And then in the sand area, we'll just add in a little greenery push detail. First, we'll begin in with the sky. So let's go ahead with a layer of water into the sky. So I've just gone ahead with a good even layer of water into the sky. And now for the sky, I'm going to use in the serlem blue colour and just begin in with the blue colour in a light consistency and just add in loose strokes like these, leaving in natural white caps into the sky to act in as the cloud. So you will see that painting in the sky will hardly take you a minute or two. I'll just pick up a little bit of the ultramarine blue color and just add in little highlights. Make sure you maintain these white caps to act in as the national clouds. So you see I'm picking up the ultramarine very list just onto the tip of my brush and adding in these highlighting ways. So depending on the size of the brush, you need to see how you will control the flow of the paint, the water. Since I'm using such a big size of the brush, but I'm making sure I'm just using the tip of the brush so that I can add in the details and have control over the details that I'm adding in. Now, just using in the tip and the ultramarine blue color, I'm still creating in some cloud details, wet on wet. We are almost through the sky. All right. Now, we'll wait for the sky to dry out completely and then move into the rest of the details. That is going to be the beach area and then the sand area. So let's wait for the sky to dry out completely and then move further. So before this dries out, I'm just going ahead doing in a little color lifting and creating in some rough cloud shapes like these. For this also, you can see I'm just using in the tip of the brush. And while it is wet, I'm doing this color lifting to create in the cloud details. If the paper dries out and then you go ahead with the color lifting, you will get in patches and uneven drying. So make sure you do the color lifting only if your paper is wet and just given in little cloud details and cloud shapes like these using in the damp brush. So you have the ultramarine highlights, you have the serle and blue highlights, but you still have the beautiful sunny glowy effect as well. So now let's wait for this to dry completely, then move on to the water body. Now my sky is completely dry and we'll paint the water and the sand area together. So for the water area, I'm going to go ahead using in the aquamarine mist color. And I'm going ahead with a different technique this time that I usually do. This is also, you know, new for me because I have, of course, tried it out as practice exercises, but doing it in a final piece and being confident with that. It's something new for me, as well. So I've picked up the acumine mist color, and I'm just going to begin in wet on dry. So I haven't added any layer of water into the water space. I'm just going ahead directly with the aquamarne mist color. First, I'm just defining in the horizon line. You can use the turquoise blue color in the rest of the space, I'm just going to be going ahead, using a little dry brush effect, leaving in these natural white gaps in between. So you see this natural bite effect that's there in between? So just some white spots that are naturally coming in. I'll just go ahead with a little more of the aquamarine and create in some depth. And into the base area here, I'm going to be using in this Pettersburg ocher. Now, in case if you do not have this, you can go ahead use in yellow ocher mixed in with yellow and a little hint of white to get this beautiful sand color. And while my water space is wet, I'm just adding in the sand layer till the water blending effect. So blending in the green that I've added, sorry, the aquamarine mist and this Petersburg occur so that the sand and the water area is all well blended with each other. Now, while this is wet, I'll just quickly go ahead with some wet on wet waves detail. Again, just using the tip of the brush and adding in this detail. You see, I'm maintaining that white dry brush effect that I have added in and just letting it be there, giving in that natural foam effect. Now, you're also just going with little color lifting and creating in or, you know, some details. Very simple way. Defining the horizon line well. And now into the sand space. I'll go ahead with a little bit of the green. So I'll use the sap green color. We'll add in more texture to these after these dry out. So for now, I'm just adding in a simple wet on wet layer to give in that soft background effect. All right. Now, we'll wait for all of this to dry completely, and then we'll go ahead with the details, the shadows. I'll just pick up a little bit of the vende green colour, which is a beautiful dark green and just add in little darker, wet on wet details as well. So now, we'll wait for all of this to dry, then go in with the final layer of details into this painting. Now, I'm going to go ahead and add in a reflection to these grass strokes that we've added in. And for that, I'm just going to pick up a little bit of the same Petersburg that I picked up and just add in a very little hint of the pain's gray or a brown color to it. Very little. Basically, you just need one tone light darker than the color that you used in the base to add the shadows and the reflections to these. So, you see, I'm just creating in rough shadows of these. Now, at the top, I'm going to be adding in the grass stroke. So first, let's just go ahead with the green color. So I'm just using in a mix of the sap cream with a little hint of the paints gray. Just pulling out some strokes. See? And just added in the reflection to these using in this color. So just pull out the reflections randomly like this. So that's acting in as the shadow. Same way here as well. I'm going to first go ahead with the greens and add in simple grass strokes on top of this. And using in the same color that we mixed in, that's a Petersburg yellow with a little hint of the paints gray or the brown, creating a shadow area for this as well. Very loosely add in some reflections and, you know, your shadow doesn't has to be perfect. It just has to be there, basically. So you see, at certain spots, I've even given the shadow or blended effect into the base with the help of water. So that is for the details that we had to add in here, simple and simple shadow details that we've added in quickly. And now onto the horizon line, I will just go ahead with something. I'll just pick up brown basically and add in a very tiny mountain. So I've picked up a good dark brown color. And leaving in gaps, I will just create in this little tiny range. Alright. Lastly, I will just use in a little bit of the white quash and just give in little textures on the water space. Okay. So you see a quick beach painting in just under 15 minutes, limited details, but using in different techniques to create in the white spaces, the foaming effect here naturally, and the simple reflections that we've added in. So that is it. We are ready with our painting for today. Let's peel off the masking tape and see the final painting. This is like quick practice exercising to learn to add in the shadows quickly, to create in simple water space without adding in much detail. Mm. So here's a closer look at our final painting from today's class project. I hope you guys enjoyed painting this with me today. I love how these shadows have turned out. I'm usually not a person who loves adding in too much of the shadows because I feel they don't turn out beautiful. But today, I'm really happy with the techniques that I choose to add in the water and the shadow, as well. Thank you so much for joining me into this class. And if you're liking this class, make sure to drop a review so that it can motivate me, as well as others to keep on trying and, you know, building up a habit of painting on a daily basis. Thank you so much, once again for joining me. See you guys soon into the next painting. 63. Day 41 - Sunset Hues - Part 1 : Hello, everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And today, we are going to go ahead with a very simple painting, and we're not going to have in much of the pencil sketch. We'll just mark out a very small line. Which will almost be at the bottom of the paper. I'm using my A five pad. So only this much area will be the water area. And at the top here, I will have a very small ship siloouete. So I'm just giving in a very light outline. It's going to be very small and, you know, very minute silhouette that we'll be adding. At the top here, we'll have the mountain ranges, but we won't go with any pencil sketch. We'll directly be going ahead with the panes. So let's begin in, adding a layer of water first into the entire sky. So I'm just adding in a good layer of water into the entire sky. So now into the sky first, I'm going to be pinning in with a light yellowish or medium yellow color and just begin adding in simple glow with the yellows. I'm leaving the major area here closer to the horizon line blank for now because there we'll be adding in details when we add in the mountain range. So for now, just going ahead with this yellow deep colour, permanent yellow deep, you can go ahead with any medium tone of yellow. All right. And now for the blue, I'll first pick up the Cerlean blue color and just begin adding in the blue strokes into the sky. Be careful closer to the yellow. You, you know, prefer to leave in the white caps so that the yellow and the blue can naturally meet with each other and create the flow of the colors. You see into the yellow how gently I'm taking in the blue tones. Now, next, I'm going to be picking up a little of the indigo color mixed in with the serlean blue. And carefully just using in the tip of the brush, I will begin dropping in some highlights into the clouds. So I'm just using in the tip of the brush and adding in some cloud highlights. While doing this, you got to be careful about the water in your brush because if you're using a bigger size brush or a smaller size brush, the water control will play a major role here because you just want some cloud like shapes coming in. Very carefully, you see, just using in the tip of the brush, I've added in the cloud shapes. Just going to go ahead, use in a little bit of the serie blue again and blend it in. And now I'm going to just pick up a little hint of the Indian gold color. Very little. And again, just using the tip of the brush, just going to drop in some highlights with the Indian gold color. So this seems to be a little too dark, so I will quickly just dilute it. Planning in with a little bit of the base yellow that I used. Mm. Se just going ahead gently blending in. Now using in another layer of indigo color. Again, in a medium consistency, making sure my brush doesn't have excess water, using in the tip, going to create in some flow into the sky. Just keeping it a gold glowing space here at the bottom, and that is it for our sky. Now, by the time a sky dries out, I'll quickly go ahead with the layer into the sea here, which is going to be a simple layer. So I'll just pick up the Indian yellow, sorry, the permanent yellow D and just going to add in a simple layer of this. And at the bottom, just going to add in a very light blue color effect. So just going to pick up a little mix of the indigo with the serle blue and just add in and blend in with the yellow. So that's easy water body area that we are adding in. Now, the major details that we have to add in is going to be the mountain spaces that we'll be adding in. So we'll have to wait for this to dry out completely. I will just lighten up the yellow a little by going ahead, doing in the lifting technique. And at the bottom, I will just give in more of the blue. Alright, now, we'll wait for all of this to dry and then move ahead further. So now, my first layer, my sky, see, everything is completely dried, and I'm going to begin adding in the Fos layer of mountain, after which we'll wait again for that to dry as well and then move on with the next layer. So for the fos layer of mountain, I'm beginning in with a mix of the Indian coal along with the mix of the permanent yellow deep color. So you need a good, you know, yellowish tint, which will reflect the highlight of the sky falling into the mountain. That's what we are going to be doing in. I'll first begin with this color for the first mountain range and just going to begin adding in a very rough top pia and just diluting this color. So you see, we haven't added in any pencil sketch, and now into the rest of the space, I'm going to be blending this with the pains gray color. So just picking up the pains gray in a light consistency and just going to blend in till the horizon line. Now onto the right side here, we'll be having in another range of the mountain which we'll add in once this layout dries out completely. Until the horizon line here, I'm just going to create a gradient of the pains gray and give it a glowing spot. Just filling this entire space so that when we go ahead with the second mountain range in the foreground, we don't have to worry about an uneven outline. I'll just give a very rough shape that I'll be giving in for the second mountain range here at the top. For now, I'm just going ahead and you can see creating in this first mountain range wherein I've given in the highlight of the sky yellow color falling onto this mountain range, and just using in the pains gray color, creating in a good gradient. And towards the bottom, you see I'm just using in water and blending in this color, giving in that light glowing effect that I want your coming in. Just giving in little highlights with a pinscray on top of the yellow at spots. All right. Now, we'll again have to wait for this first layer to dry out completely so that then we can go ahead with the next layer. Now, make sure you maintain a good glowing space. And the yellow is perfectly giving in that highlighting spot. And here also, you can see the white sky cloud glowing spot that we have maintained in. Alright, now, we'll wait for this to dry completely and then move further. So by the time this layer is drying out, I'll just quickly go ahead and add in little wave details into the sea. For that, I'm just using in the mix of the indigo and the Ceren blue color in a medium tone consistency and in a medium value and just adding in some wet on dry waves. So I've begin from the bottom side wherein I'm going ahead with some detailed waves. You can see very simple strokes that I'm adding close to each other, criss cross, no fixed pattern to follow, giving in the flow of water, the waves effect, and towards the top edge, I'm just going to go ahead with a little dry brush. I'll use the same brush, just tab off all of the excess now and just give a glaze effect at the top. So just a glaze effect on the yellow at the top, giving in the texture into the water. Now, I'll just pick up a little bit of the yellow. And just add in little yellow here again. So that space had turned out to blue. So I just quickly added in a little layer of the yellow while it was still wet. And once this dries out, I'll give in the waves detail again on top of it. Or what I'll do is I'll quickly just go ahead and blend this entire space once so that it does not have any sharp, uneven edges because I'm a bit unsatisfied with how the waves have turned out at the top of the space. So just to give all of it a well blended effect again. All right. So just added in that little yellow, and now I'll just quickly go ahead with the lifting technique. So you can see I've got that light effect of the yellow color again at the top, and the waves that I have added have also been there and have a very well blended effect and have toned light because of the overlaying that I did. And now I feel happy with how the sea is looking. So basically, I had to do all of this because on the right side, I needed this good yellow effect which got covered up because of the excess indigo paint on my brush, but now it looks settle. Now, once this front layer of the mountain dries out, we'll go ahead with the rest of the details quickly. You 64. Day 41 - Sunset Hues - Part 2: So now my first range of mountain is completely dried, and I'm going to go ahead with the pains gray color. In a very medium tone consistency, I don't really need a dark color, just a layer, and we'll just go ahead and add in the second mountain range here. Now, this top outline that I've marked out, I'm going to follow that only for the second mountain range so that I have that perfect blending effect. Just creating in a very rough, uneven edge, and towards the bottom again, just going to dilute it and creating the entire space, giving in the horizon line well this time. All right, so just given in the horizon line. And now, I'll just quickly add in this ship detail here that we have in. For that, I'm going to use in the indigo color in a watery consistency first and just add in the first layer. This is just the first clear that I've added with a very light indigo color. And by the time this dries out, I will quickly use in a little thicker consistency of the indigo, and towards the bottom of it, I will just create in the ripple effect of this ship, giving in very fine indigo lines. Don't worry, we'll be adding in little more details into the sp once it dries out. So just add it in this simple water ripple effect, as you can see. And now, once the first layer dries out, after that, we'll add in the second layer details into the ship and the final details. And once this mountain also dries out, we'll add in the final layer of the pine trees here as well. So now everything is completely dried. I'm forced pigging in with the indigo color, going ahead, adding in the details into the ship. Just giving it an outline, maintaining in some lighter details into the ship as well. And just going to add a very fine line. All right, so just give it in a little detail into the shape. Now using in the pain's gray color in a bold consistency, I'll just creating a mountain pinetree range here. Just creating in this bed first. And now I'm going to adding in simple pine trees. Lifting up a little color to give in little glowing effects in between. All right. And in between, I'm just going to be picking up the Indian gold color and add in a few pine trees here with this color to show the reflection of the sunlight falling on the pine trees. And towards the bottom, I will blend it with the pains grey. So you see towards the bottom, I've blended it with the pains gray and towards the top, I just have this glowing effect. So basically to show the effect of sunlight and glow falling onto these pine trees here. And now, lastly, just going to go ahead with a little lighter indigo tone and add in one pine tree. You see, we've just added a simple layer of the pine trees on this side of the horizon line. Now into the sheep again, I'll just go ahead and give him the outline. So you see, just given in little outlines and define this ship area. And now just onto this leftmost edge here. I'm using in a medium consistency of the pain's gray color and adding in some pine trees. You see, it's not bold, it's not dark. It's a very medium, light grayish consistency. Oh And just adding in some simple strokes in between to add in as the filler pine trees. And now, lastly, just going to go ahead, use in a little hint of the paints gray color and just add in a little shadow effect to these using in fine lines at the base. So maintain the shape. So you begin with longer lines first and then moving downwards, you just create in, you know, smaller length waves to show in the reflection of this. Same way onto this side as well. Going to add in Pain's gray lighter lines to act in as a reflection. You see just simple strokes of the paints gray, which is acting as the shadow to the reflection to the top mountain pine tree range into the sea area, and now just using in a little lighter in remote consistency. So waves detail. So that is it. We are ready with our painting for today's class project. Let's peel off the masking tape and see the final painting. I'm just picking up a little of the Indian gold colour, and I will just give a little detailed look to these pine trees here because they are trying out very, you know, patchy which I'm not liking in. And I will just pick up a little of the indigo highlight and drop them here. Right? So that is it. We are ready with our class project for today. I hope you guys enjoyed painting this with me. I'm in love with the sky and the glowing spot here. And the simple ship silhet that we've added, it's turned out a little huge actually than what I expected, but then it's okay. And I love the rest of the details simple foolage, simple reflections. I hope you guys enjoyed painting this with me. I will see you guys soon into the next painting of the series. Thank you so much for joining me into this class and painting along with me. 65. Day 42 - Dreamy Pink Mountains: Hello, everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And today, we are going to be painting one painting for today and one painting for the next day. So I've marked down everything on the paper. This is an A five size pad, which I've divided into, like, A six A six size, and we'll be painting on these A six size for the next two days now. So for today's painting, we're going to be painting in a simple sky with two to three mountain ranges, and then a simple foreground filled with little pine tree details. So we'll begin with the water directly. I'm not going with the pencil sketch because, you know, we are going to go ahead with very light color tones, and I don't really want the pencil marks to then be there. So I'm just going ahead with a layer of water onto the entire paper, and we'll just build the sky at the top for now. We won't go ahead with the rest of the detail. So for the sky, I'm using a little bit of the payroll red color. And to this, I will just mix in a little bit of the bright opera color. You see, we've got a very beautiful peachish red colour. So almost 50% to 60% of the paper will be your sky part. So just go ahead with the sky details there. Let this bottom space be there for the mountains and the field detail that we'll be adding. At the top for the sky, now I'm going to go ahead and use in a little of this peacock blue colour. You can use a Cerlean blue if you do not have this or you can even simply go ahead use in your sky blue colour, whichever blue you have in your palette. And this time, as you see, I'm just going ahead with very simple strokes, just leaving in gaps in between to act in as the natural white cloud details. Now, as I move towards the red peach space, I will go very carefully and overlay some clouds with the blue very little to just given that blended effect. Now, using in one color ton dark, just going to add in some more highlights, you see naturally leaving in gaps in between to let the clouds form in naturally. The white caps act in as the natural clouds. Same way, just going to pick up a little of this color mix of the bright opera, along with the pole red color and just add in some highlights over the blue as well, and some darker tones here as well. You see the lighter colors are also visible, and then you have the darker highlights coming in. Now just going to go ahead, overlay a little and take it into the top of the sky. I'm using a size four round draw so that I can get in the details fine and right. So you see, giving both the colors a good blended effect as well. Now we'll wait for all of this to dry completely. I'll just blend this till the base. And once everything here dries out, we'll go ahead with the next layer of details into this painting. So let's wait for this to dry first, then move further. So now my sky is completely dried, and I'm going to pick up the same mix of the Peru red and the bright opera colour and use it in one tone darker consistency than the sky and going to add in the first mountain range. All right. I'm going to use it in a medium tone consistency. And almost in the center space here, I'm going to add this first mountain range. And while this is wet, going to quickly dilute it till the base, leaving the base here empty for the greens later on, but just giving it all a well bnded look. So make sure at the base, you don't have much color tones. And while this is wet, just going ahead with a little dabbing and lifting to create textures wet on wet. And on this side, just use in the damp brush and blend it into the sky. You see, it has that blended effect. All right. Now again, we'll wait for this force mountain range to dry. Then move ahead further. So the Fst mountain range is also tried, and now I'll pick up the same blue color that we picked up into the sky. And to that, I will just add a little hint of the violet color. Very little hint. It's like majorly blue with just a hint of the violet. And for the next mountain, I will just add in this layer. And again, just go ahead with a very diluted range at the base. So, you see, because we had added the pink, we have a pink undertone highlight as well. And while this is wet, just pick up a little taco hint of these colors, and you can just add in little textures while this is bet on wet. And onto this side, I will just go ahead with a dam brush, blend it all in. We'll be having in the third mountain range coming in after this. So you see that perfect blended effect. All right. Now again, we'll have to wait for this to dry and then move on with the next mountain. So the second mountain range is also tried, and for the third mountain range, we are going to go with the same color as the second one, one tone darker, so less of water, more of the pigment and just going to go ahead, add in the third layer, and then finally we move on to the field. You see, I'm trying to give it such an irregular shape, creating in that natural effect of the mountain. So it's the same blend of the violet and the blue of the sky. Just one tone darker than the previous mountain layer. And into this as well, violet is wet. I'll just add in little textures wet on it. You see the darker spots. And finally, when this mountain range dries out, we go ahead with the last field into this painting. So now, even this mountain range is dried out, and we are going to begin in with the colors into the pine tree and the field space. So I'm just picking up a simple green color, and I'll begin adding in the pine tree here. Now for the pine trees, I'll be altering between the shades of green a little of the yellow ochre and the paints gray. So you see, as you keep on adding each of the pine tree, make sure to go ahead and add in the base that time itself. Very simple pine trees, not much detailed foliage, simple strokes. Now, you can see I'm bearing the heights of the pine trees as well. Now, I'm just picking up a little of the brown color as well. And just covered the entire space. Now I will just pick up the greens and add it on top of the browns and just create in this bottom blended space with the pine trees. You see in between, I left a little gap and then just adding simple strokes to act in as some fire off pine trees here. I see such a simple range that we add it at the base, we are almost through this class project. I'll just pick up a little of the may green color, which is a very light pastel green. I'm just going to drop in little highlights. Picking up the paints gray, just going to add in some second layer of pine trees in front of this. See how the color is bleeding because of the wet base, and it's creating in the beautiful natural effect. Just dabbing, lifting up little colors to create some spots here. And that is it. We are ready with our painting for today's class project. I will not peel off the masking tape now. We'll do the tomorrow's painting here and then peel off the masking tape and see everything together. I hope you guys enjoy painting this with me today. I will see you guys soon into the next painting of the series. Thank you so much once again for joining me into this class and painting along with me. 66. Day 43 - Misty Pines: Hello, everyone. Welcome back to the next painting of the 50 day Watercolor Challenge. And today we are going to go ahead with another simple landscape to complete this mood board here. So we'll begin in with a layer of water directly. I'm just going to add in a layer of water into the entire paper. Now I'm going to begin in with the sky. So for the sky this time again, I'm going to go ahead with the Paul red color. Okay. So beginning in with the payroll red, just going to begin adding in simple strokes. This time, I've not added in the bright Opera color. I've directly picked up the beautiful red color as it is. Now, for the top of the sky, I'm going to be going ahead with the Prussian blue color first, and then we'll move on to the darker tone. So just adding in leaving gap between the blue and the red color so that there is this natural glow happening in. Just going ahead with the Prussian blue color. And then at the top, using the indigo color, I will begin creating in the highlights into the sky. So picking up the indigo now and just dropping in from the top. So you just creating in the darkness. Same way, I'm just going to go ahead again with a little bit of the red colour in the bold consistency. Just blending them a little with, you know, top of the blue spaces. I'm using a size four round brush to add in all of the sky details as for now. And at the base here, now, I'm just going to pick up a little of the indigo color and create a background misty foggy layer wherein I'm leaving in a little gap between the red and the base layer violet again, as you can see. So you see the natural glow that again is left in there. Now using in the indigo color, I will just go ahead and add in some background misty pine trees. But for this, I will just go ahead with a very light layer of the color and just add in simple strokes like these in the background. You see, make sure that the glow between the red and this indigo layer still persist, which is very important to get in that glowing effect into the sky. I'm just dropping in some very blurry background range of the misty pine trees and blending it with the base. Go ahead with a very light layer of the indigo here because we'll still be adding in bold pine trees once this dries out. So there we'll be adding in the good bold color effect. You see how slowly I'm building up this layer of the pine trees and blending it all in creating in that misty background. All right. Just keep adding in some background misty layer with very limited details. You will see it's going to be a soft and soft layer in the background. You see, I'm just blending it all in giving in that soft effect. And once my paper will dry out approximately 50%, I will be adding in a little more detail here. I will quickly pick up a little of the blue colour. I'm a bit unsatisfied with how things were turning out here. So while this is wet, I will quickly just go ahead with a little Crucian blue and make the drying even. Alright, adding in little brue strokes to blend everything in. So that is it for the sky and the background layer. Now, I'll just wait for this space to dry out a little so that we can still add in one more soft background layer of the trees. So now this space is completely not completely dried. It's like 50% dried. So going ahead with a little of the indigo color again and going to add in some background misty semi soft pine trees, you see? Don't go ahead with a very dark color. Go ahead with a little medium hint of the indigo and make sure that your paper is a little wet, not too wet, so that this time, the trees retain their soft shape that you add them in and just add in a few bunch of the pine trees here and there, creating in that background layer for the trees. You see, I'm just adding in the stroke of the tree, and from that itself, I'm just pulling out very light, soft blurry strokes for the background range of the trees that we are adding in. All right, so we've added in this background misty layer as well. Now we'll wait for all of this to dry completely and then add in the final layer of the pine trees. So let's wait for this to dry out completely. I'm just making sure that we have this glowing space between the indigo and the base layer of the redtones now we'll wait for everything to dry completely, then add in the final layer of the trees here. So now everything is completely dried, and I'm just going ahead with the final range of the pine trees. For that, I've picked up the paints gray color in a bold consistency, and I will begin adding in very delicate pine trees this time. So just going to go ahead and keep adding in very delicate pine trees. So you see the foliage will also look detailed and realistic, and you need to just basically go in a little slower to build in these. I will first quickly add in all of the pine trees, and then I'll build in the base of all of this, blending it with the dark base. Now, keep on wearing the heights of the pine trees. You see, I'm going very slow building in all of the details. Again, if you've noticed one thing for this painting as well, since the beginning, I've been working with only this one size four brush to add in the sky, add in the background layers, add in these detailed pine trees. I love challenging myself with these kind of challenges which, you know, happen naturally that I just don't move on with any other brush, just one brush for adding in all sorts of details. Now I've picked up a little indigo color and just created a blurry or base to all of these pine trees, blending the base of the pine trees and making sure that this is not completely dark. This base here. This has a little glowy glowy effect of the indigo color. Now, I will go ahead with one huge pine tree. You see, just pulling out random strokes from both sides, but just making sure by the time that I reach the end or the base, it's having a triangular shape coming in. And now I will just use in water and dilute the base and blend it into the base, giving it that soft foggy effect. Oh Just another few detailed pine trees. Since the size of the paper is small, though the pine trees are detailed, but they get added in quickly, like, you know, in just a matter of seconds because we are working on a smaller size paper. And now using a damp brush, just going to blend all of these in at the base and create in that dullness. Now at the center here, you see this hard effect. I will just run a damp brush sure and blend it into the background foggy effect. And here, I'm just going to use in a little bit of the indigo color in a lighter consistency with a little extra water. And just going to create in some see some blurry background effect and blending everything in. Now I'm going to pick up my detail or brush, and using in the paints gray color itself, let's go add in some birds. Just a few bods here and there that I've added in. And now I'm going to pick up whitewash and add in a simple moon as well. So here in the sky, I will just go ahead add in a small semi not even semi basically a crescent moon. But make sure you use the white gosh in a bold consistency so that you can get in that opaque effect for the moon. Right? A small moon that I've added in there. I will just go ahead and blend in this space out here. Defining the shape of the moon a little better. All right. So you see, I used up the indico to define the shape perfectly and then just went ahead and added in the details on the edges. So let's peel off the masking tape and see our final painting. I am absolutely in love with the colors of this mood board and how the color combination has perfectly set in for a beautiful sky study. Simple details, both the paintings and the 15 minutes each. But you see the outcome. It's so beautiful, so elegant and perfect to gift it as postcards in this holiday season. So here's a final look at our paintings from the past two days. I hope you guys enjoyed painting this, and for another next two days, we are going to go ahead with the same set of combination, basically creating in a mood board with two choices of colors. Like here, we worked in with red and blues. Same way, we are going to work in with a different colour combination for the next two days and create a moodboard sky like this. I hope you guys enjoy painting this with me. And I will see you guys soon into the next painting of the series. Thank you so much, once again for joining me into this class, painting along with me, dropping in your reviews and your class projects. I love seeing all of them. Thank you so much, once again, and I will see you guys into the next painting. 67. Day 44 - Country Side - Part 1: Hello, everyone. Welcome back to the next painting of the 50 day watercolor challenge. And today, we are going to go ahead with road view landscape. So this time, I've used the A five sheet and divided it into two landscape sites. So basically, it's like landscape bookmark size that we're using in. Alright. And this is perfect for creating in those pretty bookmarks to gift into anyone. Now, for the first one here, I'll just begin marking out the silhouead that we'll be going ahead with. So out here, we're going to have in a pathway and then here we are just going to have in greenery and this little water area here. All right. And onto this side as well, we're just going to be having in the greenery space, basically. And then from here, we'll be adding in one power line and taking in another one here, and then another one here. So these are the silhdes that we'll be adding in. And around this space here, we'll just add in two small Very tiny houses. Another one is, like, you know, the pole is in front of this house, basically kind of a situation. This one, I will just correct the silheter bit. So basically, it's the front view that's visible more and the side is less. Now, I'll just lighten up these sketches. All right, so the front is more and the backside visible is less. Same way for this house as well. So we have our simple pencil sketch ready, two simple houses, and I'll just add up another small door entrance kind of a situation here. Alright. So two houses, the greenery spaces, the runway for the cars, and the poles that we'll be adding and a very simple water illustration that we'll be adding in here. Alright, I'll just give in a little more. And the top is going to be a sky. So let's begin with the sky. Now, just go ahead, lighten up all your sketches. We are going to be going ahead with colors on top of it. And as soon as you add in the layer of water, these marks will become permanent. So let's begin with the sky first, going ahead with a layer of water into the sky. Now, be very careful closer to the house spaces because we are going to add them with a beautiful, glowing sunlight effect color. Now, for the sky, I'm going to go ahead with a blue tone. I am going to pick up the aquamarine mist color. You can pick up delineblue, sky blue, peacock blue, whichever blue you wish to and just begin in with a very light layer of the blue into your sky like this. Basically a very simple gradient sky. And closer to the horizon line, I'm just going to pick up a little hint of the orange and the John Brilliant color mix, basically a little pastel orange that you needed. And just add it closer to the horizon line. S. Onto the horizon line. And because I'm using a little hint of the Jon Brilliant color, you see the blending with the blue is smooth and easy. Just going ahead with a little more layer of the blue, building in little depth into the sky. So that's it for our simple sky this time, just a simple blend between the pastel orange color and the blue colour hues. And that's it for the sky that we need. Now, by the time the sky is drying out, I will quickly go ahead and paint the house areas here. So for the house, again, I'm going to be using in this John brilliant color. Basically, I'm going to show the reflection of the sky color, the sunlight color falling brilliantly onto these houses. Now, make sure that you do not go into the sky, leave that gap there, and just add in the base layer for now. Same way to this background as well. Now, another thing I will add in the color into the pathway as well, which is going to be a light layer of the paint's gray color. You can mix in a little hint of the Prussian blue to this to get a grayish blue color and just add a very light grayish layer basically like this. Now, make sure this also you don't connect into the sky. Defining this perfectly so that you have that perfect shape for the pathway moving in. Now just create some lighter and darker shadows here as well. So just giving in some darkness on the edges, on the curves, showing in the shadows. Alright? So you see, we've just added in little texture wet on wet to this as well. Now we'll even paint this simple water body space. For that, again, I will use the same aquamarine mist color and add in a very light layer of water. Basically a simple gradient water layer. Yo. And towards the horizon line, just blending and creating it very light. My sky has dried out by the time we've added in these details. So now we'll go ahead with the next layer of details. So make sure that the houses are completely dried before you move on with the browns for the house areas. So for the house, I'm going ahead with the mix of the yellow ochre, along with a dark brown, creating a medium brown tone like a chocolate brown color. And I'm going to go ahead add in the roof this side. You see, between the John Brilliant color and the brown color, I'm leaving a fine white line, which will give in that three d dimension. Alright. Same way. I'm just going to go ahead give in a very fine line here at the top. You can see the white line that is maintained between the John Brilliant and the brown. In case if you're unable to maintain that, you can later on go ahead, use a white pen or white wash and add in these highlighting strokes. But since my paper is complete, white, I'm maintaining the whiteness and giving in the details here as well. So just creating in these simple brown strokes to act in as the windows out there as well. Same way onto the second house, as well. I messed up with that extra stroke, so I will just have to go ahead and correct the shape now. So you see, since my paper is taped down on a movable surface, it's so easy for me to just tilt as per my hand convenience. Again, here, also, you see I've maintained that white line. This space completely turning it brown and simple, not much details. Now using the same brown, I will quickly add in the details here. You see such a mini painting, but so many details springing in the depth. All right, so to this one, we add it in the doors to this one, we add it in the windows. We'll add the white highlights later on. I will just cover the half of these. Now, let's move on to the green details on this part. So I'll begin in with the yellow ochre. Go ahead with a bold layer so that, you know, you can give in the shapes perfectly now. Then I'm going to move into the light green color. So once you have your, you know, light pencil sketch ready for you to guide you through everything, then things become much easier to add in the details. And now moving on to the subcreen color. All right, blending the yellow aqua well so that it all looks blended. And now moving on to a very dark green to create in the base shadow effect here. Now using in the green, I will just connect all of this from the back of this house here. Do you see connecting it to this space? Picking up little yellow ochre, dropping in to show the sunlight effect, calling here as well. So wet on wet, you will see they blend in naturally amongst themselves. And now here at this spot, I'm just going to use in a very light layer of the grayish color. We'll just go with little dark green. Right? You see how everything is blending naturally because of the wetness. Wherever you feel excess pigment, water is happening in, you can just pick the color up a bit. All right. So we are done with this part of the simple greenfield area that we had to paint in. Now we'll go ahead with this side in the same fashion that we went ahead onto this side. So first, we'll begin in with the yellow ocher and using the yellow ocher, first around this space here, we are going to add in the yellow ocher effect of the sunlight. And now closer to the house spaces, go ahead carefully. See, I'm going very carefully. Make sure that your houses are completely dried before you go ahead with this. Now we'll go ahead with the same way as we went ahead on the right side, moving to a lighter green first. And now the sabtren color. So you see, to blend in, you can just move to and fro with a little bit of the yellow ochre again so that it all has a well blended look. And at this spot again, I'll go with the vende green colour. Now, in case if you don't have a vende green, you can just mix in a little bit of the paints gray to your saprene and get that beautiful dark green tone. You see, in front of the houses, we've given in the good layer, blending it all in, giving in that softness grass effect. Just going to pick up little darker green, blend it on this side as well. Now, at the top here, again, I'm just going to go ahead and create in like a little yellow ochre effect first at the top. Very little line. And then move on to the greens again. First, the light green. So basically using this light green creates a good transition between the greens. So at this spot here, I'm just moving again with the yellow ocho. Yeah. 68. Day 44 - Country Side - Part 2: Now I'm going to go ahead to the vende green color. And blending it all in making sure that I have this center yellow ocher effect also be there. All right. So you see slowly and gradually, we've build in almost all of the base layers. Now we are left to add in the details. And for that, we'll have to wait for a few things to dry. But before that, just picking up a little of the vende green colour, adding in some darker details here while this is wet, Now, first for the poles. For the poles, also, we are going to use the color which is going to be the Jon Brilliant color mixed in with a little hint of the orange, and then we'll define it with the brown color. So basically, we are going to show the light effect falling onto these poles as well, but it has to be one colour darker than your house color that you have used in. So you can mix in a little hint of brown or the Indian gold color. So I first picked up the Indian gold color, and I will go ahead with this first pole which was overlaying the house. So you see, this is just one tone darker than the house, but when I'll add in the brown highlight, it will be perfect tone. The second one here, which is going to be small and the third one here. Now just pulling out the details to each of these. So if you just observe a simple power pole closer to you, you'll be able to see all of these details. So just pulling out gradual random details. And from this one, I will just pull out a pole light as well. Now, once these dry out, we'll be adding in the brown highlights to define them in a three D manner. All right. Now we have to add in a few more details here and there. So first, I'll just pick up a little of the brown color and just add in a simple chimney on top of this. You see, it's lighter than the roof color. Same way to this one as well here. Now, by the time these things are trying out, I will quickly move on to my white elfin and add in a few highlights. Now, in case if you don't have a white helpin, you can even use in a white wash. See, simple details with a white elpen that I've added in very little. Now, I'm going to pick up a pastel yellow color. I have the naples yellow in my palette, but in case if you don't have a naples ready yellow, you can just mix in your permanent yellow light with a lot of white quash and get a good pastel yellow color, which is opaque so that we can just add in the pathway details now. One fine line and disappearing as we move towards the center and another one closer to it, disappearing as we move towards the center. All right. You see how the lines are disappearing as we move towards the center space. And now, lastly, we are just ready to add in the highlighting details into this painting. So I'm going to be picking up the dark brown color. I'm using the ndeg brown. I'm using this size 550 round point tip brush. And let's begin adding in the highlight here. So you see, this fine brown line is defining the three D effect now. Same way onto all of the pools. You see, I'm just adding some fine details with the Taka color as well on the go. You can see as soon as you've added in these dark highlights, everything has begin getting in so much more depth, so much more dimension. Now using in this color, I will add in a few lighter wirelines. I'm using it in a very diluted consistency. You can even use the Pain's gray color. But in a very fine diluted consistency, You see, it's not bold, it's not dark. It's very light. You can further even use little more lighter effect. See? Just random criss cross lines and a few from this end. Make sure that these lines are very fine and crisp. And now, lastly, I will just pick up a little bit of the round color and onto this side here at the horizon line, basically, lightening it up. So that is it. We are ready with our painting. You can see such a mini bookmark, but so much details. We're almost through the end of this challenge, so I decided to go ahead with a little detailed painting now so that, you know, I know it took us almost around 25 to 27 minutes to build this up. But then the details and everything feel so lively, and you will learn how even on a smaller painting, you can add in details and get it to life. I hope you guys enjoyed painting this with me today. I am not peeling off the masking tape now as the previous smooth board, we'll paint the second painting for this and then peel off the masking tape together. So let's wait for this to dry completely, and then we'll move ahead further. 69. Day 45 - Cityscape - Part 1: Hello, everyone. Welcome back to the next painting of the 50 day Watercolor Challenge. And today, we are going to go ahead with a second painting for this layout that we've created. And again, for today, we are going to go ahead and paint in two beautiful, simple, easy houses, along with a simple sky. So just going ahead, adding in. Again, this painting will make you go a little detail, but that will be basically the details adding into the house and not much of the details into the sky again because sky's going to be simple. So just going ahead with the silhouette for the house first. So this is the first house. You see, from the top, it's smaller, and as you move towards the down, the roof has widened because of the angle perspective that we're keeping in. And the second house that we'll be adding is going to be just behind this house. All right, so the second house is completely the front view. No side view coming in. Now, we are going to have in two windows into this one. Now the reason why I'm adding the window silouet because we are going to show the light coming out from this window, which we'll be painting in with a yellow color. And then we are going to have in a window siloed here, which won't emit the light, but, you know, we'll be adding in the black colour details. All right. Then here we'll be having another one. So as I told you, this time, the detail is all going to be about the silo eat, and then here we'll be having in two of the window details. Again, this is going slant view, so you will see the first one is a little bigger and the second one is comparatively a smaller window because of the perspective moving diagonally. Alright. So this is our basic lo heat, and then we'll just be adding in some simple details. So here, we'll give in this dimension showing in the back roof with the Taka color. Then we'll just add in a simple range of pine trees here and a few power lines and a simple sky. So that is for the pencil sketch. Now I will just go ahead, lighten all of this up a bit. Now, on the inside, we are going to have in this double lining to show again a three D look to these. So I'm adding that as well. Same way to this top one as well. On the inside, All right. That is it. And then we are going to be giving in a lot of fine details. That is very fine lines on these houses later on. All of that will be when we go ahead, add in the details. So now let's begin adding in just a simple sky. So you see, again, here also, I've given in that three D line. So let's go ahead with a layer of water quickly into the sky now. And along with the sky, what I'm going to do is I'm going to be painting the base layer of the house as well. But one thing that you need to keep in mind will be not to add in any color into the window panes here, or else you can keep the house blank for now, and then we'll go ahead once the sky dries out. I've added in the layer of water, that's okay, but I will have in that control. Now for the sky, I'm just going to go ahead with the Prussian blue color. So I'm going with this light color of Pushianblu into the entire space. Just these two window panes, I will leave them blank. And in the house, I'm just adding this as the background base layer for now so that it's easier for me to add in the sky. Now for the sky, it's going to be a simple blue sky with a gradient wash of the blue first. Now, make sure you don't go ahead with a very dark blue altogether. Now, if in the window panes, you add in the color, make sure to lift it up quickly like this. And now I'll just pick up a smaller size brush, and with this brush, using the Prussian blue color, I will just quickly go ahead, add in the cloud details. You see, very simple details. You can mix in a little hint of the purple if you want to create in some cloud highlights to the same Prussian blue color. You see just adding in some smaller strokes of clouds. It's very important that you maintain the colors light when you begin and then for building in the depth you use in the darker tones so that you can have in that depth into the sky also with just a very simple step as you see, and we are ready with the sky, simple, easy. All right. Now we'll wait for everything to dry, then move on to the details into the cabins or the houses that we are adding in. So now my first layer that is the sky is completely dried, and we're going to go ahead with the second layer first into the houses. So for that, I'm going to pick up the Blushing blue color and mix in a little bit of the bright clear violet color to this, which has to be a tone darker than the details that you've added in the sky. Alright. And using this color mix, I'm just going to go ahead, add in the layer into the houses. Now, make sure it's not too dark because we still have to define the outline of the houses and everything with the same color. Alright, I'm using it in a very diluted consistency. And I will just go ahead with all of the space covering up with this color first. So just making sure there is not much color. Now onto the roof, we'll be adding in the brown later on, but that also we'll do after this layer dries up. Then when we begin defining in the details, that's when we'll do that as well there. You see? It's just one layer darker. Just adding a little more of the blue for this side. Again, I will just go ahead and lighten this up and blend it in. Now into these windows here, I'm leaving it blank because we'll be adding in the yellow there. Now, if you add this darker color, then adding the yellow there will be very difficult. So make sure now you define these spaces. Okay. So you see, we've just added a darker layer. Now, we'll have to wait for this to dry completely, and then we'll go ahead with the next layer of details into the house here. By then, I'll just go ahead and quickly add in a good range of the pine trees here. And for the pine trees as well, I'm going to be using in this Prussian blue colour mixed in with a little hint of the violet and create in a good range of pine trees and then use a little indigo as well to just add in the darker depth. So this color still seems a little dark, so just quickly lightening up the color, adding in simple pine trees. You see, simple pine trees. Quickly, you just go ahead at them. Onto this side, I'm just pulling out some simple strokes to give it this, you know, ended look and varying the length of these as well. Just going ahead with simple pine trees first and then we'll move further. All right. Now, after this dries out, we'll go ahead with a few pine trees in front of it with the indigo color till then just making sure that if this space is dried out completely, which is still a little wet. So now we'll have to wait for everything to dry completely, then move with the next layer of details. 70. Day 45 - Cityscape - Part 2: So now everything is completely dried and we'll begin adding in the details one by one. So first, I'll pick up the Naples yellow color, which is a pastel yellow. You can just mix in white to your yellow. And as I always say for pastels, go ahead, mixing in Biteqah and I will just create in this light space. Fill the complete window with the yellow for now. Make sure you use a little extra white if you've used a blue layer underneath so that after drying also this dries out bright yellow, just defining the perfect outline and the shape to the two windows. All right. Now, after this layer dries out, I'll add in another layer, maybe to brighten it up with the help of white a little. Now next, I'm going to go ahead and fill in this roof with the brown color. So I'm just using the burnt amber color. First defining the outline well. In the center, you see I've left that little gap there. I'm just going to pick up a little yellow and blend it in to show the light of these windows falling on the roof here. I'll just pick up a little more brown now and add from the edges again. You don't want the entire roof to be yellow, just a little light like this falling in, and now using in the brown. Just going to define this little space here as well. We Now I'm going to be using in. You can either use the indigo color directly or use the Crucian blue mixed in with the violet in a dark consistency and begin adding in the details. So I will begin the outline first step by step now. So I'm using a fine line of brush. I'll just lighten up the color a little. You see how light the color is, one layer darker than the background color you may have added. Now, you see just adding in the horizontal lines. Make sure you add them also fine. Onto this side, the windows that we had added. Now you can choose your own silhet if you wish to and follow that along because the details will vary according to your choice. I'm just giving in simple window looks to these filling in the darker colors. So simple detail to this window here as well. You see, again, I just need my hand convenience to be there. Adding in the details to this bottom window here. Now, again, in this also, I will just define in some window panes. As I told you, how much details you want to add into this house, will be your choice. You can go ahead and accordingly to that. Now I have to still add in a few more detailed lines, but I'll have to, like, just wait for the other details to be dried out. Till then just adding in the lines here. So these lines also dried out to dull, so just going ahead with a layer again on top of it. Now into this house as well, we have to go ahead with the same kind of lines. Till the time that is drying out, I'll quickly go ahead, add in the power lines. So I'm using the pains gray color for adding in the power line details. So we'll have one power line from between these pine trees here. Another one here. Then from behind the roof. Alright, now to these, I'm going to add in the wires. For the wires this time, I'm going to go ahead and use in the 0.1 nib technical pen. Just connecting them from between the pine trees. So the reason of using in this fine tip pen is so that I can give in some lighter lines and, you know, simple ways to just connect all of these in And that is it for the details out there as well. Now we have to quickly add in the details into this house until the time that is also drying out. I will quickly go ahead with the indigo color, add in a few front pine trees with the bold color. Such a way that both the colours are visible. That's the background layer as well as this layer of pine trees. See, the second layer of the pine trees. As I told you, we are going ahead with really detailed paintings for these two paintings to build in more practice. Now quickly using the darker color. Let's add in the details into this house Nores Bell. Go ahead very carefully if your yellow color is still wet. When you want to add in these precise lines, hold the brush closer to the bristle and you will see you get more control. Now across the windows, defining the outline shield of the window with the darker color. And just giving him the center window panes. And lastly, using the technical pen, let's just go ahead add in little details. All right. Just a few bods into the sky here and there. I am just a little bit unsatisfied with this line here, which has turned out to bold. I will just use this white pen and tone it light. Yes. So that adds a little highlight also, but also, you know, covers up that bold effect. Now, using in the black pen, giving in some highlights onto the roof space. Just going to using the white again. You see, I've defined the paints with the white color. You can use white quash to do the same. Same way to this also if you want, you can just go ahead, define the pains, window panes, basically. You see? So now let's peel off the masking tape and see the final painting. I am so much liking this entire spread, how it has turned out so detailed. It took us a lot of time, I agree. But of course, time patience gives you details, gives you beauty. And once in a while or if you have a lot of time every day, of course, you should go ahead, give in, go slow and paint in detailed paintings like these. So you are painting from the past two days. I so love. Both of these paintings, kind of my favorite from the 50 days Waagol challenge, especially this top one. I hope you guys enjoy painting these two detailed paintings with me. We are almost nearing the end of this 50 day challenge, and it's kind of a bittersweet feeling for me, as well, because shooting, painting, editing, and everything in between, seeing your creations coming in. It's such a bittersweet feeling to see this come to an end. But, of course, every end, we have a new beginning later on. But for now, I love these two paintings. I hope you guys enjoyed painting these with me, as well. And I will see you guys soon into the next painting of the 50 day challenge. 71. Day 46 - Sunset Field- Part 1: Hello, everyone. Welcome back to the next painting of the 50 day Watercolor Challenge. And today I'm using the Archie's hot press paper. This is 100% cotton, 300 GSM. We worked on this previously as well. And for today's landscape, I'll just mark a simple field space at the bottom, a very rough space. The top is going to be the sky, and here we'll be adding in simple field details and a little details on top of this horizon line that we've marked out. Now for the sky, I'm going to go ahead with a sunset yellow kind of a color and a violet shadow color. So I'll begin with a layer of water first into the sky, and I'm going to be using in the medium yellow or the permanent yellow. This is the color that I'll be using permanent yellow deep from PWC, or the Shinan paints that I have squeezed out. So just into the entire sky, go ahead with a good layer of water first. Make sure that you have an even layer of water. Now I'm going to pick up this yellow color that I just told you, and towards the horizon line first, going to go in with this yellow color. Now, towards the top of the sky, I will first begin in with the clear violet color, which is like a simple purple color. And then using in the violet shadow, I will begin adding in the sky details. That's the cloud details, basically. Now, when you blend in the violet and the yellow, be careful because otherwise, if you blend them too much directly, you may get in uneven muddy tones. Now using in the violet shadow color I'm going to just begin using in the tip and begin adding in the cloud details like this. Just using in the tip and the color in a good bold consistency, begin adding in some bold cloud details into the sky over the violet spaces, and slowly we will bring them towards the yellow. So the top of the sky is going to be too dark and bold. Now, I'll shift into a smaller size brush to add in little smaller details and have more control and precision. Always make sure you use a brush wherein you can have more control or adding in the details. So I'm just going ahead, adding in the details. Now, if you do not have this white bright sorry, the violet shadow color. This is from white nights that I'm using. You can simply just mix in a little hint of the paints gray and get a dark violet kind of a tone. You see a little muddy effect that has formed in here? This side, I want to let it be a little bright, and I will just pick up little orange for the side and add in. Now going to go ahead with a little mix of the blue with the violet and just going to create in more drama into the sky. So I'm still working wet on wet. You see, this is a very loose sky that we are building in just going ahead with paints and building in the depth in such a way that the previous lighter layers are still visible, creating in more of the color variations into the sky. So towards the right side, I majorly want the darker tones, and towards the left, I want to keep the good sunset effect. You see how to give in that blended effect, I'm just using the tip of my brush, adding in some smaller cloud details on this side as well. Again, if you want, you can still build in more depth into the sky. So you see building in the depth and how much layers you want to build in can absolutely be your choice depending on how many color variations you go ahead and use in. I'm just using the tip of my brush and dabbing it. Oh. I'm going to use in a little bit of a tissue, and we are going to create in little cloud details. So I'm just taking up a good edge and going to dab in a little. So you need to do this while your sky is still wet and you will see some beautiful cloud details forming in. Oh You see the lighter effects that have come in and giving in more variation and boldness to your sky. And just by light dabbing, you could create in some beautiful cloud strokes. Now, this point here, which is seeming too dark, I'm just going to go ahead and blend it in quickly and make sure you keep altering the end of your tissue so that the colors that are lifted don't get laid down again. So I've just got a simple sky now. Now for the base layer of the field, I'm going to go ahead with the yellow ocher first. Now, make sure that your sky is completely dry so that the colors don't move into each other. And after this now, I'm just going to be picking up some random greens, I'll mix in sabtren along with some paints gray and blues to get in some darker effects. If you want, you can directly use darker greens and give in these effects. So some very rough, loose strokes. Se just building in some random field details with the green. First, adding in wet on wet. And then once this dries out, we'll build in even more for the depth using in the wet on dry technique and the dry brush technique. You see how easy it is to create color variations using in some simple blends with the colors on your palette. So it's not necessary that you always need darker tones or already colors in your palette. You can just go ahead, mix, match, build in, and create in that harmony into your palette as well. Now, just picking up a little bit of the browns giving in some muddy fields at random spots. And now I'm going to pick up paints gray and add in some more dacorifts Se just simple drops of the colors? Creating simple drama into the field. And you can see this time my field line is also very uneven and, you know, not a simple straight line that I've followed in. Now, I'm just going to shift into my spoiled round brush so that we can just give in some simple details on top as well. So using in this brush, I'm going to be picking up green and a little mix of the paint's gray and just going to create in some simple bush details at the top. You see, I'm just dabbing in my brush, giving in that natural effect. And while it is wet, you can even add in some darker depth using in the darker color. So I'm not going to cover the entire space, just a little here and there. And then we'll be adding in some more details after all of these things dry out. You see, simply, you could add in the bush details that we wanted to. Now using in the normal brush again, going to create in some detailed trees. You can use in green in different variations. Now for this, you don't really need to wait for the field to be dried because all of this is, you know, like the natural effect texture that will come in with some blending, some dry effects. Right? Now 72. Day 46 - Sunset Field- Part 2: So I've just picked up some brown. And creating in simple cottage highlights. See just some simple cottage in between? Using in the plaque or paints gray, you can add in little details. And now I will just shift into my liner brush. And using the paint screen in a very light consistency, I will just add in some pools and violins. Very light, you can see. You see I'm leaving gaps in between creating in those cuts and far off detail. Kind of a situation. Simple details that we've added in there as well. Now, picking up the brown defining this space a little more. Write another hidden cottage kind of detail that I've added in. And now, lastly, I'm just going to go ahead with some bold green details using in the sacren color mixed in with a little hint of the paints gray. Do you see simple crass details that I'm adding in into the field now? M just adding in a little of the yellow aqua effects again and blending details into the field a little more. So you see, you can rewet the layers for adding in details into the field. I like wet on wet details into my field rather than some wet on dry details. That is the reason I just rewet that space and added in some darker highlights. Just using a damp brush and lifting up a little bit of excess tones so that the thing can dry out quickly. Creating in some lighter highlights into the field, using the Pettersburg cher. You can simply use in a lighter tone of the yellow color if you wish to. And now again, some final green highlights. So that is for the field. And now, lastly, using the white quash. I'll quickly add in a setting sun effect. So using the white quash, Now, before things dry out, I'm just going to go ahead create in a little more of this lighter space here. So you see this side, you have the light effect. That is the reason I'm adding a little lighter tones into the field here as well. And I've changed the appearance of the field a lot. I agree. But you see how you can simply just go ahead and adjust as per your liking. Blending it all in again. And that is it. We are ready with our painting for today's class project. I know the field took up a little layers because I was unsatisfied, but that's how you can, you know, it's as per your liking, if you like more of the wet on dry details or if you like more of the wet on wet details, you can, of course, go ahead and alter and adjust as per your liking. So here's our painting from today's class project. I love how the sky is looking so dramatic and the details on the top of the horizon line. I hope you guys enjoyed painting this, and let's peel off the masking tape and see our final painting. Be careful if your painting is wet. You can see the extra water that's dripping out. And you see how the clean edges add so much more definition to your painting. I absolutely love now how the field is also trying out with the lighter effects and the simple details that we've added into this sunset sky. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting of the series. Thank you so much once again for joining me into this series and painting along with me. 73. Day 47 - Soft Pastel Sky - Part 1: Hello, everyone. Welcome back to the next painting of the 50 day Watercolor challenge. And today, we are going to go ahead with another beautiful cotton candy, kind of like a sky. The main focus is going to be building in a simple, soft sky and um then we'll just add in some silhouette details at the bottom, seeing how the sky turns out. We can either go ahead with a simple field or some simple mountain range or whatever we feel like at the end. For now, we're just going to go ahead with the entire space building in the sky. So I'm just going ahead with a good layer of water first. Now, you just need a good layer of water because it's going to be a very soft, naturally blended kind of sky that we'll be working in with. Now, you will be ing in pastel colors for this one. So you need pastel yellow, pastel orange, and just some simple pastel colors to build in that beautiful pastel sky. So I've just gone ahead with the Naples yellow first, which is a beautiful pastel yellow color. Now, next, I'm going to be picking up this little hint of the John brilliant color that I have, and I'm going to mix it with the orange color. So just going to mix it with the orange so that I get this beautiful pastel. You can just mix in your orange with white, of course, and closer to the yellow, just creating in the cloud details with the orange. So I'm first adding in the pastel effects of the sky. You see in between, I'm using the water effect to make the colors flow and create in the lighter details as well, adding in a little of the naples yellow again. Now I'm going to be picking up a little hint of the violet mixed in with the blue. And towards the bottom, I'm just going to be using the Ceren blue color in a very light consistency. I want this violet blue mix to flow towards the top space, so I'm tilting it towards the top. And now towards the top area here as well, just going to be picking up the serle blue colour. Oh. Now, I want all of these colors to naturally flow and bleed into each other. So I'm just going to pick up the same colors in a very liquid, watery consistency and drop them at their spots again, the yellow, the orange, the blues and see the flow of water, do the magic. So first, let it be, you know, flat, add in all of your liquid consistency water colors. And now, just going to let the flow be and do its blend. So you can see how the softness in the sky is being built up. Going to go ahead with some more of the blue violet mix. Now that we have a good space ready, we are going to go ahead and create some cloud depth by blending in using in your brush. See, creating in some cloud flow and shape. Now, again, going to use in the tissue hack and creating little light spaces. Now, you see, it has become too light. It's completely picked up, so going to quickly go ahead with a layer of water and, you know, create in that very light base kind of a color. Now, in the top area of the sky again, just going to go ahead with some darker blue tones. And towards the bottom, another layer of cloud detail, using the tip of the brush, dropping in these clouds. See how I'm just using the tip of my brush and dropping some simple cloud details. See slowly, we are building in so much character to the painting. Now I'll just pick up a little mix of a pink color mixed in with the pastel orange that we had. Drop in a little here between the orange and the violet. Just a little in the center to create in one more layer of the cloud. Using in the blue violet mix. So you see the major cloud look that is there is of the violet color that we are adding in, and the rest of the details are very soft and subtle. Now I want this paint to flow towards the top side. Hence, I'm just tilting it towards the top space. Going to drop in little water for the paints to flow naturally towards the top. Now, you need to, of course, control the flow quickly because you just want a little flow towards the top and not complete coverage of the orange or the yellow spaces. You see, we could work so much wet on wet, building in this sky. Going to go ahead with a little more cloud detail. I'm just going to use the tissue hack here and very gentle dabbing that I'm doing to create in little textures at the base here. Okay. Now, I'll let everything dry out completely, and then we'll decide and move on to the silhouette part of this painting. You see I'm not even applying any pressure, just a simple dab to create in little drama into the cloud space. Okay, so let's wait for this to dry now. Oh 74. Day 47 - Soft Pastel Sky - Part 2: So now everything is completely dried, and this time for the silhet, I've thought to go ahead a little different and kind of challenge myself as well. I'm going to be mixing in the brown and the violet color, which is your on my palette and get this brownish color with a little of the violet hint. You can, of course, mix in more color. And we're going to go ahead with a very simple silhouet So beginning in with this color mix first at the base here. So you see in between, I randomly picked up a little more of the brown. So you see, it's not in too dark consistency. And using in this round brush, I'm just going to go ahead built in a very rough top space. See the natural effect of the feel. Just pulling out the paints from the top. Now into this, first, I'm going to go ahead, add in some darker spots using the same colour tones. Now, by the time this is still wet, we'll quickly go ahead, add in the three silhes that I'm going to be adding in for this time. And for that, also, I'm going to use in the same mix of the violet and the brown tone, not a complete brown, not a complete violet. So the mix will create a good harmony, and we are going to use it in a medium consistency so that it's not completely opaque, but not completely translucent as well. And using in the tip of a pointed brush, let's just go ahead and create a simple tree outline going in very rough and loose. Again, if you feel that the paint is too pigmented, you can just lighten it up a bit. See very loosely, I'm adding in the branches. Another one here. I'll just mix in a little more violet. You see, giving in that natural effect of very uneven sharp edge to these trees, creating in that natural wooden kind of structure while we add all of these details wet on wet. And this side here, I will add in a big huge one. I'll just use my liner brush to add in some very fine details. You see, breaking them in between, creating in that natural effect. Now, on top of these, we'll be adding in the foliage detail as well. And for that, we are going to use the simple technique of using in this round brush and creating in some simple dabbing foilage. And that to not too dark, so just going to pick up this color and dab in some foliage onto this one here as well. You see, as I'm moving towards the bottom space, I've kept the foliage more light. Now onto the foilage, just dropping in some darker highlights at random spots. You see, while the foilage is wet and you drop in the darker highlights, it blends and create in a layer of depth. Just use the tip of any brush, drop in little darker spots to create in that more depth. Now just going to give in some dark highlights. Now, into this painting, I'm going to go ahead and create a beautiful sun effect here. For that, I'm going to begin in with the white quash. So I'll pick up the white quash. Dropping in the white paint here, going to go ahead, blend in and create that beautiful white spot, but it has to look well blended, so you need to go to and fro around the edges in such a way that the blend happens smooth and easy. And while this space is going to be wet, I'm going to pick up the pastel yellow color and drop in the center of this. And just around the edges, make it soft so that you get that soft setting sun kind of an effect. If you want, you can even use a little bit of the orange highlights. Towards the bottom space, blend in giving in that warm sun effect. All right, so we've got a beautiful setting sun effect. And lastly, now, just going to go ahead, add in a few birds into the sky. And now to keep all the colors in harmony. I'm going to use the same mix of the brown and the violet to create in the bird silhouettes, as well. Now, make sure for that you use a good pointed tip brush. So very bold silo hits. See? Just some far off board effect. Alright, so here's our final painting for today's class project. I love playing with this kind of painting, especially the silhouette part. So if you've been following me with my watercolor journey, you would be knowing that I'm usually not a person who would be going ahead with these kind of loose silhouettes. I go ahead with, you know, some definite silhouettes and, uh and these kind of loose silhouettes is generally not my style, but I loved experimenting through this 50 day challenge, and I've tried out so many new silhouette, new ways of adding in details, and I've loved some of the techniques that I've tried out myself, and some of them were a big mono for me. But then I love how I am experimenting, and I am also learning through all of it. And I love how, you know, the details have come in altogether. So I hope you guys enjoy painting this with me, as well, and I will see you guys soon into the next painting of the series. Thank you so much once again for joining me into this class and painting along with me. 75. Day 48 - Soft Loose Clouds - Part 1: Hello, everyone. Welcome back to the next painting of the 50 day watercolor Challenge. And today we are going to paint in a beautiful sunny field view. I'm just marking out the bottom field space. All right. So you see from top left to bottom right is how I move. And at the background here, we'll give in a little bit more of a dark detail. And then here, we'll be having in simple tree structures that we'll be adding and the reflection of which we'll already be adding in here. So, you know, just marking out a small space so that we add the reflection wet on wet when we add in the field details. So that's about it, and a simple, beautiful white cloud sky is what we'll be painting in. So first, we'll begin in with the sky. So let's go ahead with the layer of water and the details into the sky first. For the sky, I'm going to go ahead with the beautiful sky blue color. I'm going to use in a very light tone of the peacock blue. Now in the sky also this time, I'm going to go ahead with a very different way of painting in. So first, I'm just adding in the layer of water into the sky. And now using the Pico blue color, I'm going to pick it up in a very light consistency. And you see, I'm forming in an outline at the top majorly. Make sure you go ahead with a very light consistency of the color first. You see, I'm just creating an outline to a cloud, and at the top, we have the blue color, and towards the bottom here, we'll give in the highlights into the cloud later on. See slowly how I'm building in the darkness into the sky at the top here. Now, I'm going to quickly use in a tissue and create a very small edge and just give in good shape by dabbing in So you see, we've created a good outline to the sky. Now in the remaining space, I'm going to go ahead with a little mix of the indigo along with the blue that I'm using. You can even add in Pains gray if you don't have indigo and you need it in a very light consistency and just drop it here. I'll just pick up a little hint of the pains gray along. Now, I'm going to maintain that outline that we gave in so that we have that sharpness into the sky. So at the top here, I'm going ahead with a very liquid consistency on my brush. See, towards the edges, making sure it looks well plented. Now, I'll quickly shift into my smaller size brush and using this color in one tone, darker consistency. Let's begin adding in some more depth from the bottom here. You see, I'm just creating in some drama and some movements into the clouds. Now, using the damp brush on the edge, giving it a soft edge. Now, using the Pecock blue color, going to put in a little on the top. Make sure that your top is still wet only then you go ahead with this, or else you will have to go ahead and blend like this. Since my space at the top has dried out a little, you see I'm going ahead, blending it all in Now, while this bottom space is still wet, just going to add in a little more depth. So you see just dropping in colors also creates in that automatic blooms into the sky, creating in the depth, the cloud effect, the gloominess, all on its own, you don't always need to, you know, do everything yourself. Sometimes in watercolors, the flow of the water and the color does its own magic. So that is for the sky. Now I will quickly just use in little dabbing effect at the bottom as well to create in some color variations, some simple dabs giving in more, you know, depth to the clouds. Now, we'll have to wait for the sky to dry first and then we'll move ahead further. So let's wait for everything to dry out completely. Then we'll go further adding in more details. 76. Day 48 - Soft Loose Clouds - Part 2: Now, my sky is completely dried and we'll begin with the field. So first in the background here, I will just go ahead with this dark color which is on my palette It's a mix of the sap green, along with a little bit of the paints gray. And I will just create in a little of the simple background greenery detail here, just adding in at the top, filling in at the base here. All right? Now, in the rest of the field, you see we've planted out this shadow space. This shadow space will be one tone darker than the base field that you add in. And for the base field as well, I'm just going to be going ahead with simple color tone. So first, I will begin in with this light green color. I'm just going simply wet on dry because there's not much detail to add in wet on wet and we can simply fill in this space. Now, you see I'm leaving in that shadow space blank for now. Now in between, I will just pick up a little bit of the yellow color. You can use a yellow ocher if you wish to. I'm just going in with a little hint of the yellow in between. And at the base, I will go ahead with a little of the sap green. And you see I'm just blending in all of the colors together. Now, if your paper is something that dries out quickly, then you can go ahead with a layer of water first and then go ahead with the colors, blending them in so that your paper stays wet by the time the colors blend into each other. Now using in this same darker color mix. I will just define in a little on the edges. And this shadow space, which is going to be of the dark color, adding in this dark color here in the entire shadow area for the trees that we'll be adding later on. But now we don't want the shadows to look, you know, very uneven or, you know, like, very monotonous or something. So just pulling out little strokes like this to show in that reflection of the trees or the shadow of the trees that will be falling in. Alright. And now into the field again, just go ahead with simple blending. And at the bottom, I will just give in a little more darker depths. Before that, into this shadow space again at the top, drop in a little more darker hint and blend it with this first layer of the dark color in the same way. You see, I'm pulling out the strokes to show them as the shadow of the trees that we'll be adding on the top. Now randomly at certain spots, you can just go ahead with little darker green colors and create a little flow into the field as well. So just picking up simple dark green. Now, you can always mix, match and create your different greens by taking help of the indigo, brown, pains gray, and accordingly creating, you know, variations of basic green color that you have. So I mixed in sap green or little hint of the indigo and pains gray to get this darker green. And so same way, as I told you, you can just mix in endless possibilities of the greens to create in those different variations. Now just adding in a little more depth to the shadow here. You see how step by step we've built in this shadow area, giving in that darkness, that depth. Now again, our main focus to give in this flow and natural effect to the shadow that will be coming in. Se simple details. Picking up a little green, the dark color and putting it here as a second layer. Now, the trees that we have to add on the top here. So for that, I'm just going to be going ahead with a dark green colour, mixing in a little bit of the sap green and indigo. So simple cone trees like these that we'll be adding in. Now, you can vary the tones of greens if you need to. You see, I'm just adding in the main branch first and then the main stem, basically, and then just tabbing in creating in simple foiage. Go ahead and add in a few of these here for the space that we've created the shadow already. Just dropping in little darker tints at the base of these lighter trees. So you see through the shadow of these that we've already added in. Now, just going to pick up little and create in simple detail here. Now, into the base here, I'm just going to go ahead with little floral details. So make sure that the space is completely dried, and then we'll just quickly go ahead add in simple florals here. So I've picked up the shell pink color, which is a pastel pink. To that, I'm just going to add in a little hint of the payroll red. You can simply mix in white quash, and now I'm going to cover up most of the spaces. So basically, I just need splatters here at the bottom. Now, make sure when you go ahead with these platters, they may go into the sky into the rest of your painting and even on your table, so you need to control them. So you see, I've got simple splatters. Now I will just add in a little more lighter hint to this. So I will just go ahead and mix in my white wash. Mixing and bite cosh will give it that opaque consistency, right? And just go ahead with the same method. So you see you've got simple floral details. Now, the ones that were too dark, just adding in little lighter hint using in the tip, and we've just added in simple floral details there. Now, I'm just going to create one more lighter tone by adding in little more white to this. Now, make sure that your colors are in a good opaque consistency so that even after drying out, they dry out good opaque. And I will just place the rough cloth underneath and cover up the top area. You see the simple loose florals that we've got into the field? Now, of course, if you want, you can give in some detailed florals, as well. Right? And I will just pick up a very dark consistency of the green and just going to add in a little to create in that shadow effect for these florals as well. So just in between the pinks at the base, drop in this dark green, which will give and uplift your florals. So you see as soon as you add it in that dark depth, the florals have got a little lifted effect. Now, just going to pick up a little of this dark hint here. Giving in another layer, but in such a way that we have little hints of the previous layer as well here. Creating in one little lighter green highlight. Now onto the florals, I just want to go ahead with a little detail, so I will just pick up a little of a dark consistency and add in some darker spots. You see some simple dark florals. So now everything is completely dried and before we just peel off the masking tape, I just wanted to add in a few more details. So using in a little of the dark color hint, I'm just going to give in a little more depth to these shadows here. So using in a little of the dry brush technique, I'm pulling out this little shadow effect, as you can see, so that it gives in a more cohesive and blended effect and gives in that little texture as well. And the second thing that I wanted to add in is a little more floral detail. So just going to create a medium tone. And now on top of the, just going to give in a little detailed floral so that, you know, everything looks well in sync with each other. Onto the dark ones also, you see I'm just adding in some highlights, and that is it for the florals, as well. And we are ready with our painting. Let's quickly peel off the masking tape and see our final result. I love how the sky has turned out in this one and also the simple feel that we added in with the simple shadow and florals. So here's the final painting from today's class project. If you want, you can go ahead with more detailed floors here as well, but I like to keep it loose and simple like this. I hope you guys enjoy painting this with me, and I can't wait to see you guys into the last two project of this challenge. I'm so happy with how everyone has been participating and the reviews that have been coming in in case if you are still, you know, onto painting with us or onto any day that you are, keep going. No matter if we end the challenge, you can still go ahead and paint each day at your own pace. I would love to see your passport jets coming in later on as well. Thank you so much for joining me into this challenge and painting along with me and you guys into the next painting. 77. Day 49 - Snow Pine Tree: Hello, everyone. Welcome back to the next painting of the 50-Day Watercolor Challenge. And for today's painting, we are going to be painting a beautiful snow caped, wet on wet pine tree, the sky of which we'll keep it pretty simple, easy, and a quick one. And then we'll just go ahead with the simple pine tree that we want to paint. So I'll just mark out a simple snow space at the base here, a very simple snow area, and the top is going to be the sky. Now, as I told you, we'll just go ahead with a quick, easy sky. So for the sky, I'm just going to add in, in fact, even for the snow area right now itself, just go ahead with a good layer of water onto the entire paper. So now into the sky, I'm going to go ahead with a simple blue color. So I'm going to be picking up the ultramarine blue this time in a very light consistency and just creating a simple winter themed sky. You see how light I'm keeping the color and that also I want just majorly at the top and moving downwards, I'm just blending and creating in a gradient, which will give in a beautiful winter sky effect. All right, a simple sky. And for the eyes as well, the snow area at the bottom, just going ahead, the reverse way and creating in the snow detail. Alright marked out a daca wet on wet effect for the snow. Now if you want in the snow, you can even give in little darker depth with the indigo color. And I'll just go ahead with one more layer at the top of the sky. Remember, watercolors dry or tone lighter, so you keep the colors accordingly. So that is for our base. Now, we'll wait for this to dry completely and then go ahead with a beautiful detailed pine tree. So now our base is completely dried. We have a simple gradient snow sky and our simple snow field area, as you can see. Now we are going to begin adding in our mean element, which is going to be the huge pine tree. Now, for the pine tree, I'm going to go ahead first with some pencil detailing, which will act in and give in more depth to the tree later on. So what you have to do is just begin adding in simple foliage to the pine tree. Beginning in from the top, you need to make sure that the foilage is, you know, um, smaller in length and moving downwards, keep on increasing the length and just pull out some simple foliage detail. You see, it's not completely dark, but it's not completely light as well. We are not going to erase these. These will act in as the in depth marking to the, you know, pine tree that we'll be painting out from here. And I'm just going ahead, creating in some simple branches and adding in some small fine details. And you can see the triangular shape that's coming in, right? At the bottom, I've even widened up the base. You see some simple lines and detailing that you need to pull out. Alright, so we've given up a good outline. Now for the pine tree, before you begin painting, make sure you have your colors ready onto your palette. So the two colours that I'm going to be using is going to be firstly the royal blue color. So I will just go ahead and pick up the royal blue color. Now, in case if you do not have a red royal blue color, it's perfectly okay. You can just mix in your ultramarine with a little bit of white. We need to use it in a little diluted consistency only. But I'm keeping the color ready. To this, I will just add in a little hint of the ultramarine color. Alright. Just a little hint. And as I told you, you need to use it in a good light diluted consistency. So you can simply even mix in white to your ultramreen and add in water and get this diluted consistency. And the next color that we need is a good green color. So basically, we are going to paint the snow and the details of the mountains altogether. And for the green color, I'm picking up the sap green color first. And to the sap green, I'm just going to go ahead and add in a little hint of the indigo. All right. So I've got a good dark green. You can even add in paints gray, but indigo gives it a good green touch. Now, of course, you may feel that it's like a very dark color, but it's like a dark green, not a black color. Now I'm going to keep two brushes ready as well. One is going to be for the green, which is going to be for adding in very tiny details as we go ahead and the other one for adding in the snow first. So the snow is going to have the reflection of the sky color. So we'll first begin in simply adding in simple snow details like this. Now, as you go ahead, at that time itself, at the base of these, just go ahead and keep on adding in the darker green hints like this. We'll give it more definition at the end when everything dries out. So you see, with every layer, I'll just go ahead and drop in some greens at the bottom. Now, since we've added in the pencil marks, you will see that these pencil marks even add into the depth of the tree and act in as the veins, giving it a more realistic and natural effect. Pulling out simple foilage with the snow color. Now we'll go ahead with the green. Now, I'm going to go ahead and make the green a little thicker so that I have more control while adding this in. You see, now with the greens, I'm beginning to pull out simple foolage So everything is still wet, and while it is wet, I'm going ahead with these details. And on the edges, you will see I'm beginning to pull out the foliage detail as well with the green. Now at the base here as well, first, dropping in little greens at the bottom in such a way that the snow color is still visible. Now I've build up the stem with a darker color and at the base, just going to blend it into the snow area. You see how simply just using the snow color, I blended it into the base. Now again, just begin pulling out simple details. M You see how slowly we are building up that snow caped tree here or directly. Now, at the top, the green had actually spread up a lot because I added it while the blue was extra wet. So you can see it's majorly covered up with green, but that's okay. So it's not necessary that snow needs to be on every branch. We can just add in some darker details with the green further and just create in that depth. Now at the top, giving in good fine detail, pulling out simple foliage. Now, just going to go ahead and pull out some simple foliage from between, giving in more depth to the tree. So I've added a little more indigo to the green so that I can give in more definite details. Now, if you will have a close look at your pencil sketch that you may have added for the tree, you will see how the pencil sketch is also acting in as a light or in detail into your tree, and that is the reason we went ahead with that pencil sketch first so that we have a little guideline of everything as well as to how things are moving in. And along with that, they add in that level of depth as well to the tree. Adding in some darker highlights. Now, once this dries out completely, what I will do is I will just pick up a little of this color and at the top on certain spots just dropping in this color so that little snow places can be formed naturally. Just a little drop that I did. Just running a damp brush, blending the base well. Now into the snow area, I'm just going to go ahead with little indigo color and given little dry brush. So this area was wet, so it got a darker patch, quickly blending it in dabbing. You see simple snow details that we are adding in. And now I'm just going to be going ahead with the same colour mix of the royal blue and a little of the ultramarine. And I'm just going to create a range of these trees here. You see how I'm just wearing the length completely? Just picking up a light value of the indigo to add in the shadow. And now, while that area is still wet, I will quickly go ahead with the same green mix on top of it. So you see on the peaks, it will look like there is no collector. You know, a simple detail that we added in. Now, just picking up a little of the royal blue colour, which is a pastel color, as you know, and adding in little snow at the top here, which was completely covered up by the green. Using a little green. So you see, you can go to and fro and get the details again at certain spots where you feel that the details have not gotten right. And onto the right edge here, just going in with the greens, building in simple foliage and using the damp brush, I will blend it in, create the soft paste. Now, I will just pick up a little more indigo. And I'm just going to add in some details on the edge for the So basically the kind of pencil line details that we had been going ahead with, just some similar detailed foliage on the edge, giving in more depth and dimension to the pine tree that we've added in. So that is it. We are ready with heart painting for the second last project of this class. I love how the tree has turned out, though we messed up a little at the top first, but you see, using a little bold consistency of the royal blue, we could again go ahead and add in the detail. I'll just add in a little more on the edge here to define the shape of the tree well. Okay. And now let's peel off the masking tape and see the final painting. We're just left with one more painting to close this 50 day challenge, and I'm so happy with how the class projects have turned out. A few were, of course, amiss. A few, I did not even consider adding them here, but a few were a learning for me, as well, and I really wanted to put them up for you and let you know that mistakes are inevitable and I still make mistakes myself. Now quickly using invitewah, I will just correct the edges and be back. So here's a final look at our painting from today's class project, a simple winter landscape, the focus of which was building in a snow caped mountain using the base blue colour as the snow instead of using in whitewash. I hope you guys enjoyed painting this with me, and I will see you guys soon into the next painting of the series. Thank you so much for joining me into this class and painting along with me. 78. Day 50 - Roaring waves: Hello, everyone. Welcome back to the 50-Day Watercolor Challenge. We are on the last painting officially of our 50-Day Watercolor Challenge and what a journey it has been. Today's painting is going to be a roaring wave painting that we'll be doing in. Before we move on to the painting, I just want to guide you with some basic strokes about this. So what we are going to be painting is, let me just create a first simple thumbnail. So we are going to create in the crashing wave effect. This is our painting, which we'll be doing in here, and we will have the waves moving like this. All right. And we'll be having in the foaming effect forming on top of this and this here. So this is our basic thumb nail. Now, if you see the movement of water is moving all curve from bottom to the top, so your water strokes that you will be adding in also have to move like this. So your brush basically has to move from bottom left to the top right in circular motions to build in the flow of the waves and also give in the depth with the different color tones that we'll be giving in. And then using in the white quash the foaming effect that we will be giving that will also be in a little dry brush manner, but at the top. So it will be, again, in circular in a little curvy manner strokes that you need to pull out like this, right. And then at this point here, Okay, we need to create in the shadow. So basically, when you will keep on painting in the waves like this, here, you will have the darkness part of the waves because of the water shadow that is falling in. So this area here that we will be creating, this area will be of a dark value that we will add wet on wet. And the rest of the spaces, we'll just add in some darker value for the wave details at random spots. So this is the basic brush movement, the shadow space, the dry brush foaming effect, and that's how our painting is going to be. We are going to begin in with a complete layer of water onto the entire paper. The sky is going to be like a very tiny space visible on the sheet. Alright, so just begin in with a layer of water onto the entire paper. Make sure you have a good even layer of the water. For the sky, I'm just going to be picking up a little bit of this pick of blue color and add in here at the top. You can just pick up serelon blue or any sky blue color that's there in your palette and add it at the top here to act in as the sky. Or pretty simple sky is all you need. Not much detail to add in and creating simple variations into the color if you want to by just adjusting the values. All right. But just remember watercolor is dry or tone lighter. So always keep that in mind while putting in the tonal values. Now we'll begin in with a brush movement. For that, I'm going to be beginning in with the aquamarne mist color. Now, in case if you don't have an aquamarne mist, you can use the turquoise blue color. You can just simply go ahead with a mix of the emerald green or viridian green with your blue and create a similar looking watercolor. And now, as I told you, you see how my strokes are moving from the bottom towards the top, lifting it in curves to create in that wave effect while we begin. I began in with a lighter color. Of course, this spot, I'm not working much with darker tones because we are going to be adding in a lot of the foaming effect there. You see with every layer, how the movement of the water is forming in. Most important thing here is going to be the brushstroke movement that will define the flow of water, the movement of water, the flow of the waves. So you see we are building it all in you see with every layer I'm going ahead with one tone darker color consistency, and you can see different tone variations already forming in. Now I'm going to pick up a little of the indigo color, mixing it with the aquamarine mist that I'm using and begin adding in some darker waves. These will of course, not be in the entire space, as you can see, giving in some little flow of the water in between with this darker color and majorly here at the top, creating in that shadow space, as I told you. Okay. You see? Now to this also, I'm going to build in more depth. Now I've just picked up your indigo without the aquamarine and adding in some strokes again there. Se just giving it that curve and flow into the water. Same way with the indigo, giving in more dark or bold wave details, but very little, as you can see, as compared to the previous mix of the aquamarine color that we already gave in. You see the way details that we've given in so far. We've build in most of the details wet on wet using in simple technique, and we are just building in the depth before we let everything dry out. I want to this spot here just going to do a little tap tap, tap tap stuff because there we are going to add in the crashing wave effect, I mean, the foaming effect of the waves. So just lightening up the colors a bit so that it's easier to get in the whitewash details later on. All right. Now we'll wait for this to dry first and then move on with the next depth into this. So now everything is completely dried and it looks so beautiful at this step itself. We'll just go ahead with simple white detailing now into this. For that I'm going to be using in the white quash colour. All right. Now first, let's begin creating in some texture here. At the top space, giving in that foam effect. Again, you see, I'm taking it from top from the bottom to the top in little curvy motions itself. All right. At the top first, now to blend this all in, just going to go ahead with some dryblush texture. So at the bottom of the white, just go ahead with the little dry brush stroke and blend it all in. You see, giving in that effect. Again, just some simple dry brush. Now into the water as well, going to give in little dry brush strokes. Even the dry brush strokes will have the same movement and flow as the initial waves that we had added in. Now, at the top here, I'm going to go ahead with the icosh and just do some dry brush tabbing. You at the top creating in that form effect? I just went ahead with another bold layer here to give in more depth and to blend it all in, just going to add in a little more white strokes at the top line. See? You may have to, you know, even build in the depth with a white color because it may dry out dull because of the dark base. Plus we are using it in the dry brush consistency. So you see, when you run in with another layer, it will all give in that beautiful depth and, you know, flow again. Now from this space as well, just pull out little dry brush towards the bottom, giving in that blend. See how everything is coming in together. Now, using the white quash, just going to go ahead, add in splatters at the top. Do you see how they are acting in as the foaming effect. Just going ahead, building in the depth with the white color. So till the edge year, I've taken up the foaming effect. You see, all my white strokes are also moving in the same direction. Created a good foaming effect here as well. And now, lastly, just tabbing in here to give in that rough edge to the foam. Just picking up a little in deco, giving in some more strokes here. Blending it well with the white so that it looks like a well blended effect. And that is it. We are ready with our painting. The simple foaming effect that you can add in. Now, of course, if you want, you can add in still more depth into the painting. So just in between, adding in little dry brush with a dark indigo color to give in more depth. Just go ahead with a damp brush and blend it all in, see? So darker depths at spots if you wish to add in. And that is it. We are ready with our crashing wave painting. Let's peel off the masking tape and see your final painting of this 50-Day Watercolor Challenge. I can't still believe that this is the last painting that I get to do for this challenge, and we are through the 50 days of the watercolor journey. So here's a final painting from the 50-Day Watercolor Challenge. I hope you guys enjoyed painting this. I will just quickly add in little dry brush texture your Just a little to create in that flow and depth. I can't wait to share a good flip through of all the 50 paintings in the next lesson, and I can't wait to see all of your paintings from this challenge. So go ahead and share them into the project section. And if you'd like this class, make sure to drop a review so that it can motivate me and others as well. Thank you so much once again for joining me and see you guys into the next flip through of the 50 Day Challenge. 79. A Glance Through the 50 Days: We are officially through the 50-Day Watercolor Challenge, and I can't believe we painted all these 50 paintings together. Let's quickly have a flip through of all the paintings that we did through this 50 day challenge. We went ahead with different sizes, beginning in with minis, and we painted different scenes, different weather conditions. We went ahead with a little bigger sizes like these. We painted galaxies, winter wonderland, Northern sky, seascapes, you know, boat details, pastel skies and everything possible that we tried to cover with different topics, beautiful autumn theme landscape, winter the landscape, bead scapes. And most importantly, we went ahead with different sizes of paper, experimenting different ways, loose style, or detailed style, going ahead with, you know, very loose kind of the florals, going ahead with detailed paintings, taking in all the time to put in the details, some loose bold sky, simple studies. Plus, we went ahead with some really detailed paintings, putting in so much of the texture, playing in with the flow of water, doing in monochrome paintings, and, um, so much more through this 50 day challenge. And you see we went ahead with different sizes, different ways, landscape, portrait, building in all the details into each of the painting, creating in depth and the liveliness of each of the paintings. You see, we went ahead with detailed paintings, loose paintings. We also painted a few on the sketchbook. So let's quickly have a flip through of those as well. And you see how beautiful the sketchbook, you know, flat lays look with the simple paintings that we went ahead for the 50-Day Watercolor Challenge, again, painting in monochrome painting, misty backgrounds, the Northern lights. I hope you guys enjoyed painting each of these with me through the 50 day challenge. And thank you so much, once again, to each one of you for joining me into this class, painting each of these with me. I am forever grateful for each of the reviews and the class projects that you've uploaded through this class. Thank you so much, once again, and I will see you guys soon into my next Skillshare class. Till then, keep painting.