7 Days of Vitamin Sea: A Watercolor Class on Painting Waves & Oceans

1. About the Class : Most of us would agree that just by being near to the sea order around this brushing waves gives us an immense sense of peace, isn't it? Hey guys, I welcome you all to another Skillshare class, which is curated from my own travel experience to this beautiful beaches and oceans. In case if you are joining me for the first time and don't know much about me. I'm a watercolor artist and the dog mom based out of India. And you could find all my watercolor artworks displayed on my Instagram page at the rate of Neil's artsy underscore cove. I have been painting with watercolors for almost 2.5 years. And painting oceans and seas is little challenging when it comes to painting with watercolors. But when combined with the right approach and techniques, this subject can easily be painted with watercolors. In this class, we will be learning seven different types of cityscapes in seventies. And each day we will be exploring a different approach to being this beautiful seven see landscapes all inspired from my travel vacation. Before we jump start our class project, I have included a section wherein I discussed about the overall color theme of the class and the importance of swatches. One very important foundational skill in watercolors is understanding your brush and the strokes it can make. This class I have demonstrated very important brushstroke exercises that you can do with the help of your round brush. The practice control, which will enable you to create those waves and ripples in our oceans and see painting just perfectly. After this section, we directly start out with the technique section each day as we progress into our class, wherein I'll be talking in detail about the techniques that we are going to use along with the color palette for each and every class project. As we move further ahead into our class projects, the complexity of this projects will keep increasing day by day. There are in each day we will study a reference learned to break it down into simplified forms and incorporate the basic watercolor techniques in creating the same. This class is designed to suit artists at all levels. But if you're someone who has just started out with watercolors and are not much aware of the basic watercolor techniques. I would request you to go take a look at my Skillshare class, watercolors, unsafe cityscapes where all the basic watercolor techniques that are required for a beginner to get started with the class projects is described in great detail. I'm pretty confident that by the end of the seventies you will be able to paint any seascape from any reference with the techniques demonstrated in this class. So come join me and let's start our journey of painting this beautiful cityscapes together. 2. List of Supplies: Before we start with that class projects, I want to quickly walk you through with all the list of materials or supplies that we are going to need for creating our projects. The very first supply that we are going to be taking a look at is our watercolor paper. Now, I will be using your Saunders Waterford classic watercolor paper, which is a 100% cotton mold made acid free and of archive will create now this is a cold press watercolor paper which is 300 GSM and thickness. Now the size of the paper is approximately r. I'll just measure and measure it up for you guys. So this will be around 26 centimeter into 18 centimeter. Now this is the perfect size of what is written there as 17 to ten inch, roughly an A4 size, you could say, but feel free to use whatever size of paper that you are comfortable with. It's absolutely not necessary that you need to go with Saunders Waterford paper only use any paper which is at least a 100% cotton cold press. Now, let me give you an up-close view of the texture of this paper. Now this is the texture of this Saunders paper. Now, here is the texture that just for comparative analysis, I'm just showing you here, this is how the arches texture looks like of the paper. I love using both of these papers and they are really good when it comes to having the paper wet for a longer period of time. So this is how the paintings up, Your Honor, cold press watercolor paper in case if you are joining for the first time and you are an absolute beginner in watercolors. This is very important, you know, to use watercolor paper, which is a 100% cotton cold pressed and is of at least 300 GSM and thickness. Now let's take a look at the brushes that we are going to need for creating our projects. I have couple of round brushes with me. So these are from silver black velvet CDs, which is size number 1282. Now apart from this, I'll be also using this hake brush. This is also from Silver Atelier series. Now, this is made up of Gore-Tex and is really very soft and flexible brush. Apart from this hake brush, my silver black velvet round brushes are actually a blend of synthetic and natural hair brushes. So you get the most out of this brushes when it comes to watercolor painting. Now, your order, some other synthetic brushes. These are liner brushes from an Indian local brand known as stationary. And they love using them because they are really good when it comes to detailing. Now, there are other liner brushes with me. These are synthetic brushes from Princeton as well. You just need to choose any liner brushes from any brand that you have. Let me now show you a demonstration of why we should at least have a blend of synthetic and natural airbrush and synthetic brush when it comes to watercolor paintings, we will be doing our test, which will show water-holding capacity in both of these brushes. Now, I have taken same size of the brush. The only difference is that the one is a natural hair brush or a blended natural air brush, and the other is a synthetic brush. Now I'm going and dipping the brush and water and I'm just placing it on my desk tissue towel. I'll grab my synthetic hair brush and I'll do the same with it. Now. I'm just pressing the tip onto the tissue paper to show you though, water holding capacity of this brushes. I'll wait for a few more seconds and then we will see what the results are. As you can see, this synthetic brush from Princeton has very limited or less water holding capacity as compared to the silver black velvet brush. And hence, this is the reason why we use a synthetic brush for our, The dealings in watercolors, whereas this natural or the blended hair brushes we use for the mean background washes for watercolors. The next very important material is our paints. I'll be using BWC colors from Shanahan Art. Now, this is my color chart or the swatch chart for this class, which consists of mainly blues and greens. I have listed down the names of the colors along with their pigment information. Do not worry, I'll be showing you in details in the next section about this color chart where we will be including some more colors. Now, in case if you are not owning this brand of color, do not worry. You can choose yard colors based on the pigment information that I have provided in there. Also have your white gouache or white watercolor paint very close by to you before we begin starting class projects because this will be very necessary in case if you do not have masking fluid. To do the whiter areas of the wider portions of the sea waves are default. In case if you are feeling that this blues and greens, you do not have the exact shades. But if you have with you this art philosophy go Currents palette, you can see most of the colors that has watched out closely resembling to each other. So you can go ahead and use your art philosophy, go Currents palette, and include some of the earth tones with it, such as raw sienna, burnt sienna, raw umber, CPR, any, you know, all those warm tones along with their Currents palette. So that would very much about your color palette. Next, you can use this palette knife. Now this is totally optional. I'll be showing you in the later sections how we can put to use this palette knife. Now that was all about the colors. Now let's take a look at the other materials that would be required. Next, coming to up alerts. Now your I'll be showing you different kinds of colors. This one is a plastic palette which has alert airtight lid. Now you could either use this kind of parlors which has well-defined wells, are ceramic palettes as well, the wild ones, or even a ceramic plate. The choices up to you, what you have available with you. Next will be our tissue papers grabbed couple of tissue papers are towels handy with you. And then we will be using in some of our projects masking fluid. I will be also showing you other alternatives of this masking fluid. You can go ahead and use your white gouache or white watercolor paint as an alternative to your masking fluid. That's all about it. And yes, how can I miss this? The very important thing, you also need masking tape in case if you weren't white, crisp edges to your paintings. If you are using handmade papers, this masking tape might be little harsh on your papers. So I would advise you to use washi tapes which are gentler on the handmade people's. Last but not the least, you would be needing two jars of clean water, one for washing your paint brushes and the other to lay a flat wash on your paper. That's all about the supplies that we are going to require for our class projects. So grab them and join me in the next lesson. 3. Color Theme of Class: I have the color chart where it has watched out all my blues greens along with my od, warm tone colors. I will be adding this color chart in the projects and resources section. So you could go take a look in there because this chart has all the color names along with their pigment information. The main objective of swatching before attempting a project or row reference that you want to paint is to understand your colors, whether they are transparent or opaque, granulating, staining or non standing colors, all this unit play an important role in the final outcome of the painting. Hens, do this step, grab all your blues greens and your OD, warm tone colors that you have and swatch them out because watching will help you to understand your tonal values of your colors. Also, if the color is transparent, granulating are staining as we further take on each project each day, I will be also discussing the color palette of that particular project. 4. Brush Control Exercise: Outcome of a good painting, maybe a result of us and our artistic values or the course that we have. But even our brushstrokes can make a lot of difference to a painting, can make it look even interesting. In this glass lesson, we are going to learn about three most basic watercolor brushstroke exercises that will help you to master your game of brushstrokes in your paintings. For this exercise, all you need is your round brushes of varying sizes. You can also repeat the same exercise using flat brushes or any other shape of brushes. But I would recommend you first to practice with round brushes of varying sizes, ranging from size one or 0 to as big brushes as you can have. And you would need watercolor paper. Now the watercolor paper can be of lesser GSM also just to practice or you can take out a normal printing sheet as well to practice it. Now, here I'm using a paper which is one AD GSM and thickness. And it is smooth paper. This is not cold press paper, but rather I would say it is hot press paper. Let's begin our exercise. I am going to first go ahead with my brush size number two, if you want, you can repeat the same process using your size 0 or size one brush as well. Now, I'm going to make straight lines using just the tip of my brush. Now when doing so, it makes sure that you take the help of your little finger and use it as a support. Just lightly press down on the tip of the brush and move it along as you are creating this straight line, the amount of pressure that you apply to your brush while pressing against the paper will influence the type and the size of your watercolor strokes. If you press down hard, it will leave big and wider strokes. Now if you gently and lightly press the tip of your brush, that will live thinner strokes, figuring out how to use the right amount of pressure is crucial. A single brush can give you many different varieties of brushstrokes and you can also learn how to play with it. Next comes the placement of your hand on the brush. Holding the brush close to the variable gives you more control when creating fine and detailed strokes like we just did. Now when you move your hand further away from the bristles or the fair use, you can create more loose strokes. Now I'm repeating the same exercise using my size number for silver black velvet brush. And you can see I am applying though brushstrokes on the paper by varying the pressure on the brush when practicing these straight lines, the thing that you must known always maintain good control of your brushstrokes and try to keep your line tetanus and distance from each other as consistent as you can. I'm going to repeat the same exercise using my size number eight silver black velvet brush. Now, always remember the amount of water that you have in your paint mix also depends how your brushstrokes will appear on the paper. So use the right consistency of paint, do not use do diluted or too watery paint. So in this regard, it is always a good habit and a practice that when creating paint mixtures, always have a separate piece of scrap paper or any used paper by your side to just test out the paint mixture before you go on and start painting on your final painting. The next exercises, take ten, pick and thin. This exercise is great for practicing control with the pressure and release. The goal of this particular exercise is to evil. To control the change of pressure. Start off with a light touch, drag a thin line and gradually pushed down or press down to the widest you can go and then pull it back up gently. Now next, what I'm going to do is I'm going to press down my brush fully into the paper and then release the pressure by gently lifting the brush up lightly there I get a thin stroke. Repeat the same process. And you can create as many chains like this as possible. Now, doing this exercise, keep in mind whether the shapes, our ADA consistent size. And whether you are following a consistent rhythm, you need to practice it in order to get the perfect rhythm into it. So keep practicing with various kinds or sizes of brushes and you will be perfectly confident in creating this brushstrokes perfectly the same kind of application we will be doing when painting the waves. When you press it down lightly and create a bulge, you are creating pressure on the bulged areas so you get a thicker line. Same thing I'll be trying to do for this wave like structure. I'm going and creating a c out here. This is an inverted c. Now the same C you can see towards the belly of the sea, my brushstrokes are widen. This is because I have pressed down my brush over that area, thereby creating a thicker stroke. Now I'm going to repeat the same thick and thin exercise using size number four brush. The ultimate fundamental, basics is the same pin and then take, and then again, this is what we are trying to create out your and trying to find a rhythm and comfort in the brushes that we have. Once I have got comfortable with the size number four brush now I will try creating the same and replicate wave-like patterns. What I'm trying to do is I'm trying to create interlocking waves by just reading the pressure where I am pressing it lightly, I'm getting thinner lines where I need to apply and get a thicker line. I'm going ahead and creating more pressure. So in this way you get into locked ribs. I'm going to repeat the very same exercise using again my size number eight brush. Now, doing this step or exercise is very helpful for beginners because when starting out with watercolor painting, we may not have all kinds of various kind of brushes. So to make the most out of the brushes that we have, you can find your own comfort with the brushes that you already have existing with you. And try to create this balance of thin and thick lines, thereby perfecting your hand muscle memory to create this strokes whenever it is needed in a painting. Next, I'm going to show you a little exercise where it is known as dab and pull. You learn to control a slight turn with the brush as you press are lifted from the a paper. You can see I'm using the full tip of my brush, starting from the tip. I'm putting pressing down the brush and then releasing it lightly so you get a thinner mark over there. Now you're, I'm trying to show you in the form of floaters. The main idea is to see whether you have grip over this and control to get uniform petals of the flower. Now using the very same method, we will find this application when painting the wave, see the broader strokes that I have got because I'm using my size number 12 brush now. I'll vary the pressure that I can make on the brush and create thinner and thicker strokes, creating this beautiful wavelike form. Also remember the placement of your brush in your hand plays a very vital role. When you hold the brush closer towards the variable, you are in a more controlled position, thereby creating this controlled strokes. And when you hold it away from the ferrule more towards the edge of the handle, you have more loose drugs. Now repeat the same exercise with the vertical lines as well. This is the most difficult tasks and most difficult exercise because it takes some time and practice to perfect the street lanes. You create consistent straight lines of same shape. It requires really good effort and practice. But this is of vital importance because when painting a seascape, especially with sale boards, if you create some verbally patterns of sales or masked in a board, it will be true and raid the entire look of the painting may get just boiled with those wobbly lines that you create. It is very important that you try to create this steps with the help of your rigger brushes or any liner brushes. And see whether you are comfortable doing the same. Find your own comfort. Whether it is the rigger brush that you are more confident in painting this vertical lines, or it is the detailing round brush of size number one or 0 that you'll feel more confident is a demo of what I was talking about, the wobbly lines that ruin your painting. So in order to avoid this kind, you need to have perfect control on the brush that you are using to get this perfect straight lines whenever you are painting supporting elements for any painting. Now repeat the same exercise with different sizes of brushes. I'm going to use the same size number four pillars that we have used to create the brushstrokes for the earlier thick and thin lines and the horizontal straight lines. I hope this was helpful. The main point is to be creative with the way you use your brush. So make the most out of it. That is all for the brushes that we are going to use. Next, we are going to kick-start our main techniques section for our project. 5. Effect Of Water Temperature On Watercolor Paintings: We are going to conduct a little experiment. I have grabbed my cold water bottle and I'm going to pull out some of that cold water into my this jar. And we will be seeing how our watercolor paints. Watercolor, paper draft too cold water. When I say cold water, I mean ice cold water guys, not your regular tap water. Especially if you are in regions like India where someone has already set in water temperature of your tab is going to go above the normal. Do not use that kind of water. Use refrigerated water. Any water which you have kept in your refrigerator just for the time being used that and lay a flat wash of water. Using this ice cold water, I have free wetted my paper. Now I'm going to go ahead and squeeze out the colors from my tubes and we're going to start working on it. Now to reactivate my paint, I have used the same ice cold water and you can feel the difference literally, you know, the colors are not flowing on the paper as it always does when you go to your paper with a flat wash within water. And the colors are not able to move that or flow freely on the people. I think I'm pretty much done with this flat wash that I wanted. So this is a gradient look that I wanted to achieve. Towards me. I have created that dark patch as you can see. And as we went upwards towards the horizon, I have started to fade it out. Now. I'm letting this repulse other waves and you can see how weirdly the paint is reacting rate. The paint is not at all flowing, are spreading on the paper as it should. Trying to create and code it is just like a blot which is trying to sit on the paper because I have used the ice cold water to reactivate my paint that I squeezed out fresh from the tube. You can see, I think I am getting to know why this is happening. I don't want to come to a conclusion right away. I want you guys to see for yourself, what is the difference that I am noticing here? Okay? If you have already caught it In good, but if you haven't, if big node has joined and you are not able to really make the difference, Don't worry, I'll be comparing this process with that of doing the same with normal water, that is a normal, regular temperature of water. I would suggest you guys to also to work this exercise so that you know and feel the difference literally, you know, this is very important. Once you try out and know the difference, only then you can really understand and come up with your own exercises or ideas on your own, you know, so try this exercise out and you are going to enjoy it. I'm just going in and making the crest of the waves a little darker than the troughs. So when I mean Chris, I mean the top part of the V form when it is bending down, that is known as the trough. Now there is a little physics behind it. The crest of the waves appear darker, whereas the trough of your lighter, this is because the refraction of light that is happening from the peaks and the valleys. So when the light is falling near or when it strikes near the crest of the waves, it is more focused together and hence it creates a bright spot and the light that strikes near the value or the trough of the waves are dispersed. When the light gets dispersed, it creates an illusion that it is lighter. It goes and creates this brighter spot. That's why I'm using the lifting technique to lift off paint from that so that it seems. That area is the lightest. Now, the same exercise we are going to repeat using normal water. As the very first step. I'm going ahead and coating my paper with clean coat of water. This is known as the flat wash method. The water that I'm using here is room temperature water, that is the normal water that I have got from the tap. Now if you are located in different regions where the temperature conditions may vary, your temperature of normal water might be different than mine. So that's why in choosing to say that I have gone ahead and use normal tap water, I'm diluting the paint with the same normal tap water. And the instant yard brush loaded with the paint will touch your paper surface, you will instantly feel the difference. The paint is nice and smoothly flowing across the paper. You are not facing a friction or a hindrance that the paint is not flowing on this wet surface. The paint is nice and beautifully laddering across the paper. I'm going to apply the same principle of the prospective. The side which is closer towards me. I'm going ahead and making it more darker and fading it out to the top surface, which is closer to my horizon line because that is at a distance from us. So the wave, which is the part of the scene which is closer towards am going and darkening it out. Okay. So this is I have followed like you can see if you are coming from top to bottom, that is the light to dark approach or if you are taking it from bottom to top, then it will be Dr. light approach. Now I'll be creating the waves or the Christian, the troughs are the ripples you could say. And now you can see how beautifully the color is quite nicely spreading out on this wet background. Now, the more control that I exert on this brushstrokes, the more sharp my waves look. Okay, so this is why the brush control in exercise that I had included previous to this lesson is very important for you to know what is the amount of control that you need to have on your brush. Also, the amount of water control that you need to have your my paint is not too watery as you can see if you layer though waves your width too watery paint it will start blending across the wet surface very badly and you will not able to and you will not be able to control it. I'll be going ahead and making this more readable shapes and forms. The crest of the refills will be darker, like discussed earlier. So I'll be going ahead and applying much more darker shade on this crest of the waves very shortly. Now at the very same time, I will be going ahead and creating the lighter portions of the troughs. So for that I'm resorting to lifting techniques. Lifting technique is nothing but gently removing the paint from your paper. So that is what is known as lifting. Your the lifting technique can only take place when your background is wet enough for the paint to come off the paper easily. As I'll be closing in towards the horizon. The top part, my waves will appear much thinner and longer because it is at a distance from us. So those waves will be much thinner. Now that we're done with our experimental study, let me explain you the difference. When you try to paint with ice cold water, what happens is your paper is already layered with a temperature of ice cold water which is below the normal temperature. It may be 531 or two degrees Celsius if you are using ice cold water. Now, what happens is your paint has a certain amount of gum arabic mixed into it. When you use cold water to reactivate it or try to lead this paint mix onto the paper surface, which is lead with cold water. The gum arabic somehow is still intact into the paint and is not letting the paint flows smoothly on the paper when it is coated with cold water. That's the reason that you can see how the paints we're reacting on the surface which was led with cold water. To think of it, you can create this exercise using three types of water. That is your ice cold water, normal water and hot water do not use to bubbling hot water because that 12 totally ruin your watercolor paper, as well as the brushes that you are using for the painting. 6. Techniques & Color Palette of Day 1: Welcome to day one technique section. Let's first take a look at the colors that we're going to need for creating our first-class project. For this class project, we are going to mainly stick with our blues. We are going to stick with one shade of blue for the sky, which you're, I'm using ultramarine blue. Now for the body of the sea, we are going to use a peacock blue color. Now, the main trick is you have to go and use a gradient wash. I'll be describing you how to do in the following just few steps. The next color that we would be using is indigo to create the darker ripples. These are the pigment numbers for the three colors that we have used here. So go ahead and pick your colors based on this pigment information. Kick-starting with our techniques section. First, we are going to paint the sky for which I am going with wet-on-wet technique. For this guy, we will be going with gradient wash. Now, what do you mean by gradient wash? Gradient washes a flat wash technique where you lay one single color with different tonal intensities that is from lighter to darker or darker to lighter, thereby bringing out the transparency of that color as we move down across the paper. So this method is the mostly widely used method for painting skies. As you can see, I am going with horizontal strokes of my brush from darker to lighter. And as I'm moving down across the paper, I am not reloading my brush, but I'm making sure that my tonal intensities is reducing as moving close towards the horizon line. The horizon, the area above the horizon line should be the lightest part when it comes to painting skies. Now I'll be squeezing are some more of that peacock blue color to paint my ocean, the body of the ocean or the sea. I am going ahead with the reverse side now, I have started from the edge of the paper, darker tone and as I'm closing in towards the horizon line, I'm fading it out. For the sea. The closer you are to the paper, it will be more darker and as you are moving further away from you, it will be lighter. It is because of the prospective because my board though sky and sea area is dry, you could see that my C Area color was moving towards the sky. That's why I went ahead and cleaned it off using a wet brush. I'm really not happy with the color of the sea, so I think I will go ahead and let it one more time with the color. I'll start from the bottom. I'll go with the intense value of my color. That is the peacock blue colored with the same horizontal brushstrokes to and fro brushstrokes. I'll move up the horizon line, making sure that my bottom area is the darkest and as I'm closing in towards the horizon line, it is the lightest. In-between these steps, we will let the C to get dried-up little bit, but makes sure that it is not dried-up entirely. Prepared. A paint mix not too diluted for the reposts or the paint will start spreading uncontrollably when you start, you know, creating this repopulate forms onto your wet background of the Sea. Hence, it is very important that you exercise water control in your paint mix. You would have observed that I have created some broader brushstrokes just at the bottom of the paper. Now as I'm closing in towards the horizon line, my strokes are going thinner in tiller as I'm painting this sea waves or ripples in the sea. I hope you have taken the brush control exercise wherein I have shown you how just by varying the pressure that you exert on your brush, dip and the whole brush, you can create different kinds of brushstrokes with the help of my flat brush. Now, I'll be going ahead and lifting of the colors in between the broader ripples that I had just painted. This technique is almost the same technique. If we had done for effect of water temperature on watercolor paintings. I'm going ahead and repeating the same steps over again. Now you're, I'm trying to create the shadows and the light reflection that is coming on the wave. So the lighter area is the troughs and the darker areas will be our crest of the waves. Now, observe my brushstrokes that I'm creating to give damage into this waves. They are not flat, I'm trying to create it bulging or a swell in the waves and hence my strokes are little curved. As my paper is still wet, the colors are able to flow and move around. The colors are filled in-between the troughs. I'll go ahead and clean that area up again with the help of this damp flat brush that I have. Now if your paper has started to dry out, do not try to do this step because this will instead give you a very nasty hard edges if you're trying to remove the paint in right now. Now with the help of my liner brush, I'm going to go ahead and darken the crest of the waves along the direction that we had created the wave. So this will give depth to the waves and it will make it look that there is a swell Linda waves and they are moving along the direction of the wind. You're satisfied with your waves, you let it dry and now it's time to paint our smaller distance between this larger ripples. The ripples that you will be creating in-between the larger wave should be thinner than the rebuilds that you have painted. So make sure you use your liner or your detailer brush, whichever you are comfortable with, and create this strokes very nice and smoothly. Do not try to create straight lines. Go ahead and create some bulgy coves and outlines to this waves. Entering the smaller waves or ripples over again with the help of my liner brush so that you guys have a fair idea of what kind of strokes you need to make. These strokes can be totally random, just that you need to remember that they should not be flat, horizontal. There should be some curves and bulges in the waves because that's how the sea waves dance upon the sea, right? So that is what you need to take care of. Do not worry. This is just a practice exercise to get you warmed up with all the techniques that we are going to go ahead and use to create a main project along with the colors. Now, I hope once you have got accustomed and familiarized with all the techniques and the colors that we will be using for this class project. It will be easier for you and you will be much more confident when you are kick-starting the, the class project one. Now recapping though, techniques over again. For this guy, we went ahead with wet-on-wet technique. We follow the gradient wash using our ultramarine blue. You can use your French ultramarine, cobalt blue or civilian blue. Anything which is closer to that of P B29, which is the pigment number for the color. Now for the body of the CBI went with wet-on-dry technique. Now your mixture that you are transitioning from the bottom of the paper to the horizon lane going ahead from darker to lighter. Now the very same thing can be done on wet-on-wet technique. But you had seen what generally happens when you create board sky and your C with wet-on-wet technique, the colors start moving upwards and the horizon line, you might get some blooms are thread-like structures. The color starts moving into your red sky area. In order to avoid that, we have gone ahead and used wet-on-dry technique for our final project. Okay, now for the darker ripples, we have used our indigo. Now if you do not have indigo, you can go ahead and mix a little bit of a yard. Payne's gray or neutral tint or ivory black, anything into your shade of blue and turn it into a darker mix. Use that to create your darker shades of the Rubles. Now, in order to create that lighter looking part of the C in-between this broader waves, we have used the lifting technique. Now lifting technique is nothing but removing the paint from the red background. You cannot do this step if your paper has already dried up. To exercise controlled brushstrokes. I have already included a lesson previous to this class projects so that you'll get a better understanding of your brush that you are using and the amount of control and pressure that you must exert on your brushes to create proper defined controlled strokes. I hope you are pretty much clear and confident about the techniques that we are going to use for creating a class project. So without any further delay, let's quickly get into our project one. 7. Day 1: Ebb & Flow: Welcome to day one, and this is the reference that we're going to follow for our project. Now you can see, right, the C has this calm looking appearance with this reposts. The exact same thing which we have learned in the technique section. So let's get started with our first project. I have taped down my paper on all four sides using masking tape and with the help of my hake brush, which is isnumber, I am laying flat wash with water. Now do this step. Take your time and lay uniform flat wash of water on your paper so that your paper doesn't run out to be dry very soon. I will be using my same hake brush and try to create my paint mix. Make sure you are not adding any extra water because your hake brush already consists of water. Now observe my brush movement. I'm going to press down my brush, lift it up and go back. Repeat. In process two, went through from left to right side of my paper delay rich the horizon line. I'm going to repeat the exact same process, just that I will be going from top to bottom and again from bottom to top in a continuous manner. Just above the horizon line. I want my sky to look little faded out. So for that, what I have done is I washed my hake brush and dabbed it on tissue double, making sure to absorb all the excess amount of water that the hake brush can hold. And I went back again creating those to and fro strokes from left to right in creating this smooth, seamless gradient sky, which is transitioning from dark to lighter shade. Make sure when you are going with multiple layering, your paper should still be wet. You can see I have tilted my board downwards so that my colors are able to flow according to the brushstrokes against the gravity. Similarly, when you are coming from top to down, you can tilt your board slightly towards you so that the colors flow downwards according to the gravitational pull. It will lead the sky to get right. In the meantime, we will start working on our part. For that, I have chosen my color peacock blue now instead of peacock blue, you can go ahead and use your Prussian blue. I am going. And using wet-on-dry technique as moving closer to the horizon layer, I am diluting the colors, meaning I am decreasing the tonal strength from the darker to the lighter shade possible because near the horizon it is at a distance from us, and hence the lighter shade. I'm going to go ahead and lair the sea with another layer of my paint mixture of peacock blue. And I will transition it again from darker to lighter as I'm approaching towards the horizon. As I'm approaching towards the horizon, I realized that my paper is still wet and hence I have the chance to lift out anti-market the horizon lead more prominently. When you feel that your Skype part has dried out completely. Do not try to go ahead and do this lifting technique which I just shorter marketed rather, let it be as such and try to work on your theme, making the part of the C closer to you more darker. I have switch to my brush size number eight from silver black velvet brush. And I'm creating diagonal wave-like farms for the repulse. We are working on the waves which are closer to us. Hence, as you can see, my brushstrokes over your are much broader. Now as we move closer towards the horizon line, you will be noticing that I will be going ahead with a much smaller strokes which will be interlocking with each other. The pressure that you apply on your brushes a lot will depend on whether you are getting this broader strokes and thinner lines. And all of this has been explained in the brush control exercise. So I hope you guys have taken it and you are carefully following what kind of brushstrokes I'm using your I am now starting out with ripples, whichever ready ten, exercise water control in your paint mix do not make your paint too watery or else you might have uncontrollable bleeds when doing this. Ripples. You do not want that. Hence, it is very important for you to exercise water control the amount of water that you are mixing in your paint and reactivating them. We are trying to paint all the ripples in the same direction as we had started with. That is, we are making the ripples go diagonally where the vanishing point or the converging line is out of our paper boundary. There are many ways this kind of water movement can be painted. In this instance, I am taking the help of lifting technique to create the lighter areas, whereas darkening the other areas to create the sense of depth. There is another way by which you can try and approach this painting. That way is little tasks. There you have to first draw a sketch wherein you clearly outline your shadows and the lighter areas of the waves that you are creating. And then go ahead and mask them out with the help of masking fluid. Once the masking fluid has dried, you could go ahead and create this gradient wash like we did for this painting. Once the gradient layer has dried out completely, you could take off or peel off the masking fluid from those areas and start with the detailing of the ripples of waves in you will meet those ripples more darker. And the gradient was that you just laid for the C would be your lighter background. I am feeling my paper has started to dry out. So what I have done is I took another damp brush and I went over the wave making sure that the area was wet before I went ahead and loaded the paint again on the top crest part of the wave, making them appear darker, as well as blending them smoothly into the background. Now I will be going ahead and doing the same for the rest of the waves images, even in the distant background. Bird cured brace in mind about the tonal value or the string that you are using, only the crust part of the wave, you will be using a darker shade or darker strength of your Prussian blue or indigo, whichever shade you have chosen to paint your REPL. For the distant waves which have to be thinner, you could switch towards detailing, brush, liner, rigger brush, anything which you are comfortable with. I'm comfortable with my silver black velvet size number eight brush because it has a sharp pointy tip. This ripples can also be done using help of this flat brush. So if you are comfortable painting this repulse with flat brush, you can go ahead and use flat brush. Wait for the repulse to get dried completely. Then start out with the detailing work with the help of rigor brush, RER, many liner brush. This small ripples I'm painting in-between the larger waves and the lighter areas. So the larger waves are basically the crest and the lighter areas are drafts. So I'm going ahead and painting this smaller waves creating small ripple shaped structures in-between this lighter parts, I'll do the same for the rest of the portion. And algaes darker and are outlined the waves like this week. My paper is drying out. I observe that the waves which were closer to us is becoming lighter. So I go ahead and with the help of my mini detailer brush, I create this darker shadows on top of this crest with bulging motion of my brush to indicate the bulge or the spell of the waves. I will go in and create some more thinner lines out there. Just below the horizon line. I'll be repeating the same step to indicate the bulge are the swell of the waves, even which are closer to the horizon line to indicate the sense of depth. Because the farther it is, generally more darker, it is. The waves. It will be darker since there is a shadow being cast in the lightest, not from that direction. The light is towards us from where we are viewing the scene. That is all we are done with the class project one, and now it's time to peel off our masking tape from all four sides. Do it at an angle and do it firmly and smoothly pressing down your paper or you just might rip off your paper. That is all for our day one project. I'll meet you again tomorrow with our D2. 8. Techniques & Color Palette of Day 2: Welcome to day two. Let's take a quick look at the colors that we will be requiring. The first color that I'm swatching out is my cobalt green, which you can make by mixing your turquoise blue along with your viridian. Next year, shadow green. Now you can mix your shadow green by mixing viridian any darker shade of green, and you can use indigo or paints gray to make it more darker. Wash my brush quick and nicely and I'll be picking up the next color, which is my Naples yellow. Now, you can make your Naples yellow by mixing some of that yellow card with your white watercolor paint or gouache. Next would be the ultramarine. Now you can use instead of ultramarine, any darker shade of blue, such as sertraline blue or cobalt blue. Also. Next is ultramarine. Now instead of ultramarine, you could use your cobalt blue or you're civilian blue. Anything which is available with you. Next will be my earthy tone color, which is the burnt sienna. Now instead of burnt sienna, you're going to go ahead and use your onboard or your burnt umber. Next is yellows. Now here I have used the yellow deep. Now if you do not have yellow deep, you can mix a little bit of orange into your yellow to get this yellowish orange shade, followed by white gouache. Now, if you do not have white gouache, you may also use your white watercolor paint. Go for the titanium white paint because it is little opaque than the Chinese white of the watercolor. Then the last is burnt umber. Is the pigment information of all the colors. You can go ahead and check out this pigment information which will be labeled in your watercolor tubes and pick your colors accordingly because the color names may vary brand to brand. This is what our day to project looks like. I will be beginning outer preliminary sketch first, I'm creating our horizon street lane, then a small hillock which is just one centimeter above the horizon line. And I am beginning to create a basic structure of a house. I think we all know how to create a house rate. Just follow along my pencil sketch and you can also pause the screen and make yours. Now I'll be adding small fence to this house, which will look like the property or the boundary of that house. Now I have decided to create a small plateau like thing, like an island thing which on which the houses actually standings. So that comes to little friend and hillock that we had created earlier, goes to the background. Now here I'm creating some trees as well. I'm done with the pencil sketch. Now let's begin with the painting process. The first and the foremost is, I'll be going ahead and painting the sky. Here. I'll be showing you wet-on-wet technique, which will be a variegated wash using two colors. That is Naples yellow towards the horizon. And as we move up, it will be blue, the ultramarine blue. Now this can also be done using wet-on-dry technique. I'll be showing you that in the project section. If you are an absolute beginner, you may not understand what exactly do I mean by wet on wet? Wet on wet means applying wet paint over a wet surface. So you can see I had quoted my paper with an initial wash of water. Now I have reactivated my paints diluted with little bit of water, and I'm going to start applying the color, that is our Naples yellow mixed with a little bit of yellow deep color. And I will start to lay down the colors just above the horizon line. I will go now rinse my brush in water because my brush at too much of yellow pigment. Now slowly using my damp brush, I'm going to spread out the colors upward direction and I'll stop there. But you can see my Naples yellow because it doesn't Naples, it is quite opaque so it is turning little dull. I will be adding in tinge of orange. That is my yellow deep over there, which has just like an orangeish yellow. And I will begin to blend it again with the colors that are just spread out. Once I'm satisfied with this, I will be going from the top using my blue. I will be repeating the same process as I had done for the yellow. Now you can see I'm beautifully trying to blend both these layers coming from top to bottom. And I am not going and blending again from bottom yellow to blue. I'll just It lightly with the tip of my damp brush, I'll try to spread out the colors so that the transition of these two colors where it is meeting looks even and beautiful. Now, I will be switching to wet-on-dry technique for the hillock area. Why wet on dry? Because I do not want the colors to flow into the sky. Hence, I want to have control how the paint will spread. That's why I went ahead and used wet on dry. Now I'm going to let my burnt sienna just with some dabs of this color using some darker tones and the lighter tones as well. I'll just simply tried to mix the color so that it is mixing. I wanted to look little lose and uneven because it is quite a distance. I'm happy with how this looks, because we will be creating some trees over there. We will be starting out with the house later on because my paper is still wet, so we will wait until the sky and the hillock dries in the background. In the meantime, we will be starting with wet-on-wet again for the C. Here, we will be going with gradient wash, that is towards the bottom, it will be darker. And as we are moving closer to the house on the hill, it will be lighter. Now I will wash my brush and soak it on our tissue travel with the damp brush. I'll try to lift certain areas along the right side. Okay. I was off my brush strokes because here is the area where we are going to paint the sun's reflections on the weaves that we're going to paint. Next. I will be painting the repulse following the same brush control exercise that I had shown in the brush control exercise also in project one was all about painting this repulsive and see, if you are someone who has started out from project two, I would recommend that you go take a look at our day one project as well as the techniques that I had shown for day one. Because this waves and repulse will seem to be much easier because we practice this thoroughly in day one. It's now time to paint the repulse from the horizon line. Now this will be darker boots, which is also like a shadow which has been casted by the background growth of the vegetation. I want this repulse to be very thin. Hence, I have switched my brush from size number eight to this mini liner brush. Now if you're comfortable making this ten reports using your rigor or a liner brush. Feel free to go ahead and use the same. One thing you must remember when creating this darker shadow rebuilds is that try to create a mixture of thin and thick strokes and connected from left to right. Now, do not try to completely make it dark leaves certain areas where the C is also seen. One thing that you must remember is do not try to cover up the area where we had left to white using the lifting technique. Remember, that is the area where we will be painting those sun's reflection on the wave. Since it is a golden R, I am that I am trying to reflect. Hence I'm using the shades of Naples yellow and orange. Naples yellow because I do not want the mixture to turn really muddy when it gets mixed with my cobalt green hens that Naples yellow. Now, I will be taking my palette knife and I'll be just loading it with some of that white gouache and creating this random zigzag patterns. Now see how I'm creating the patterns. I just created some broader strokes with the tip of my palette knife. Now if you do not have this palette knife, you can go ahead and get your butter knife to do the job. Even yard exacto knife Carter also you can use and try to do the same technique. I'm going to go and layer some of my Naples yellow on the outer fringes of the white gouache, just to make it look visually more appealing to her eyes. Now, you can also go ahead and mixed little tinge of yellow deep or your orange, whatever you have in your color palette. But make sure that you do not turn it to Orangi. That wouldn't look great on this. I am going to let it dry for now. We will be starting working on our house, which is on the cliff. So for that I'll be needing some of my burnt sienna. Now, make sure when you are doing the staff do not load your paint mix and make it too watery. Try to have water control in the paint mix that you are having also in your brush. The reason why I am telling you to have some controlling the amount of water in your brush as well as your paint mix is if your paint is too dilute or to water, what will happen is your paint brush, we'll start spreading it out. And you may just not be confident enough to retain it inside the boundaries of that roof. It might slowly starts creeping out to the sides. If that happens, and if your background has not still dried completely, your sky will be ruined. Now you do not want to ruin a perfect sky rate. That is why you need to do this step very cautiously and exercise water control in your paint mix. If you'll feel your brushes having too much of water, dab it on the tissue paper or tissue towel, whatever you have by your side just to soak up the extra water. Now using my same brush, I will be going ahead and creating shadows to the house. For the shadows, I'm using my pigmented ultramarine blue. At those sites where, you know, I have those pillar like structures, those straight lines there. I will go ahead, layer the pigmented value and I will slowly thin it down to the other radius. Now once it dries only the shadow part will be very nicely having that dark tone and the rest will look faded out. So your house, even though you have not lifted, right, we'll still have some tinge of color as well as it will look very appealing to your eye. Next, I will be going ahead and creating the cliff. So for the cliff, I will just use some slanted random strokes using my burnt sienna because this base is larger, not large enough. This is quite a smaller area to cover. I'll use some varying tonal values. First, I'll go with a lighter shade of burnt sienna and then I'll go add in some darker slanted strokes and that's it. I will grab my brush and load some darker pigmented value of indigo or your shadow green and try to create this fence, okay. Just try to cover up the pencil marks that you had made for the fence and that's it. Now it's time to create our background. Palm trees. I'll be using the same brush if you're confident enough to go ahead and create this tree-like shapes, then use the same brush that you are using now. But remember that your stroke should be thinner when you are painting this because it is quite a distance from us. Always remember the prospective angle that you are working on. That's all for our second project. So this is how we are going to go ahead with our project. Starting with the sky, then following the ocean and then creating our background. And it is divided into step-by-step process. Now this is the reference that I had clicked during my vacation and I have used the same to create it. Observe the repulse, the reflection of the sun that is there. So this is exactly the same way that I have tried to create it. Okay, so just follow along the directions that I have used and do not forget to go check out the class project one because that is the lesson where we have taken our time and learn through how to paint these reports in great detail. So without any further delay, let's get into our final project. 9. Day 2 : Beach House & Golden Hour Part 1: Let's begin our D2 with this preliminary pencil sketch. I'm drawing a horizon lane just about 1 fourth of the paper. Now above the horizon line, I will be sketching out house. It's a basic simple house where I am going to make this matchbox kind of thing and then place a triangle on it. This, I'm talking in very layman language. If you're just a beginner, I hope this would help you understand what exactly I'm trying to say here. Observed the size of the house that I'm making, since it is at a distance from us. The size of this house will be very tiny, not too tiny, and not too big. It should be the size of the paper that you have selected. If you have selected a bigger chunk of paper like an A3 or A2 size, you need to accordingly portion it out so that everything is balanced. You could say that this hillock and the house is just a midground of our entire landscape. Now I'll be starting out with flat wash. On the rest of the three-fourths of the paper where we are going to paint the C in order to keep your paper wet for a longer period of time, always ensure that you lay flat and even wash off water in the areas where you are going to go with wet-on-wet, I have loaded my brush with cobalt green, the brush size that I'm using a size number eight from silver black velvet. And I have started layering the paint on the paper from the right-hand corner. Because at the corner or at the bottom side of the paper, I wanted to be dark and as we move up, it will be lighter. So I'm going now towards the horizon line with long horizontal strokes towards the bottom I use long slanted strokes, as we have discussed this earlier, a watercolor paintings can look interesting by its brushstrokes. As you can see, I'm going ahead and layering my strokes on the paper very random and Enter interlocking wave-like pattern because this is how we are going to create the definition of the waves which are moving in the direction of the wind. Now with some darker tones, I am going and sharpening out this wavelike forms that I want to create on the paper. Make sure that your paint is not to dilute and watery. You need to have the right consistency of the paint mix that you are using. This is very important because we want the waves to look smoothened out into the background, but yet create a sharp, distinct. That is why your paint and your paper needs to have the right balance of water. Now I'll be going ahead and create more darker waves with pigmented values of my shadow green. Now observe how I am going ahead and creating the waves. I will change the tonal values as they move up the horizon lane because the waves will go lighter since that's the area which is receiving the most light cure. Observe my brushstrokes, I'm going and trying to create very loose and fluid strokes by holding the brush at almost towards the edge. But yet exercising control by the strokes that I'm laying towards the horizon. Now, we will work on the waves which are closer to us. Your, I'm trying to create more bulging and swell of the waves. So that way I'm going with very bulge to kind of shapes of the whales. Once I'm satisfied with how the waves are looking, I will go ahead and try to clean up the areas or the bleeds, the hair-like structures that you can see. This is because my paper is wet. It's time to market the ADS where the sun's reflection will be on the water. So I grab my Naples yellow on the tip of my brush and I gently go and create this shorter horizontal strokes with just a dabbing movement of my brush. Now you can see my strokes or export to the direction of the waves am not going and creating. A straight, straight or vertical strokes. I'm slanting it along the direction of the previous waves that we have painted. Now in order to give that sparkling shine to this waves, I will be using my white watercolor paints, though. I'm very Shewhart that I will need to go back and create it with white gouache later on once a paper has straight. But just for the time being, I want to go and create that by letting it will become more prominent and we'll beautified the painting. Now it's time to create the darker repulse towards the horizon where the darker repulse denote the shadows that are getting reflected on this. Waves. Start this ideas only when you feel that your paper towards the horizon has dried up a bit. It should not be completely dry, just the optimum amount of gray. You can call it semi dry. Or if you feel your paper is wet enough for the colors to blend, then use a very concentrated or pigmented values of your pigment. Now observe my brush strokes that I am doing. I am using my silver black velvet size number eight brush for doing this step. But if you feel that your brush does not have a sharp pointy tip switch to a brush where you have control and has a sharp point to dip to give you a thick and thin lanes. So our brush control exercise of ten pick and pin will come into play. I will be now repeat in the same steps on my right-hand side also. And I'll make sure that I interconnect some of these waves from left to right. I will be creating very thin lines which will connect from the left to right side of the painting. Now, your use pointed brush because you need to have very thin sharp lines, but not too thin. You see how likely am stroking the brush at this point, if your paper is dry enough, you can go ahead and create some dry brush patterns to create this kind of effect. Now I will start creating, cannot rebel towards the area where the sun's reflection. Once I'm done creating this thinner ripples, I will go ahead and try to create more darker rubles towards the bottom area of my paper. Now this area, I still see that my paper has dried completely, so I have still chance to work with it. But if you feel that your paper has dried out in this portion, please do not do anything to it. Skip this step and just move on with the next step, which will be painting our sky. Now it's time to get started with the sky. We are going to go wet on wet. Now you can see I just dip the tip of my hake brush because I do not want this area to have too much of water. I am going to apply it slowly and steadily, ensuring that each and every corner of this region of the sky gets properly coated with water so that my colors are uniformly blending with each other because we are going to do a variegated wash. Now go around the areas of the house. If you are a person who loves using masking fluid, you can very well go ahead and use masking fluid to mask out the ADR such as the house and the background hillock. I have created my paint mix now I'm going to let the colors using my size number 12, brush from silver black velvet. And I'm going to blend the colors smoothly up to a certain area only because we are going to again, go to that top portion of the sky with blue, the ultramarine blue. Observe my color gradation out your, I am going ahead with pigmented values of my Naples yellow and my orange towards the horizon. Now as I'm moving upwards towards the sky, I am not reloading my brush. I am just trying to spread out the colors now it's time to repair paint mix off my ultramarine blue. Do not use too much of water, just the right amount of water and try to go with long horizontal strokes. Now, I'm feeling that my brush is too dry, so I will go and reload my brush, dampen it again, and reload the color, layering it back. As I move closer towards the area where my blues intersect with yellow, I'm trying to create a nice even blend. And here you can see that both of these colors are not reacting to give me a greenish, muddy mix. But instead it is giving a muted, neutral tint kind of color, which is looking so beautiful right now. I will go and try to blend the colors even more using very long horizontal strokes of my brush. And I'm doing it really fast so that there is a chance of my colors to blend together before it is completely dry. Now, I will be going ahead and creating some more of the Naples yellow, creating this long broken strokes where I had initially used white gouache just to make the Golden are of the sun reflection more prominent on the water. 10. Day 2: Beach House & Golden Hour Part 2: Now it's time to work on our midground cliff. For mid brown cliff, I'm going with my lightest tonal value of Naples, yellow. You're going on wet on dry because I do not want any unnecessary problem of my paint bleeding into the sky and ruining my sky. To exercise control, I'm going to go ahead with wet-on-dry technique. Now, I will be mixing some of my burnt sienna with this Naples yellow alert. And as you can see, I'm trying to just spread it out layering on top of that Naples yellow cord. Your, I'm doing this to create an effect. And when I layer it once again with a darker shade and lift some of the colors from there. This under coat color would be visible, giving our extra loop. When you are on your way painting this cliff, please do exercise some control in your paint mix. Yes, I'm saying this again and again because I don't want you guys to ruin your perfect sky blending. That's why I'm again and again cautiously telling you to in exercise water control in your paint mix as well as in your brush. Now, I'm going ahead and just using the damp, my brush and lifting those areas out. And you can see I got that beautiful texture. Do it. Now it's time to go and do some dry brush strokes with my palette naive on the waves. Because this part of the C has r, the paper rather I would say it has completely dried. So now I would be able to get this dry brush strokes more easily, just using the tip of my palette knife and I'm dragging the colors. I will be using my silver black velvet size number eight brush only to create some thin stems using thin strokes. From the tip of my brush. Use up pointy brush in order to create this denotes, now I'll be going ahead and create some of that background palm trees. Now this do not have to be perfect. You just can create some random shapes or you can choose to create some background vegetation by just dabbing the brush. I'm going to repeat the same on the right-hand side. Also just start your the trees will be little taller. I'm using this liner brush to carry out thin strokes for the palm leaves. Now, just make one or $2 palm trees are those you can create some shorter palm tree is to create the sense of depth. Dissuade with those background farms. Now it's time to paint our cliff on which the houses standing upon. Now for this, I'm not going to cover the entire cliff using this burnt sienna or burnt umber mixed. I'm just going to randomly go and create some extra effect using some darker tones as well and leave it as such. Finally, it's time to paint our house. I'm starting out with the roof. For the roof, I'm using burnt sienna mix. Again. Exercise water control in your paint mix. You do not want to ruin your sky because all this hard work that we have done so far, we'll go into waste. Just use the sharp pointed tip of your brush and try to just drag the colors down to the shape of the roof. And that's it. You will be done blending the roof. Once you have created the roof, we will go and create some darker blue tones to create the pillars of the house. The pillars are beams of the house. And then with my damp brush, I'll just feed it to the other white areas is to create the sense of shadow. Do give the houses film. To create some texture on the roof. You can go ahead and use dry brush stroke using some darker tones of your burnt umber and make the roof look more realistic. Using thinner strokes with my size, number two brush, I'm going ahead and painting the fence on top of the pencil sketch. That's it. We are done with the painting after this. Now, draw us small door onto the front entrance of the house. I missed it out. I will be doing it after rapey loud my masking gapes, but you can do it ahead also. Be lawful masking paper at an angle always to ensure that you do not rip off your paper and always wait for your paper to dry completely. Before you do this step, this is very important, otherwise your painted areas will read about with the arm peeling off tape. Also to make your painting lifelike, always let it dry naturally when you're masking tapes are still on. That way, you will ensure that your painting is flat and that's it. We're done with d2. 11. Techniques & Color Palette of Day 3 : Welcome to day three. Now before we get started with the techniques, let's quickly take a look at the colors that we will be needing. First color that I'm always watching out is my viridian. Now instead of viridian, you can go ahead and use your hookers green or any other darker green shade that you have guard or else you can go ahead and use your cobalt green as well. In case if you do not have cobalt green, nothing to worry about. You can easily mix by just adding a little bit of your turquoise blue along with the Virgin, the exact color, how we can make it I have shown in our day to go ahead and check out the process. In day two. I'll be swatching out my ultramarine blue, which is the color of our sky. In case if you do not have ultramarine blue, you can always go ahead and use your cobalt or civilian blue. Swatching out my sap green. This sap green color we will be using to denote the lighter areas in the waves to retain the freshness of the ocean. Next will be our indigo. Now Indigo I'll be using to make our darker tones of green where I need to paint the shadows underneath the crashing waves. Okay, so instead of Payne's gray, I'm going for indigo because it has a slight bluish undertone to it. Last I'll be swatching out my burnt umber. Now this burnt umber album mixing with ultramarine blue to create the darker areas of the clouds. And that's it for the colors. Now here I want you to understand and study this reference picture as a whole. As you can see, the three-fourths of the paper or the picture is of the sky and the remaining is our waves. And water. Waves which have cold and art crashing towards the water body, is having gradation of color that is light to dark. And with the sun's reflection, the curved or the bulging area is lighter as you can see. As you go down below this areas, it is darker because the sun is casting a shadow. Also hear the perspective comes into play. We are looking at from the direction which is from feeding into the horizon. So it is pretty straightforward prospective that is a linear perspective that we are talking about. You're only point that we have to remember is to make the darker and the lighter areas in a way so that it looks visually appealing and realistic. Now coming to the foamy part, you can see the foamy part is not in theme sheep, right? There is some grooves, curves and bulges. So according to that, make the shape of this spray because it is very random and irregular. It is never in one shape. You can also mask out this areas for preserving your whitespace. Or you can just do negative painting. Let's just start with the sketching part. So your three-fourths of the people I have left for the sky. Now, I'm trying to create the shape of the crashing wave. Okay, once we, I create the shape, the other part is automatic with there will be no pencil sketch required. It will just be your brushstroke that will play an important part. Starting with my sky, I'm going with my favorite method to work the sky that is wet-on-wet, flying wet paint on my wet paper is what is known as wet-on-wet. And I love to use this technique for the clouds because my clouds or the sky looks very soft and fluffy. Your observed my brushstrokes that I'll be going ahead and layering my ultramarine blue colors. So I'm the marketing the ADS of the blue parts of the sky and leaving out the rest you'll paint though weiter clouds laden with my show. The clouds which are laden with moisture are generally at the bottom of the cloud. For that, I'm going to prepare a paint mix. Is mixing a little bit of my ultramarine blue with my burnt sienna that became too dark. You need not worry about it. If it is too dark, you can wash your brush and try to blend out the colors, lifting some of the areas over there. Now, when you go over here again and again, there is a possibility that you will tend to overwork it. And if you feel that your paper is drying, do not do this step because this may turn ugly like this. My paper has started to dry and it's not really advisable to go and start reworking on this. I'm trying to fix it, but yes, I have ruined my sky. I hope you have learned your lesson and do not try to do the mistake that I have done by overworking the sky, leave it at the very first instance when you feel that your sky is looking pretty, do not try to overwork it because that is going to ultimately ruin your Skype. Now there are two ways on how you're going to approach painting, the C and the crashing waves. You can also go and do it in wet-on-dry method. But beginners may feel a little frustrated if they are not able to spread out the colors. That's why I thought I'll show you guys how you can work the same width wet on wet technique because once you start layering though, wet paint on the wet surface, your paint will start to spread smoothly on the paper. This step, it is important for you to remember that your brushstrokes will indicate the water movement in this painting. And that's why you have to have control over your water in your paint mix as well as on the paper. It should not be too watery, runny. Your pin should be just with the appropriate amount of water. It should not be too runny or dilute d orbitals. You will have to go multiple times trying to create these layers of light and dark shades. Now using pigmented tone of your viridian, you can mix a little bit of indigo to make it more darker. I'm going to go and create some ripples just below the crashing waves to denote the water movement that is happening due to the swelling of the waves. So the water will try to go into various directions. Hence, it is very important that your brushstrokes are Esport how the waves are moving. To give it a visually appealing look. Just below the forming or the crashing waves will be our shadow areas. So I'm going to go and let it with a dark pigmented value of indigo, but make sure that you are blending it out evenly to the body color of the waves. Now towards the top part of the wave where it has risen, that area will be our lighter areas. So using the same apostrophe or the inverted C leg brushstroke or a semiotic kind of shape. Go ahead and try to lift out the colors before your layer starts to dry. Now I'm trying to paint the waves which are crashing. So using my cobalt green mixed with a little bit of viridian shade, I'm trying to create this kind of shapes on this. Now the shapes of varying lens, as you can see, some are shorter, some are darker, some are longer. So this would give a definition to this crashing waves. When we start with our creating the white foamy part. Now it's time to do our white for me part that is the ocean Spray. Use this upright dabbing motion of your brush to create the white form. Now ensure that you watch that you are taking is not too watery. It should have picked consistency to create this varying movements of the brush, I changed my brush and to size number six, brush from Princeton Neptune. And I feel that I have a better grip while doing this step. So I go load my brush tip with this white gouache again, the random strokes or random movement, I'm creating this white for me part. Use an inexpensive round brush while creating this form part because you would not want to ruin your silver black velvet bristles rate. Now it's time to work wet on dry using my sap green now see I have used pigmented values towards the base and as I'm going up, I'm trying to lighten it out. This will give a different kind of freshness to the sea. I love using this color to indicate that tropical or see greenish vibe. You know, I really love using this color. It gives a beautiful effect to your scenes. Using my damp brush. Now, I'm going to go and lift out certain areas from the top part of the wave using very soft, gentle pressure, you do not want to take off the entire color. Finally, it's time to go create more of that ocean form. I get really excited when doing this step because this is the last step. And this step makes a lot of difference in your painting. I'm using my palette knife to just dab my white gouache and using my fingertip, I'm just trying to blend it out. So this kind of gives a different kind of depth in those forms. And your painting looks very lively. Now instead of this, you can do this step along with that. You can use a little bit of diluted gouache and go and start splattering some of that form to indicate the ocean spray. Now with the same palette knife, I am going to go create this dry brush stroke or patterns of the wave movement indicating that you're the Lizzie kind of network of four Ms forming when the waves are moving and crashing. So this can be done using with your brush also, but palette name gives a different texture and look to it. So it is totally up to your choice. If you do not have a palette knife, you can go ahead and do the step using your brush. Also, I'll be showing you that in the main project. I'll show you how you can do that using your brush. So have control and amount of water that you have in your gouache and try to, you know, create this long freehand strokes. Varying shapes and sizes of the strokes to indicate that interlocking wave pattern forming a lease kind of network. That's it. This is how you can create your project. So let's quickly deep dive into our main project. 12. Day 3 : Crashing waves Part 1: I hope you guys are ready with the three suppliers. So let's just start with our date. As discussed in our technique section, I'm using 3 fourth of the paper as the sky and the remaining 1 fourth will be R, wave or the sea. But the help of my pencil, I'm just going to go over that straight line and create an irregularly shaped plane because veins never come in a straight line. Now sketching out the white for me part of the sea. I'm doing this step because we are not your masking fluid. I really don't like using masking fluid because I get easily affected with migrants due to the strong order of the masking fluid. But if you want to use masking fluid, you know, this becomes lot more easier because you just need to mask those areas out where you want the whitespaces to be retained and paint over it. Once the painting dries, you can peel off the masking masking tape, starting with layering of flat wash of water on the sky area. Now make sure that you do this step vary generously because you do not want your paper to get dried in-between painting your sky, right? So go as many times over this area and ensure that you are evenly spreading out the water on all corners of the paper, especially in the sky region. Ensure that there is no pools of water standing are getting accumulated at any corners, spread out the water evenly. I'm going to start letting the sky with my ultramarine blue. Now, I have started from my right side corner and I'm going to go and do some random strokes. We are painting a sky where they are. I'm loose, fluffy clouds go random. If you have any reference for those selected for the sky, use them to create a sky of your own. So this is how you can include elements apart from the reference picture and create a painting using your own style and that way the painting will be yours own. With the help of my damp brush, I'm just trying to clean up the bleed that is happening because of my wet paper. Now as I move towards the horizon, I will make sure that the intensity of my blue reduces because at the horizon level, C form will also play an effect that Misty, for that misty effect to happen, I have went ahead and use the lighters intensity of the blue. I would advise you not to overwork your sky too much. I think I'll be ruining my sky very soon because I'm trying to overwork. Going on with multiple layers. Might be bird, I feel has started to dry up a bit. Do not do this step. If you feel your paper has started to dry, please leave your sky assets. You would not want TR sky to look disastrous. Now, I will still try to go ahead and create this bottom of the clouds using darker shade. And you can see that the colors are not exactly spreading properly on the paper. It is because those areas have dried above bit sooner than the other areas. You can see rate how I have ruined my sky in order to fix it. So do not try to do this step. If you feel that your paper has started to dry, leave your sky as such, this itself will give a very beautiful effect once your paper is dry it out completely. Now these are small little lessons that you will encounter when you do such mistakes. Now you should learn from these mistakes and learn to avoid them. Preparing a mix of my cobalt green to start working on my C. Especially the right portion of the sea where we're going to go wet on wet towards the left. Do not try to wet the area because that is the area where we will go and meet the upper portion of the waves crashing into the sea. Width wet-on-dry technique. I'm loading my brush with the cobalt green mixed which we had prepared earlier. Now, I'm going with my lightest intensity of cobalt green. Observe my brushstrokes very carefully because this is what will give the water its movement. Your painting will look more lively with your brushstrokes. So observe these brushstrokes carefully and do the same. I would advise you to first watch this entire process and then go back and start painting your own. I will now be gradually adding some darker tones. I'll be starting first with viridian hue at the rightmost corner with long horizontal strokes. I'm stroking it like an inverted see. Just at the bottom, go with horizontal strokes. But when you are reaching for the wave, make it like a C. That is it and tours the underneath of that crashing wave. I will go with the darkest tone of indigo. I'll be making sure that I load my brush of that darkest tone and I'll try to blend the colors together. Now you're at the bottom media. This is where the darkest tones of the C will be. So you can go ahead and create darker stones, but do not apply to dark tones. Now, I'm going ahead and using my sap green to coat the upper portion, the portion which has swelled and is about to crash. There. I have used a little bit of my sap green to create that freshness of water. With the help of lifting technique, I'm lifting out certain areas towards the upper portion of that crest of the wave. Not lifting out entirely because I want that color to also retain once it gets dried. This will automatically look much lighter. Towards the rightmost side, I'll go and create some more darker shades here I'm using shorter and longer horizontal strokes. As you can see. This would be the still water body before the wave crashes on this. It will be darker because of the wave. It is opposite to light and hence it is casting shadows. So this is the reason why this area is usually darker than the rest of the week. I will now be using my damp brush now, this should not be too wet. Okay, So rabbit or no paper, you should have all clean it off instead of a Hake brush, you can also go ahead and use your flat brush. But I would recommend you not do use your flat brush because this may not be having some software. Use a brush which is naturally made. This is made up of gold hair and hence, you can see how beautifully blends the colors. Just, just the job that it does being a Hake brush. Using my same hake brush. Now I'll be going and doing the reverse also. There in the technique section I had shown you how you can do the same with your round brush as well. So if you do not have this hake brush, you can use any software like Princeton Neptune, flat wash brushes also to do this step because that brush too has natural hair fiber in them and hence you can get easily this kind of dry brush strokes. Use weddings strokes of the brush because you would not want all the waves to look same rate. So use wedding strokes on longer than some shorter and then retain the whitespaces because it isn't there that we will be going ahead and creating the ocean Spray using our white gouache. 13. Day 3: Crashing Waves Part 2: Continuing with part two. Now you're just with the help of my hake brush. I'm trying to soften out those hard edges that had been formed with the brush strokes that I had placed earlier. Now I'll go and create some more strokes using some lighter values. And with the hake brush, I will try to blend it in. Adding some more darker tones towards the right side. And I'll be again trying to blend in with very soft, gentle strokes. Make sure that you are using some loose strokes to blend the colors. You would not want the colors to lift out. Okay, so if you put too much of pressure, you're at this point because the paper is in semi dry state. So you would never be chances to lift out again with the help of Hake brush, I'm going and softening out the hard edges. Once you're satisfied with the color gradation, now it's time to create some darker repulse at the bottom of the sea. With the help of my liner brush, I'm going to go ahead and create the rebels. Now. I'll be going ahead with total randomly stroke some curves and some bulges denoting some smaller ripples are wave forms here beneath this crashing wave. I'm going to create this smaller waves right from right to left off the sea. And I will follow the direction how I had initially painted in the waves, denoting that all the repulsive and moving along the same direction. Now, I'm going to go ahead and do a second learning process on the underside of this peaking wave using a med tonal value of my sap green. Now, you're always do remember to use a meat tonal or the lightest tonal value of your sap green, you do not want this area to get any further darker. Towards the inside corner of the right side of the leaf. I'm going to go ahead and start layering it with again, darker shades of my shadow green. Now, as you can see, once the paper is drying, the shields are getting lighter and lighter. That's why I was going with so many layering processes. Now with the help of my darkest value of my shadow green, I'm going to go ahead and create this ripples again because the other time it got covered when I was going with layering technique. Now if you're an absolute beginner and are not aware of this technical watercolor techniques like learning process and the others like wet on wet, wet on dry. I would suggest you to go revisit my Skillshare class, watercolors answers, he escapes as well as my class on watercolor iceberg landscapes. There I have explained in great detail about this layering process and how it is done in watercolor paintings. With the help of my same liner brush. I'm going to go ahead and create this white for me part over the darker ripples using white gouache, you're always remember to use a thick consistency of gouache because we need to work this on a little dry brush technique, also urine there. If your wash is a thick consistency, it will be easier to work with dry brush technique as in when required in certain areas. Now if you have observed crashing waves or when the waves are swelling and the other wave is crashing upon this small, small ripples that are forming along with the white form of those see which kind of creates a list or a lazy Ocean Network rate, sorry, lacy network of waves. So that is what I'm trying to create out here. Now this step could be done with masking fluid also, if you would have. You know, masks that this areas before we started painting the body of the ocean. So after painting the body of the ocean, you just had to, you know, meet, let it dry and loved this masking fluid does giving you this shapes. Now, the important thing to remember when you are using masking fluid is dead yard. This ribbon like shapes needs to be as thin as you are doing it like if you're masking fluid doesn't have a sprinter attached to it, it becomes little difficult even with the liner brush. So it is with extreme caution that you need to do it. As I have told earlier, I am not the person who likes working with masking fluid because of the strong order reader has. So that's why I didn't do avoided, but yes, that definitely makes your work a lot easier. You need not spend time again doing so much of detailing with your white gouache. Now, I'm going to go ahead and use the same brush for making this cove kind of white lines on the breaking wave. This is because when the wave is already in a position to break on the shore, it is usually becoming very for me at the top, just a dark background color becomes visible. So that is what I'm trying to create our tier. Use a combination of longer and shorter curved strokes, just like how we had painted on the top or the phase of this wave. That is how you need to go and create some more dry brush patterns on this. And next we would be starting working on creating the ocean Spray or the white foam part under, underneath this breaking wave. Now it's time to create the ocean form finally, so I'll hold my brush upright almost at 90 degrees and I'll just dab the brush. Now, use your thick consistency of gouache. Do not add any water to it. Use just your **** brush to lift our Lord, don't whitewash onto your tip of the brush and start doing this dabbing motion of your brush to create the same effect. Now, if you have noticed when wave is breaking on the shore, you would have noticed that the underneath portion of that white for me part carries a lot of the breeze through it. So we are trying to create the same. I'll be creating this muddy mix off. My shadow green mixed with a little bit of burnt umber tinge and I'll be darkening these areas. Do not ready. This will be, we will be covering it again with this dabbing stroke of white gouache as well. Just to give this effect of that wave getting something underneath, we have gone ahead and use this darker tones. I'm pretty happy with how my white for me part of the breaking wave looks like. So I'll stop with that. Now. I will go ahead and create the same dabbing the dry brush strokes on the peaking. We've just at the top portion of it. As my paper has started to dry already, I noticed that some of the darker rebuilds that we had created have faded out. So just going ahead with the liner brush and trying to create this darker ripples once more. Now post this. I want to make the Ocean Spray look more lively, so I'll go ahead and splatter some of the white gouache on top of those areas, and that's it. Finally, I'm done with the D3 project and really loving how the waves are looking. Just that if only the sky would have been perfect, it would have been just a perfect painting, but nevertheless, it's absolutely okay to enjoy the process. And during that, we often do make mistakes from which we learn a lesson in order to have an experience so that we avoided the next time. Always do. Remember that accidents are not the end offered. It is always a lesson in the learning. I'll meet you again and they fall. 14. Day 4: Wave Tunnel Color Palette & Techniques part 1: Welcome to day four. Let's quickly take a look at the color swatches. Here are all the colors that we're going to need to create a project. You can pause the screen out your antique anode of all the colors with their pigment information. Now comes the part where we will take a look at the reference. So the main thing is about creating the water movement you're in this project. It is all about your brushstrokes, the magic that your brushstrokes can do in creating this realism and the painting. I have just created a basic pencil outline wherein I have created the shape of the channel along with the areas where I'll be going ahead and masking with masking fluid. Basically the shape of the ocean Spray or the wave when it is calling and crashing. It's the underneath view that I am going to cover it with masking fluid. Whenever you are using masking fluid, always remember that user brush, which is inexpensive, that is your normal, regular brush. Because masking fluid is generally hard on your brush bristles and always make sure that you use a synthetic brush for doing the same. Use dabbing motion from the tip of your brush with the masking fluid and create this areas where the ocean Spray has been masked out. Now in the meantime, I want to show you something that is the water movement that we're seeing and the brushstrokes denoting the light that is getting reflected from the tunnel. That will have to go ahead and use synthetic brushes for doing so, we need a stiff brush in order to lift out the colors and that angle line, I'll be your using my dagger brush. Now if you want, you can go ahead and use a synthetic flat brush as well. Because you need some stiffness in your brush versus to really lift out the colors. Now make sure that you use just the tip of your bristle. And every time that you lift out the colors, go ahead and dab your brush clean on your tissue double. Now, I had washed my brush again using this liquid soap solution. I always have it handy with me whenever I'm using this masking fluid. Now, I will be going ahead and masking out some of the wave-like forms over there that you can see on the final painting. So I'll be going ahead and masking this out. The final project, I will not be going ahead and doing with the help of masking fluid, but I'll show you how you can do that project without the help of your masking fluid using just your regular gouache. So this is another way that you can attempt this painting. So I'm showing you here with masking fluid host using your brushes and masking fluid, always remember to give them a nice quick bubble button soap solution. This will help your brushes to be saved. 15. Day 4: Techniques Part 2: Let's get on with our project. The very first thing that I'm going to do is lay a flat wash of water on this area that is the bulge toward the curved area. Now, remember that you need to do this step only when you're masking fluid has dried out completely because you do not want to ruin your brushes on this masking fluid. If the masking fluid has not dry properly, it may stick to your brush bristles and measuring it. I start with my medium tonal intensity of peacock blue. And towards the rightmost corner, I will be going ahead and adding in some more darker intensities of peacock blue. And as I come to the innermost side of the wave, I will be going ahead with the lightest tonal value. I'm loading my brush once again with a diluted form of turquoise. Now remember, we will be creating a turquoise green shade by mixing our turquoise blue along with viridian hue. This is how you can create your own cobalt to green now, based on the amount of turquoise blue that you add, your cobalt green will see sway from side to really didn't use it. That is the greenish site. So use any amount of viridian or turquoise blue as for your liking, how you want your color of the wave to look like. Now I'll be using some of that leaf green now instead of leaf green, use any other yellowish green that is available with you. I love using this colored to meet this wave look very fresh and lively. Use wet-on-wet method in cure because I wanted all these letting that I am going to do to blend uniformly and smoothly. Now, I will be going ahead and creating some more darker shades to just denote the shallow part of the whales that it current carries the dirt from the seabed rate. So I'm just going to drop in some of that brown into this area where we just loaded with yellowish green that would give little texture random body to your C. Now you can add in some different tonal values of greens as well, but do not go over board with it. You know, just little tiny splatters or drops here and there and some strokes along the direction of the wave that should do it fine. This will indicate that the water is moving, circulating along the direction of the wave that is getting cold. Now with small arc like shapes, I'll just go and try to create this using just the tip of my brush. I'm going to let those colors, that is the darker tones indicating the shadows or the water movement in the viva. Okay. I am going ahead with broader and longer stroke. So when I am towards the corner, most inside corner was part of the wave and as I'm approaching though inner circle of that, you're not handled that wave I'm going with shorter copes. With the help of my angle brush or the dagger brush, I'm going to lift out certain colors right from the center of where we had laid the darker tones. This is to indicate that the light is passing from that tunnel, which this crashing wave has created. Okay? So that is why we need to go ahead and lift out certain colors using lifting technique. Once that is done, use just the tip of your round brush and slowly layer darker tones suffer shadow green towards the periphery of those area. That is how we will be doing it. I'm going ahead and trying to blend the other colors using my cobalt greens and lose at just the top beaking we've. Once I'm done with this step, I will go ahead and drop in some darker tones of indigo as well, just in-between that ocean spray that we had marks. This is to denote some depth, The Ocean Spray, okay, now post this will have to wait for a paper to dry and then lift out those masking fluid and start working with whitewash. Now, I'm going to create a more volume in that way by going ahead and adding some more earthy tones. After this, I'll be adding in some darker tones in those white areas that we had not marked using masking fluid as well. Now, I'll be going ahead with some yellow ocher as well and do this dabbing brushstrokes here, denoting that there are some wide sea foam that has crashed upon this water body as well. Now I'll be using my white gouache. This is from Rous drew. You can go ahead and use any whiteboards that you have. I would prefer to use titanium white when it comes for whitewash because it is much more opaque. Now it's time to remove our masking fluid from those areas. My idea the painted idea has dried completely so it is easier for me to lift out the masking tape. Sorry, masking fluid not be just using my upright dabbing strokes of the brush, just like how we had created Ocean Spray in D3 project. Remember that this is the same way that I'm going to go and create this ocean form or the ocean Spray. Keep doing this step until you are satisfied. I removed the masking fluid from those thinner, wave-like forms that I had created in-between also, right. I'll just go over with my thinnest liner brush that I have got. This is size number 0, liner brush from PBCH. Now, this is a very ordinary Indian brand. I'm just going ahead and creating some small learned ripples or wavelength forms in-between those larger waves. Okay, so that is all about it. At this point, I'll be going ahead and adding in some more greenish tone over this, the burnt sienna and dabs of brush. Okay, so this is to create that illusion that the wave has carried in lot of debris from the ocean bed, especially the sand. Okay. The waves when it lashes upon the short it also does carries sand, right? That is what I'm trying to represent here and use this dabbing motion of your brush. Try to use dry brush technique first and then try to smoothen out certain areas a bit using your damp brush. That's it. We're almost done painting this leaf tunnel. I'm jotting down all the techniques that we have used to create this wave tunnel. I hope you have enjoyed the process and you have a fair understanding how we are going to approach this. This is fairly simple. All we have to do is let the brush do the talking on the paper. And we will be very much done with the painting. 16. Day 4: Wave Tunnel Part 1: Welcome to day four. And like always, I have deep down my paper on all four sides. This is the reference that we are going to be painting today in my own style. I'm just going ahead and creating the kernel shape with the help of my pin pencil. Now, I'll be going ahead and marking out the areas where though crashing waves are falling and forming this for me part. Now, after this step, if you want, you can use your masking fluid like I have shown you in the technique section. And you can cover all the serious with masking fluid in order to retain this whitespaces. This is where we will be going ahead and doing our ocean spray later on, once we are done with painting. I'll show you what I'm talking about. This ocean for media is the area where you would be using your masking fluid to mask out though areas as shown in the technique section. With the help of my hake brush, I'm going to go and quote my area of the wave with a flat wash of water. Now, make sure you do this step nicely because nice and tightly because you want to IP your paper wet for a longer period of time in order for the colors that you will be using to blend harmoniously together. Now this method can also be done using wet-on-dry technique. But it would require much longer time for creating the effects that they want, especially the water movement. So I decided to go up with a combination of Bhutan read as well as wet-on-dry. Let's start first. I'm starting with my peacock blue. Now, remember that the column mix that you are using with your blues, especially the peacock blue or any other blue that you are selecting do not go with a very diluted mix. I want to use a variation of medium and your lightest journal values. Towards the topmost right corner, you will be having some drooling pigment, the tones, that is the area where we want the doctors layer. But as you come towards inside that we've done, the colors will appear to be lighter and lighter because the artist apart, which is getting most light. Okay? So that is how we are going to proceed on with dark reference as a guide and we'll be painting this now. Now look at the brush strokes that I'm making. I am going as fodder direction, that is my initial outline on the wave. I am not a unit layering your flat and even horizontal wash, I am making sure that my brushstrokes are in the direction that the wave is calling and bending. So I'm starting with my cobalt green mix. Now, I have shown in previous projects also how you can create your own cobalt green by mixing turquoise and viridian. I'm going to go in-between those lighter letting that we had done the you know, there is some kind of whitespaces that we had left. So I'll go and create this kind of brushstrokes just with the tip of my brush, do not apply too much of pressure because you may be lifting out the colors at this point because your paper is still wet. So apply your brush strokes ready, Italy and slightly towards the left side you can see I have not wet my paper. That is the area which is dry. We will come to this part later, but I want to finish first this right tank coal of the wave and then move on to the left side. Now, did you observe one thing as I'm going ahead with my brushstrokes with different coloring densities. You can see evade. I'm trying to focus on the water movement in the wave. So this is becoming more and more pronounced as we are proceeding on without painting. That way in this exercise, your, the way you create your brushstrokes that will matter the most. So I would recommend that you take a look at the entire project, watch my brushstrokes carefully, and then go ahead and start with your project. Now towards the arc of that tunnel, I'm going to go ahead and create some. Docker water movement reports. Okay. Now, why darker? Always remember that you are lighter. Values tend to be visually more lighter when you have your darker areas around it. So that is what I'm trying to create our tiered just observe my brushstrokes. I'm putting very light pressure just with the tip of my brush, you know, gliding smoothly on this vector areas layering with the darker shades. As you can see, you're my brushstrokes and not flat as I was telling earlier, I am going how my wave tunnel is spacing. So you're, the light is not getting past. This part of the wave tunnel will be the darkest. Now there will be two darker bands of water ripples. So that is what I'll be trying to create our TO. I started doing the same brushstrokes towards the left side also to and fro brushstrokes. Okay, This is very simple, broader at the base and as you go towards the tunnel, it will become narrower. Using and keeping that in mind, go and create your brushstrokes. At this point of time, if you feel that your paper has dried out, do not ready. What you can do is you can go ahead and prepare diluted paint mix of your colors. And you can start the learning process over again to blend the colors smoothly. What me here closely as I'm going with this learning process, I am not trying to cover the entire underneath layer of my cobalt green mixed. Did you see I'm trying to work out certain areas creating brushstrokes with a darker tone. Get the water movement more pronounced in the way. Do not cover the entire area with your intense tones of colors. You want the lighter colors also be shown. Now observe what I'm doing. I'm just using my **** it both my brush and creating these ripples in the rightmost corner of the wave and creating some more in the lighter as well. So this is how you are going to denote the water movement which will be like faded out in the background once the paper has dried. Now, can you see the heart edges when the lighter portion has formed because my paper had started to dry. What I will do is I will go and try to cover up those hard edges by simply dragging the darker tones towards the inside using the same kind of brushstrokes that I have used initially. Okay, now to do this step, use just the tip of your brush and try to drag in the colors over there. In that way you will be able to cover up those hard edges that has been formed. I'm taking my time and trying to rework our reflex, those hard edges. You can see how carefully I'm doing it. I'm ensuring that I'm not overworking it. Now. Maybe I'll go in and add in some more darker tones towards the bottom right. You can see as I'm letting the color and as I am going towards the tunnel, my colors are feeling out because my brush has exhausted the darker tones, right? Let's start working on the left side of the wave. First, I will go with an initial coat of water. Use. You don't have a control on the water that you are using. Your apologies though. Camera had started filming the process. So I'll be telling you what it is. I had just put on a coat of yellow ocher. I went with medium tonal intensity of yellow ocher. And as you can see, I'm just, I followed the same strokes. That is in the direction of the wave, trying to blend out the colors. Your, this part of the wave is the shallowest part of the wave, which is closer to the seabed area. Hence, the colors like yellows and muddy or the greens and browns will be used here to make sure that you are working in the direction where the wave is moving. So I'm going from the outermost corner to the innermost corner trying to blend my yellows with the blues. Now with my darker stone of viridian or the mid-value tone of viridian. Remember those are shadowy areas that we had created. I'll go and use the same kind of brushstrokes and leave some of that yellowish part in-between. Now you're, I'm trying to blend out the colors as you can see because my background is wet on the yellow portion, so the colors will look smooth and blended out. Now I'm trying to get this wetness of the paper to my advantage. And I went over those darker, shadowy parts of the wave once more, creating that streak of the shadows that are formed. As my paper was drying, I felt that the yellow ocher color has dried out to be much more favored than I expected. I will go and leave it again within MIT, tonal value of yellow ocher. Remember, we want the bottom to be almost semi-transparent. So towards the top part or the top curve of the wave go on with your indents, yellow ocher. And as you come to the bottom, go with the lighter values. Now using your liner brushes, I'm going and creating the shorter forms using brown, that is a greenish brown mix. Now I'll just go randomly, random curved strokes urine there and I will just try to create this patterns in this area. Now these strokes will eventually get blended out in the background because your paper is still wet. Now it's time for you to create some more reports using your mid tonal value of sap green. Just create the same strokes using your liner brush. 17. Day 4: Wave Tunnel Part 2: Okay, so let's continue with what we were doing. Now. I'll be using my same liner rigger brush and I'll just go to and fro making this area's little bit more spreading out the colors in this way. Now my paper is still wet so I'm able to not let the brush, bristles do their job was spreading the colors and getting them into a proper shape. At this stage might be Buddhist still wet. Hence, I will just go and use my clean damp liner brush to go and lift out certain areas of where we just created those strokes in the same circular motion. Always remember that you need to use your damp, wet brush to lift out your colors and always keep our tissue paper handy with you. And every time you go lift your colors, damp, rub it off, or dab it off on your tissue paper and then go ahead and lift your colors. If you would've noticed the paper has started to dry and on the upper side, your though, she'd has gotten lot lighter than I expected. So I am going ahead and coating it with one more layer of shadow green here. Make sure that you are using little pigmented value of your color unless of water, it'll give you a nice blend. And to retain the intensity of color. This step, I would recommend that if you have a brush which has a combination of natural and synthetic hair fiber, I would suggest you do go with that because it is a combination of both the worlds. Hence, it will hold lots of pigment as well as we'll have little bit of better water-holding capacity then your synthetic brushes. You are synthetic brushes may also give you some hard edges when you are doing this step. I recommend if you have natural and synthetic hair brush combination, go ahead and use that. Now as you do this step, you will get some of that hard kind of lines. So I want to blend it out. Hence, I'm going with the union little damp brush and trying to blend the areas. Once again, I switch to my size number 12, silver black velvet brush. And because these brushes are really soft, I can easily ensure that the blending here is softly done. Now if you feel that during this blending process you're some of the lighter areas have gotten mast. What you can do, you can go ahead and use again lifting technique, as I have shown here. Now, I will go and lightly wet to the other side area also, I'm ensuring that during this process I'm applying little gentle strokes so that my color is not lifted off because that is how lifting technique is done, right? So ensure that you are not lifting off the colors entirely. Now using my angle shader brush, I'm going to lift out the colors gradually. So you can see red with some gaps in-between I'm going and lifting the colors out in the same, our flagship. Okay. This is what is going to give though. We've done, it's that light portion which is getting reflected. Now if you do not have an angular shader brush, do not worry. This very step can be done using your flat brush. Use the tip of your flat brush and make sure you are using a synthetic flat brush to get this kind of clean and beautiful effect. Now it's more kind of, you know, using a combination of techniques like lifting and learning process. So keep observing my brushstrokes and the way I'm doing this step-by-step, because sometimes observation is much more powerful skill than the audio. I will be back again when I feel you will be needing some guidance. Now again with the liner brush. This time we are going with the unit short, random and broken strokes. Now my left side had gone little faded out, so I went ahead and use the same mixture of yellow ocher. Slightly layered it with another coat of wet paint. Now when I layer of dark green, you can see it is blending and smoothly. This is because the paper is wet. And using the tip of my brush size number 12, algaes go with circular motion again, and we'll repeat the same process to create the band, the darker band of the shadow. Now I'll be letting the topmost corner of the wave again with the mixture of my peacock and pushing Lou. And as I come to the front of the breaking wave, I will go with the diluted tones and I'll simply dragon, pull the colors in Nazis kind of shape and bring it closer towards the inner circle. Okay, so this is how we're going to do it now, do not worry about this hard lines that you are getting. We are very soon going to blend it out using our damp brush. Now I'll be going ahead again with the lifting technique. So I'll just lift out certain portions of certain areas. Again in the same arch like shape revolving around the tunnel of the wave. Okay, so this is how we are going to build the gradation of colors from forming the lighter and the darker areas, especially the streak of light that is getting reflected in the wave. Once we are done with this step, I will be using just the tip of my brush and create this smaller broken ripples are forms of waves like this and this pattern. So this is how I'm going to give the texture and create the movement of that flowing water inside this breaking wave. I will do the same with the rest of the area also because here the water is in very tomatoes position rate. It is the inner constant motion where the wave is swirling, swirling, and is breaking rate. So to denote this water movement, it is very necessary that you create these broken lines or shapes of waves when the background is still wet. Now it's time to pick your white gouache squeezing fresh squash because you want little thick consistency of paint to start creating your brushstrokes in with my liner or rigger brush. I'm going ahead and creating this curvy lines which will be denoting the ripples are the four Miserables though this wave is forming. Now observe my brushstrokes. I'm not going with the simple, cheap. I'm going and giving it some curves and bulges wherever needed. Use random motion or random strokes of your brush and create the shorter. For me, waves in land around the topmost part of the painting. Now this is the point. If you have used your masking fluid, it will be time to, you know, rub off the masking fluid from those papers surface you need your paper to get right at this point. In order to do this step, I have not used masking fluid here. I'm going ahead and doing this step with the help of my white gouache. But in case if we have used masking fluid to mask out this areas creating this repulse. Then it's time for you to get your paper dried and peel off the masking fluid. Now, I have switched to another of my liner brush and with darker tones, I'm going underneath the whiteboard areas that I had painted those ripples. I'll be switching again to another of my brush where I had initially loaded the white gouache and I'll keep continuing with the same small broken brushstrokes denoting this for me, parts of the wave or the lazy network that the waveforms. Now for the proper semiotic shape that we have as the wave tunnel, I'll go with my liner brush. And using the dry brush technique, I will go ahead and create many more smaller, finer lines in there. 18. Day: 4 Wave Tunnel Part 3: Now it's time to paint our for me. I have went ahead and use the mixture of my burnt amber along with some yellow ocher and greens. This is the lightest tonal value. There. You grab some of that blue and just with the dabbing motion of your dry brush, go ahead and create this texture, the patterns along the center portion of that whitespace which you had left for doing the white for me part, repeating the same in the other areas too. Now just with the help of my white gouache, I'll use my liner brush to create this dry brush strokes are patterns to create that Ocean Spray or the foamy part. Use just the dabbing motion of the brush. Hold your brush upright and just keep dragging your brush on the paper. It will automatically create the dry brush patterns your paper. That's why it has to be cold press paper, which generally has little bit of texture to it in order to get the perfect dry brush technique pattern. Keep dabbing your brush and make sure that you are using your thick gouache consistency. Do not make it too diluted with water because this will result in more diluted or transparent kind of layering and you would not get this kind of dry brush patterns or strokes. I'm going to keep doing the same until I covered the entire portion where my white for me part of the crashing wave is. Keep repeating with dabbing strokes of your brush, but always make sure that your brushes dry. You can see how my results look frayed rate. So if you want to do this step, use any of your synthetic brush and just use the tip of your brush and keep dabbing. Now, I'm going to go and make some of that blues and make it a little diluted so that I get the lowest or the lightest intensity. And then I'm going to just go and dab it in-between the areas where I just went ahead and did the gouache patterns, the whitewash, ocean spray patterns. And I'm just going to blend in properly. You this is because if you would have seen when the ocean is breaking up, the C wave is breaking, it will have lots of layers and transparency in-between these forms rate. So in order to debate that transparent layer of the sea depicting or reflecting the color of the water. I'm going ahead and creating this shadows using my blues. You can see how this breaking wave is coming to life because of this dabbing brush strokes with different tonal values of our blues and whites. I'm going to repeat the same step on this shallow part of the wave, where the waves are crashing and breaking upon. Just slide gentle dabbing motion of the brush create this irregular patterns. There is no hole, perfect pattern in this. You can go ahead with any random patterns creating however you want your bite fork. Want to create more texture. Stewart, I thought I will go with wet-on-dry technique for this, but I think I'm not liking it. So what I do is I have went ahead and laid it with little bit of damp brush. Now at this point of time the layer is wet. Now if I go and paint my textures with little bit of browns and greens, it is going to get blended into the background because my paper is now a little wet. This is what I wanted. So you can see the blurry and the smudgy lines. Grabbed a couple of my tissue papers and I'm covering the lighter areas where we had painted the wave would lose. I'm now going ahead with this flattering technique to denote the ocean spray. I'm going with tiny droplets, use a little bit of thick consistency. I would not call it thick, but not too diluted either because when you have more diluted paint, you will get more bigger splatters. Okay, so that's it and I'm done. It's time to let the paper dry completely. After your paper has dried out completely, then only go ahead and be loud. You're masking tapes from all sides. My paper has dried completely now I'll be peeling off the masking tapes from all the foresights. Do it at an angle and do it slowly and patiently. Do not try to read about your paper. Now hold and press down your paper to let your masking fluid come out nice and neatly. There you go. We are done with our painting. This is how our final painting looks like. I'll meet you tomorrow again with D5. 19. Day 5: Color Palette & Techniques: Welcome to the five. And today we are going to paint this beautiful aerial for MSI. First I'll be taking you through the reference. The reference that I have selected is enough portrait mode and this shot from top angle, this composition may look very tough at the very first code that you looked at it. But I will be showing you how you can break down into simple forms. Break it down into 3. First, the deeper C-section, then comes your middle portion where the white form is there and then is your shallow part where the waves are crashing and you get those white lacy network of four. Now let's grab out our sketch book and I'll be showing you first the color palette. Then we will be moving on into how we can attempt to paint this. Let's first focus on the water movement. So if you get that right, the entire painting will be very easy. The water is moving either from left-hand corner to the right-hand corner you can assume or from it is traveling from the white part, that is the for me part of the region and is going into the deeper in. So in all, in all you need to go with diagonal strokes. So this process will become more clear when we deep dive into how we can create this. So first, let's take a look at the color swatches. But the final project, I have mainly used my turquoise and cobalt green sheets along with some darker tones of indigo. Now, if you want, you could pause the screen out there and take a note of all the colors along with their pigment information. Let's begin painting by applying an even wash of water on the depot CND area. And I will leave out wide dry portion in-between which will be our right for me part and covered the rest with. First off, what are the kind of painting that I'm doing out here is known as negative painting because I'm retaining my whites and I'm going around and painting. You can use masking fluid to mask out that wider for media to, I'm loading my brush with the diluted tone of my turquoise blue now absorbed my brushstrokes. I'm trying to push away the paint pigments into the deeper end. So this will denote the water movement that is happening from the region to the darkest or the deepest end of the seat. I am repeating the same step on the other side too. Now, I will be using a little bit more pigmented value of my turquoise blue. And I will try to create more prominent repulse shaped like ripples or strokes from my brush to indicate this water movement. Now I'll be loading my brush with the darker shadow, green color that I have. So you can mix a little bit of your indigo or your darker blues into your cobalt green or your tacos blue and turn it into a darker tone. Now, I'll be going with one more additional layer on the top. The blue color. Orals, you can go ahead and choose your darkest tone of green that you have in your color palette, or mixing little bit of indigo with your viridian to get closer tone to shadow green. Now for the final project, I will be going ahead and using my darkest tone as the shadow green mixed with little bit of indigo. But for this demo exercise, I'm going to go ahead and use indigo as my darker star tonal value. And I'll just go and create this wave-like shapes. See how those strokes are right? Now on the other side, I will go very close to the whiter portion areas and I will just go with random irregular brush patterns with just the tip of my brush and load this darkest are pigmented tones over there. Now if you noticed, I am not going and doing the same for the other left-hand side. This is because to kind of waves are meeting and forming this for mimics. So these are in opposite direction. I will be loading some of that intense tones towards the farthest end of the C to denote the sense of depth and also the perspective, even though it is short from a top angle, Your to the depth of the sea will be playing an important part. Also the light that is falling on it. Now, I'll be going with wet-on-dry technique to create the shadows in-between the white foamy region of the wave. This is how I'll be spreading it out. Can you see the white for me region here has an underlying shadow to it. So that is how we will recreating it. Now on top of this, I'll be letting it with white gouache. For this step, you need to wait until your paper dries completely for you to achieve those dry brush strokes or patterns. Now with the help of liner, rigger brush or any minute detailer brush, whichever you are comfortable with. Try to create this smaller wavelength forms which is radiating out from the white for me region to the deeper end of the C. C I'll be going there and using varying strokes to denote those lines. Now I'm going with this dry brush patterns covering up those shadowy indigo region that we had just painted. Here. I have switched my brush to our detailing brush. Now, if you're comfortable with your liner rigger brush, you can go ahead and do so. I am comfortable in both ways. So I'm showing you how you can choose both and create this fine ten lines to indicate the ripples now go for varying lengths of this rebirth along with some shorter broken lines. The more you do this step, the more prettier this part of the C would look. Now I will be repeating the same in the other direction as well. Just that I'm going ahead with this again, dragging the brush along the fringes of that white foam part to create those shapes. Now use smaller strokes and lines to indicate those smaller ripples or waves that are coming out of the entire region. Now, I'll be going ahead and connecting this repulse into a lacy network of foam. So here is the interlocking waves that we will be forming. And each wave will be interlocked in such a way that it forms a chain. Okay, So go ahead with any random forms and try to link all these forms together. The basic shape is pretty much clear, so it will be somewhere between a pentagon and a hexagon. Okay? So try doing something like that and connect it with the waves. Once you are done with this, just drag the excess amount of paint that you would have in your brush on our tissue paper and try creating dry brush strokes in-between these interlocking waves. Just to give that the gushing waves and forming this form at this other end, that is the right turn corners of my paper or page. Now if you want to reverse the direction of the ways this interlocking waves you can go and create some broader strokes as well. And towards the edge of the paper you can go ahead and create this dry brush strokes dragging your brush and in-between you can go and you're not layer the white gouache with some darker tones to create the sense of depth in this farthest end of the scene. And that is all that we will be going and doing over here. So this is how my real project looks and this is how we are going to proceed on with the techniques. We are mainly going to focus on wet, on wet, wet on dry and dry brush techniques. Come Let's jump start our project. 20. Day 5 : Aerial Foamy Sea Part 1: Like always, I have already taped down my paper on all four sides, and I'm ready to start with my preliminary pencil sketch. I'll be just sketching out an irregular pattern of white for me area. This is the area where mean sea foam will be. You can mask out this area using masking fluid if you want to. Or you can follow along my step-by-step instructions and paint without masking fluid. In this project, I'll be showing you how you can do the same without the help of masking fluid. So the first and the foremost thing is laying flat wash of water on your paper. Make sure that you are doing this step very generously in charting that your paper is evenly coated with the water because you're in India, temperatures are pretty much high and the paper tend to get dry very fast. So if you are living in a region where the temperature, summer temperatures are really high right now, I would ask you guys to do this step little impatiently me ensuring that your paper is nice and evenly coated with water. Once you are done prepping your paper, the next step is to prepare your paint mix. The paint mix that I'm preparing is my cobalt green. Now when you mix two parts of turquoise blue with one part of viridian, you would get the shade similar to that of cobalt green. Using my size number 12 brush, I'll be loading my brush with this paint mix and I'll start layering the colors onto my paper. I have started from one corner of the paper, as you can see, and pulling the colors inwards towards the area where the foamy parties. Now, make sure that you are leaving certain areas as white. See the brush strokes that I'm creating are going and using the tip of my brush and creating this small thin lines showing the water movement. Now this is very important. You know, your brushstrokes will matter a lot because you need to show this movement of water. Waves where the two waves are meeting, crashing each other, where one wave is pulling inwards and the other is pushing outwards. So that is what we are exactly trying to create. Your, hence your brushstrokes will be of vital importance here. As they approach towards the right for me part, you'll see I have loaded my brush with the lightest or the mid value of my turquoise blue. And I'm creating these brushstrokes, which is towards the outer end of the paper. You'll see what I am telling. I am pushing the waves outward into the deep sea area. This is what I was telling. The depend is pushing the water in. The form part is pushing the water to the deeper. And this brushstrokes within matter, hence, observed this step nicely and paint along only when you feel you have watched the entire video and you know what the subsequent steps that are to come. Now, I'll be adding in some darker tones here. I'm using my shadow green, but if you do not have shadow green, you can very well mix your religion with doctors pigmented value of indigo and create this same color tone. Now you'll see I have started layering the color from the top most corner. And I'm going along the sides, creating smaller strokes. And with the tip of the brush, I'm trying to create some wavy lines indicating the water movement. Now to create some more texture in this part of C, I'm going ahead with random, circular and random motions of the brush to just do indicate the darker tones of the color. And now I'm going ahead with the tip of my brush with the same tone of color that I have loaded in the brush and dragging in the colors. Make sure that you are not dragging into intense tones of colors towards the region. Just leave certain areas or gaps of white in-between when you are doing this process. Now starting with the bottom of the paper, here, at the bottom of the paper, I'm going with wet-on-dry technique because I want to add. Give the see more texture E field at this part. So I'll go with my intense tone of viridian at one part, that is from the left corner of the sea. And as they move towards the right, I'll be going ahead with the lighter tones now here see the colors automatically combined together. I had put in some of that, their cars at the top fringe part of the left corner and the colors blended and created this cobalt green on the paper itself. You can also use this and see the kind of texture that I'm getting. You know what, the dark around the lighter tones mixing together and creating some beautiful effects over there. I want to retain this beautiful effect. I'll go and maybe create some more dry brush patterns over there, lifting out some colors, just dragging the colors, pulling the colors everywhere possible to create some kind of texture into this area because this is where our lazy network of sea waves will be. So I want this area to look more dramatic. This now we will be going and painting though, white for me part, especially I'll be creating the shadows first for that I'm creating a very light diluted color mix of indigo. See the dilution that I have done now, I'll be switching to a smaller size drawn brush. I'll be here using my Princeton Neptune brush size number six. Now, with just this brush, I'll be going and creating small dab, dabbing strokes of the brush and try to create this kind of shadowy effects on this area. You can see I have little fast-forward this area because this is a fairly repetitive step. You're the only thing to keep in mind is Nolan density of your pigment that you are using. You can see I have not used too intense pigment over here. I have started with lighter intensity of my indigo first and then if needed, I can go and darken it because in watercolors, once use a darker tone first, it is very difficult to come back to a lighter tone with the darker tones. For the layering process, we always start with a lighter tone first and then layer by layer we go and Chris, the tonal value of a pigment. Now I have switched to my liner brush, loaded it with a thick consistency of white gouache. And now using just the tip of my liner rigger brush, I'm going to go and make this small thin lines of waves all across this area. Now, this will be a repetitive process. Use longer, winnowed and broader strokes if needed. Now always go like thin lines when it is merging from the right for media. And as you go into the deeper, see, just try to feed it out. So just like the way I am trying to create. Now in-between, you can add in some volume by using thicker strokes of your brush. Now I'm going to continue adding this same brush strokes until I satisfy the and the waves look a little bit more realistic. Now I have started painting or going with my rigger brush for this white for me part the mean rightful vD. So as you can see, I'm just dragging the brush along and it is creating beautiful textures over there. Now to have a better control, I find it. My brushes dances more easily when I have a better, shorter tip of the brush for doing this step. So I have switched to my size number one brush from this Taylor series. And now you can see I'm just dabbing the brush the way I want to. And it is giving me exactly the same kind of texture which I wanted. At this step, the main important thing to remember is we have seen this from the tree. I think I have been continuously telling you that for this, for me, part of the wave always go ahead and use a consistency of white gouache to not use too watery or diluted pigment of white, even if you are using white watercolors, always tried to rule for the creamy consistency of your white paint to give you this opacity. Now, when you are doing painting on a large size paper, my people sizes almost approximately two A4 size. On smaller size papers, you will not have problem when you are painting with one single brush. But yes, when you are painting something like this which needs little detailing, it is always handy to have certain few sets of brush available with you. So when needed, as in when needed, you can go ahead and pick your brush and start doing the process. Just for example, for this ten white wavy lines, I have not switched my brush. I'm continuing with the same liner brush. And also it saves a lot of time, you know, instead of going washing the brush, reloading your paint again, coming back. Unless you are painting in a very free and loose style where not much of this detailing work Saj required. You can go paint with a single brush. I had not washed my brush, so I'm trying to, you know, offload my brush with the remaining paint that it had doing the dry brush technique, just making some fuel fine touches here and there. And I think that's all for part one. 21. Day 5 : Aerial Foamy Sea Part 2: Now continuing where we had left off now we will be starting to work on the bottom part of the C. I will be making some interlocking Lizzie patterns of the waves, so absorbed my brush movements. I'm trying to create small thin lines like VB, small thin lanes. And I'm trying to intersect and join these lines together forming this irregular shapes. Now this do not have to be perfectly in same synchronization are symmetrical. They can be shorter or they can be having covering a larger area as well. Just you need to meet God this kind of patterns to create those texture field. Now, observe the reference picture that I had shown in the starting of the techniques section. Remember I had the same reference I have uploaded in the projects and resources section. So go on and study though patterns of the wave in that reference. So you will get a clear idea of what I'm going and doing here. I'll be going and repeating the same steps again and again until my entire bottom layer is filled with this interlocking waves. Now, if you were to do this with masking fluid, this step you had to do before you have started painting. Started painting the body of the sea. In either of the way, you have to be little patient and create this repulse either with your brush or with the sprinter of your masking fluid. So either is you have to do a little bit of hard work over here. I'll keep continuing doing the same until as I have told earlier, until the entire portion is filled. Now the waves can be random. It does not need to have this perfect shapes. Ok, so I'm pretty much done and now with the same detailing or liner brush. Now you can see I'm creating small lines emerging out from the white part of the, for me part of the C. This is how, you know, when the waves crashes. This is an aerial view and this is how the scene looks. You know, so that is what we are trying to do. Now with the help of some dry brush strokes, we are creating more for me parts towards the corner of the bottom of the sea. I have created some more textures in that side. That is a left corner of the painting. And I'm going ahead and adding in some darker tones of my shadow green and trying to blend it out. So this one's give a nice beautiful contrast in respect to this white detailing of the VB forms that we have done. Now, I will start to go over those shadow portion of the wave scene with dry brush strokes and dabbing the brush upright. So when you do this, step, hold your brush in the upright direction. It will be easier for your brush to spread beautifully and create this random, Beautiful Ocean Spray shapes. Now I'll be using again my favorite Princeton Neptune brush to do this. We've laid that is the ocean spray. I love doing this ocean spray with this brush and gives a very beautiful effect because silver brush has a very sharp pointy tip, so it becomes a little difficult. And also I do not want to spoil my silver black velvet dress. So I always use this brush doing this step and I'm never disappointed with the textures and the field that didn't gives, once you're satisfied with your ocean phone, live it at the heck. Do not try to overwork ocean. Now it's time to peel off our masking tape. I'm peeling it off only because my paper has dried thoroughly and completely do the step by reading for your paper to dry completely. This also ensures that your people will leave flat and that's it. We just spilling out the last masking tape now. And I have gotten pretty clean borders and I'm really happy with that. And really happy without the overall painting turned out, I will see you again tomorrow. Bye. 22. Day 6: Color Palette & Techniques: Welcome to D6. And today we are going to be painting one of my most favorite projects from this entire series of seven days of vitamin C, we will be learning how to paint this beautiful dolphins swimming in oceans. And also I will be teaching you how you can paint this beautiful hum back rail who is enjoying his time in the Sea trapping it spray. For this dolphin painting, I have used my own clicked reference from my very recent trip to work, which is gorilla India. Trust me, this paintings are very simple. The only thing that you need to learn here is how to create these dolphins are the veil. And then pretty much it is the same basic waves and ripples that we have learned in our Class Projects one and class project too, along with this guy with some fluffy clouds. So this is like a reputation of the other class projects with just the addition of this element, humpback whale, which is going to be our main focal element of our painting for now in this technique section, I'll be showing you how you can go ahead and create the dolphins with just swimming in the sea. Now in the main project where I'll be taking you step-by-step on how you can create this humpback whale along with the foreground as well as the background, or that is a sky. But let's just concentrate on how you can paint this dolphins swimming indices. Now in a separate piece of paper, I'm going to explain you how anatomy or the structure of a veil is basically all fissures and wheels have the streamlined bodies so that they can reduce the friction against the water when they are moving. This is how a basic shape of a streamlined body means. This is like a fish which I have drawn and show NEW. The wheels are no exception than this. It is just a huge form of a first date. This is how we are going to go and form our dolphin. So remember the streamline shape that it has. So I'm going to go in a very free hand style and I'll just draw a basic outline offered. Do not worry, heat, this is not a very perfect or realistic painting that we are doing our church just, you need to have an overall shape which can make them look like a penguin. So that is my purpose. I'm not going to teach you how realistically you will, can paint a dolphin out here. So this is how me get snout, essentially the beak of a dolphin. And that's all I think because half of it is some marched underneath the water and the half is speaking out of the waves. I think that's pretty much it. Maybe I'll just go and fix the areas a little bit more, make it little curved. Ok, and now I'll just erase the tail portion because this anyways, will be under some much water. Okay, So that is how we will be painting the repulse and you know, in some form over there and it will get covered. Just sketching the areas where my ripples will be and that's it. Let's begin. I'll be starting with wet-on-dry technique for this guy. Throughout the project, we have seen how you can paint a gradient sky using wet on wet technique. You are, I'll be showing you how you can do the same using wet-on-dry technique. For this easy and seamless blend. I'm using my Princeton Neptune series flat wash brush. And I really loved this brush because just one sweeping stroke, you get sky which is so beautiful and have seamless gorgeous blends. You can seem sky, you can create with your round brush too, but you would need a bigger belly of a round brush in order to achieve a smooth gradient blend. I'm happy with how my sky is looking right now. So I'll be just dabbing off certain sections or areas from the sky. This is known as lifting technique and this technique I'm using to create my fluffy clouds. And you can do this technique with the help of your damp, wet flat brush as well. You can see every dime that I'm going in lifting of the colors. I'm using my tissue paper to dab the colors of the bristles. Now it's time to paint our C for the C also am going with wet on dry technique. This is because I do not want my colors to flow into the sky. If we were to use wet on wet technique for this part, also, we had to exercise caution and red for RC to get completely dry. But I did not want to waste anymore time and just quickly show you how you could paint the same way for the C also, since I'm using a smaller portion or the smallest size of paper, it will be easier for me to do this. See with the help of wet-on-dry technique, you can also do the same. But for a bigger paper size, I would recommend that you use bigger brushes because that would help you to get more of our cover, more of the surface area with your bigger brushes. Now as you can see, I am going ahead and creating this rippled like farms in the sea. Now as the rule, when we are closer to the horizon, we will go with the smaller or broken line patterns. And as we are towards the foreground, we will go and create some bigger waves. Now that I have used some darker tone of color, like Jews, a shade darker than what you will have painted the sea width. And that's it now for the dolphins I have used here Payne's gray. Now just go ahead and use your medium tonal value of your beans. Great to paint the body of the penguin. Now, I will just lift off certain areas from dolphin's back after I have used this one more layer of Payne's gray. Now you're my color has got more intense rate. Now with the help of my damp brush, I will just lift off certain some amount of the color from its fin. From its belly side. You can see this is because it is upside dancing along the wave so the sun is getting reflected honors body, hence the shine. So to denote that shine, I have used the lifting technique. Same way I will be painting this baby dolphin also. It's very simple. Now you're closer to the eye. We'll go with the lighter shade possible. Now this is how you will create tonal variation. The entire body will be with an intense color and just the eye portion. That would be a little less intensity. We have painted in AI. I will just outline the B. And that's pretty much it. It's simple. It's not very, very tough rate. So this is how we have painted the dolphins. Now, what I will do, those whitespaces that you see around the dolphins there, I will be using white gouache and filling those areas out with some whites, forming C because dolphins play in the C rate with the wave patterns or wave movements, they also splash water. So that is what I'm trying to show here. With the help of this dabbing movement of the brush. Make sure that during this technique you are using your damp dry brush. Because you're, the dry brush strokes will only create this white for me Ocean Spray that you want. I have interchanged my brush into us ice number six round brush to create more of this for me, Ocean form or ocean splatters when these dolphins are playing around. That's it. I hope you were able to follow along the techniques that I have shown you here how you can create this beautiful dolphins playing in the scene. Now we have used the various combination of wet-on-dry and lifting techniques, but along with some dry brush patterns to create Ocean Spray or the white for me region of the sea. So looking at the colors, you can very well node Y here it is my favorite because it's all blues and lighter shade of blue for the sky. And a medium to another blue for our painting, the body of the sea and the darker tone to create the ripples, along with some themes, gray and white quash. So that's it using the same color combinations. I will be going and showing you how you can create this hump back in the main project. So let's get into our main project. 23. Day 6: Sound of the Seas Part 1: Let's deep dive into our main project first, studying the composition of this reference spectra. You can see our wheel is the main focal element of a painting. So in order to make it equidistant and nicely portion, I'll be going and measuring doubt with a ruler and using the same measurement according to the size of my paper. I'm going to, you're not pleased down some points which will help me as a guiding fat to maintain the shape of the wheel so that, you know, I don't make the body of the whale too fat or to ten. Now using the 1 fourth of the paper, I'll be using it for the sky and the remaining will be the body of the seas. Starting out with the sketch of the whale. Now you could watch me how I sketch out the body of the real. First watch the entire process, and then maybe you could pause the screen over there and try to meet the reference on your own. Now this reference, I'll be adding it in the projects and resources section so you could use D2 and paint your own reference. Dan sketching the body of the wheel. Now I'm just going to lightly mark the area or the portion of the wave from where the veil is emerging out. Okay, So you're, this portion will be deeper than the rest of the idea. Will be starting out with the painting. But before that I have few blues in my palette and I got confused Witches it so in a separate scrap piece of paper, I'm just testing out the colors once again confirming the lighter one is my Taylor blue or sertraline blue hue and the darker one is my Prussian blue. Now instead of Prussian blue, you can go ahead and mix your ultramarine deep also. Now I making up paint mix of my ultramarine deep which I'll be using to paint my sky. I am going ahead with medium to another value of my ultramarine deep using a flat brush here I am going with wet-on-dry technique. As you can see, I'm laying the wet paint on my dry paper surface. And just with the tip of my brush, this flat brush, I'm going over the area where the head of the wheel is putting out. Just going gently over that area and making sure that I'm not painting over the whale. Just going with two and from motion of the brush, the color is too light, so I will go with one more layering of the same color mix that I had prepared. We are aiming for a gradient sky that is darker at the top and lighter towards the horizon line. Now once I'm happy with the blend of the sky, I will be tilting the paper, assisting the colors to move a little and foremost, mood uniform blend. I'm going over it once again, ensuring that my blends are proper and the color is properly spreading out. Since we are working on wet on dry, I need to ensure that my sky is perfectly smooth. Now I'm tilting my paper and ensuring that the colors are flowing down towards the gravity. Okay, So I need to keep my board a little outline so I'll be using my masking tape and I'll please my board over it. So that is little inclined. Now, I'll be using my tissue paper to just dab off sort of medias and remove the paint from there. We are painting clouds. You can see my movement. I'm going very gently and just using the tip of my tissue paper, I'm slightly touching since the paper is still wet, I'm able to lift out the colors. You need to make sure that you do this step when your paper is still wet enough for you to live the paint once it starts to dry, you will be not able to lift off the colors entirely and you will have some very pretty. Bad, hard edges, you don't want that right? So this step you can do using your tissue paper as well as your brush. So in the next, I'll be showing you how you can lift off the colors using just the tip of your **** brush. See the brush movements that I'm doing on tour. Every dime that I'm going and lifting of the color, I'm making sure that I'm dabbing off the results of the brush and this tissue paper or tissue double. Now I'm preparing a paint mix for my body of the sea. So I'll be mixing my Prussian blue and ultramarine deep and little bit of my pale blue also because I want to make the body of the sea little bit vibrant, as well as bright. Tens, I mixed all the three blues to get this color tone. Now, I squeezed out some more of that Prussian blue. I'll be mixing it together in this mixture that I have got. And I'll be creating this beautiful bright blue mixture. And you'll see how beautiful that color is, right? This is my weakness. Glue is my absolute weakness. So for this body of the sea, I'm going ahead with wet on dry. And you notice rate I started from the bottom of the scene making the bottom media darker. And as I will be closing in towards the horizon, I will be going with a medium tone alert the lighter shade of this mixture. Now, observe how I'm using my brush. I'm just using the tip of the flat brush and creating these strokes. I am using wet-on-dry technique because I want to create this illusion of having background waves In this area, right when we start painting it, right? So it will be easier for us to make, go over these areas and mix more smaller reversed it will add another layer and depth to the painting. You see edges use the tip of my brush and went to, went from motion. Now very carefully just decide tip of the brush. I'm going and dragging in the colors, making sure that I'm not painting over the wheel. If you want, you can use your masking fluid and Moscow this wheel, I always prefer to go and do negative painting and almost all the sides. In order to have this lines much finer, I'll be switching to my size number eight brush and going over this area, especially around the real, nicely blending in the colors. Make sure you blending the colors in here, or it will be forming kind of patches, urine there. Now I'll be using intense stone or the pigmented value of my Prussian blue. And I'll be going ahead and creating the ripples. Now, this reports at exactly the same way that we had created in our first project. Remember the horizontal wave forms or reports that we had created in project one and project two. So your two similarly, we will be creating this reverse specially this bigger wave. The wave is bigger because this veil has emerged out from the depths of the ocean and is displacing the water. So the movement of the wave will be much more bigger. And around this bigger wave, there will be many smaller waves as well. I'll just go ahead and try to ping this the entire process. You have to do it a little quickly because we are going and doing it on wet-on-dry technique. So you still have a chance to blend these colors smoothly into the background. When your paper is still wet. If your paper starts drying out, you'll have a hard time blending the colors you love to go over those areas again and again trying to blend and fixed. I can already feel that maybe has started to dry out. You can see how certain areas are getting lifted. What I will do is I will go ahead and with the damp brush, just blending the colors once more. This is how it will look. Now, we will start to create those waveforms again with the help of our liner brush. Now instead of this liner brush, you can use any round brush size number one or two, whichever you are comfortable with. So with dark pigment ID value, I'm going to go create this smaller waves just below the larger wave. Okay, so use the different forms and different curves and bulges. I'm going to repeat this process until the entire C is filled with this waves. Now remember whenever you encountered dry area where the paint has started to dry, always make sure to remember that you either go and lay medium to another flat wash with the same color that you had painted it on top of it, go over the layer again. It didn't introduce your paper to be wet for a longer period of time. Also, it will ensure that when you are going ahead again, creating us again layer on top of the first one. When you go with the flat brush with your color pigment loaded in your brush, it will ensure that the color is not faded out. Here. Remember that the amount of water that you use in your paint mix and also the amount of water that you have in your brush every time that you go wash your brush in water will play an important factor to prevent any hard edges are blotches on the paper. Even if you are painting it on the paper, there may be a chance that your paint is too runny and the background has already started to dry out. So what will happen? That paint will go and form hard edges and bleeds and it will really look very ugly on your paper. So make sure that you are using the right consistency of paint mix whenever you are going and working with wet on dry techniques. Now how will you ensure that your brush should not have dry brush patterns going with it? It should just flows smoothly whenever you feel that your brush is having dry brush patterns, just go ahead and lift some more of the pigment on your brush and come back again and do the steps. Each time that you do, you may feel the color is drying out more and more. That is the paint mix. I'm talking over the paint mix, the water in the paint mix. So you have to ensure that you add a little bit of water, but not too much of water bear in mind. So this will only come with practice. You will be, you will be able to gauge whether your paint mixes too watery artists having the right consistency of watery by just looking at it. It is all with practice that you will get all these ideas and you will know how to control the water in your paint mix. So do not be scared to fail if you are trying it for the first time and it is not coming the way you expected it. Never mind. You can always learn from your mistakes and not repeat the same. 24. Day 6: Sound of the Sea Part 2: Continuing with creating this repulse, I'm trying to add in some depth in this reverse. So I'm going with the darker tones on the crest of this waves and trying to blend it out with the buffer damp brush to the body of the sea. So similarly and be painting similar ways. This repulse throughout. And then we will be starting to paint our humpback whale. It's time to paint a whale. I'll be using Payne's Gray to coat the body, the front side of the body of the wheel. And when you go to the area, make sure that you are going with some diluted the tone of color. C. To dilute your tone, you can use just the tip off your damp brush and try to lift out the color from the media either or while painting. So you can just dilute the color over there and create the same. Now I will be painting the fin of this veil. I have switched to my size number six brush, a very thick consistency of the paint I'm using here. I adapt my brush off the excess paint and water that I had. Now I'll be creating some Draghi brush strokes to create dry brush patterns on the, on the fin of dv will now see the brushstrokes that I'm doing. I'm going with some broken lines as well. This word create that texture which this humpback whales generally have on their fins. Now with just the tip of the brush, I'm going to go outline the fin of the veil with a Payne's gray. I'll be switching to my liner brush to create some more texture pattern on this fan of The veil. I'll go and create some round small irregular shapes along this fin. Now, in case you want to know what kind of patterns aren't really there on wheels. So you could go and search on internet or your browser about humpback whales. A lot of images will open up so you can see if those images for your reference purpose and observe the textures that these majestic equations have on their bodies. Now I'll be painting the underside of the veil. Now observe my brushstrokes. I'm going along the shape that I had outlined for the wheel. Okay, So just following along that shape, I go and cover it with my mix of paints, gray. Towards the bottom I go with little faded out our tone. But towards the top part I will go with one mole code of Payne's gray to make it look more darker. The front side that we had painters seem to have God dried and I noticed that the color faded out as I didn't expect that it would fade out this much. So I go with another layer of paints, gray court, and charting that around the eye area. I do not go and use the indents mix. I just try to lift off some of the paint over there and make it look lighter in that region. Okay, Now I will be resorting to my palette knife to create some the ridges or texture patterns on the underside of the veil. Now I'll be going are following along the pencil lines that I had initially sketched out. Remember this part of the wheel, so I'll be following along those. But if you feel that your pencil lines have been maxed out, do not worry. Just go and follow along the shape of the body of the wave and create this lines. Now it's time that I start working with white gouache. I switched to my liner brush. Now using it, I just go and create some dots on no head of the veil and create this dry brush patterns on the underside as well. Near to the amount of the veil, I'll be using. Color combination of white gouache and yellow ocher and create some dry brush marks over there to create that texture. So if you have noticed humpback whale from uploads or seen too many videos, you would notice that near to their mouth they have this kind of growth, crusty issues, growth over there. So these are the Other symbiotic organisms that live on this mouth area of this Wheels. I will continue to make some for me part along the crest of this waves. Not too many waves will have this only few of the waves which are colliding with each other. We have this kind of for me part. Now, I will go to the main wave and create more of the dry brush strokes with the help of dabbing motion of my brush. So use the brush upright so that you can get to use the entire head or the tip of your brush to create this Ocean Spray. Now the more you drag your brush along the paper, you will get this kind of dry brush strokes. Now create some upward strokes as well because it will look like the fin is splashing water and that's where the waves splash or the ocean Spray is getting formed. Now, I'll be using the same dry brush strokes and creating some mode splashing water from the tip of the fin. Now, I'll be switching to my favorite brush, that is my number six brush from Princeton Neptune series. And using the damp tip, I'll just try to, you know, smudge though, dry brush technique that we have done. So this will look, it is misleading. And with the help of some splatters, dilute your gouache and create this splatters cover the ocean parts of the ocean areas which sheets of paper like I have shown here and then create this platters. Trying to add in little more details near to this area and create textures or the ocean spray form so that it looked at the water is getting splashed from the head of the full creating the eye of the veil. I'm going to go use my paints gray and with the help of my liner brush, I'm going to go just Mika shape of the eye and I will not cover the full white portion that I had left, you know, like that I will do and create a small dot at the center of the eye. And that's all and some more dry brush strokes near to the waves. And I think we're pretty much done. Wow, just look at this. Now my paper has dried completely, so it's time to build off our masking tapes. I'm just loving the look of this project. I hope you guys are also equally happy with how this project has turned out. I can't wait to see your projects. Do upload them in the projects gallery section. Altogether once we are done with the 70s project, or you can go upload each day. 25. Day 7: Color Palette & Techniques : Welcome to D7, and this is going to be our last and final painting before I wrap up the seventies of dormancy series. Now here is a color palette. You can force a screen over here and take a look at all these colors along with their pigment value and prepare your color palette. Now, we are going to keep it very simple for the last one, but with all the techniques that we have learned so far, first is creating the horizon line. I will be using 1 fourth of the paper for this guy and the remaining will be a C. Now in the distance, just closer to the horizon line, there will be some bushy or shrubby growth as well to indicate smaller islands in the distance. Now closer to us there will be another Ireland with this shrubby fields are this is totally a tropical feel of the painting. I wanted to end it with a very happy tropical painting. So I decided to go and do this for this guy. We're going to go and it took out wet-on-wet technique. Now I think you all are familiar with what wet-on-wet means rate. If not, you can go back and check my other Skillshare classes such as watercolors, answers see escapes where all these basic watercolor techniques have been explained. Or you can go and check out my five days of underwater exploration with watercolors even there, all these techniques have been explained. For painting the sky, you can either use a civilian blue or your cobalt blue or ultramarine blue. Any of these blues would make a beautiful sky. And for making the heavier clouds, that is clouds with my shirt, you can create it with some of that Payne's gray or indigo. The choices up to you, I have your used a mixture of my Payne's gray as well as indigo. Now, let your sky area gets dried and then start the wet-on-dry for the C ADL. Wet on dry. Because if you would have also gone with wet-on-wet technique for your see, what would have happened if your sky has not dried out completely, you wouldn't have had the chance that all the scholars would have moved towards the sky as well. So I did not want to do that because re-wetting the sky and working on it would have totally ruin the sky, especially the white pockets of cloud that we have got. Rewetting them would have created a messy affair. How I just thought I will go show you this way of creating the seed with wet-on-dry technique. Now the bottom of the sea, I will go ahead and create this slanted strokes with the brush and the bottom will be with little bit medium tonal value of my turquoise blue, and then I will drop in some greens. You can use your lemon yellow as well, mix it in your greens to give yellowish green effect to your C. These are basically the quartiles are the algae growth on the pebbles or rocks underneath the sea bed, which is getting reflected on the water because the water is so transparent or so clear. Okay, So this is totally tropical vive recreation feeling that I wanted you to have when painting this, I taught, I will show you guys how you can create the same. To create the distant island, I'm going to mix my yellow ocher with some of that white gouache to turn it into a lighter shade of occurred. And this would be kind of opaque. So see the shape that I'm using here. It looks very pretty when it is at a distance. And on top of this, I'll just go use my yellowish green mix. So by mixing lemon yellow with your sap green, you can turn your greens into this yellowish green mixture. I use the lighter version of the color as first the base score. And then on top of it I'm going to go let some of that, the darker tones just by using the tip of my brush, see how I'm creating the beautiful effect of light and shadow and creating a contrast between the light and the darker areas in this shabby shrubby growth or bush. This is just a rough demonstration of water, the techniques that we are going to use for our main class project. In the class project, all of this will be explained in great detail. Now once you are done with the shrubs, now we will go and create some ripples in the sea. So you're going to go and use my liner brush or you can use your any size number one or two round brush which has a pointed tip to create these ripples. Now these revolts are going to take time because I didn't like how it was looking on wet-on-dry, so I decided to go and make the repulse little blurred in the background. So using just a damp brush, I went over those areas. We weighted the area of that particular area and then went ahead and created the repulse. In that way, the repulse look well blended into the background. Now coming for this palm tree, palm tree and tropical wives are directly proportional rate. You cannot expect our tropical landscape without a palm tree. So just using the wet-on-dry technique I'm going and creating this palm tree. All these elements are definite shape. So we went on wet-on-dry technique. Now it's time to paint the board. I use the same mixture of that yellow ocher and I have mixed a little bit of burnt umber with white and created the underside of the fourth. Now, I have used red colored as a contrasting color for the outer body of the board and using a very light shade of indigo, I just went and created some borders for the board. And I'll be creating a motor as well. So that's all. It's a quick demonstration of how you can paint this very quickly. But we are going to take it very slowly in the final project. At the end, this is how our project is going to look. I really loved the tropical vibe it is emitting from the painting. I am craving for a vacation again. So let's recap. Sky wet-on-wet and the all the other combination of wet-on-dry technique. Let's quickly jump start our project. I'll see you again in the final project. 26. Day 7: Tropical Escape Part 1: Welcome to our last and final project. And like always, I have taped down my paper on all four sides using masking tape. Now it's time for us to do our preliminary basic pencil sketching. The first and the foremost is, I'm going to go ahead and create a horizon line using just 1 fourth of the paper. And the remaining three fourths will be RC. Your, I'm going to go ahead and add the right-hand corner. I'm going to go and create an island like shape where there will be some shrubs and there I'll be painting small board. So this is kind of tropical seascape that I'm doing here. That's why I have named it as tropical escape. Like we all are craving for a beach vacation right now, isn't it? So I just wanted to conclude our last painting with this. Now here in this painting, I'm going to go ahead and create my sky using wet-on-wet technique. I'll be creating some dramatic clouds also at the right-hand corner. So make sure you are laying an even coat of water as the first wash on your paper, that is your sky area. Now I'm preparing my paint mix. I'm not making my paint mixed too watery or dilute. So just using the optimum amount of water, I'm going ahead and leering. Observe my brushstrokes. I'm going with some slanted brushstrokes or from the left corner and add the right corner. I just went then dropped in some of the colors because my paper is wet, the colors will be bleeding and spreading into the paper nicely using some more slanted strokes I create the shape of the cloud. Use your long strokes and try to release the pressure accordingly. So you will get this kind of shapes now if you want to add in some more whiter space in between this blue sky that we have just made. You can go ahead and use your damp brush and lift up the colors because our sky is still wet. So you can do this step. Now. I'll be making sure that on my right side my paper is still wet, so I'm just going over that area with the damp brush. I'm trying to lay some water over there so that when I start pouring in colors over there, it blends beautifully because I'm going to go with the very light tonal value of my Payne's gray. Instead of Payne's gray, you can go with indigo as well. Use little darker color but try to not make it too dark. I'm going to go with this very lighter shade of beans gray and create this random brushstrokes over there. Just to do note that, you know, in-between these writers aspects of Cloud, there are some moisture laden clouds as well. I'm going to just spread the colors, the remaining color that is there in my brush and that's it. Not do not try to cover the entire area, leaves some wider gaps as well. Now you're in this blue part. I'm going to fix it by just going over with my damp brush with my wet paint. Need not do this previous step. If you've killed your sky is just perfect the way you have painted. So just let it be. Do not try to do this step because you might just end up ruining your Skype. Now, I'm starting with my C because my sky area has already dried. This is necessary because I did not want my ys see colors, especially the turquoise blue to bleed into the sky. If you were not patient enough to wait for your sky to get right, that would have bound to happen. And once a turquoise look alert would have had this guy, you would have again gone back and try to fix it that way it would have, this guy would be gone. It would have been definitely ruin. Observe the tonal values that I'm using to create the see towards the horizon. I have gone ahead with my intense tone of turquoise blue. And as I'm approaching newer to the island where the board is parked, there, I'm going ahead with dilute. Tone of turquoise blue here. When you are paint mixture is dilute, it will be easier for your brush to go ahead and spread the layers because your paper is dry. So you are working on wet-on-dry technique. Whenever you notice strokes like this, it means that your brushes dry. You go and try to add some more water in your paint mixture and go back and try to cover the remaining areas. So this is how you can work with wet-on-dry technique when you are trying to cover larger areas or larger surfaces. Cure. Look at the brushstrokes that I'm creating with angles. I'm making it a little slanted and there is some heads stuffed on the painting. I removed the head. Now it's time that I drop in some greens because our background is still wet enough for the green to spread smoothly. And this greens and nothing Bart some growth, some kind of algae growth which maybe down on the seabed so that is getting reflected in the water. So that is what we are trying to represent here and I'll go and create some more green. The strokes are ripples. Now towards the horizon line, I'll go with my blue. The blue that I'm using is a mixture of my ultramarine digging deep and indigo. I just went with the medium tonal value. Now I think I'm just going to blend it back into the background. I really didn't like the way it was looking. So I think this one is looking much better. I'll go try to blend out just using my damp brush. I added in some more of that blue tone and with light gentle strokes, I'm going to blend the areas here. Tau is going on drying so you need to ensure that you are quoting your paper with the flat wash of water. Not exactly a flat wash of water. Just use your damp wet brush and try to rework on those areas, wetting and blending it. So see the brushstrokes. I have used old slanted brushstrokes, kind of converging direction towards the island. Now in-between, I'm just going ahead and dropping some more of that greens. Now, you're used tonal variation of greens, used sap green as well as some darker shade of green, Jim, just by mixing yard ultramarine deep or your indigo in your greens, you would get this darker shade of green. This is how we are going to continue making RC look more tropical field because this might be also quarters rate and the water is so transparent that you are able to see these things from just the surface of the water. Using my same liner brush, I'm going to go and create this ripple kind of shapes in the water and charting that you do this step when your background is still wet enough for this colors to look smooth, blended into the background once it dries. Okay, now, have fast forwarded this area because I'm going to create the same kind of strokes over to the horizon line. When I'm moving closer towards horizon line, my lines are going to get much more thinner as compared when it is towards the vote. This is how we're going to create that formation of repulse. Now towards the boat area, I'm going to go and create some more tickers, ripples just by exerting more pressure on the tip of the brush. This we had seen how you can vary the pressure points in your brush and create different weighting strokes. Some thinner and thicker strokes using the thin to thick and thin brush control exercise that we had seen earlier. So I would recommend that you go and check out that section. Have a grip in case you have joined directly in for this day seven. So I would recommend that you go and check all the other class projects and then try to attempt this because this is the last finishing a project. And I have made sure that I haven't included all the elements that we have learned and all the techniques that we have learned so far in the class project. Now, just underneath the base of that island, I'm going to go with my medium tonal in density of yellow ocher and I will it out. I'll use this strokes first and then using my hake brush, I'll just go and nicely and softly blend it out into the water area. Now using the damp paintbrush, I'm making sure that I'm going ahead and coding one more layer gently because we are going to work again with some more repose. But for now, I'm going to go start with the island part. You can see I have used my diluted paint mix and then with the help of my damp wet brush, I'm just going dragging the colors to the other areas. Now on top of this, I'll be going ahead and mixing some of my sap green color and create the shrubby patterns over there just by dabbing the brush. Now towards the base of this shrubs, I will be adding some darker tones of green so you can mix your darker tones of your blue with the sap green mix to get this darker green shade. Now the more blues, darker blues, you add indigo or you can even go ahead and add a little bit of your Payne's gray into your sap green and turn it to darker mix. Now, I'll be using this darker mix at the base of the ground and also at certain areas on the top. I'll go ahead on top of this with a lighter shade as well too, just to give that sense of depth in your, this will make the shrubs look visually more appealing because if you have noticed that tree or shrub, it will be lighter in some areas and darker in some other, especially at the base of a shrubby growth like this, it will always be darker. So I'm using the same concept over here and creating the shrubs, just using the tip of my brush go and create this kind of dabbing strokes. Now towards the base, I'll go ahead and add in some more brown tones. You can go and use your burnt umber or your burnt sienna. The choice is up to you adding in those brown tones near to the ground level or the base. Okay, So that's it I think for the shrub areas now next we are going to start painting our coconut trees. 27. Day 7: Tropical Escape- Part 2: Continuing where we had left off earlier, I'm going to go ahead and create my palm trees. For this stem of the tree, I'm using a mix of white along with my burnt sienna to get this kind of light, the burnt sienna mixed. Now for the leaf, I am going to use thick consistency of my sap green mixed with the help of the liner brush. I'm going to make this france of this palm leaves. Now to make the in-between or the center part little thick, I'm going with some brushstrokes. Similarly, I'll be going ahead and creating the another palm tree just next to it. Now you can't make it in varying shape and size. You can make it a bit taller to that is totally up to you. Now, I'm going to go and work on the background that is, which is our middle ground of this painting, the distant island, vegetation or growth. Similarly with the dabbing brushstrokes, I'll just go creating this one with the varying tones of greens. For the base, use a darker tone and for the upper part user lighter one. I'm done creating the background growth now it's time for the making the island. So there I had painted the CAD or eight, so I'll go ahead and use my mix of white and yellow ocher and create this distinct feeding island. Now since it is at a distant from us, That's why I went ahead and use this lighter shade. I just decided to go ahead and create some mode of that growth. From that distance to the foreground of that distant island. Going ahead with the same brushstrokes that is dabbing followers sap green colors over dead. And now it's time to paint our reports. So you're invoking on wet-on-dry, the the side of the paper has dried up already, so I'm getting the sharp strokes. So use your dragging brushstrokes to create this kind of repulsive video and go over the areas where it has already faded in the background, only there. Okay, so it will look like it is that under reflection also. Now using my little bit of burnt umber and yellow ocher mix, I'm going, I'm painting just below the base of that island now using just the tip of my **** brush and go in the near to the horizon line and they'll try to blend out those strokes that we had done earlier. I just wanted to blend out the colors and make it look even and smooth. Now I'll be going ahead and creating the ripples on the left side as well, just like how we did on the right side. Using a liner brush, you can go ahead with this kind of shape. I have fast forwarded this process because it is a kind of seem repetitive process that we have just seen. On the right side. Use your brush and gentle broken strokes. Now it's time to paint the board. Now for the board, I'm going with my cadmium red, first-time layering this blue stripe on the board. But you can just leave a space of that blue and then come back and paint the body of the board. So why read? Because all the other colors aren't your blues and yellows and greens. So red is the only contrasting color left for our primary color palette. So I decided to go with red for the board. It looks pretty bright and vibrant and it gives a different field. Now I'm going to go and paint this motor or the engine of the board and that's it. I have painted that using Payne's gray now to create some shadows on the board, I'm going to go and use the same light medium to another value of Payne's gray and just try to blend it in along the red of the boat. Forster, I'm satisfied with the shadows on the top of the board. I will go paint shadows just beneath the base of the board using the same Payne's gray mix. And then I'll just feed it with, with the. Now to add a contrast between the red and the blue stripe, I'm going to go with my size number two brush and then paint this white stripes of the board. You can use your Jelly Roll pen also. You afford doing this step, but make sure the background of your board has dried up for you to use your Jelly Roll pen. And I'm just going on top of that blue line once again, to create a nice sharp line, my paper has finally dried up and I really love the look of this painting. It's time to fill out our masking tape from all the full site. And I have been always telling that do the step venue or paper has completely dried up, make sure that you leave it overnight or for a couple of hours for it to dry it naturally, I always prefer this method and that's it. We have come to an end of our 7-day CDs. 28. That's a wrap up!: I hope you have had a great name painting the seven beautiful seascape with me for seven consecutive days, we painted different scenes depicting ocean and water movement. I hope you have learned a lot from this class. If you have loved this class, please do consider leaving a review for me and sharing this class with your family and friends. I would love to see your projects under the projects gallery. So do upload them. I will see you again in the next class.