Transcripts
1. Introduction to 7 day Monochrome Challenge: There are times when we
feel uninspired, broken, sad, depressed, or the opposite,
joyful, happy overview. These are the moments when
we need a blank canvas to express all of our feelings
are changing mood. But how do we do it? What's the best way to explore, experiment, document
your own progress? My safest place is
keeping a sketchbook. Guys cyan, political or not
an artist and instructor, mater and co-brand owner
of vibrant parcels, wavy manufacturer
handmade products like sketchbooks,
brush roles, etc. Based out of Delhi, India. You can find me on
Instagram as watercolor, illustration, dot letter, and my brand has vibrant parcels. We are going to
explore, experiment, and challenge ourselves to fill up your sketch book
creatively over seven-day period using
one single color each day and treat
the monochrome magic. The goal of this class is to help you master watercolors in the most simple and
easy way through seven short daily exercises. We start with no drawing
and only painting for fun, experimentation to more
complex paintings of water, reflection, cavemen,
boats, flowers, etc. Of the learnings of this
class will leave you with more ideas like painting. Anytime. Flow rules or faces seven day challenge learning
on new medium like wash. Anything that makes you
feel more inspired, working with nature,
daily life for objects you that interests you. So let's start with the simple and easy
goal of filling up our sketch books using the most captivating and
inspiring medium, watercolors.
2. How to approach the class: First of all, welcome
back to each and everyone who have chosen
to take this class. In case you are not, it's definitely going to help you in your watercolor journey. First, we need to discuss
how to go about the class. Now, this is a
sketchbook exercise that we would be doing over
the next seven days. You can start today along with me and follow me for
the next seven days. Or else you can go ahead and try doing it once we
end the whole of the process, It's up to you. All the paintings are
within the time limit of ten to 20 minutes or a
bit more here in there. Each of the paintings is done in an increasing
order of difficulty. Devon. When you
start from day one, then you go to day two and
then you go to day three. So accordingly, you keep
on increasing your days. Let's just see how you
can take this class. Okay? So there are different
paintings that I've done. And this is one of the paintings the way I would
like you to take the class. Take one of these parts. This pretty small
A6 size almost. You can do this painting on
an A6 sized paper and do your swatches on the right or else if you are painting
on the right side, do your swatches on the left, it would be great way of going
ahead and working it out. You can have swatch
cards like these. While you paint.
You can refer to the swatch cuts and work it out. Before even starting out
with any of these paintings, I would ask you to go through the process where we learn
how to use your sketch book. How to work around
with perspective. There are only two concepts in perspective which
I am working out. And there are about one concept are the two ways in which I use my sketchbook minus my
portrait size sketchbook. And another is my
landscape size sketchbook. This is a landscape size
sketchbooks and we're using one painting on one side and another painting
on another side. For me going with
a sketch book is always a great idea as
it is a safe place, as well as I can work
on both the sides. It just made out of
100% cotton paper. It leaves me with greater
Boucher de to keep working on it on
any of the sides. A 100% potent than
not as a tree. And you can say it
is cold press paper. Everything put together
that is the best that you can take this class
even on a piece of paper, have seven papers for yourself. You can cut it out and even divided this way
on the right side, you can do those swatches
and on the left, you can continue painting
or else you can have smaller sheets of paper on half swatch class
like this for yourself. I guess. That's it. From this perspective, we can continue working
on the other things. Now, let's move on
to the next lesson.
3. Materials required: Just to quickly discuss
all the materials which we need for completing the seventh,
a monochrome challenge. And we will start
with the sketchbook. I'm keeping a sketchbook
from vibrant parcels and it is a handmade sketchbook. It lies completely flat
and landscape size. You can use any of your
sketchbooks that is available or even you can go with
smaller kind of paper. The best way is to paint
on one of the sites. You can have a
swatch card and on the other side you can
be painting that would really help you to compare
your colors and then paint. I am going ahead and keeping one washi tape and there will
be overall seven colors. The first is by forest screen, then might be low green, parietal invalid or
perylene maroon, whatever you want to keep, Prussian blue, then your wallet, and you have to keep
permanent brown or carmine. The last one would
be Payne's gray. These are the colors
which I have selected. It might resonate to you or
it might not resonate to you. I would leave that
decision up to you, whatever you want to go
ahead and keep for yourself. I'm good with that. Choose your colors
intelligently. I must say half an inch brush
that is from Princeton, and this is the wash
brush that I'm keeping. Then I have liner brush and
this is also from Princeton, is quarter size six brush. It has got a very nice
and beautiful tip. This is one of my go-to brush. It's called optimal brush. As well as I will keep
silver black velvet. Size four brush. That's all from the
brushes perspective, which I would like to
have for my painting. And then you can go ahead
and keep on any cell. Then one pencil. This is very important
for flipping your sides. It's good to have
for paperclips and you can get these kinds of
clips anywhere in the market. This is great to
hold your paper. Absolutely street in case you are not using any
kind of washi tape. Another important part
is to keep issue. Now tissue is very, very important in any
of your paintings, so do keep them. I do have a rough paper. This is for swatching
your colors. You should have a swatch card like this for any
of your paintings. So before you go ahead, create a swatch card
and then only paint. I would keep a ceramic palette. White ceramic palettes are
great to compare your colors. So I always keep
a ceramic palette easy to wash. Two jars of water, one for cleaning your brush
exactly the way I am doing, and another for
your fresh supply. And I would be lastly, like you guys to keep
a brush cleaner. Now, brush cleaner
comes really handy when you are doing a
monochrome challenge. Though in monochrome challenge, it's not always
required that you need all the brushes
to be clean and not. But there will be a lot of whitespaces which
you will be using. And those whitespaces are great to keep when you
have any brush cleaner.
4. Sketchbook Layout & Perspective: Okay, so from here, we are going to understand a
bit about our sketch books. The first kind of
sketch book that I have come across as a
portrait side sketchbook. I have used this
kind of sketch book a lot in my own journey
of watercolors. This is a beautiful
long mq which you can always go ahead and
use and it's pretty handy. You can do any kind
of travel sketches, etcetera also on it. The second kind of
sketchbooks that you get is a landscape size, as well as there
is a third kind, which I have also come
across as a square size. I usually prefer
portrait and landscape, but there are many of you who might give them like
the square size. So all of these options
are there with you. You can choose for me this particular painting I would be doing on this
particular class, we will be working on a
landscape size going ahead and just telling you how to add
paintings to your sketchbook. Not how you can work with your sketch book
is really, really important. I would give you a layout
of how I usually work out. First, we will discuss
all the portrait kind of layout that I usually use. And you can practically go on and make anything
of your own. There is no best way
that you can decide or you can go ahead and
work out. All of it. Depends on you. Now this is a sketch book
which does lie flat, and that's one of the
reasons I have added a big painting under that, I would had a bit
of information, not this information can be
any kind of information. Like whether it be the
colors or it can be about a flower that you
did paint on the right. It can be even about anything
like a coat or something which you would like to add
to your sketch book series. Now in this case, book
series are becoming more and more famous as we are. Seeing many of the artists practicing on the
sketch books and even showing it off in many
of these other videos. And I really enough to go
through each one of them. I feel you can also
try it out and I'm pretty sure that you would
be really happy with. Let's go with another easy one, just trying for different kinds of paintings on one
page of sketchbook. Once this spot is done, we would go ahead with the fine. Let's just see how this portrait works
out on the left side. There are many ways in which
you can divide the paper. I have told you, most easy way and now we are going
ahead with another one. On the left side, I am
adding one painting. And then I would just start lot of information
on the right, whether it be watercolors
that I'm using, the pigments that I'm using, or even any other kind of
the main thing that you want to add or any information that
you would like to add. One painting and a
lot of information. The next one is another kind of layout which you
can always add. One painting on left side and one painting on the
right said that's it. We are going to add to
paint on the bottom area. I would be adding some
amount of information. You can use tape
to get all of this correct in terms of the
lines and borders, etc. Or else even go ahead with
the way you always like to do without any waters
or without any tape. Now what happens
within a sketchbook is sometimes if the water overflows from one part to another, then it might spoil your pages. So it's always a
great idea to go ahead and just tape down
a bit on the sides, then you can keep painting. Here is another layout that
I always go ahead with. Going for a longer
painting on the left, adding a bit of
information on the right, just adding different paintings like second and the third
painting that you want to do. Once this part is done, we would go ahead and add
more of these paintings. The are adding one painting, then adding more information. The similar way you can add fun painting on the top
area, add information, or even another painting
towards the bottom area, small one, as well
as add information. There is no best way I
can say you can paint. You can add information. You can go on adding
different kinds of paintings and you can go on adding any kind of information. These are the basic, you can say basically
outreach, I usually follow. There are many more
that you can follow and who can practically challenging yourself to how you can add
paintings on your sketchbook, not the landscape size. This is the easiest way
and this is what we are going to take as a layout
for our paintings. I think two paintings on the left as well
as on the right. That's what we're going to use. Another kind of layout, again is adding a huge painting and then small three
paintings on the left. These are basically thumbnail
sketches, which you can do. It can be even a stepwise
process of how you did paint the whole painting on the right in each of the thumbnail,
you can explain it. There are so many ways of practically going
ahead and adding these kinds of paintings to your sketchbooks and
such a safe place, you know, every time
you are experimenting, you do not need to think. What do you have to paint on? How you have to paint. Just stop painting gives
you so much more pleasure. And you are so
much more relaxed. There is no pressure
of wastage of paper. If you are okay with, you're not okay
with some painting. If you are okay with
another painting, go ahead. Use that. I mean, you are using
both sides of the paper. That's the best part
of working with the in your sketch books
which are landscape size. Going ahead and adding more lines wherever
it is necessary. Just to add more
and more photos. Falstaff just counted the
information that you can do. This is another way
of adding great, great information as
well as painting again, on the left side you can add one NOP painting, add
some information. And if you go more
towards the left side, you can even add a long
picture like this one. I have tried all of the sand and everything
looks very pretty. It just looks like
a book layout from any kind of a storybook with beautiful paintings and
written scriptures, which makes it so amazing. You can travel across
the world and just add your stories
toward what you felt, how you felt after going there. It can be about the
colors that you wanted to capture and it can be about the mood that
you felt over there. There's so much to
discuss every time, whenever you are going ahead and painting
on your sketch book, writing whatever you want to
write, everything possible. You can even add just sketches to one part and watercolors
to another part. That's the beauty of using
a watercolor sketch book. You can even make paintings with the hip off your pen
or anything like that. So whatever works well for you, go ahead and use it
for all of this. Adding more and more
lines here and there. Once you have added
all the lines, make sure that you
add the painting. This is going ahead
and adding some more of the smaller paintings on the left as well
as on the right. And one longer painting
on the top side. You can break this
particular sketch book came to how many
parts you want to. For me, I don't go ahead
with really small sketches because there is no fun in adding a lot of
small sketches. I go for longer
sketches, that's cool. But I don't go ahead with the really small sketches
on a sketchbook of A5 size. If I've size, I must
say is my go-to size. So if you want to
anytime tryout, Try out your A6 or A5 size sketchbook steak and
work really well for you. And you would be very happy and satisfied with the fact
that you are not wasting any paper as well as you're utilizing a lot of
your resources. Which property expensive
in watercolors, whether it be the brushes
that you are using, are either it'd be
the sketchbook that you're using as I always prefer you to go ahead
with a 100% cotton paper. It should be more made, then it should be good for us. So all of this put together, you will not get any paper which is really cheap in the market. Cheaper versions
would be more like handmade paper or any
kind of cellulose paper. Finally, having a look at
how this layout looks, and I'm so happy to see it. This sketch book of courses
from vibrant parcels. And this is a brand which
I really like to use. So I have added the colors
in the similar way, exactly on top of
the sketch books. And each of these page can
be used both the sides. That's the best part. In this 70 cities, we would be using
both the sides of the sketchbook hand on making
really colorful paintings. It's a small sketch
book of about I think the A6 size, that's the best of 17.5
centimeters into 14.514. I guess that's the size. I have got many questions about what are the
colors that I use, what are the brushes that I use? What is the kind of paper
that I use, and all of it. Practically. I should say the paper is the most important
aspect in watercolors. And that's what we'll change
the whole game for you. If you are using good papers, it can give you great results. In case you are not
using good paper, then it would be
really difficult for you to get a good outcome. Twenty-five percent
cotton paper is not the best for
doing heavy washes. And even in my particular class, I would ask you to go for a 100% cotton paper
itself and others sketch book asks you to see how I paint
on a portrait size. You see this three, pick the three paintings
so that you can think. Then another way is to paint throughout the
sketchbook just to be very sure that the
colors do you want to run into the other pages
while you paint it? I like to just use my masking tape for
this called washi tape, whatever is good to go. And you can paint either 11 paintings
on each of the pages. That's also perfectly fine. Everything put together. I guess this is a great
way to start your journey. Slowly, steadily, you will get the hang of it and understand
it in a better way. I would just tell you a
bit about perspective. Now, it is about four
to five minutes. We would discuss about the horizon line and how
you should place it. Now this is a concept
that I always want to discuss before starting
any kind of a class, any kind of a landscape class. And this class is
mostly concentrated on landscape except
one floral painting that we would be doing. So where exactly you need
to place your horizon. I always say this, that
base your horizon line on either last one part of the paper or on the top
1 third of the paper, That's the best part
where you can place it. Never try to place it in
the middle of the paper. That's not a great way. You can have a great outcome,
but nevertheless, always, always experiment and understand which one works
the best for you. That's another aspect of watercolor paintings or
any paintings that you do, always try on your own. Do not trust in UML CSI would always say that the
false two parts I have divided into the sky and the rest 1 third I have
divided into land and water. And other one is the first
one part is only the sky. The second part and the third
part is both land or water. Whatever you want to depict. I should say I have
three parts of this. If I want to put
another aspect toward, I can divide my page into three separate parts where I have most of the partners Kai, only offered as the horizon
or as the buildings, etc, that I would like to paint. Now this is the line which
I am marking and dotted. That works best if you are doing any kind of
Skyping things. You want to do
atmospheric paintings or you want to
concentrate on plots. You want to understand
movement of your flout, your skies, the colors, etc. This works as the best. So I should say these
are something that will always make
everything work for you. This is the three best ways in which I have seen you
can get a good outcome. Now, we would understand
a bit about sunlight. Shadows that are
usually created when the sunlight falls
and how it moves on. Any kind of plea. For me when I add these straight lines
and the sun is here, there will be
shadows which would move from the right hand. The all will extend
towards one single point, which you can say is
placed on the horizon. That is your vanishing point. This is a very
important concept and you will find this concept
every time you are working with the
urban sketching or you are doing any kind
of perspective class. This is the basic of
any perspective class. Let's see how we can depict the vanishing point outside
the a horizon line. That's most important now, this, these are kind of lavender, few tulip fields,
whatever you can say. All of these fields
while they go to watch the horizon naval meet at
some point in the sky. That is what is being said as though vanishing point
that has meaning in the sky. Now, this vanishing point can
lie anywhere on the paper. Believe me, anywhere on
the paper is to think perspective is important
to create an illusion. That's what I have always felt. That perspective is
important to let people know that the fields
are not ending here. They are going beyond
the horizon line. He designing somewhere
beyond that. So this is that aspect
which I feel is important. And you should always
keep this in mind. Now there are many
other concepts which you can discuss and go on. We can just discuss about
one-point perspective, two-point perspective and
so much more, which is C20, not the content of this
particular section, I must say I can even make this vanishing point
on the left side of the paper or on the
right side of the paper. And you can actually
make your horizon towards the first
top off and then allow vanishing point
even out of the paper. So all of these are different, different conditions
which you can always look at and then not
hello to work on. Different kind of paintings
are different kinds of work of photos. Or you can even work through
different photos this way and then paint from your imagination
howsoever you want to just work it out and
that's the best. These are the ways and let's move on to the next lesson now.
5. Project 1 Color Spotlight Perylene Violet: Okay, let's see what
is her first column. Our first color is perylene
maroon or perylene violet. I always like to give
you two options. If you weren't using
perylene maroon, then also this would
turn out really great. And if you are using
perylene violet, then also this is a good
option to go ahead with. Now perylene maroon is
more on the red side and it has majorly the pigment
from the red family. Whereas if you are going
ahead with perylene violet, it is a single pigment color
and it has the I mean, it is the color from
the valid family. It has, again, it is one single
color that is being used. I'm using Winsor
and Newton colors, and most of them have only
one single pigment in it. While I go ahead and start adding the colors
of perylene maroon, I am giving you this option
to check the flow right now. Now this is a great
way of adding the water on your
paper and then adding the colors to see
how your floors of a particular column and
how light this color is. You can always go ahead and see if your paints
are moving a lot. In case your paints
are moving a lot, it would be a bit difficult for you to paint the clouds with it initially part once
you get a hang of how your paint is moving and
how much it would move on. Clean piece of paper. When you apply some water, you would be in a better
position to handle this column. And I must say this has got a beautiful flow
when you see now, the next step we are moving
onto is perylene violet. This, if you do not have, you can go ahead with carmine. Carmine is also a great color. These are three of the options, and if you even
don't have Carmine, you can go ahead with any
dark color from the pink or the valid family which
you can work with. This is BV or 29, which is being used
along with it. It is transparent. And you can see in the box that it is
completely transparent. It is from the brand Winsor and Newton,
Professional Greek. The pigment is also
given now over there, you could easily
figure it out that the pigment that has been used for a particular painting or for a particular painting. If you need any kind of colors, you can go ahead and check
it out on the back side, what is the pigment
that is being used and accordingly
select your colors. It's always a great
way to work around. I'm adding one layer of
water and then I would go ahead and add some
perylene violet first time taking some of
them perylene violet on my ceramic palette
and then adding it, I would go with the
darkest mix on the top. And while I go to
which the bottom, I would make it more lighter. Again to see how the
flow of this color is, the flu is really important when you are
painting the clouds, how much it is moving
here and there on the paper is very,
very important. If you see this has
got a great flow and whenever you
do a wet on wet, it would move on its own. We do not need to worry too much about the movement of the color. And in some places
you might have to retouch it a bit, but rest. I think most of the job
can be done pretty easily. Going ahead with
the swatches now, I would make one
darker swatch first and then I would go
on adding one more. What amount of water? What I think it's just a very
simple way of adding it. You take the first color, then add some water. Then again, no paint. The next swatch. Once the second swatches done, add some more color, dip your brush and water. And then again, make the
third or fourth swatch. Every time you're
making a swatch, just dip your brush
in the water, take it on the palate
and then again, stop making the swatches. This is a very easy
and simple way which I have been following for a
pretty long period of time. And it's a great way to
paint your swatches and to create all the values which you need of any particular column, I have added all the swatches
and practically you can see that the lightest
swatches being used in and around your
sun or the moon, whatever you want to call it. So those are the places where we have left some
amount of white of our background that
has a majority, the paper which you are
using and slowly, steadily, you can very well see how I have progress while I
meet these swatches. So I think this is, wow, the best ways to compare. Place your swatch
card on the right. Just do it like this and then start with your
painting on the left. Though, I wanted to do
a comparative analysis. That's one of the
reasons I did this later on compared to when
I started off with it. You can even do one
page as the swatches on the next page just adjacent
to it, you get paint. Both of these you
can see and you can choose any one of them and
start with your painting. Do keep your Spanish
card handy when you start off with
your own painting.
6. Project 1 Perylene Violet: This is our first painting with perylene violet and we would go ahead and paint the clouds
along with the clouds, you will also paint or
the boats as well as a small hill and
mountain which you can also open the background. It is going to be a really
simple and easy exercise. We are going to
level up from here. And every day you
paint along with me, you will understand
how you work around with different shades
of one single color. And how you can practically change a lot in terms of the
values that you understand. Hospital asthma,
terms of the colors, etc, which you
apply on the paper. There's a lot to
understand when you think about the monochrome. Now one important aspect of monochrome IS you are working
with one single color. You can practically understand how one single color can treat differentiates
off its own, as well as some. It is less of a hassle. We will not read
any money mixes. We will not get any kind of difficulty
where we mix our colors. Everything, whatever
we're dealing with is only with white
color altogether. There were a lot of positives
that I would let you know as we progress in this
painting in monochrome, as well as some, you will understand how slowly, steadily simple
painting comes to life. Going ahead and applying
even coat of wash, I'm using my half-inch
Princeton brush. You can go ahead with any flat brush that is
available with. You. Always take a white ceramic
palette in case you are not using any kind of people
for testing your colors. Now, white ceramic palette
gives you the opportunity to practically test the colors
in the beginning itself. I'm using a very light
mix off my benign violet. And once I've applied the color, I'm going ahead and adding
some more amount of my perylene violet in total watery mix and
then applying it. Now this is absolutely
are transparent mix. I'm going ahead and applying watercolors are meant
to be transparent and that's what we will be working around with in
our first text size. Many of you might find
it amusing that how you can walk around with
one single color and still feel the magic
of watercolors. You see I'm just using a
simple flat brush tool. Move around and
it is applying of a light coat of
colors on the paper. You need so much less energy, so much less work, as well as so much less colors. And you can be so much
more relaxed while you paint these kinds
of your paintings, which is more with
the monochrome. And this time I've tried
to select the colors from many different angles. There are paradigm in maroon, there is green that we would be using two different
kinds of greens. One is for a screen and
other would be pillow green. I am going to even tell you about each of these color
of it while we paint. That would leave you with so much more energy to
practically continue painting, but something that really mix. One painting look
some non-genetic. It is so much more simple, lot less mess I must say. You have or the norm, the kind of color
that we're using. What is the meek of the color? What are the pigments that
have being used in this color? So all of this I have
already discussed come in this practically
scholar spotlight, which I must say, you will have it for each and individual and each
week color that we are going to use some in
the whole of these 70 cities. I like to know my colors a bit beforehand and then only go
ahead with the painting. You can even use granulating
colors in case you have the give you two
different RVU stones. And that makes a particular painting
even more interesting. I wanted to keep it simple
and I did not use it. I do have one type of a
granulating color part. It was not sure
that as beginners, so we might not have
these kinds of access. So just keeping it
simple like inches, you don't have
proline environment. You can go ahead with our mind. That's pretty easily
replaceable color that you can use orals. You can also go with
one afternoon rules. These are the colors, which I must say
out closer to it. And you can even see the
kind of pigment that has been used in this mix and then make the
color of your own. I would leave all
of this up to you. I'm using simple
brushstrokes right now to just add the clouds. Now this is practically clouds that you make on the paper. It is a wet on wet technique
that we are doing right now. It is simple. I must admit it. And I would like
to even say that some of the spaces over
your heart kept empty. Why? Because we do want the
clouds to be present in few of the places and few other places must
remain like that. This leaves us with so much more opportunity to
work around the background, whereas not make it
and make it more clumsy or else even work so
much that they're newer, like Loki says, meaningful,
more than required. That's one aspect of watercolors which are always follow that. Never go ahead and work more than what is
required in your watercolors. If you go ahead and work more, it might leave you a lot less opportunity
to have the best of it. I'm going to hit with
small strokes right now if you see just
touching my brush and lifting it off
in few of the places where you want to make
some larger strokes. Add more colors and just make your brush a bit more
stronger at that place, I must say that it should be
lying on top of your people. And then you release
the pressure. More pressure needs to be applied wherever
you want to make larger strokes and best special wherever you want to
make smaller strokes. It says base simple
and easy exercise just started needs
a bit of practice. And my clouds are
moving from left to right, left, bottom area. I have kept it more
taco compared to the other parts
of this painting. The top left-hand
side also has some, some of the darker clouds. Keeping it simple, interesting. The next step would be
to just wash my brush, go ahead and start with
my sun or the moon. Now many of you
might have asked me, is it a son or is it a moon? You can practically go ahead with whatever
you want to name it. Why? I like to do what? You can even do it, son, It's up to you. So the way I am walking around with my brush right now
is taking my clean water and then just taking
off all the extra water on my tissue and then just blending the color
with my background. It's one of the techniques that I must say is very
good for blending, as well as it is
great when you're working with a damp brush down. Not only helps you
to blend the colors, but it also helps to
give the soft edge which you need for completing any kind of painting like this. This soft edge technique is amazing when you
are painting Sun, Moon, or else you are even going ahead and painting or
particular portrait. It is practically
the beginning and it is practically the
foundation of watercolors. If you can do this aspect
in watercolors, well, I can tell you that it would
help you to sail through your entire part of the
watercolor journey pretty easily. Okay, I think I have told a lot about
the blending technique. And right now it's time for
your painting to dry off. Once the painting dries off, then we would go ahead
and add my boat, as well as a small layer
of hill or mountain, whatever you want to call it. Now, this is the part of the hill and mountain
I am talking about. Now going ahead with a very, very simple dark mixed or
invalid as you also mean doing. You can also have a
closer look at it. It's always great
in case you were observing me paint
on a bigger screen because green leaves
you with lot of opportunities to also each and every
stroke pretty easily. That's always a recommendation
which I have given to any person who wants to
paint with watercolors. Always absorb your instructor, your teacher, your
mentor on bigger screen. Biggest screen helps to
see all the smaller, smaller details though,
you will absolve me. Working ahead. Going with even closer look off. More detailed painting,
I have captured, the more closer look
at that and you will not have any
problems following it. But still, I must
say that this is a practice which you must keep
benefit you are learning. Once this is done, I would go ahead
and add some boots. Adding the birds is one
of the best techniques that I think I must tell you. It is simple when you are starting out with
something like that. Go from your left
makers small line and go to your right and then just make the
body of the bird, once you will have extended
the body of the bird, mate and other small line
of the flapping wings. No words appear in nature
as I have told you earlier, in case you want to
only paint birds. There is an exceptional class called as boats
and sell routers, which is available where we are focusing on
painting birds. And you would be
pretty amazed to see how pretty and small each
of these painting are. And it would be, it would eat is an
amazing journey if you want to stop that out. So go ahead and start
that out if you want to do something with words. But over here, if you
absorb my strokes, I'm using a very,
very thin brush. With this brush, I'm just
adding small, smaller lines. I make a point that I keep
the body of the board intact. Then I think two widths. This is similar way I
keep painting my birds. And once I have
added these books, I think that it would be easier for any of you to continue
painting this way. Now as it is nature. And you will observe me
painting boats in many ways. Some of them flapping
wings downwards, some of them flapping
wings upwards, some of them moving in
different directions, up, down everything possible
I would like to add. That's how I like to proceed
with any of my paintings. I keep it absolutely
random, just away, uninsured appears nature has so much randomness in itself. If you wanted to capture it
with your eyes on a paper, you need to follow
the same randomness. And I think that
randomness is so cool when you talk
about watercolors. Watercolors is
absolutely random. And that's the
similar way I feel, even nature and stats. That's even though most
connecting point I must say, but we made sure and between watercolors,
wildlife painting, nature with
watercolors is both of them have the same
kind of qualities, which I think just suits some watercolors as well
as nature painting more. Once I am done with
painting these buds, you will also meet
that I would go ahead and give you
more broader look. This is only to make you more comfortable with how you
should paint the birds. And these are really small. So before you jump on
painting these birds to absorb on the full paper or how it appears
that then I must say, you go ahead and painted. That's what would be my request. Or sometimes what happens is we do who were bought
with the whole of the painting and then once it is done me like Okay, Exactly. I don't think that I must
have proceeded this way. Overall. Those are simple, simple things that you can
keep in mind while you paint. And now when you absorb
me doing the buds, you can see how small they are and how this whole flight
of birds look together. They are moving into
different directions to a single point. That's what I think makes
it so very interesting and it just feels so magical, feels so much more liberating
when I paint puts. It makes me feel empowered. It makes me feel
literally like I am free. There is so much
freedom that they have. They can move around, they
can go around in any place so they can see wherever
they want and the flow. It just makes the
watercolor paintings looks so much better or
it looks so much more. Life would put so much life
into any kind of painting, whichever you do, you
are painting a sunset, just add a few boats
and that's it. You will see how
beautifully they have tout. I think I have told a
lot about the birds. Once you are done, just let your paper
dry off completely. And once your paper is dry, you need to remove
the D-pad an angle. Do not forget to remove
the day pattern angle. That's really important
term when you are working with watercolors as you do not want
to report your tape. Secondly, I did try to experiment all of these seven
paintings on my sketch book as I do one to see how
we are progressing. Each of these painting is done in an increasing
order of difficulty. Which means that you must
take the glass in an order where it's painting one painting to painting three
painting for though. It all depends if you
want to start with the seventh painting as
your first day, of course, you can go ahead and do it that everything will be
up to you to decide. Okay. Removing my tape and then
having a final look at it. I can't wait to show you
how we will taint tomorrow. It's with a beautiful pale green that I have from Jamaica. Along with it, we're doing this exercise on
a sketchbook as I want to just capture
my progress. Progress is really
important than I am not here without
practice to make progress. You have practiced mixed
lot of progress and improvement that's
most important. You do not need to practice, practice, practice
without any final motive. And the whole of these cities is done in an increasing
order of difficulty. That's one of the reason I
want to see you progressing. We'll meet tomorrow
in the new lesson.
7. Project 2 Color Spotlight Phthalo Green: We are going ahead with
the color yellow, green. This is from Sherman k. It is brand from Germany. You can use as many brands are as many
different bands you can try. It would be a good opportunity for you to understand
the colors better. The pigment which has
been used in the scholar is your green and it is P G7. You can use any other
shade of your choice. It can be tailored green, it can be any other green, supposedly hookers
green or it can be the green which you
like, yellow, green. Everything put together,
you should get a darker value and
you should be in a position to get the lighter
value once you choose your color ticket
on your palette and then start making swatches. Now making swatches as like
having fun with the color. One is that we try to apply the water and then
apply the color, which actually helps me to understand how fast this
color moves across the paper. For me, I have
usually noticed when insulin Newton
professional grid colors move really positive
across the paper. And sometimes it's difficult
when you have to paint your clouds if your color
keeps moving so fast. Accordingly, you can see this de decide which colors you want, and then even check how
many sheets lighter this colloid dries off when
your paper completely dries. Now, that is always a good
idea to compare your values and then only go ahead
with the final painting. I always love to
create this swatch cuts as a beginner or as a teacher to start teaching you for this particular series, I tried to first paint my whole painting and then go ahead and let you
compare the colors. Because it helps to
understand exactly where you should have a lighter value and where you should
have a darker value. I need to use my brush
to move these pigments. Now that's always a great
word in case you are working with something where you want the colors to be concentrated
to one single place. I have seen this happening with two men gay brand as
well as I have seen this happening even with
Magellan Mission Gold colors. There are brands where
colors move really fast across the paper when you
use wet-on-wet technique. And there will be colors
where you will see that they are not moving
so fast across the paper. It's absolutely fine. Whatever you think is best, go ahead and do that. Hi, I am adding some of
my darker values now. It's the first one and this is the first
swatch that we're creating. I'm using simple mop
brush from the Vinci, and this is one of
my favorite brushes. And in case you want to
hold a lot of water, I must say you can give
this brush or try. It might be a bit expensive
in the initial postpartum. As you keep using
it over the years, you will find how
have further tests. I have been using it and
I really like it then, now for the look, feel and how smooth
it is on the paper, I do add some water and then apply this
brush on the paper. Again, I add some
water and apply this brush on the paper
to make lighter pancreas. This is the same way I go
ahead and paint in each of these paintings for
creating my swatches. More water. And you can get your swatch another set of water and you can get
some lighter swatch. This is a great way. You can seriously compared that the right side
where there is a cloud, it isn't the lightest value
which you observe right now. And on the left-hand
side you can see how the flow of your paints is, how the movement
of your paint is, how much brush you have used
for making the paints flow, as well as what's
the darkest value which you can create if you see the darkest value on the top is basically
the bottom chord, the horizon of the
right-hand side. All of this put together, we get a fair idea
of how we have to go ahead and paint
this small law painting. Meet you on next term where we will be
painting this project.
8. Project 2 Phthalo Green: Okay guys, we are on day two. It is project two here we would be working
with Taylor green. Blue-green is a beautiful
color from Schumann gay. It doesn't have any kind
of granulating properties, but you can vary a lot when you think about working
with your values. In this case, it's again a simple painting that
we would be doing. So relax yourselves. It's going to be about
14 to 15 minutes of exercise maximum. And you can just work
it on a sketchbook, orals, you can eat
them, work their home. Or A6 sized paper, E5 size paper, whatever you
think is suitable for you. It has to be a landscape size so that you can get
the best outcome. I think it is just applying an even coat of water
on top of your paper. I'm using my flat brush
from Princeton to do it. You can use any kind
of flat brush that is available with you
for working this out. Going ahead though
with my fellow green, I am using a very light
wash offers tailored green. You can look up to the properties
of Taylor Greene numb. When I going ahead and explaining you the
color and the values. Simple, easy color waters, the kind of pigments that
has been used on it. You can of course
see it from there, as well as you can take a
color which is closer to it. You do not need to
take the same color. You can go with viridian, you can go with hookers, green, whatever color is
available with you. It's good to work on. Hokey. I am now going ahead and mixing the darker value of this and you can see how I am
altering the value. First started applied
the lightest value with a lot of water. It just hide, don't pay very little amount
of paints in it. In the second goal, I'm going ahead with
a darker value. When you are painting
your clouds to make sure that you
actually take off all the extra amount of paint on the tissue and then start
applying it on the paper. This is an important aspect
of painting the clouds. The better you can walk or control the water on your brush. Better would be the
outcome of your clouds. This is one thing that I have
realized a lot overtime, as well as if you want
interested in painting clouds. I have a class which is there. In fact, I have two classes
which is based on clouds. So go ahead and check them out. That will be more coming
up with more complex than easy structures of clouds. But yeah, those are pretty detailed and you can
learn a lot over there. I'm leaving the middle part
more and white and rest of the areas I would be
covering in darker value. Never go ahead and apply a
flat even wash on your paper. That's very important
as a rule of thumb when you are doing
any kind of painting. If you are applying
a flat wash and then you might be
painting an object. If you are applying
flat flush forest sky, then practically
you will be left with lips are opportunities
to work with the values. Always a good thought to leave
some part of your paper. Or you can say the
white of the paper. You should always
use whatever is available with you when you
are playing with your values. White of the paper is also good. I am applying some amount
of my table, green. This is towards the top period. You can also go ahead with
tale of blue if you have data, that's also great,
beautiful color. I have that color
from Sennelier. I have been using it
for a while and I fell. I might not be having it as it is over
completely with me. But in case you can
get a hand on it. Do try that, follow. That's a very,
very pretty color. Other colors also can be used, but usually we haven't seen much of clouds,
etc, entering. That was one of the major ideas of trying this kind of a
painting with green. Whenever I see something which is difficult to paint or
which is not so useful, I love to experiment with it. I think watercolors is
all about experimenting. The more you experiment, the better you
understand the medium, the more you walk around
with colors which are not meant to be the way it is. I think that would give
you a better outcome. So do keep experimenting and you can go ahead and
choose your own color. As I always say, there is no rule of thumb
that you have to go ahead and use this color on
your paper dry off, and then you can switch to a mountain of fresh
as we need to paint a lot of grasses and some close to some
kind of wheat field. But you are one or two of them. I must say rest, I would leave. As simple grasses. You will move from lower or from the bottom
towards the top side. This is a great way to
actually use your brush. You can get good strokes as well as the top
area would be thinner. Exactly the way you absorb
when her grass grows. Whenever you are
moving your brush, try to move it from bottom
towards the top hands. Sometimes you might have to do other way round as you might not get the best of the strokes. So they may turn out
really, really light. So we have to go
from top to bottom. But this is one of the
best ways to walk around. Once you are done with this, I would ask you to just go ahead and add more and more grasses
to quits the left MIT, few of them a bit
tilted from the middle. That's how you can usually
also for damped in a wheat field or in
any kind of fields that you usually see. In this, you cannot
visualize it right now. I must say that you
can go ahead and see any kind of field or any kind of photos
of the field that could actually leave you with a better idea of how to do it. This time. Of course, it might be a bit difficult when
you are starting out, but when you are more input, I always feel monochrome
are less messy. You're working with only
one single color and still you can actually
get a beautiful outcome. Again, I must say that it leaves you with
a lot of benefits. As you need to work
with the values. You can understand
your paint better. Each and every paints have
their own properties. You can understand
those properties when you are starting
out as a beginner. So all of this put together
can really make your work seem really fantastic as well as it would give you on
great trade outcome. Okay, while I keep
painting these grasses, you can now see that I'm
moving from top to which the bottom because few of my stroke still not
come out really well. Even going from top to bottom
is always a good idea, but you have to be very, very short as you need to control your hands locked
door in that case. Going ahead and
adding more grasses. Simple, interesting. I must say that you can go on groan and go on working
on this seriously. Whenever I think about
these kinds of paintings, they give me so much happiness. We have to paint, so much lessons still we can create so much of
magic on paper. I'm using my own sketchbook. As I've told you, you can
use anything that you want. I love to actually
document my progress. As a beginner, I always feel that you should
document your progress. The better you can
document your progress, the easier it would be for
you to understand where you are going in
your art journey in case you are making
any kind of mistakes. Then two, you can learn
from your mistakes. And it is a kind of
a safe place for me. I must say, every time I paint, I feel that I can paint anything of my choice in
this sketch book. Whereas whenever I am
working on any other thing, like a paper, it gives
me less conflict. I'm, I'm less
confident I must say because I don't want to waste my paper nor I want to just
let it go off like that. So overall, there are so many thought process
that goes on in my mind. Usually I'm so preoccupied with these thoughts in piglet
keeps me with less space. What I have to work on, and I am usually engaged
with those thoughts, etc. Which leaves me with
less opportunity or more pressure I
must say to perform. This is what we do not want
when you are painting. And I must say always use a
100% cotton sketch books. That's really, really
important when you are beginning your journey. Always invested on your people. Investing on your paper is
really, really important. This sketch book has a 100% cotton Fabriano
cold press paper and I'm using it for my
own journey documentation. In monochrome. I walked by U2, can choose any kind of sketch
book that is available in the market which has
absolute cotton paper orals, YouTube's 100% cotton paper
for painting any of these, there are a lot of heavy washes where I don't want
you guys to go wrong. And it would leave you lot
dissatisfaction as well as a feeling that you
might be less motivated, you may be less inspired too. Try out the other ones. I always say whatever
paints you use, whatever brushes you use, they matter a lot
less compared to what paper you use starts to
basic of any watercolor art. If you are having a good paper, you can really get
great results. Let's get back to painting. I have stressed a lot on
the paper now let's paint. I am just making half
off these crosses, bit tilted and some of
these classes bit longer. That's how I go about it. And then I start painting on these smallest mole
and wheat fields. I must save that this is one of the most beautiful drawings or paintings that I have done. I wanted you guys to gain
confidence while you paint. So going ahead with the, anyway, that means without any kind of drawing is the best
thing to start out with. We will be doing more
complex subjects. Later on as we progress. There would be flour, there would be some Ripley's
and we will be painting. There's a lot that is
coming and I would even help you to understand how
you can fix them mistakes. If you want something in the background and
you have already painted the foreground, how you adjust your background,
nationalist foregrounds. All of this is going to come. But bit later Let's focus on
painting our feet fields. This is a very simple way I
am going to head on painting. On both the sides are just
expanded and made some lines. Now I'm going ahead
and extending my life towards the bottom. Starting one or two random lines on the left as well
as on the right. That's how you can
go and extending it. You can add more if you want. I would like to keep it simple. I would like to keep
the Cloud area more as I want to follow
the rule of my thirds. So I have already explained
you what is thoughts. I usually divide the paper
into three equal hubs. Most of the painting that
you might be seeing, all of the parts which are in the foregrounds are usually contained in the lower 1
third part of the paper. That's how I go about it, though there is floor fruits
of perspective which you can follow and you can
seriously work on. There are golden rule there. Rule of how to
place your object. Rule of vanishing point. There is a lot to learn. And this is not a class which is focused on
perspective, but yeah, this is one of the
rules that you can follow to get a good outcome, then you are starting out. So that is basically the rule of thirds
that you can fall. And I have already
explained you how you can practically break
your sketch book and how you can work it out. But we are doing only single
painting on one page. Let's remove the tape and
have a look at the painting. I think you would
be happy with it. Let's move on to the next.
9. Project 3 Color Spotlight Prussian Blue: This is one of my favorite
colors that is pushing due from the brand Winsor and
Newton professional grade. And the pigment which has
been used in it as P B27 means blue and the pigment is 27 particular number
of the pigment. But there are times when
you exactly don't know or there are companies
which do not provide all the information
on their tubes. So there will be a lot of times where you will face
this kind of a difficulty. But in professional
grade colors where you get most of the information
being labeled on the tubes. And hence you can bite easily though the amount
of binder as well as the amount of
whatever they have used. This particular tube is not known well, that's
absolutely fine. You can trust these
companies as they have really East making these
paints for long, long time. Match this color to the water. You see how fast it moves. Now, there are colors which
moves these favstats. One of the reasons to control them becomes
really difficult. This time I would say
that you should take care and only use these colors. So when you have
to paint mountains or you are painting any
kind of wet on dry method, That's the best still. I think it's always a
good idea to experiment. That's one of the
reasons I have taken up this project and you will
learn a lot through this one. We are moving from
node drawing to some kind of a drawing
and painting exercise. And I know the last two
where we won't fund compared to what you
might be facing this one. But practically
we are going with the same flow, the clouds, etc. Then we will be painting our three layers
of trees or flora. And there is a small
electric tower that we want to show and rest. I think everything
is similar to what you can usually absorbed. I'm going ahead and just
making those swatches. So every time I make the swatch, It's the darker value. First. Then I just dip my brush in water and mix
it on the palette. Take one lighter value, again, the same
exercise that I do. So repeating it will give me the front number of swatches. You can make as many
swatches as you want. There is no rule
that you have to stick to these many
switches itself. But for this exercise, I think these many numbers
Manchus as good enough. And secondly, it's
always a great way to start your any kind
of watercolor skills. That's one of the reasons I always go ahead with
the basics and then understanding the more complex
paths is a great outcome, or I would say that's a great way to progress
in your own journey. Okay, going ahead and
making the last few. Once we are done with this part, we would just start
with the final project. The final project is
not complex at all. It's again going to be 22, I think got Wayne two
minutes exercise. The whole of this part is done in a very easy
and simple way. You will learn how to make
your paints flow altogether. So I'm really excited. Need you in the next lesson.
10. Project 3 Prussian Blue: While we are on D3,
first two days, we did try to paint without using any tensile and
without drawing anything. Whereas when we move to
this particular day, I bought like to start
adding a bit of my console. And it is a two. This painting today is width or Prussian blue that we would be working along with. I have taken an A5 size paper
or a bit smaller than that. That's the size of my sketchbook which I
have available with me. You can also use A6 size paper. If I size paper, whatever
you think is best for you. If you have a
sketchbook like this, then go ahead and use it. This one is made out of Fabriano cold press,
300 GSM paper. So I am using it. It is hardbound. And now I'm using both
sides of the paper to paint or that's a great way to use
any kind of sketchbooks. So it gives you a lot of opportunity to walk around
with both two sides. These two sides are practically
help you to not waste the people as well as use
the maximum possible extent. Going ahead and adding a
fairly light wash off my brush and I'm swatching
kind of scratching. I am just adding small, small lines from the left to right and from top to bottom. Just to give an even coat
of wash on the paper. It's so very, very light wash. I love to go ahead
with a lighter wash for Prussian blue
when I start off. And then I am mount
testing my color. Testing your color is
very important though you are using a ceramic
palette, as I told you, ceramic palette leaves you
with lots of opportunity to test your color as well
as huge, as small. This is the particular
sheet you are going to use if it's a white
ceramic palette, that's the most important aspect of using US white
ceramic palette. I really love using my
ceramic palette and I love to purchase
more and more of the ceramic palettes
for the same reason. I am going ahead
with a lighter value flows for the clouds and
then going with JOCO value, I'm moving my brush from right to left and
from left or right. Few of the places I am
adding more pressure to get the darker clouds and
few of the places I am releasing the pressure
to get the lighter plots. If you see this exercise might be a bit
longer compared to all the other exercises
that we had till date as we are progressing
in this journey. And it's only the layering part, which was more time
taking along with it. You had to leave it
to become more dry. This one is simple, but it would take a bit more
time compared to the others. Going ahead with
the shade of blue. But still it's not
the darkest Bush and blue that you might have seen me using or which you
might have seen me showing off to you while we were discussing about the color. While you add these colors to make sure that some
of the places empty. And then you start adding
your clouds in the metal. It's not exactly the metal. It is practically about
40% of the paper, not more than that which I'm using for having these globs. And then slowly, steadily, I just make it more and more darker as we continue on this journey of
painting the clouds. Yeah, I think there's low clouds that I
did paint till now. But believe me, we
are going to paint some unusual subjects
to as we progress like both water then our flower as well as winter
season with dry trees. There's a lot that
is waiting for you. So entangling around with me, I started with easiest
subjects and slowly, steadily as we progress. Not going to be tough, but what I must say is that
it's going to be interesting. It's going to be a journey
which you will soon see love as the subjects
will become different. Each and every subject that I've chosen is so different from what you are going to
paint on your own. Why do I say this? Because the variety of subjects I like to include in a
particular painting, like painting a flower
with a monochrome column. It's not usually what we
paint, but believe me, this is one of the best exercises that
you can come across. And why I say this leaves you with salvage opportunity to
just test one single color. See how the properties of that color can make this
painting look more interesting. Once this part of the
painting is done, go ahead and just let
your paper dry off. Once this paper is dry, you need to start
adding one layer of your floor up and it is practically the tree study
you see in the background. There would be an overall
three-layer trees that we would be throwing. Then there would be
an electric tower, which you usually see in the background
for this painting, as well as it could
be darker in value compared to those that
you will be using. That's it. It's simple, easy, but it's just a bit time
taking, time-consuming MSC. While I was discussing more
about appreciating, due, etc, you just saw me taking off all the extra color
with the help of water from the bottom area. That was very, very beautiful
concept that we did load. Always use water to your advantage if
you want to take off all your colors to
stand water and you will see most of the
color flowing off. If you are using
staining pigments, then of course it might be
a bit difficult for you. In case you are not
using staining pigments, it would be really
easy to work around with the colors google feed. Whereas so much less difficulty
while you paint know, muddy mixes, no difficulty
in matching your colors, no difficulty in
deciding your values. No difficulty in working with your brush paints and
everything just flows. So you could just go
ahead with the flow. An important aspect of watercolor is to partner
with the medium. I think monochrome is to wait
to partner with the medium. Hawaii. I see this through this particular
monochrome painting. You get to know how many values you can create with water. Why I say water? Water has a major role
to play in watercolors. There are less number of times where we work
with pigments. There are more number of
times we work with water. The more water you
add to your pigment. More beauty you can
practically observe. In some parts you
might also see me using one layer
and in some parts you will absolve me
only using water to blend it with the background. Yeah, there is so
much that the water has a role to play
in watercolors. So you will feel a
mainstream will feel so much like the water gives
life to this Bingham are together, creates some magic. You have to let
your colors flow, you have to let your
creativity practically flow. Watercolors are all about flow and your creativity is
all about your flu. Everything that you
paint over here is going to be documented
on a sketchbook, which leaves you with
so much opportunity to make your mistakes. No one is going ahead
and trying to see your sketch book wherever
you feel you did paint well, go ahead and paint
on a fresh page, paper or fresh or page
wherever you want to do. And then just put it up on your wall or
gifted to someone. Just feel inspired to feel happy about it that you
did this painting. It's something that you do
not do on a regular basis. And you created
magical and paper with only simple one single
color of your brushes. That's it without any pencil. The reason nothing you use for the first two
plates you can still, you could create
something amazing. You should be super
proud of yourself. And even the third
painting is pretty easy as I did tell you or
lethal last tower, electric tower that we would be creating is with the scale. I like to keep it with
a scale and not make it really difficult to
paint it on your own. I am a strong believer that whatever you try to
paint you some tips, sticks, hacks, whatever is available with you for
creating no Goodman, nice and beautiful painting. And that's it. We want, we want to enjoy the process. So why complicated? You just go with the flow, go with the process,
make it interesting. You have at all. You just have that belief. You can do it and practically can nail any
painting of your choice, any painting that
you would like. So let's continue on this journey of painting with
monochrome Christian blue. And I'm just adding
some more lines and dots here and there I have gone ahead with one won't darker
shade of pollution too. While I am this clear, you have 40 norm, this bump that whenever
you keep adding, there's Google with
darker values. One after another have, That's how I would be adding another layer in the darkest
value of Prussian blue, but still not make it
as if it is overboard or we do not want to
create a lot of it. Always make sure
that whatever you are adding to your
painting should speak of, your creativity
should speak of port. You could see through
your painting. Wherever you see is
whatever you portrait to your people who are
absorbing your painting, what you want to speak quo will only be shown
through your painting. That's how I see my
paintings and I hope you also see the noise
through your painting. Practically each of us
have our own voice. You can see the style in which each one of us paint tan, don't. We all have so much to
learn from each other? I always say this, even as an illustrator artist, I have so much to
learn and practically I do keep learning from different platforms
myself sometimes gives me so much more learning. Not only learning, I must say, I do understand so much more
in each and every medium, not only watercolors, I
walk around with quash. There are two classes visual available if you want to
check out for gouache. I'm also experimenting
with acrylics. All of it together
just makes whole of this experience Some
more and more interesting. Adding, add the darker value. Now. Now, while you are
the darkest value, makes sure your paper is dry. Once your paper is dry, you need to have the
darkest value handy. Do try out your color
and then only added. You can keep even
your swatch card handy and check it for yourself. Whether you are getting
the same color unknown. It's absolutely
up to you how you want to go ahead and
walk around with it. I would leave that decision to you as you were the best shot. Go ahead and start
adding these colors. As you have solved me doing it. Again. All of this is very, very simple process
as I do tell you. Solve it and you can nail it. There is nothing, nothing
difficult and watercolors, it's just our perception. And if you can change
your perception, you can practically
knew anything that you want initially before
starting watercolors, I was not sure everywhere
I think that this, practically this particular
medium is magic. Magic doesn't happen when you
are in your comfort zone. So step out of your comfort
zone and try this medium. You can see how beautiful
and rewarding it is. Practically there is only one
single roof on this medium. You need to use a
100% cotton paper. If you are using a
100% cotton paper, I think that's what you need. And it has to be
300 GSM or more. That leaves you with so
much for watching TV to play on with the colors. Orals, you might not
be in a position to do all these heavy washers that
we're doing right away. Those small, small things. If you can keep in mind though, then nothing else is needed. You can nail, you can walk, you can do whatever you want to with the more to come this. Yeah. Just adding small, small lines, dots here and there. I'm using my Scott
optimal brush to do this. I love this brush. And this has been
my go-to brush for many of the other paintings too. You might have seen me
using this brush over, I think more than one-year
know or even more. This is a kind of a
go-to brush for me. Every time I like to paint. There are so many other brushes
that are due on bottom. It's being no really rewarding. I'm a say empowering
when I have this brush, I just feel that it's me and I can create
anything and everything. So all of us to have
our favorite brushes. This is one of them. You can try to if you are
planning to invest on any great and good quality
brushes, it says CTO, optimal brush and
it's a bit expensive, but you can use it
over yourself and that makes it even better. You are investing on
something that is great and it keeps you motivated, it inspires you as
well as you can keep painting with
it with for yours. Why not? That's the best way to go
about painting or purchasing something that can
help you rather than purchasing every two
months, three months. And she was not happy with
the brush that you get. It just feels so
weird when you are using the best of profit. Okay, removing some
of my darker values just to give a bit more
depth to our painting. Few of the areas are darker, few of the areas are lighter. That's how I always
see the closest store. You must say the foreground, rather than the background, is pretty flat always. Whereas when you are
working on the foreground, you need to be more aware of how you play around
with the colors. It's a very small space, so I can't clear on the lot. Hence, just playing around a bit for rivers
possible from mind, using my scale to
add a few lines, but it's always great when
you have this painting, dry it off completely and
then going with this spot, or else you will be struggling the same way that I'm
doing right away. I have Phaedrus patients to keep waiting,
waiting and waiting. I do not always use a hairdryer
to let my paper dry off. That's what I don't do. I like to go ahead with normal drying process and
it takes a lot of types. So just fast-forwarding
this process, using a door scale at them, you have to be really, really aware of who I knew. Use the scale. It can literally ruin your paper
which we do not want. So yes, that's one single thing. Keep in mind and I
think that's all. It's everything that you can do. Once you have added these lines. Go ahead, use the
thinnest brush. It is my Princeton liner brush that I'm going ahead and using you have is called
a liner brush. If you want to use, you have pin steel liner brush. Whatever is available with you, you can use that. They're mutually four
brushes once there's quota optimum brush that I'm using this language of brush. One silver black
velvet size six brush, pen, a fat brush. Then a few of the brushes which show we need for completing
these paintings. Interesting, as well
as you can see how much you need less when you
have to create a painting. We are using only one
single column, few brushes. I'm using a washi tape as
I like to keep my edges. Nice, pretty beautiful. But if you are not so
much into the hat, you can pretty much stopped, flip your paper and
start painting. There's nothing that's
going to stop you from creating your own
magic. That's it. I'm making the lines now more
broader compared to well, I was towards the top area. Again, that's how we see or tower while we go
towards the bottom, it becomes more and more
broader perspective. You can always see it. You can see a few
photos that would give you more insight into it. Okay. I guess this is a grid. And just keep adding some lines. Once you add these lines, you will understand that
more details are coming in. It's only because
of the details. The whole of the
painting is taking so long or so we would
have been done by mail. Okay. Let's relax a bit. We are practically done
with most of the parts. It's just simple, simple
things that we are adding now. Small, small lines, small, small aspects of the
painting major three lines are also done for
our electric tower. The middle part is
just filling up, making some slanting lines, making some triangles where, so if you want whatever
you want, good with it. It's good to add the triangles because they look more organic. They look more into
what you usually also, when you see an electric
tower like this? Yes, keep adding all of it, then slowly move towards it
to understand it a bit petal, and then rotate your paper a bit wherever you
think it is necessary. I love to read my paper. I haven't told you
about this spot. Be comfortable as a beginner. You might not be really happy to just use
the paper street. So you're moving
around wherever we want to keep the space
So really clear. While you paint to have
for this sketch book, some tissues, few brushes sat two jars
of water on your table. Do make sure that your table
is emptying while you paint. Because that really leaves us
with a lot of opportunity. Come over on this
sketch book and paint. That's how I like to usually do when I am starting out
with any kind of medium. It is so clumsy when you
understand the medium initially and you are usually frustrated with what's
happening, what's going on. Unable to understand
just lot more layers than what you might
have thought. If you are using acrylic
wash or something like that, then you end up making a mess. Not only they're even your
tables a mess you'd be like, okay, where do I paint? How do I work around
with it and all of it. So keeping it clear, keeping it in shape. I must say that
having less number of things on your table
gives you a lot more, Fortunately to work around with your painting
in a better way. That's how the best
practices which I have always followed for
my own journey. And I hope that these things may even help you in
your own journey. I already have what
more monochrome class, which was only intrusion blue. I made sure that this time while we paint there
is lot more of that we add like adding the color spotlight as well as painting with different colors, painting different kinds of subjects that's
really important, as well as increasing
order of difficulty level. That's how I always
love to keep it. That makes the whole lof, this watercolor look more
interesting as well as CDC, It's pray more interesting
to use your stone. Understand this medium
better that way. Adding a few lines. So if you see that I
am using my brush. So you always say that I
use my brush like a sword, but believe me, or if
you have a liner brush, it makes the horror of
this painting so much easier compared to if you
have a thin size 0 brush, I would request you all to have a liner
brush if possible. Orals go ahead with
whatever is available. That's not a problem, but this one just makes
things pretty easy. Had an interesting too. Okay. Once this one is done, let your paper dry off. Then we will remove the tape at an angle and have a final
look at the painting. I'm so happy with the way the whole painting
has turned out. I must tell you that there is another painting that we would be doing tomorrow. It is T4 and it would people
with permanent brand. You will see how both of these contrasting colors
look so pretty on paper. Hence, some just
still be around. Let's move on to the next stage.
11. Project 4 Color Spotlight Permanent Brown: Let's discuss this
permanent ground color. It is from the brand
Art Philosophy and made out of the
pigment PBR 25. Along with it, you can
see it as semi-opaque. So whenever you are using
this kind of a pigment, you will see a very dark value. In case you want to use
the docker, stop it. You can't see through it completely as it is
semi-opaque and nature. Keeping on this particular
property in mind, you have to progress
with the painting. I have taken a bit
of it on my palette and now I'm applying
the water on the paper. Once I have made this
small area in brown, I would go ahead and then
proceed with my swatches. But before I made the
scarier brown eye test, how the colors flow, I have to apply one small
patch of clean water. Once I've applied the small
patch of clean water, I would let my colors flow. If you see the colors is not
moving to agree to extend. Hence, I'm applying my brush to apply it towards
the bottom atrium. Once this is done, I would go ahead
and turn my paper a bit to understand if
there is a good flow. According to me, if
I compare this color along with the other color
of Winsor and Newton, I must say that this
has got a lesser flow. And this has a bit
more flow compared to if you are working with
Magellan machine goal. My general machine
goal works great if you are working with
any Cloud studies, whereas this works great
if you want to go very, very random with your painting and you want to see what is accidents or you
want to actually check how this color
can surprise you. I must say, We're happy accidents always
and I mean methods happy accidents
because I have seen my painting change to agree to extend when I do these
happy accidents. Going ahead and adding
the darkest value first. Then going ahead,
applying some water from the jar and adding one
shade lighter value. I keep doing this always
as I have told you, even in my earlier swatches, this is not going
to change at all. And you will get a final outcome where there are series of
swatches that you have done. Once the series is progress, then you can understand
how each and every series has so
much to offer you. Practically when you
see that there are so many colors which you can
make from one single color. You just know that any painting
can be completely made. If you see the lightest
value that I have right now is for eight, It's about ten different
values that I've created. You can create even more. Meet you in the
next lesson where we will paint the small bond.
12. Project 4 Permanent Brown: We are on Oliver on D4 and
now it's time to experiment. This time I'm going ahead
and drawing a small house. It's Asper perspective. The lighter APR is on the left, whereas the darker
area of the house will be towards the front area. It's going to be a
really simple house that we are going to paint. We will have windows. Then it's like a
gibbon that you'll usually find in a jungle
or a desert today. These small, small Gibbons
you usually find everywhere in small places which are
not so thickly populated. And these look really interesting when you try to
paint with one single color. This was one of the good
experiments that I tried. And I was not sure how this
painting would turn out, but to one set finished it. I think this was
one of my favorites out of the whole set of
painting that I did then. Now, you might think that, okay, so this looks pretty difficult
or something like that, but believe me, it's
not at all difficult. It's one of the easiest
paintings start to, practically you can
think of and you can do. The only aspect of watercolor painting
that I have always told you to hang in there and
try to believe on yourself. Think that you can do it and practically you can nail
any painting that you try. That's what it is about. Watercolors is not wearing it and just trying to
be gassed with it, trying to partnership with it. You have all the beautiful
things happening for yourself. Half That's a belief
that you can do it than you would be in a
position to nail it. For this. You can see I'm making those small house not
exactly in the middle. It's a bit on the right. But yeah, you can even
place it in the middle. That's not a problem. And then make a few small,
small wooden fence. This is again on a countryside and you can
find these kinds of things. So pretty often, we are going to paint with a beautiful color that is called as
permanent brown. And you can find them all that you can see informing and drowned about
the pigment, etc. I have already told
you in the spotlight for this particular color. And going ahead with
those sky area, this guy area of course, is the most pretty
area that I must say. And again, we would be
drawing some clouds. Here. I would be using the white
of the paper to paint along. I'm using my size six brush from my silver black velvet
to add these clouds. One psi have added to the color. I would go ahead and start
adding some of my clean now. Or you can say clear
water onto the paper. And it could be an even coat
of wash that I'm adding. Once I've added this
even coat of wash, I would go ahead and just add
some amount of my colors. And the middle area of
now the clouds is exactly similar to the one that
you have painted audio. I have tried to take something
out of the last painting and then create something different than the
next painting. That's what you can always
do while on the first wall. What happens is you might not be in a position
to get the best. Whereas when you just try
it in the second part, again, you can practically nil any kind of
painting you want. I have not applied any water
on top of the house areas, so that is just empty right now. I'm keeping the money part of the Cloud Source when white. I tried to walk around
with the colors, more, applying the lighter
value initially, and then moving around
with the darker value. While I add the dark blue value, I will be so deep. My ceramic palette really handy. Now ceramic palette
helps me to get through the color that I like, the practically the
value of the color that I'm using and I like
this permanent or brown. You can also use red-brown. You can use burnt sienna, whatever color is
available with you. It's not that you have to use the same color
that I tell you. I always say this, It's just an exercise for your practice and that's
one of the reasons you should take it just as a practice and as an exercise
on your sketch book. Nothing much. Don't just go much into it and just feel
sad if you've got. Make it exactly the way. Or if you don't have the
same kind of column, it's all about practicing. It's all about getting into
a daily habit of painting and just understanding the
beauty of the sketchbooks. I love to keep
sketchbooks that I don't know how many years
they have been with me. There are so many
sketchbooks or now. And each, and every time
I paint on sketchbook, it always feels so
much more empowering. I see my progress from
my first sketch book to the next sketch book
that I paint on. And I understand how much my work has changed
over time. Every time. You don't get to see it. A few keep loose papers. Because sometimes we tend to
lose these papers or lose these kind of blue
sheets that we paint on if you do not
preserve it well, whereas sketch books, you
can keep it as you want. There is nothing
much that's going to change that sketch
book and there's so much progress that
you can practically see an n kind of sketch book
that you keep for yourself. Going ahead and just
using my flat brush, I'm adding some random strokes. It's not that I'm going with
any intent to mix something. It's very light strokes that I'm adding on one
or two here and there. And that's it. Always pick up the extra color that you have on the brush. So that's how you go about it. And then now using my silver black velvet brush
to add some darker values. Once your paper is dry, then you can't
paint on top of it. So you practically have about four to five minutes to
work on your risk sky area. Always starts the usual timeline which I absorbed when I paint my sky area in any kind of paper if your paper's wet
for a longer period of time, yeah, you can go ahead and
paint on it as much as one. But practically 45 minutes
is enough when you paint term and you want to have for particular outcome
on your fevers. So yeah, just go back to that mindset that would help
you not only to work faster, that would give you a
lot more opportunity to have a better outcome. Okay, once I'm good with this, I would just add some lighter value for
my ground area and then some darker value
as you observed me adding it with my silver
black velvet brush. Use any other brushes to do
it along with the new master. Keep in mind before you stop
your bottom area or your, I mean to say the
foreground star you see towards the
bottom, the house, etc. Your sky must be
completely dry off. And then you add a
very light shade on the roof for the left
side of the house. After the some color is harder than we would go ahead with the other
parts of the house. As Steve will be more
in the darker values still left side of course
would be in the lighter value. You can have occlusal look at how I continue painting it down. I would take some darker
brown, permanent brown mix. And you can see my
palette right now, but you can CDC just use your swatch card to understand the color
that I'm using. It's pretty much
the darkest value that I have of permanent brown. And then I use my silver black velvet
brush to get those nice, beautiful stroke straight lines is an exercise which
you need to practice. Why I say you need to practice this spot as it
doesn't come handy. You won't need more
stability with the brush. You need to practice
those brushstrokes, etc. Everything needs a good
amount of practice. Before you are great with it. It's just needs some time
to get into your system. It's kind of a muscle
memory that you develop. Whenever you apply your
brush on the paper, it would come out amazing. That's the reason I told you this needs
a bit more practice. This needs more attention. And when you get better at it, you can see there's a lot more change that
happens in your painting. Some of the best
practices that I keep on letting you know. I knew that there you might
be thinking that there's a lot that you can
understand our neuron. But when I share this
knowledge with you guys, it helps me to
understand that there is a few steps which you might
go wrong when you start out. And I might be of some help
at that point in time, that really gives me so much
more happiness to continue. Letting you know
all of the term. Whenever I add any lesson, I add any parts to
any kind of painting. Let's keep adding
some darker values towards the bottom area. I've taken absolute
darker value while I have this part in the bottom
area of the painting, once done, now, just start adding these
small, small lines. I'm not very happy if I use
my silver black velvet brush. Going ahead with my liner
brush to add these. It's a bit wet till surface till now and
that's absolutely fine. You can keep poking
on top of it. This would be a longer process. This painting doesn't
have much to it. It's only this small, small aspect which needs
to be taken care of. It's in the middle
of the countryside. There's lot of grasses
here and there. Liner brushes the best to
add those kinds of grasses. Some of the parts
of a paper is wet, some of the paper is dry. This leaves us with so much more opportunity to add the crosses
in a better way. It will create textures. Few of the places will
remain wet and feel the places allow your
grasses to have that edge, which you need for
this kind of painting. I will add these
small, small lines. They are random and they
move from left to right. They originate on the left and they end towards the right. That's how the wind is blowing. The wind is blowing from
the left towards the right. So you even see the grasses
moving in the same direction. Whenever your wind is going
in a particular direction, your grasses will move
in the same direction. And that's something that you
usually observe in nature. And this part of nature looks so amazing when you
capture it on a piece of paper. I must say there are
so many things that we can learn from nature that
are alumnus of nature, the beauty of nature. How much it looks amazing when nature does
something of its own. There is a blossoming
flower, wildflower. You're just walking
by any kind of a small road and you absorb
these small, small things. It's all driven view. No one has planted
it ever bought. It just happens. Hold off this beauty and appreciation of
nature doesn't come, I would say it doesn't
come on a single day. It took me a while
to understand it. It took me a while
to appreciate it. Post-pandemic times I've started appreciating
everything way more. I think I valued life much more. I value each and everything
that I have way more. I do understand how
much it is important to have even life to see
your beautiful morning. It's great. These are small, small
aspects that I keep enjoying and love to even
let you know all of this. While I painted, I would keep adding some more
grasses towards the left, right as well as I've
added some darker value. It is not very dark value. You can see the
colors for my window. And while the colour is wet, we would add a bit
of darker value two. Now that's how I like
to paint my Windows. When you are working
with watercolors, you should not add or
flat wash to your window. Initially, I added this flat
wash As I wanted to show how how it looks together if
you add just a flat wash. Whereas now when you see the window with a
bit of darker value, there is so much more character or there is so much more light. There's so much more beauty that you have added to painting. These small aspects of
watercolor usually is not captured if you do not go in depth into
small, small parts. This is one of the
important aspects of your urban sketching. When you start doing
your urban sketching, you will understand
that you cannot blame houses in light colors. You should paint houses
with different colors, windows with different colors. Either you can have
different colors or you might change the value of the colors that also made
so a lot of difference. Okay, I think I've added
a lot of process and you might be also getting bored
because of all the grasses. It will take some time
and I can't do much. In this case. We have to keep painting of your more wherever
it isn't necessary. And then I would go ahead
and add a few lines. This liner brush gives me so much more
control while I paint. That leaves me with
so much more room to actually create something
that I really like. Watercolors. Watercolors with some character, I must say that's how I see it. I think there was some
color on my brush. It's not a problem though. We had to add a very light
wash towards the left side, just the way we did
for our rooftop. I did use my blending brush to blend the color
with the white. Keep. Once we have added it, I would go ahead and
start adding some small, small thin lines to show the window paints
in a better way. And then move on to the
other parts of the painting. There would be some
background or bushes. But again, those background
wishes would be in a very simple and easy color. It's not much of
work that is there. So we are trying to complete the mutual work of
the house post. Once this major work is done, then I feel most of the part of this monochrome
painting will be finished. I have added a few more lines here and there as you absorb me. Working on it. Strange. Sometimes these
thin lines, small, small lines can seriously create so much change
in a painting. It adds so much to
rapid chats at so much, I would say depth in a
painting altogether, the value change at so
much step to a painting. You can see that
there are lines, few of the areas
I keep in white, mostly even for the foreground. I don't like to
occupy all the area of the foreground
with darker values. I do change the darker
and lighter value to a great extent. You should play with the values
though it is wet on wet. So you might not see the
distinct values or together, but you can see that
there is a change, the IEP and I use the
white of the paper. That's the best thing. Whenever you are working
with monochrome, even use the white of the paper. The white of the paper
is given to you. And the more you can use
it to your advantage, the better would
be your outcome. I am adding some
lines for the rooftop and these lines will make the roof look more better
as well as more organic. I must say. Once
this part is done, I'm adding some clean water for the background bushes that would make your horizon
line look interesting, as well as it would
make it more prominent. You can use this. You can practically at this part or you
might even be wet. But for me I love to add it as it creates the depth that
we need for a painting. I always say this. Whenever you are
working on a painting, it's important to understand that there is some depth,
there's some character, there is some work
that we need to do for few of the parts of the painting so that
it looks more organic, it looks more original, and it looks more random. As you might observe in any kind of photograph or any kind
of a countryside house. So those are the things that
I love to keep in my mind. While I paint. I was initially
thinking not to add it, but I think this addition really creates a great depth
to the painting and the house looks so
much good in this way. Now adding some lines
for my fence now, I did all the draw, the fits. I even kept those areas
pretty much in white, has not want to occupy
the space completely. I'm not sure if this looks fine because I can see the
bottom area of the fence, whereas that should be more
blended with the background. So you might need to
blend this area a bit. I'm using my flat brush
to blend the scarier. Once I'm done with this part, just add one or two
lines like this so that it looks more continuous and there's
fencing that has been done. I think my background
is still wet. So go ahead and add a bit of
darker value here and there. Wherever you feel that
you want to add it. Again, it's process. The whole of the
painting is a process. And the better you do it, better would be the outcome. There is no best way to do it. That's the best part
of this painting. There's only a better way. There is only progress. There's only a proof that you watch that makes you a better
artist each and a reading. The more you practice, the more would be
your improvement. Or more would be your insights into any kind of medium
that you are working on. It needs your attention and you need to start
loving that medium. You fall in love with
the medium more and more when you start
working with it. That's how I see it. There are these kinds of small, small challenges that are
loved to give it to myself. Like drawing a house with one single color, few
monochrome themes. Those usually no one takes up, but it really helps to improve
upon your skillset a lot. Let us remove the tape
and have a final look. But before you remove the tape, your paper dry off, and then you see how
beautiful the edges are. There is no water or color
which has gotten out.
13. Project 5 Color Spotlight Violet: Onto our the five and today's color is your
bright violet orals. You can even take
Windsor violet, which is start fuzziness violet. Any valid that is
available with you. Note this is valid, which I also would
love to say as bright well that
as I really like, the consistency,
the color overall, it has made out of PV 23. And now let's try to understand how is the
flow of the color. Once you touch your brush
on top of the wet surface, you can see the
colors flow though. You might not have
realized why I say this. It moves on its own. We do not need to
do much over here, so the movement of your
paints is very high and hence controlling your pigment once you touch it with the paper, will be one of the
important aspects in this whole of the painting. Always try to judge your paints before
you start painting, how it reacts on
top of your paper, and how you can get
the best out of it. One thing is we can
never control water or else we can even never
control the flow of pigments. What we can do is if you want
some soft looking extras, then you might have
to make your brush try enough and then
apply it on the paper. That's how we go about that. It's just for ourselves
that we should exactly see how much the colors flow, how the colors dry off. And accordingly,
we can always go ahead with the different
layers that you want. Every time, whenever I
have the wing of no value, I just dip my brush in water and then take off vexed droppings
and apply it on the paper. This is a very simple
way to do it when you have a very dark paint, some that can be used on the paper pretty
quickly and easily, making the lightest values. And once you have the
lightest value on the right, we will be painting this beautiful flower and in
one single value that is, stays in one single color. I have seriously never seen it, but it was really interesting
to experiment with this DC as we don't always get the chance
to experiment March. And in watercolors, if
you do not experiment, you will never get to know how beautiful painting can turn up. Having the lightest off
the values on the right. And it's only, I guess, water it now that I
have on my brush, if you see there is no pigment
left on my brush at all. Let's move on to the
next lesson where we will be going this
whole of the painting.
14. Project 5 Violet: Hope you guys saw
the ad on the five, then we're going to paint small UTZ non-disease and
usually in white, yellow. And you can see the
stem off at ten clean. But particularly this
one we're going to paint in different
color, absolutely. And it's bright palette. You can select any other panel, like to paint gray or any
other bounded which you would think or any
color of your choice, some overview, I do not want to actually guide you through the color that you
should choose. It's just that I'm using mostly darker value colors so that they can give
me different values and they can really
actually makes lot more sense when you go
ahead and paint with it. We will use a lot of water for these paintings along with it. There is some drawing that
is involved in this one. The better you can
draw your flower, the better would
be the outcomes. We are not using
any kind of masking fluid or anything to
mask any of these areas. It's going to be pretty simple. The weaving approach it, there would be on the loop
font and then we would extend the lower ones
with the smaller petals. Some of them will be
alternate in the sciences. I mean, some of them
will be larger, some of them will be smaller. Again, the main
motive is randomness, stepping to capture
for their nature. Going ahead and adding more and more of these petals
towards the top area. I'm making it small atmosphere absorbing it from the bottom. And all of these petals are tilted towards
the opposite side. That's one of the reason
I'm making them shorter. Okay. I think we're good to go. Most of it is done. Anything that you want
to go ahead and add. Just these simple, simple. We'll kind of long or
we'll kind of ships. That said, draw a stem. Once you are stem is done via, go ahead and start adding
our bright violet column. Now over here, I would be using my Winsor and Newton
violet color that I have. But you can go ahead with any other bright violet that is available on your
palette every time. My main approach is
to use the same kind of color that you see me using. But whatever you have available, that's most important to you
do not need to go ahead and purchase any color for
this particular painting. I'm using my size six
silver black velvet brush. It has got a
beautiful, nice tip. I'm using note of
water with my brush, psi one to water to
stay on the paper. I would be using MATLAB, your brush to just add more
water into the background. And all of these colors that you see right now on the
people will become blue. That's the kind of approach I want to take for
this painting. I'm going ahead and adding more of these watering
mixes here and there. Once I've added
the watering mix, I would go ahead and add more
of it towards the right, towards the bottom medium. That's how we keep
extending the area, as well as some had some
more water to do its magic. Watercolors is all about
playing with water. The better you can
make with water, the better would
be your outcome. It's not about adding
a lot of pigment. It's more about
doing more of water and then allowing your pigments to do their magic everywhere. If you keep adding
your pigments, you will practically
get a flat bush, which we do not want. In this case, we
would like to get more different kinds
of textures as well as different
kind of washes, rooms, splatters, everything. I would love to teach you
everything possible in this case though we will not
be using sort technique. I have used sort
technique and many of my other classes in case you really want to learn
the sort technique. Go ahead and check out
the other classes. So there is no sort technique
which has been used usually for any winter season. I love to use some
sort of technique. It gives you a beautiful snow, kind of fulfilling the
rich, nice, beautiful snow. And it's easy to create
it with the salt. Okay, I guess this is it. I'm using my flat brush now so that the water
doesn't turn try up before v and the background going ahead and just adding it on
all the other areas. And then using my size six
silver black velvet brush took added extending from the middle of the flower towards
the other parts. I'm not trying to add pigments to each and
every part of the flower, only to a few areas. I go ahead and hide
the rest of the area. I leave it just like that. I love to use the white
of the paper a lot. And that's one of
the things which you might have also
don't know whether it, anytime for painting which tells it need any
kind of a drawing, only clots or some other kind
of paintings where you need to use some less of your
pigments everywhere. I like to keep some thoughts and white and play with the
white of the paper. That really gives me a lot in terms of the values
that you can quartile. You start from
absolute fight without any color to more granulated
version of fewer pigments. Or you can say more deeper
version of your pigments where you have more and
more amount of pigment being present in
your brush compared to what you can usually seen
if you have total of water. Watering mixes are
great when you are painting the background
whereas menu are going close to your flower, we would like to actually
go with more ductile mixes. Petals of the flower, we'll be more than lighter. I would say. They are smaller
towards the top, longer towards the bottom, but yeah, there would
be way more lighter. That's what we need
to keep in mind while we think this floral. So keeping the contrast intact, which means your petals would be like your
background should be darker. That way you can really
create so much he kept into your painting and the contrast for so much new life
into your flower. Once this painting is
some already done, you would be in a
position to see it. Many of you might want to
paint flowers and I have some class that is already there on flowers, which is available. So if you really want to
know more about flowers, really wanted to pink flowers, go ahead and check
out no monster glass. So for florals where we paint or seven different kinds of
florals over seven days. So that's one of the classes which might be helpful
to each one of you who is trying to
paint florals or who wants to get a
hang of flow rules? That is majorly for beginner to intermediate level that song. And if you are a
beginner and really wanted to learn values, we want to learn watercolor. Then there are other
classes with a lot with it. This is one of the
favorite, I would say, exercises that you
can really work on to get hang of this medium, to really partner
with this medium on to fuel the beauty
of this medium. So much that this
medium can also use, which I don't think that any other medium
is even close to. Maybe it's my own lawful
watercolors or it's just the way the school of
watercolor really happens. Or gifts dump them on the paper. Going ahead and just filling
up a few more pieces. I love to actually rotate my paper wherever
it is necessary. It's always a great
habit to follow this. Wherever necessary,
whenever necessary, move around your people, move around your brushes, whatever is available with you
in terms of the resources, you should always use
it to the fullest. Stan, don't get a
good outcome is what we should look forward to. View this blue
inside this popup. Then I know of so far,
that's absolutely fine. You can go with a
darker value of this purple and make these
small, small dots. Only this is possible
if your paper is wet. There are possibilities
that you might be using different kinds of
people which is not a 100% cotton, etc. In that case, your
background will become dry very quickly. Just allow it to dry off, apply some water and that
water needs to be clean water. Once your paper is
completely dry, applying that clean water with the doctrine jar that
has the water yeah. Ticket from that
particular jar, apply it, and then you can go ahead
and add some darker values. Now I would let my
water do its magic. I usually let it
move around a lot. I just used my Sketch book and I just
move it in and around it. That's what I do. So that water can
really do its own shop. We do not need to think much. While the water does
the whole of this. I did add a bit of water
here and the splattering, some effort on the
left time you can against flatter some of it on the right if in
case you want to, that's also up to you. If you want to go
ahead and spread out like this, do splatter it, see what you get as a result that's very important
if he was flattering on damp paper or which has less water compared to
what you absorb right now, you will see more
extras coming up. Whereas if you add water on our paper which has
pigment like this, orange is still wet, you will not find
those clear textures. You will find some
blooms that appear. But later on, when you also me adding water
on non tap paper, they would give you
beautiful fixtures. Okay, well-liked. Keep painting the
interior parts of this flower and basically the
background of the flower. You can observe how this
painting is turning up. It has got a very nice shine and the water stays on this paper
for a really long period. It is Fabriano paper. I'm adding some
water from the sides and letting it bloom. Let water do its job. Let it play glue with IP case. Enjoy the process.
As I always say, process is very important. The more you can
enjoy the process, the better is the outcome. Do make sure the water
is not going inside. This one thing which you
need to keep in mind and don't feel
water, let it move. You cannot control it. That's one thing which
you need to follow. Whatever you can control. You can do it right now
when it is wet on dry, that's the only thing
we can control. To an extent. Wet on wet is so
hardly manageable because water is not
what we can manage. My notice on paper like
this, a 100% continent, it would move around, it
would create its own magic. It is sum, something that
I really love to see. How the whole painting
turns off somewhere where I think that I need to
add some darker values. I'm going ahead and adding
a bit of this dark mixture. You can say the dot
value of our how water has changed and move
the colors so much though pigments is
moving it around, I am flattering water
a few areas has also in some of the
areas on the right also, I'm going ahead and
spattering water. Every time I
splattered the water, I just wait for the management. I just wait and see how the
blue is going to happen. Now you'll see this is more of a damp paper.
What do you observe? The textures that
you observe right now is very beautiful. I am just falling in love with it had seriously once it dries, you can observe how
the background has turned up and how the
background is leading to such beautiful picnic. I'm not going to complicate
that much. Over here. We're going to paint the
middle part of the flower with a lot lighter
values of the area. Make it darker some of the
area use mode of water. Try to use your paint some in a way that you paint with water
more than paint to it. Paints less when you are
working inside the flower. As we wanted our bankruptcy to be ductile
compared to what we, we will paint into, what we would add as
a color into a flat. I think this looks fine. I have kept small, small dots as white, which I think is really
necessary when you are working on a
painting like this one. Always use the
white of the paper as I have advice to you
from the beginning. Once we are done with the
muddy part of the flower, I would go ahead and just start painting my
stem for my stamp. I had just taken a
damped brush and I'm pulling my paints
from the background, then painting inside my stamp. That's the beauty of watercolor. You can practically
pull your paint from the outside area towards
the inside area, oral school ahead
and add a bit of your colors into the
background area again, or towards the side of the
ego so that it gives a very, very light value in the inside. Okay, I guess that's part which I wanted to
paint and now I'm going ahead and just adding a bit of a lighter value for my petals. Now, while I paint my petals, I'm using my damp
brush and better, I find even a bit of
color and the background. I'm just taking that color or sometimes sign using the palette
for my palette and very, very light values the
colors into the prevalence. It's simple, easy we
uploading the colors, but along with it, you need to always
make sure that our realm just done
not thinking about only adding colors were
even thinking about leaving some white spaces as you
absorb me everywhere. I am not pulling the paint sign. Everywhere. Few of the areas I'm
pulling the paints and taking into the wider area
around few of the ideas. I'm not doing
anything like that. Now, this technique you can even use for many other
rural places like landscapes or you want to paint the inside of any
Zoom have just done. Color is on the
outside of the house. You can use those colors. So majorly, This is very helpful in case of any
monochrome painting. Once you are done
with this layer, go ahead and add
some darker values. Very light wash of
this pople in few of the areas of our petals. Whichever you think, it
looks a bit more necessary, I must say, I'm not going to paint all the petals
in a similar way. It would be only a
few of the petals. I'm going with a very, very light wash As you saw
on the ceramic palette. The best part of
ceramic palette. So you can pretty clearly
see through water. So being that you're using, you always do not need any kind of paper to
check your color. And you think that you have
applied a darker value. Wash your brush, add some
water and you will see a lighter value exactly the
way I did paint this better. I'm not touching each and every petal as I have the audio, I would go ahead and touch only a few petals here and there to make it
more interesting, using a damp brush
is very important. In this case, we had
a real close look at how we have added the colors, how we have added
the background. It's only smaller
edition argued, let's say that this is basically the small law detailing
part which we are doing. We would be done within
two to three minutes. Practically, this
painting is very simple. If you are starting out on
a journey of watercolors, just a drawing part
is a bit difficult. As I say that ignore we
might have an experiments, we might not have an experience. But you can always go ahead and try challenging
yourself a bit. It might look like a
travel internationally, but slowly, steadily as you
progress in this journey, you would start
enjoying these small, small challenges
which you through towards you or towards
understanding, either at any
technique, any floral. I must say that I'm not
a floral person always, it's not that I paint
florals on a regular basis, but I do paint
petition mean maybe once every week or twice every
week, something like that. That's how I keep
practicing my Florida. I got a hang of it. It took me a lot of time
to get a hang of it, but now once I've
got a hang of it, I'm so happy to practice
it in my own way. I'm not sure that Do we even paint florals
without any colors, but I love it this way. And practically that's
so-called motive of painting with watercolors. You should experiment
and you should try. The way you want
to paint anything. It's not about what
others are doing. It's about how you want
to experiment with it. And frankly speaking,
that's what matters the most I enjoyed
the process of this painting. I enjoy this process of farm
working with monochrome. That's one of the reasons of
the whole class altogether. I kept enjoying painting all of these and then I just
thought that maybe there will be a few of you
who might be locked to go through all of this
because there's so much to learn in this series, not only about sketchbooks,
bit about perspective, more about the textures, water, how to play with water. More importantly, how
to enjoy the process. If you are not
enjoying the process, let me tell you
you will not enjoy this week and for a
long period of time, there will be mistakes, there will be difficulties
that you're going to face. Only one way you
can keep yourself motivated and inspired
us to enjoy the process, not thinking above
the final outcome and just going with the flow. If you enjoyed the
flow of watercolors, you yourself will
know how this journey may become the most amazing
and fantastic journey. 38. That's how it became for me and I'm pretty
sure about it too, will be sub-branch each and every time you work
with this medium, going ahead and making
some smash small lines, once these ninths or dried off, then I would just remove
the tape at an angle. Removing the tape at an
angle is always necessary. Once you can remove
the tip at an angle, it will give you
a clear rich and sometimes if it doesn't
give you a parish, no problem at all. There is no funding getting
the theorist every day. But yeah, I do like getting those speaking
beautiful edges.
15. Project 6 Color Spotlight Forest Green: Let's understand this
color which we are going to make swatches for
bit more in detail, though. I usually do it on a
rough piece of paper, but for your convenience, I would like to do it just on the paper down next to the
painting that we did already. We will start on the
reverse order and let's see all the pigments
status there. It is P G7 BY, and you can even see
there is some Pb. Pb means blue, P y means
yellow and PG means green. It is not absolutely
transparent. There is some opacity into it. And it is where do
you build mark on top of the pavement or the
pigment tube that you have. And you will find this
kind of information when most of the tubes that you
buy from good companies, from artists, great companies, they usually provide you
with all these information. Then it becomes really easy for anyone to understand
what is the kind of pigment that they need to
use to get even a mixed like this if you are not having any color that
is closer to this one, I'm going with a very
dark makes sense. I'm just adding it on top of my paper to create the values. Now when I talk about
color spotlight, it even calls for what is the kind of pigment and the kind of opacity transparency that this particular pigment
pass through this one, we can see how dark this
pigment is towards the top. And it is pretty much
opaque in this case. And while I go down
and add more water, it becomes more transparent. The opacity is not full extent. Hence, you can
really see on nice, beautiful swatch over here. You can keep swatching
it a bit more. This is just a long
smash that I'm doing. Either you can build
this kind of a swatch and use it to check your values. Horos, you can
even go ahead with the simple way of
doing the swatch, creating one or two or
ten different values and then just trying to understand which exactly matches up to the painting that you are doing on the left. In green, there might be various tones that is
available in the market. And this is just one that
I have from Sennelier. I will not tell you to
actually go ahead and buy something like this for
in particular painting, I would ask you to go ahead and understand the green
that you are using. This is not a granulating
green if you can also have, it is very simple. It is very opaque and
flows very nicely. When you add water. Flow is beautiful,
which can help you create very beautiful clouds and various other
wet-on-wet technique. That's really important time
the wireline metal spatulas, I usually go with a
very simple thumb rule. I would add the darkest
value on the top. Keep adding more water to this, make sure that I have and
then create different values. Now, there are times where we see different kinds of values happening and sometimes it also doesn't happen the
similar way we want, which is equally okay. You might not get the exact values that you
like or you might not get exactly the lightest color that you might want to get, but it all will come with more and more
practice that you do. While you can also off
the painting on the left, you can see how dark the
value is that you observe ER, trying to see exactly
the match of it. There will be times where
you can really observe that what I am picking up from the right and
adjusting on the left. This is all very good way to
start off with your journey. And now let's go ahead and
paint this particular one. Keep the swash handy for
yourself so that you can check the colors and
then apply it on the paper.
16. Project 6 Forest Green: Okay, we are on the
six already here. We will go ahead
and paint one of the most amazing paintings where we would understand
how to paint the reflection, how to paint water, as well as our small
boat along with it. How to balance your painting? Not to go overboard anywhere, and not to add lots of
green into this painting. Many of you might think
that this is pretty much not relatable as I have
used to color green, but practically you
can use any color, whether it be Paint Script, Prussian blue,
indigo, or any blue, green, brown, any color. The major intent of this particular painting is to understand how to
paint your sky, the exact reflection of
the sky into the water. How to add the boat and its
reflection along with it. How to balance your composition, where exactly you
should focus on. According to me, my whole focus, we'll go ahead and it would
be completely on this board. I would be only adding
more details into this boat rest all the parts of this painting will remain
pretty simple, easy. Nothing much I'm going to add. Okay, so I did add this
small line kind of far away that this board is given a small line
along that main code, but go from the bottom
as well as from the top. And then just extend it from the left as well as
from the right and make a small line from the bottom
area and some final flower, very, very interesting
as well as amazing concepts
which we are going to discover in this
particular painting is how to paint the reflection. That's one of my favorite. You can say their date, how to paint reflections
and how to paint reflection is income water is something
that I have not taught. And I would like to
teach it through this particular
lesson on project. The thumb photos are
something that would exactly reflect whatever
is there in this guy. As you all know,
water doesn't have any color of its own,
whatever is there. And as the color of the sky
or as the board of the hills would be exactly reflected
in the water area. We have to be really sure
of how we paint our skies. Whatever we paint in the sky, I would give an exact
reflection in the water medium. I'm taking my forest green. This is one of the
most beautiful colors which I have already discussed. I have taken a part of it
on my ceramic palette. I love to use white
ceramic palette. It gives me
immediately the effect of exactly what kind of
value that I'm using. So I can go watch
through it very well. If you are not using our
white ceramic palette, please go ahead and keep a rough paper handy for yourself that would
be really easy for you to paint through all of these seven days of
monochrome painting. I'm going ahead and main thing, the first part which is
majorly my sky area. Sky again, there's
a lot of focus that we have done McDonald's
as beginners. I want you guys to be really
having a hang of this guy. If you can paint the sky well then practically many
of your paintings are sorted according to the rule of thirds that you usually see. In perspective. You can place always
your ground in the last 1 third part
of your painting and dress to third part
can be completely sky, or else what you can do, you can place your water. The top bar area, we're just only 1 third
of sky and rest is water. So you can play a lot
with your water skies, as well as your horizon line. That gives you a lot
of opportunity of how you want to paint and
how you want to go back. By the way, while we
discussed about perspective, I would like to tell you
that I have already added a very light value of
our forest screen. You can see on the
right Exactly What are the colors that we're
using and match it up. Then start painting on the left. That would always
be a great idea to just check your colors on
a rough piece of people. See how the complete
color palette looks like and then start
painting on your sketch book. Going ahead with
the doctors value, if you see I started
with the lightest, then I went ahead with
one more darker value, and now I am adding
the darkest value, which I feel is still
not the darkest. But yeah, that's what
we are going to add for our sky area. As often. We will
even add a very, very dark value to which
the top-left side. And always keep in mind that you have to keep
few spaces a bit empty so that you
can practically see the white of the paper
from where you started. And even using the white of the paper is
always a great idea. Now you will know
that the sum of the parts of this
particular paint is. Semi-opaque. I would say it's not completely
transparent watercolors. So transparency is
very important for us. But still there will
be a few paints which are not exactly astron span and as you might need in a
watercolor painting, and the most important
aspect of watercolor, I must say that you have
to always keep this in mind that you are using
the transparency of them, but along with it, if there is some
opacity in the color, even use that part. So there are these kind of properties and
every watercolors, some of them are transparent, some of them have
big bit of opacity, and some of them are way
more opaque like that. They knew why it is really
opaque compared to Chinese. Chinese white is more whiter
and it is very transparent. So both of them have got
their own use search and we should be in a position to
understand where to use what. I would say that some of
these parts I would keep in darker value and some of the bonds I would
keep in lighter value. Wherever you feel that you
have added more water, just go ahead and remove
it with the help of a tissue just exactly
the way I am doing. Always, always clean your
edges or else there is a possibility that there will be some overruns
on the side. In case of overruns, what happens is that there are backgrounds and there will be cauliflower effect
on your painting, which I would always
liked to avoid. Yes, there are times where
these kinds of things to happen and it's magical to, I must say, I'm going
to happy accidents and you have to accept it and
do something about it. Once you're painting is dry, you might have to go ahead with an underlayer to work it out. So all of these small, small aspects of watercolor
will always remain. It is not a possibility that you will not
face any of these, but it's my duty to
let you know what can happen if you continue
working with that. Okay. I guess we're good
in this case and I would go ahead and start adding
some of my photo clouds. Once I have added these clouds, I would like to go ahead and paint the area of these
mountains in a better way. Some of the blending,
I really like these blending is
actually give you so much more possibility of having a smooth
and beautiful finish whenever I'm working on
a watercolor painting, one important aspect that I do keep in mind is to have
a beautiful finish. If we have a beautiful
finish practically you can have amazing painting. And so finding lockdown. Now, I do not think the
sky and the water together because that would leave me lot less space to
control my water though. I cannot control my water, but still I must
say that when you start adding more colors
even into the water area, then you will really find it difficult to
paint the sky and the water together as the skies exact reflection
needs to be on the water. And we cannot go wrong here. So I would like you guys
to leave it as is for now. And once this part is dried
off, that is your sky. And then start adding the colors exactly
the way I am doing. I'm using quite a
large size brush to add the colors on the water. Radium has some, I just draw one to add a very light
value for the first one. And as we progress towards
more complex sort, you can say words adding the exact reflection of the
clouds or into the water, I would switch over
to my smaller brush. That's absolutely fine. How you want to use
your brush if you are using a smaller size
people use smaller brush. If you're using a
larger size paper, you can go ahead and
use larger brush. I'm using some simple
water to blend. Blending is a great
way to actually see how you are
painting is turning up and simply add water. Water is all you need
for your watercolors. I paint more with
water compared to what tight use my pigments for. Yum, It's always good to use some more water
in your paintings if you are doing heavy
washes, I'm done. Since this is Fabriano
artistic or 300 GSM paper. So it is great. If you want to do any
kind of heavy washes. It does support it and that's the best part of any
watercolor painting. You get to understand so much about watercolors
when you do wet on wet, the magic of wet on wet is unpack well compared to
if you do wet-on-dry. Those are small, small aspects which you
can keep in mind. And secondly, do not try
to take these clouds within the board that
you have already added. And then we would need
this part to dry off. Before we start
painting the boat. We have more than 50%
of the work being done. That's the great thing when you are working on
smaller paintings. Some, you can get it
done pretty quickly. You can adjust it
into your regular should you ask well as takes the unnecessary break
which you need like you want to use art as a therapy. This is the perfect time that
you go ahead and do this. You'll want to just go ahead
and paint your heart out. You just have whatever, 15 minutes coffee break, you want to use it to let
your creative juices flow. Please go ahead and do
any of these paintings. Hi, I am just taking off
all the extra colors, but they help off my damp brush. I would just take it off on
a tissue and then again, use my brush to take
all these extra column. I will even wash the
brush once and then all these colors
on the tissue and then again make it
more damp, wash it. Again, remove. This is a very beautiful
way of creating the white are lifting
off your colors and you can see this color
is not staining at all. It is pretty easily getting
lifted off from the paper. That's one of the vein beautiful aspects of watercolor is
the lifting technique. You might not have done
it pretty often in many of the other paintings
that we did try to date. But this one, I can
say that lifting, we'll walk amazing
in this case and you will get an exact reflection
of the sky onto the water. That's the best part. I'm even cleaning
up the area just below the boat as well as
in and around the boat. That would really help you
too concentrate on this or basically the
part of the boat and no better way it would give
you more cleaner version. Whatever colors you absorbed right now on the
people will become more and more lighter
once the paper dries off, you can understand
the colors better. So every time you're using
an artist grade paints, it would become one
shade lighter in case you are using any
other kind of paints which are more like student rate than it
would be two shades lighter or it might be
even three shade lighter. So you have to be really sure of what kind
of paints you are using as there has lot of buying those which are added on
an Australian rate paint. Hence, I would request
you to go ahead and spend a bit on an artist
grade paint if possible. Once you think that you want
to explore this medium more, it would give you a few amazing outcomes and
you would be really, really proud of yourself once you are done
with those paintings, I'm again lifting off some of the colors from the sky area. You can see how easily the color is becoming more and more light. If I'm lifting out with
the help of my brush, I like to lift tall few of the areas wherever I feel
it isn't necessary and then adding some
more darker colors towards the left side
to show the clouds. If you see the top area of the clouds is really dark and we might have to add a bit
more color to show it. Has this looks really, really liked to me. But those are
judgments, you know, when you become more
and more experience, you can do it on your own. For this particular painting, I'm guiding you through
the entire process, but you can really select your own photographs
which you want to paint and then just use it
for any of your paintings. End of this class. So while we do the conclusion, I would give you
a few assignments of possible that you can use as the photographs
and all which can be really used for any of
your future paintings. You can do your paintings and
just see how it turns up. Choose your own colors. I will even show you one of the assignments which
I have done on. Then you can pick and
choose your color and work it out as per your
needs as per your once. I'm adding one small hill. Now this will
actually help you to show the horizon line
in a better way. I always see this manner
when you are working with your horizon line depicting
it is very, very important. How you depict it is with
the help of a small tree. Or you can say, or distant hill, some or the other kind of small object which you can
add it at the distance, whether it be trees,
whether it be some hills. Anytime though of hot. Or even bonds, whatever
you want to add on that. All of it together can actually help too
short and I'm better with adding a very dark
shade of my forest green. This green. You can use very often in any of your other
botanical paintings. I have been using it for
my botanical paintings and it's one of the most beautiful green
that I have come across. Though you might not resonate with the
painting of the sky, water with the green. But believe me, you
can experiment with any color of your choice that's the best
part of monochrome. Select your own colors
and work it out. I think some water not ohmic, the color of the green
look more lighter. If you see it has become
more and more light as we are approaching the
bottom of our boat. The boat is inside the
water to an extent. So you can't paint the whole of the bottom
area of the boat. You need to leave a bit of
it in our straight line. Always note these small, small aspects that
you can observe and all watercolor painting
or any kind of painting, drawing, whatever you see. Try to make it more realistic, though our whole
intent is not realism. It's more about how you learn
to paint and how you paint. Just like a pro. In shorter period of time. It should give you
good results as well as you should be
motivated to carry on with this particular I would
say hobby of yours, right? That's the whole intent. Okay. Going ahead and adding some more lines of darker
value here and there. I do always see where I exactly
want to add the colors. You see I just take my brush. Observe where it is
a good idea to add the colors and then I would
start adding these lines. That is how I absorb and
that is how I check. That is my checkpoint
for myself. But you might have some
other way to do it. This is one of the ways
which you can explore to your lines are
small, small details. First going in and around it, judging it, and then
adding the colors. I would just make the
line bit more longer. Now, as you can see, this is the board and
we have a small line which is some any
longer afford or any small long would pat
you can usually see. And then I need to
even attach it to the middle area or
do what's basically the side middle
area of the boat. Once this is done, I would go ahead and add some more colors
onto the boat area. This looks really white and I don't want it to look so white. Some of the areas I'm
filling up as you also find some of the
areas I would leave it. That's also up to you, which you want to fill, which you want to leave. Use your blending brush
pretty often in these cases. So blending brush
really works well. You can leave out
a lot of space. I'm using my size six brush. This is a brush which
is my go-to brush. All of us have our
favorite brushes. You might also
have one of yours. This is mine. It has got a very nice
tip and I have been using it pretty often form many
of my other paintings. I do not need to
choose any brush. This works for it and I can still have
the broader strokes, the lighter strokes,
everything put together. I can have it here itself. I am adding some
small, small lines. If you can see wildlife go
towards the bottom area, I wouldn't make it more thinner compared to what
you absolve right now. Let's have another
side look of it. I always like to
change the angles to understand the painting
in a better way. I have taken a more
saturated value of my paint on my brush. And then I started adding
it onto the water area. Once I have added this
onto the water area, you can see how the colors
are changing the value. Some of the areas are darker, some of the areas are lighter. How the whole of the
painting look good together. That's a great way to depict anything using one
single column. You don't need to think about
what color you are using. You can choose any color of your choice and produce a result that is swimming thing that
is magnificent, I should say. Okay. I didn't know one more layer of my greens onto the horizon line. Yes. I think this is it. I am not going to make
any more changes or any further changes to it and
then let the paper dry off. Once the paper is dry it off, I would go ahead and remove the tape pattern angle and have a final look
at the painting. I would go ahead and keep
adding some more colors and few of the areas I
sometimes get missed. By the way, we add colors. How the whole of the paper tones from simple WIP
two are beautiful. Shade or many shades of colors. And start showing so much more, just like nature or portrait or whatever
you want to depict. Everything can be shown so well on a single piece of paper. More of, you can say reflection. Now, handing the reflection
is very important to show how realistic it is. So when you are painting water, if you do not add reflection, it just shows that you are not so sure of
how to paint water. Yeah, it might be something that I would hold these like you all to understand before going ahead with any of
your paintings, water reflections, something that each
one of you must learn. And it is so beautiful, beautiful, long aspect
in watercolors. Once you move water or
how to paint water, I can't tell you what
world opens up for you. It's a different
world altogether. And it has caught separate
randomness of its own. Letting everything dry off, as I did tell you, I always, always remove the tape
at an angle to make sure that you're also removing
the tape at an angle. After all the hard
work you have done, I don't want you guys to just make any
mistakes at this stage. Hokey, fine. That's it. We do tomorrow again.
17. Project 7 Color Spotlight Paynes Grey: Have a look at the color. It is paint scraped
from Magellan machine called the colors
are PB 15 is 23, which is basically
blue color pea B19. Let Pb K7. These aren't those three different pigments
that they have used formed from making
this whole column? Yes. So you can get all
the information there and the lesser the pigments, the better it is I
will always feed. And you will also get to know the sum as in when you
progress in your journey. Yes, it's very interesting
when you start playing your color and more pigment Stan has been added
in our color, the more difficult it is to
understand what would be the outcome when you practically mix it
with another color. Whereas if it is a
single pigment color, it becomes pretty easy for anyone to understand
the outcome. You will not get much of
muddy mixes in that case. Whereas if you have
lot of pigments, there are chances of getting
more of muddy mixes. So keep all of this
in mind and then you can go ahead and select
your pigments accordingly. I'm adding some Payne's gray. If you observe my
colors to flow, they don't flow at
all and this is what I have observed and
medulla machine go that there most of the colors
don't have a great flow and it is amazing if you
want to paint any kind. I must say clouds or any
other kind of painting where you want more
control on your colors. This one is best suited for it. You will observe
that I have to use my brush to make my colors look. Whereas when we were working
with our Winsor and Newton, you knew how difficult
it was to control the color they use
to move so fast across the wet surface. So you can select your colors according
to these experiments. And that's why I
have been stressing so much about the
color spotlight. Spotlight actually gives you
so much of an opportunity to understand the color better and then only move ahead
with the painting. It also helps you to get an idea about
how dark your mixes, how like your mixes are, how you can walk
around with if you see how much water
I keep adding to my painting or this
particular process and still the colors
don't flow much. It's a great way, I must
say if you are working with these kind of colors, it becomes really easy. Then you start off because you can tactically
control the colors very quickly and it becomes
really good in that case. Once this part is done, I would ask you to go ahead
and make a few sheets. Now, again, we would go from darker value to
the lighter value. You will also note that
most of my paintings, what we have done is from Dr.
value to the lighter value. That's how we go about it. There is not much of difficulty that I have faced in this whole
process, I must say. And then add some water and
make those second block. You see the pure brush add some water and make the
third dog dip your brush, add some water and
make the fourth block. That's how I have been
walking around and CDC, that's one of the best ways where I have also
achieved when you have to make different values
of any particular column. Again, this is of course a sketchbook exercise and unloved doing
sketchbook exercises. This is the last painting
that we're going to do. It's going to be a bit difficult compared to
all the other paintings. But believe me, there
is so much to learn. We are even going to
actually understand how we can fix our mistakes. Do not try to skip
this one as this one, there is so much of
effort which has gone into Word and dump. You will understand
how beautifully the whole painting
will turn out. So we along with me and I'm pretty sure about
it that this one is going to be really,
really rewarding. And the shadows, etc, everything put together
is something that I can fall in love with when
there is winter season. Winter paintings are one of my favorites and I
guess this one I could not just ignore and not
include in the whole series. I guess. I'll finally you
have the whole of the different sets of values
which you can observe. And let's see how it turns
out for the whole painting.
18. Project 7 Paynes Grey: We are onto our last painting, and this is one of my favorite paintings
from this 70 Series. I'm going ahead with
the paints gray, and this was the color from
Magellan Mission Gold. More about the resulting given
in the current spotlight. So you can go ahead and
check it out from there. In the meanwhile, I can just
check with the disease of a nice beautiful blue kind
of a shade.com follow, which I always like. I have taken a very light
mixture of wet and I am adding flat wash right now. As I go to what's
the bottom area? The horizon, I would make
it more and more lighter. Just keep adding
more and more water and you will see the
color is coming up. There's hardly any
colored though. It's more of water that we add. Very less color
which flows through. So overall, I think
this looks fine. Then you have a look at
it and then just stop. Let us understand how to add the darker values and how the color flows
towards the bottom media, you need to just move
around a bit with your followers are on the paper. So that way you
will get the exact, The Shades which you need for
this particular sky area. I'm going with darker value
towards the top and with lighter value towards
the bottom media as I've already told you. But then now I have tried to control the colors
with my flat brush. From now on, I will not do that. I will let my followers float. I would allow the colors of
darker value to move around. That's one of the reasons I'm
adding more and more water. This is really important
and I have tried to include this part during the
last few sessions. You have seen that even in
the last particular day, unless you are seeing
it into the state, as I want you to learn
that water will do with shop every time we are not
here to control the water. Let it flow. Let the water flow and let your pigments
flow along with it, the better your pigments
flow along with your bot, water that you
have on the paper, the better would
be your outcome. It's a very, very simple
process of flowing, but you have to let it flow just as your creativity flows. Let your paints, pigments,
everything flow. When you are working
with watercolors, you see how beautifully the
colors are flowing towards the bottom medium and how
you can not move the water. I didn't take my paper
a bit towards the top. And that's one of the reasons the colors contained
towards the top ATM. Or I can again move around my
paper has I want to do it. You can CDC keep on
doing it forever. But at one time you really need to stop
and understand where exactly you have to
stop so that you can get a perfect outcome of
exactly what is required. That is a lot of
movements and that is lot of colors
that can be created. I have switched onto
a round brush now, either at besides
six or size eight, whatever is suitable for you, go ahead and use that. I am creating some more in
darker clouds over here. And it's just brush
movement from left to right and
from right to left, switching onto my flat brush while I go towards
the bottom medium. And then I would leave
this paper to dry off. Like your paper dry off
when exactly required. You already know all the
traits of paints gray. It's one of my own
favorite go-to colors. You can do it with paints gray, you can do it with him, Nicole. Those are the two
alternative colors that I can suggest you every paint company will
have a different mean. Every particular column, supposedly image it'll
mission goal has some instead of pigments
that they're using for Payne's gray and other company will have a separate
set that they would use for it or else
they might be using those seem one part in a different ratio with
the binder, et cetera. Hence, there will be
some kind of difference when you pick paints gray
of two different companies. I have tried paint scraped from scenario or as well as from
Mitchell machine gold. They both are really different. As I feel that there
is an underlying blue, which I always get with the paints gray of
Mozilla machine goal. Whereas I do not
get that kind of blue when I'm working with
paint scraped from Sennelier. Hence, all of these small, small aspects of
watercolor can CDC play a lot of different stuff
in your watercolor journey? You keep understanding your
colors in a better way. And seriously, it would be very, very rewarding once you are more experienced and
once you want to go ahead and experiment more and more with these scholars,
pigments, etcetera. It's always a good understanding or it's always a
good way to go about understanding your pigments
rather than only just blindly going ahead and
purchasing any kind of colors. Pigments will let you know
what kind of different. Hello, stat has been useful. What kind of different colors
that you can expect out of this particular tomb
of colors once you apply it on the
paper, like my green. But you can say that
supports string. It had so many different
segments that have been used. Whereas when we
were working with perylene maroon and
initially with Taylor green, you can see very less
number of pigments. I mean, it's a single
pigment color. And that's what makes all
this journey and all of this, some watercolor, more technical, as well as some more pleasing to the eyes when
you exactly know what you are using for
your painting. Okay? If you see now, this is more about the
control over your brush. The more you can understand
your brush better. Better would be your
branches and the better would be your
trees that you can paint. This is something which I
have understood over time. You need to lay your
hand flat on your paper and then start adding these
kind of small, small lines. If you try to lift your
hand and then draw these, you will not be in a
position to do it. Whereas the way I place my
hand and then try to paint it, it is a very easy
process of doing. I would be adding
some dry branches. Now, it's the winter
season and we really can't miss the
beauty of winters. Hence, this was one of the projects which
came to my mind. Though there is some
mistake that I did in this. And I would even ask you to understand how to fix
these kinds of mistakes. I did not paint anything
in my background. It was pretty intentional
while I did it. As I have not a person who will paint or miss out on
these backgrounds. But yes, over time
sometimes what happens is that a painting is being
done from your imagination. It's going about it. And somewhere in the middle
you get to realize that, Oh, I just needed something
in the background, but how do I do it at
this point in time? We'll explore my
painting altogether, or will it be in a
position to do it? I can tell you that
either you can watch this video and then
go ahead and paint for us. If you are painting
along with me, then you will do
that mistake and know exactly how to
fix that mistake. This is mainly a tutorial where you get to see your hand
control over your brush, as well as I will help
you to mix your fix any of your mistakes that you make in your
watercolor painting, keeping it close
with each other. Those are the three
start I wanted to paint. During the winter season, I would go ahead and make the
tree trunk more products. And while a go-to puts the top, I would branch it as well
as make it more thing on. This process is pretty tedious and it would take some
good amount of time. But believe me, this
is a great process. The way you keep
adding the branches, the way you develop
your patient's level. And this is something that would help you seal really far. I have known this
overtime that the more you paint three branches
or these kinds of strokes, it would practically
leave you with so much more time to understand what exactly and
how exactly you should paint. How exactly you should
go ahead and work about your branches or trees or
anything off your choice, as well as other subjects that you usually don't like to paint. This is one of the exercises to develop
your muscle memory. I mean, people
might be wondering, how can this be one big sizes if you develop that
muscle memory. But I have done it from my own experience
and I can tell you that. Before we go into that, let's just paint a few of the areas with the
same water that we use to equal of all the
extra faints from our brushes. And then just add these
kinds of thin, thin lines. I'm using my size four or size six silver black
velvet brush to do it. There is no problem in which you can decide what
brushes you want to use. It absolutely depends on
the kind of paper that he was in some off you might like to actually go ahead hand pane this one on
a biggest size paper. I would leave that up to you and that is absolutely
your choice. We are right now painting
our shadows now I wanted to do the
shadows on wet paper, but it doesn't need to
be really, really wet. If it is wet, then you will not get
these kinds of lines. Kid has to be damped, which means that we will
only apply hard damp brush on the paper and then
start adding these lines. This is a bit tricky
and that's one of the reasons this
particular lessons I have tried to place the last of the series,
seven days series. I'm in love with the
seven-day series. It is quick, easy
as well as it gives you so much more time to keep working and you will
feel so much more motivated to work and
within seven days. So a quick videos, you will just finish it off. It's something that can keep up to your daily routine,
your dilution due, as well as it can really help you with
your creative progress. While you might think
that I did paint the shadows saw earlier compared to what I did add in
terms of the trees. But that's absolutely fine when you have the assignment
that you would be, I think the trees
okay to just in the shadows and they go
usually in all the directions. Your lightest falling from
somewhere towards the left. But they are falling
on top of the tree. That's one of the
reasons you can see some of the shadows towards the right and some of the shadows on the left
completely towards the left. So all of the shadows will
meet one single point, which is called as
a vanishing point. This managing point
concept is very important when you are
working in watercolors. This is one of the
important aspects of perspective which you
cannot practically miss. If you want to work around with watercolors and showing two-dimensional or
three-dimensional lumps. Subjects like your
different monuments or your different places
that you want to paint. All of this becomes really important at that point in time. And hence, this concept of vanishing point is
very important. Don't have an exact
class on perspective, but I'm pretty sure about that, that many of the other
teachers to have it on Skillshare and you can see seriously have a look at
it and understand more about your perspective
from that. And how you can add more depth into your painting through
these perspective. You're painting the
lie flat if you are not very well-versed to a width, the kind of perspective that you want to add
to your painting. Initially when you're starting
out as sort of problem. But as you progress some, this is one thing that
you need to know. Okay, going ahead
and adding some of my water on the background as I wanted to paint my bushes. Now, what happened is
that this was something which I wanted to add
before painting my trees, but I started off with my trees. Then how do we go about
adding it for the background? You can add some of your clean
water in the background. And then idea at least
that's one way to do it and then blend
it with the help of your blending
brush or any plant brush exactly the way
I'm doing right now. As well as on the
left-hand side, you need to do the same thing. But what do you do
in the middle part? Yeah. I'm trying to add some clean water again
in few of the areas with a very light hand so
that I do not take off the colors which I have
already applied on the trees. Then go for it to add the
beauty of the background. Bushes. Now, this is the part which we are drawing wet on wet again, which means that we will get
some blooms and it would not be a very defined the
colors that we see at the end. Those are the aspects. Small, small points. So you can keep in mind,
It's pretty simple. It's just that you will not find clearly some of
the branches and trees. What you can do once
this paper is dry, we have to go over a few of the areas again and paint
those trees and branches. That's the only thing. And the CDC this way you can easily rectify any of your
mistakes that you have done. This is one of the
simplest ways I must say there might be many
other ways you would, you would have discovered
or you are discovering now, or you can discover
even a near future. So go ahead and share back
in the discussion section, I would really like to
hear your from what, what do you think has
been your challenge and how you did overcome it? That's one of the very
interesting aspects. I will just go ahead, let the paper dry off and then start adding these
multiple lines. You are having a very close
look at how I am doing it. You can even again, have closed loop at how these
branches are being done. It's simple, easy,
interesting as well as it would
take way less time. I did change two or
more thinner brush. Now either you can
take your online. This are any of the
other is called online no brush,
Princeton liner brush, whatever liner brushes available with your script liner brush, then there are the
normal liner brushes. Everything is good
to go for this. You can even use a thinner
brush like et cetera, which would give you
some thinner lines. Yeah, that's that's it. Then Let's keep painting these few of the areas
in a better way. Once about this done then
we have to see how we complete this
painting altogether there last four to five
minutes actually left. It's not much just the details that we need to keep adding and making the foregrounds more darker compared
to background. That's very important
to understand. Whenever you are painting
the foregrounds. Foregrounds needs to
be darker compared to the background or the difference of values that you usually show for objects which
are unmuted to you. Can't be done now well, in case you are not
adding darker values for the fulcrum pieces that
I think that's really, really important
when you go ahead and do this part
of the painting. Adding some more lines as
you observe mean Boeing, if you can even see that. It's a very, very simple way
of addition of these lines. Again, it's the tree trunk. Tree trunk will remain more broader and then while
it goes towards the top, we have to branch it out. Yeah. Ranching goes in a
pretty simple way. Once the branching is done, then I don't think that there's much that you
need to think of. Comey to which the
top few branches, again, you should not. So many branches that pool of this area just becomes
the good chosen few branches that you need
to add and leave it like 234 branches so that the
background can be seen well, the foregrounds can be seen
where everything should be in a position
that you are happy. Who see this painting
in totality? Always do step back. Once you are painting a
few of the path step back, relax and then again,
start painting. Don't pick necessary coffee
breaks wherever possible. I always say this
because that really helped me during my journey to step back, relax and understand. Is there anything
else that you need to do in a particular painting
and then go ahead and paint. Yeah, I think that's a very good way of working
through your watercolors. The more you can
relax and do it, Though, better would
be our outcome. A very thing that you have
to do everything at one go. If you can do it
well and good if you can't do it now,
so perfectly fine. Do not try to compare your journey and
somebody else's journey. I can tell you each
one of us special. Each one of you are
working towards your goal. You are working for the process. Please, please, please
do not compare the Chinese keep working
for the process. I can tell you. You all will emerge as winners. Enjoy, enjoy the randomness, soft watercolors
enjoy everything that you think about a
particular medium. Or you have to enjoy a particular medium to practically get the
best out of it. I must say continue, continue, continue working with
this medium magnesium New World freely find it so amazing as you progress
more than this journey, it would be something that you would really
feel proud of. I guess, one or two lines. And then this is the final
painting of the whole series. When you remove the
tape pattern angle, you can see how beautiful both
paintings have turned up. I know different pages
which I have painted. When I was organizing
the lessons. I wanted to organize in an increasing order
of difficulty. That's one of the reasons
this one is done at the end compared to all the others which
are done initially. Yes, I guess that's
it that I'm using the brush to keep
detailing bronchus? Completely bored with it. Well, let's remove the tape now on lead this
way for dry off. Yeah. The next video I would go
ahead and share two to three different various or you can
say various photographs. And you can either convert
it into monochrome, are painted with
your own colors, whatever you think
is best for you. Let me know how that
experiment goes with you. It's always a good idea to work on any medium on your own
once you have a hang of it, I get some that would be
a great way to start. And that's our final look at how this age of our
sketchbook looks. And I am so happy
with both of them. They lie flat on. Both of them. Look so amazing.
Dhritikana Nath, Watercolor Artist and Instructor
1.052
6 Std. 36 Min.
