Beginners Class to Master - Vibrant Skies & Clouds

1. Introduction: Urine and statisticians Cai, can make up a day. It has the most beautiful in the orange cow in itself. So due date, we are going to share all the secrets of painting. These beautiful skylights. Hi guys, I am an artist and strapped on mumbles cache each of cattle are five muscles where we not only my sketch from Congress, weak base, but also their courses, workshops, etc. Each of these courses are available for lifetimes. So if you want to explore it, please go ahead and check out my channel, www.google.com. This class, you are normally going to explore two different types of skies and girls. But we are going to go in depth in terms of what are the kind of palettes that you can choose. Whether it be an annual August bolide or split complementary palette or a harmonious valid. Each of these Ballard has a following exercise which you can go ahead and paint, as well as understand how to use each one of them to the best of the possibility. You can understand these folks like large brush strokes, then the electron cloud brush strokes, as well as how to make smaller brush strokes so that each and every kind of a brushstroke and come to your usage for you and your future paintings. Small yet important details have been gobbled, like painting your son. Then I four different ways. I have been painting my son either be wet on wet and wet on dry, wet on wet technique, as well as painting your grasses with only using water. Finally, I need to get all these projects are real time and you can paint along with me. Anyone of you can join this class irrespective of your level as there is good amount of planning for Campari level of artist. So join me now hand, let's think these majestic skies. 2. Materials : Let's discuss everything you need for the whole physics sizes. The first is the cameras. So I would be using variety of colors, just going through all the sheets which I have the Talmud, orally, Indian yellow, Naples, yellow deep cellular orange quinacridone, coral, cadmium red copper, and also for our campus valid greenish yellow, olive green for a spring, royal blue teal, new French ultramarine, involuntary, indigo, a spray on sienna. And when I keep them individually, every painting that you would be the wing has a list of Carlos that I would be using. Let's just go to all the brushes that I would be using for completing the painting. The fascia is my appetite, DaVinci or brush. It is three by zero. And I have been using this brush for many of my other paintings. Cool. Just wanted to keep you guys updated as well. Wonderful brush to have Casanova size zero, brush. Size four, round the Vinci brush. And this is his photos brush. Hello, with it. I do have a wash brush for doing all my sizes though many of the exercises are done only with one single brush, like this one, which is that in C, gasoline oil brush. The sketch book, of course, is made out of Carnegie five GSM, hundred percent cotton. Paper. Size is nine into 12 inch. So I would be practically using carpet, which is majorly alone, A5 size. I have a color palette. Of course I've used this palette for my other binding site would need a palette like this or any other palette that is available with using tissues. Now these are actually gotten to shoes and I can watch this and again use it. Just being a bit more environment for having two jars of water for my washing of brushes as well as one for first supply. I do have a pencil and eraser, as well as I'm keeping a result of any extra Revit miles from the paper. So you need from the materials perspective, let's move on to the next lesson. 3. Color Selection Various Palettes: If you practice painting or if you are an artist, whether the watercolors or quash, or mediums like oils, etc. It's important to spending some time on your color wheel because that could really help you do is to any of your paintings. This particular part where we are going to not only discuss the color wheel, but how to pick up the colors for your clouds or any other painting that you are doing. I have selected for CDO three colors, which is my Indian yellow, ultramarine hundred. I would be just creating a simple color wheel. Now, this simple color we have already done many times can we are not going to focus on this much. It's just for your knowledge that you can have any three primary colors and create as many secondary and tertiary color. But to capture the mood, focus, tension of a painting, it's important to understand the color harmony and how a color harmony practically defines a good or a bad painting. Many of you have asked me how I select my colors. And this is where I'm going to tell you the various ways in which I select my colors. We would be working with the same colors that we are showing over here in our next set of practices. So let's start focusing on the first part, which is my analog is palate and analagous colors. On the palette, whatever you seen has primary color, like a yellow. I have taken the colors that are adjacent to it, which is majorly my orange. Or you can even take colors that is closer to orange. That is your Compose Opera or red value. Whatever color is closer to the primary sheet that you have, you can take that and start making this analog is column B. This is so important and it comes so handy when you make any kind of sunrise painting. You will see that I will be using this kind of Coca-Cola will format first type one practice exercise. Though, we are also going to add violet because it is a multiple color. But in case you want to only go head with a limited palette exercises, this can be one which you can select on your own. For the first week. I would say it helps you to achieve a wide range of colors. Whereas when you go ahead with the analogous palette, it's not helping you to actually take care of a wide range of columns or drum. The different shades that you can achieve, it really helps you to capture the mood which is majorly warm. In this case, the red or the yellow was that you use practically really sets the tone or the mood of the painting, which is warm in nature and hence any sunrise or sunset. These can be the colors which you can choose Stroke. Though there are other colors which are even harmonious score, which split complementary palette that we're going to discuss now, let's go ahead with our split complementary palette. This is something that I really want to actually tell you. I have used this kind of a pilot very often in my paintings. I'm going ahead with yellow, red, and one thing, you can go ahead with yellow and blue. This would really help you to create much more interesting paintings. I split complimentary is basically concept as logos with one basic addition, I would say it begins with the color scheme of your yellow and red. But adding some blue to practically complement unbalanced of anything. By doing this, you are not only creating an interest for the people who are watching you paint, you are even going ahead and doing a color harmony in a way that all these colors are connecting to each other. This is the type of practice exercise gloves that we are going to print. Hello. There could be some directional clouds that we are going to add. The third type is the harmonious palette. Though harmonious palette is the power of choosing good colors. Good colors means three are close to each other in the color palette. I am choosing blue, various shades of blue. That is my bright blue. Or you can see a royal blue, jello blue and Payne's gray. Payne's gray, which I have chosen, has lot of blue pigment in it. Hence, you can see that they are basically from the same family. This is another painting which is type three. Now what practice exercise? After these practice exercises, we are going to move on to the final painting where all the learning school, this color wheel, and our practice exercise, which helps us to bring two different kinds of clouds and skies. 4. Analogous Palette Practice Exercise: I did all to detail you a lot in detail about the color wheel, analogous palette. But let's understand how to use it on our real painting. The first is on sites where we are going to use our primary color. The only primary color which is yellow. And we would be working with the colors in and around the primary color. That is majorly your warm shades. I'm going to use Sennelier, orange as well as opera hand purple. Since this is our multi-color blending. That's why I have gone ahead and add in my poeple. Otherwise, I would have only gone with my orange and operon. These practically, as I have told you earlier, helps to set the mood of the painting. The mood of the painting is warm and it is Sunrise that is happening right now. Therefore, the colors towards the bottom, lighter in value, while towards the top it is darker in value. Going ahead with cochlear blend. But before I had my colors, I did pre-vet my people. Pre-web thing. Your paper actually helps you have a smooth blend in case you are going ahead with all wet on dry. I am not denying to fact that you will not get a smooth blend. But with a wet on wet technique, it becomes really easy to cover the space and color seamlessly blend into each other, less hassle. So that's one of the reasons that I always like to go ahead with my wet on wet technique for covering larger areas. Whatever colors you see on the people is practically the first layer. And this is really light. If you are one of the persons who loves to have very soothing as well as like low value on your paper. I would ask you to go ahead with this shade. But I am one of the persons who loves to have a lot of vibrancy to the painting. Therefore, I am going ahead with some more darker shades of my yellow, orange opera orals. You can also take Compose Opera would ever Carlo is available on your palette. In case you do not have any of these columns, please go ahead with your crimson that is kind of similar to what you really want to achieve. You can see an uneven blend. We need to blend it with some clear water as well as some yellow in and around though. Sum, the sum that you observe over here is practically very soft in its approach. Now how to keep her son really soft? Here we are painting in and around the whitespace. Dough. The white is all the wet on wet, hence, the palace. We'll move into the places where you have tried to keep it wet. What I usually do in these cases, I would go ahead, take a clean, damp brush and pick up the extra colors wherever it is necessary. This is one of the most handy and easy techniques which you can use for all your paintings. The second one that is another go-to technique for many of the hottest is to use your tissue to pick up colors from the particular place where you do not want any of the pigments to be applied. Orals, you want culprit of lighter value, go ahead and pick it up with the help of your tissue. Though the tissue might give some hard edges, has a really picks up the clear water which is there on the people, or it makes it less damped compared to what we want for the soft term sheet. Hence, I would always ask you to go ahead with this particular way of cap line the colors on your paper. I'm going with a repetitive process of just adding and blending the colors simply, whether it is from the bottom, towards the top or from the top towards the bottom. One thing which we need to always keep in mind when we start with our painting is going with the lightest value first. Another aspect which I have always have solved, if you start with the lightest value and then continue with the darkest value, usually the colors do not flow even from your brush to the lighter value. What happens is even if we take off all the hits droppings from your brush, there is a tendency that we have of very, very light mix still left in our brush that can really get into the lightest value which we always do not want. I am turning my board of it towards the bottom. What I usually do is place any object towards the top, below the board exactly. And then you can easily see the colors flowing towards the bottom. It is gravity and gravity does it stop? That's how I go about the painting. Adding a few points like all the colors that we have used and how there is a multiple layer blending that we have done over here. These are a few notes which you can always keep for yourself that can even help you whenever you have done any kind of studies on you need to reference back on your paintings. I usually love to do these exercises on my sketch book, but just that, I thought I put it on a paper that would be easier for all of us to have a look at it and it is easy to review them. Let's go ahead to the next one. The next one is even a bit more interesting as it is split complementary palette. And you can also say it is a split analog is kind of a pilot where we are adding the blue color along with yellow, as well as the orange or the red, whichever you want to choose. Irrespective of that, like we have a warm as well as a cool family, both of them blending together to give oh, perfect mix. As well as it becomes way more interesting. I must say you will yourself also, but once you start painting in those second practice exercise. So once done, let the paper dry off completely and move on to the next exercise, which is exercise two. 5. Split Complimentary Palette Practice Exercise : Split complementary palette is one of my favorite go-to palettes. Here, basically we mix three kinds of sheets. One is from the warm site, that is the yellow, something that is closer to the yellow, either it be an orange or a red. And then you can go ahead with the color like blue. It creates very interesting fx tan. Let's try that out right now. Pretty wet your paper and then just load your brush with some amount of yellow. The extra yellow that you did load on your brush, take it off on the tissue, and just start with in this round count or strokes. This is a very simple stroke and I'm leaving some areas for my son. The colors will automatically flow in between so you do not need to worry. You can actually leave a larger space of white because the yellow will make it look much more smaller. Going ahead with cause simple stroke from left to right and from right to left by applying some pressure, adding some orange orals. You can also go ahead with red. Both orange and red are close to each other and I would prefer the warmer sheets to be used orals, you can also only go head with yellow and orange. I would leave that option up to you. Once you have added this part, go ahead with some blue towards the top area. The blue is basically my end on three, I have been using this blue very often in many of my other paintings. If you would have gone ahead and check that out, you can understand how beautifully I have applied this shade in other paintings to the special aspect of this sheet with oranges. It plants very beautifully with each other, leaving no gaps and there is no muddy effect that you usually get out of this. Once you are working with this color, make sure that you blend it evenly. And every time you blend, the colors need to mix in a way that it looks very even, even in a way that they just blend into each other without giving any lines or any other effect, which leaves those harsh lines. Going ahead with some more orange. And you can see that I am now going from the bottom towards the top as I want a smooth blend. Blending Hayes Hall. Very difficult exercise to be frank. But once you master it, all your paintings is going to have an amazing outcome. Going with some more orange. And this practically takes a while, so just be around and practice it. Go ahead and add some more yellow towards the bottom where I want to keep it wet for a longer period of time as I'm going to add some blue into the yellow. You have already seen while I was working with the split complementary palette, the yellow was also mixing with the blue to create some greens and pattering we would be using towards the bottom of the paper where we are going to add some foliage. The foliage will be really abstract and it is just too far away from us, so it's not clearly seen and I'm not going to add a lot of foliage Intuit as this is more to do with the practice exercise of using the split complimentary palette in the split complementary palette. And other thing that I want to teach you is how to add the directional Cloud. The directional Cloud is a very, very important concept. And it's all about just applying some pressure on your brush and moving your brush from there right towards the left as the direction of the clauses from the top right corner towards the left part. Makes sure that this movement is not even, not even in a way that in few of the parts you will apply more pressure or there would be more clouds that you observe. Whereas in few of the other parts you can have less pressure and you will have lesser number of clouds along with it. While you go towards the bottom, the clouds will become way more Teller. From the blue family. I'm again using Payne's gray because my Payne's gray has lot more pigment blue compared to any black pigment that usually appears. My Payne's gray is from Magellan mission and goal. You can try any other kind of pastry or darker value of blue for these clouds. I have been using Payne's gray and in downstream blue very often. And I feel these two colors really hard for great flavor to my painting. You continue adding the lines while you go towards the bottom. But we are right now only pulling the planes kind of technique where we are not picking up the colors directly from the palate anymore. We're going ahead and pulling the paints which are already existing on the people from the right towards the left. Now, this method I use very often in many of my other flu preventing stroke. As well as this method comes really handy when you want to actually blend your colors evenly. I always pick the cough the extra colors on the tissue. And then only I go ahead and add these kinds of lines. As we are towards the bottom area, I am going a bit more slow and adding the more lighter values compared to what I did when I was towards the top. This is one of the areas where I do keep in mind that not to go overboard and just go with those split complementary palette in a way that it produces clouds which are lighter and values compared to the ones that are there on the top, going with some blues so that you can get a bit of green. This is a very nice and beautiful tenth of green. I'm going with my damp brush to create these lightest clouds. I use this technique very often in many of my other paintings to ask the people, is semi damp. And when you are picking up the colors, it really gives you a shade which is lightest value of yellow or orange, but yet produces CloudStack. Look more organic and nice from the white side. Okay, Let's have a look at the painting. And here what we have learned is all about directional Clouds, split complementary palette, and how many limited colors you can choose for completing a painting. Let's move on to the next one where we are going to work only with the harmonious colors. I am a true lover of blue for my watercolor clouds. So I will be picking up Carlos from the blue side of the watercolor sheets. Meet you in the next lesson and just understand the power of harmonious palette. 6. Harmonious Palette Practice Exercise : Harmonious watercolor palette is one of my go-to palettes for many of my clouds. Whenever I want to paint any clear skies score, I want to paint cumulus clouds, water laden, cloudy scenes. I think this is one of the palettes that I always refer back to. If you are also someone who was in love with clouds, then this is one of the important aspects that you can always go ahead and explore for you plug studies. I'm applying a wash of water. Once I have applied it on the paper, I will make sure that there are no particles. This is something that I have, even one, the audio, but I want to be very specific. Every time we go ahead and rewrite our paper, they should not be any puddles only applies machine should be seen. Going ahead with my bright blue orals, you can also call it as royal blue. I really loved the color blue because it just so pretty and beautiful that I love this color so, so much adding some amount of my three loop blue into it so that I get a darker shade and the blue becomes more interesting. I love to create colors on the palette. If I am working with something that is in a very, very limited space, you're hardly there is any blending, etc, and wall. Hence, I would go ahead and meet the color on the palette. Orals. We might create many sheets which we do not want for this painting. Going ahead with some more darker sheets from the right and then coming towards the bottom. Do make sure that once you have first applied the likelihood value, then only go ahead with the taco button. What happens is that sometimes we get overboard with a darker value. Water columns, there is no way that we can get that. That's one of the reasons it's great to always go ahead with the lightest value and then add any darker value of your choice if required. While I go towards the bottom, I am just using my brush and finishing it off towards the bottom with the color that is available on my brush. Now, I am going ahead and adding some Payne's gray and orange to get hard taco value. This is majorly to show that part of the cloud which is dark or the shadows which are darker compared to what we have already added for our sky. This is called real, real light color that I've gone ahead and added. Do try this color on your people since I had the tissue and I can really observe what's going on with the color of the shade on the tissue itself. You can make or alter the values again. Now, we can mix a bit more orange into it to water the value of it and add these darker shade or the shadows compete more darker compared to what we have already added for the clouds part. I will go towards the bottom as well as pain, some smaller and thinner lines. This you can always do by using the tip of your brush. Use the tip of your brush for the smaller cloud and apply some pressure on your brush when you want to make bigger clumps. I have been using this gas in your brush from the open sea for many of my Cloud sessions. And this comes very handy if you ever get a chance to get a handle on it. I think this is one of my own paper brushes that you can try out, though I will not say that you have to go ahead and purchase it, but it would be a goodbye for you in case you are looking forward to purchasing something like a mop brush, washing my brush, and then just write a bit about what we would like this particular exercise to be used in, like a cumulus cloud or a clear sky has told you. And then what are the sheets that we have taken? Let's remove the tape and have a final look at the painting. 7. How to use your Brush: Applying your brushstrokes precisely is very important for everything. I'm going ahead with a more pressure from the Vinci size C2 and using it in a slanting weights so that I can actually occupy greater area compared to its type. Only use the tip of my brush. Right now I am just waiting a few water or other spaces so that I can show you this method. Again, innovator with, this is one of the most important traits, whatever you can say for Big 0 painting, where you might be struggling a bit to occupy space. And other important trick that you can hold the supplies going wet on wet, wet on wet really helps you to occupy larger space very quickly as the carlos to flow into each other as well as you can get an outcome which is quick, easy, and it keeps your paper wet even for a longer period of time compared to wet on dry, which can even create marks which are like hard edges. This will come really handy in our final painting. I know that brush using your brush in a slanting way or in a street tree using the tip of your brush. How to use your brushes are very, very important aspect that should be explored and that you guys should also explore when you are working with any of your clouds painting. If you can please your brush where only one single brushes and afforded complete loves painting, we could be working through that for our next exercise. I'm going to only keep down my people on the right hand side to show you the same larger brushstrokes, I would suggest you to use some idiom, one where you can just go ahead and use your brush top clamping manner. Then on the second area, you wet your people and apply the same motion of the brushstroke. Let's explore the directional clouds. This is something that I have been preaching for many years now. It's simple and easy part when you're starting out, it looks a bit more tough compared to other kinds of clouds and skies had to print. I just thought to tell you that this is a combination of smaller as well as larger stroke. The largest flux is towards the top. And while you go towards the bottom, you have to use the tip of your brush for the smallest, triumphantly using this on dry paper, if I use it on a wet people, which we are going to explore on the right-hand side, you will understand how these colors, usually if you're on a wet paper right now, it's important to just understand how he looked through it. Smaller brushstrokes. Now when you are doing smaller brush strokes, this is one of the ways in which chi will make my first project with smaller brushstrokes that is not covering an entire space. We will again repeat this aspect just the way you also, right now. Hang while I go towards the right, I will make these small, small lines with the tip of my brush has the tip is really nice that you also. Once this is done, we will go ahead with our final painting on the right side. This final painting is all about exploring our Clouds hybrid pre wet my paper and I would be using all these techniques that we have. Right now. We are starting with those smallest brush strokes that you also towards the bottom. I'm using my Naples yellow and then I'm going ahead and put my Indian yellow. I'm using some amount of Orleans, but this only really moves very quickly into other spaces. And hence, I just thought to a wanted for this part of the painting, going ahead with some orange and yellow TO both of these in yellow as well as all really not the same plant that is any year. But as I always say that I like colors which are moving less. Alright, now compared to what usually you use for a landscape painting when we're doing, we go paintings. I think I would need to Carlos that move more compared to if I'm doing a smaller painting, I would need the color that moves less. This is 17 into 17 cm space where I am painting right now. It's a square area. You can also go ahead and select something like this. It's more of a rough painting that we are going to do just to understand how our brushstrokes work. If you see, I'm going ahead with some direction. We will work with the directional clouds. What should we did understand? First, we are going ahead with a lighter values and as we progress, we will go ahead and make a taco. This is something that I always have been asking you for, telling you to use your lighter values initially. And then as you progress through your watercolor paintings, switch to the attacker values. As there is less opportunity in watercolors to come back. This is a repetitive hydration, which I have been doing for many of my other paintings too. And hence, I think I would be again and again telling this hint, any of the watercolors sessions that you take from me because This is something that has to be inverted in our mind when we work with these shades or colors of water. Going ahead with some of our blues. This is a non-trained Luther I have use. You can also go ahead with Copart too or any other blue. This is practically to just understand how we are covering a larger spaces. You will always see that I'm using my brush ***** lumping manner rather than applying a load ratio. Whenever I'm picking up my colors. That's the time when I am practically applying a lot more pressure compared to whenever I'm painting my sky. This guy is very simple, soft, nice. But we are going to make some color of Enron three in blue, as well as civilian orange to create comics that looks more like purple, you can also add a bit of Payne's gray into it and then check it on your tissue. Now, I love to check my colors on the tissue, but it's always great to also try it on the people and then understand it. That's the shade which you want it to actually use for this painting. I was really not very sure of the shade of the color, as this is more of experimental. And I just wanted to show you how I use my brushstroke rather than carlos, et cetera, which we are actually working to do. Again, every time when I'm working with this top part, I use a lot larger space while we are going towards the bottom, you will see, I would use Musqueam, the tip of my brush for walking through the clouds, clouds, and have always fascinated me a lot. And highs. Li tags. This is one of the most magical and beautiful space that has so many possibilities and so many options which you can explore as you work through towards the bottom of the painting, we will be working with the same kind of approach that we took for our detection of cloud's going with the tip of our brush and then using it for the bottom part with smaller clouds over its smaller parts of the skies with which we want the shadows. The darker values. Currently that you observe me heading towards the torque is majorly the shadow part of the behavior of these little clouds, which we did have volume. My people remains wet for a longer period of time as I do not use my pan, even if I were walking in the hot or humid conditions. If you want to know how much space, I would really ask you to go ahead and switch off your plan. Use an AC input required, but please do not walk under your font. You could like you pay for trial three more quickly than what it should be. Going with. A lighter value of my orange, more of orange and less often entree into it. You can see how beautiful brown that if yours, it's more orange or brown. The tip of my brush, again, for these clouds compared to what we did, What's the top? Just absorb the brush movement. That's the most important aspect over here. If you want to paint along with me, I would be more than happy to see this project. If you are not even painting along with me, it would be great too, so, so that you can use it for the final two projects which are there. This is simply a practice exercise that you can all hear me worried or may not choose to wait. For my understanding. It's always good to go ahead with every painting that you see that really helps you to build upon your muscle memory. What happens is that your hand is not trained or is not well enough trained initially to apply the colors in the way you are absorbing. It takes a while for each one of us to train ourselves to apply the colors exactly how we wanted to. Hence, the movie paint the vector is on understanding competitors or outcome. Usually are clouds. Painting takes about ten to 15 min because our paper, it means that only for that particular period of time, if you want trying to walk through any of the Clouds painting, my only request would be to actually whoa, stop timer. Approach where you suck about ten to 15 min for your timeline. What has your timeline for the clouds painting? I can tell you if you can do the painting within that time. This is a tightly wound it. Otherwise you will get harder edges and the clouds will also not be as soft as you would like it to be. Going ahead with or in yellow and then just blending it with the darkest value of the green that you also towards the bottom. This is something that I have always loved, this blending technique, it really comes very handy. This part of our painting is not about painting skies. It's just about blending the colors into the background so that we can get something really nice, soft to our eyes. Why do you continue watching me doing this part? I would request you to go ahead and practice these clouds, whether it be larger clouds, whether it be smaller clouds. I would ask you to use the tip of your brush for the smaller clouds pan the top part, or use the slanting method by which you can apply more pressure on the brush for the larger part of the club, only one. Rush is ten. Now, that is one more pressures and Nakoda, clouds painting. I have actually many brushes for clouds painting, which I have been using very often. But having said that, I think it's important to just have one brush so that you can use it for all the projects that we want to paint. In case you would like to know the list of the columns which I have used for this painting. This is mean surely yellow, orange or you can also have poor on it. As well as use some blue, blue candy of your choice. For me, it is in N32, which I have used throughout the painting almost done. I have used some orange with it to create the taco value of the clouds. That so all from the Cloud area for our bottom path, we have used yellow as well as a darker value of green for creating the fields. On top of the fields. I think I would just go ahead and allow it to rest right now because I have Guan be moved further than I should have for my fields area. Let it rest and then there will be a small hilltop. Pi would be adding from the top right hand corner to the bottom left-hand corner. It would allow me to even had a bit of interest into the painting. And I think Pinterest is something that I now like to do a lot better than what I understood already. Going with omics off our orange as well as end on 3M glue or any other color that's existing on your palette. This something that I have all these load, whatever is your left out colors, you can use it for these smaller sizes, which you want to paint for. Cloud spot, going with really dark value right now, but it is now a lock with the extra water, which I have had some more of our darker values and then blending it with our blending brush. Finally, some work, role blending learning. And it takes a long time to blend your colors, to set or to get, I would say the exact outcome which you might have taught you can shoot in a painting hydrides to change the vans even for a smaller space to a great extent. It helps me to have a better understanding as well as it creates the soft edge or the soft feeling of the painting, which I wanted for this part with the people is semi wet, or you can say it's in thumping. That's one of the reasons I can go ahead and add this darker value of green for the bushes, which is actually allowing me to show how far off land area or the bottom part of the hill Patton angle and have fun. 8. Painting the Sun - 4 different ways: Many of us want to paint sun and they'd have been different approaches. I do have previous approaches out of which I feel the top four are the ones where I perhaps keep the white of the people intact. Absolutely. For painting my son, I'm going ahead with some of my Indian yellow hand in and around a particular species of white. That is a soft approach we're painting my son. This is usually very, very often used technique for any kind of sunrise, sunset, soft, foggy mornings. This approach can be used very often, and I have used previously in many of my other classes too. You can also use it for your various paintings that you are to win even in your future projects, you will see how I use this. Okay, going ahead with some of my cleanup of this particular area and then adding some colors. See Carlos is not what we're focusing on as of right now. The approach that I'm taking is to just preserve the white of the paper. I'm showing you when there is excess water on the paper and the columns start flowing towards the bottom. I still see that. You can go ahead and just clear out some of the space where it is white by pouring in a bit of water and then clearing it out with some of your tissue. Still, you need to actually go ahead and again rewet it this way so that the approach of the sun remains soft, beautiful as well as enchanting. It really helps to show the light, but still has a subtle approach to exit. Let's go ahead and paint this case wet on dry method. I'm going with an entire color space. What Hello I'm doing is going with the blending technique. It is the analogous palette that I have told you earlier, which we are going to use, in this case, posters or yellow, then it would be our polo going ahead with some compost, so per hour opera and then finally some of our purple. The important aspect here is to use your tissue rather than actually keeping any space empty. What we are going ahead with hazard approaches and just clean out or space with your tissue and make it absolutely white. Exactly the way you solve over here. Not the way we did our last approach, where we went ahead and just preserve a particular space. So if you are even going ahead with an approach where you have quality potato particular space, you still can come back to it by using a tissue. The next is again wet on dry. But here we are preserving an entire species. Hence we are painting in an around the sun rather than going inside it anyway. Can now be half played a lot with water as well as pains, even in the area where we need to paint the sun. But in this particular case, we keep it as us. We are just going in and around it. What happens is this case is sometimes there can be a pencil mark which is left and you can't reset once you have applied your watercolor over it. So it becomes a bit tough at that point in time. Hence, this approach, I would say, is not highly preferred in my view. I prefer mostly the next approach, which is masking how particular area. With that, what happens is there is no soften the pencil mark. You will just go ahead remove the masking tape and that's it. I'm not going ahead with any of my masking fluid or any of my white gouache acrylics, etc, for painting the sun. I hope you are enjoying the last method now it is again the analogous palette in a simple way. We are going over it, making it in various sheets. And Carlos, once you have added all these sheets, lead people dry off completely. And once it is dry, remove the tip at an angle. You can also, though particular space did come out very well. Another part of this painting is re-wetting. The wedding is a technique where you go head and the wet a particular space of your painting. It is practically going with your shade or machine. You can see clear shade. I'm going to see clear water until your machine is practically a very light wash of water that you apply. Once you have applied that part, go ahead and start applying these kinds of clouds over it. You can observe that the painting will remain as soft as possible. The colors will blend, as well as the bottom colors are not going to get mixed up with each other and give any kind of party effects. What happens when we are doing multiple things together? If we have applied of base layer and we want to go over it with another color. Sometimes both of these mixes up and it gives us a muddy effect. This is a complete way in which you can avoid any kind of muddy. So I guess this is helpful for all of us who are facing any kind of challenges. Removing the tape and then having a family look at it. I usually just put a beautiful pens removing that part and then you can go ahead and just erase it. Okay. Let's name it fosters or wet on wet. And it is again, the wetting technique that we did in this case. This is wet on dry along with the tissue that we used. Nothing but absolute wet on dry, leaving a white space for your son. The last and one of my own favorites is masking a particular area. I hope you enjoyed all these four ways and I will meet you in the next lesson where we will discuss techniques. 9. Vibrant Sky Colors: Understand all the sheets that we are going to use for the painting. The Foster's or royal blue and the sustainable. Both of them will be used together to make a combination that we are going to use for the top part of the scarf. Then next is Oprah, Naples yellow. Horribly, though there is a combination of Naples yellow and Arlene that we're going to use. But it's not that we are using it really in an intense form. In a few areas we're going to use that. This is a major and important point. You have to make a non-trained blue as well as sending your orange to get a column like this, which we are going to use for the top of this current law. With that, you can also add a bit of your Payne's gray. That Payne's gray is really going to help you to get a darker value, which you need for the Cloud area. Greenish, yellow, olive green. And this is your forest screen. Either you can go ahead with forestry or create a green like this for your painting. I will exactly tell you how to get or achieve, or green like this one. Greenish yellow plus olive green plus burnt sienna will give you a color that's more on the side. If you add a bit of infantry and glue on it, you will get a color that is more like a sap green shade. And this can be very well used in your grasses area. This part is basically a quick guide to understand how I have prepared all the colors. I know you have already understood from the column mixing how each of these colors are derived. But here is a real-time example of the same. 10. Vibrant Sky Part 1: You guys have already seen the colors that we are going to use for this painting, as well as the kind of color combination which you can get for the sky as well as for the grounds, is something that you should always try out before going ahead with the final painting. There are only two paintings in this case, we are going to do the easier one first. And then going with the second one has there is a bit of a rewetting technique in that case, which needs some kind of previous experience. And this cloud is particularly great for it. I'm working on a 185 GSM paper, as you all know. And right now I have taken some amount of opera. I'm going over this part of my clouds. This is absolutely the middle part of the Cloud and I have already mixed the color, which is majorly my bright blue, as well as Taylor blue for the top part of the sky. Here Comes domain. And the most important aspect where we start giving a bit of a direction to our clouds. Though, this is not an entire directional kind of sky that we're painting. The left one is more of that which we are going to paint next. This is a quick warm-up, I would say for the sky, I would like you guys to paint in the next part. Going ahead with the top part, right now, this an A5 size paper. So the whole painting would be pretty quick, easy. And you can really completed in a very short span of time, navigated Walsh's similar to the one that you are doing right now, are absorbing on the paper. But a gated wash is all about applying different values, as well as having various shades onto your paper. You can either have a whole kind of aggregated wash. That is what most of us do, which is covering the entire paper. But in the clouds case, I always like to keep some whitespaces or really light spaces that you observe. This is not that last pair. You are going to actually master the clouds, but it is a quick on-the-go kind of a class where you will really enjoy painting two different kinds of clouds in a very easy and simple man or any beginner, or if you are an intermediate or an advanced level artist, the soft clouds are going to take your heart away. And it really took mine. I hope you love to paint these, starting with some more of the darker values. Now, this taco value I have already told is a mixed off your non-3GPP glue. You can have some amount of orange in it, as well as you have to go ahead and add Payne's gray in case there is a darker value requirement. You have already gone through all this during the colors. So I have explained that pretty much in detail, but over here, it might appear a bit different. If we go with a bigger size brush, what happens is that your colors are not concentrated and they become a bit more blur compared to what you absorb right? Now, when you go from the right or from the left or right part is majorly a bit lesser in terms of the clouds concentration. Whereas in the left side that has more of clouds concentration. As we go towards the bottom, the clouds will become thinner and lighter. And some of the ear, I'm going to leave in the yellow and orange spot. In case you have this kind of situation where you have already applied the colors, you are unable to go back. Just go ahead. Take a wet or damp brush can take off the extra color that you observe. Going with some of my orange. Now, this orange is my favorite. It's the Sennelier orange. And it gives that beautiful color and looked to the sky. You can even mix this orange with obit of your operand. That law really is very, very pretty. I do try that color in case you are doing it on the paper. Before you go hand and hand it to your clouds. I always say this guy clouds. Everything is all experimental. But while you do this experiment, make sure that you don't go wrong and he read-write. Going with a darker value of green. What I did is I took some olive green, mixed it in the blue that I already had on the right side. And then going ahead with some more darker value, using my Payne's Gray orals, you can even created with a dark brown whatever way you like. It can be done. I just take off all the extra. Carlos, all the extra pigment from my brush and take it off on the left side napkin that I have. This applaud napkin which I'm using. It is basically reusable. That really helps me to use it again and again. And it really helps me to even reduce the paper usage. So that weighs, I am keeping it all bit more environmentally-friendly. Blend the color with the help of four damp brush. Once you have added this damp brush, go head and start adding greenish yellow color. This greenish yellow color is seriously super amazing. Once you apply it towards the bottom, you can understand the yellowish green just starts glowing and it just gives that factor to your fields, which is very much required when you are planning to make more of something which is spontaneous. Okay, Let's start making the fields. I'm going with the lightest value, which is my greenish, yellow or yellow, greenish whatever you have on the palette, light green. I mean, you can also make this Colorado together, take some lemon yellow and mix it with the green that you have, you will get some color that is similar to the one that you observe. Of course it might not be exactly the same and that's perfectly okay. You always do not need to have a similar kind of shade. Something that is a bit closer is great. Now going ahead with the darker value of my green, this is majorly on mics off my olive green, the blue that I had on the palate, as well as the orange look in a bit Bitcoin or E. So overall, I just I'm just using anything that I had on the ballot, but I have already explained to you that you can get this kind of green using, First of all, three shades of green, which is majorly your greenish yellow, olive green, some amount of brown to get that darker value of green folder if you want to have a bit more dark part and let go ahead with an entree in blue and then add it. This part of the fields is very spontaneous. What we are trying to achieve is to have an invisible point that is in to the background of the fields. And then they are all merge into one single point on the papal. I have done this pretty much in many of my other classes too. You can go ahead and check out my other classes where this concept of perspective is given in much more in detail. So that becomes very easy for you to follow along, clearing out of the edges wherever it is required. And then we will go ahead and add a bit of light green over here. As I just feel that there is a lot more green than what it should have been enjoyed. Yeah, that's, that's what it is. And let's continue painting this ketamine are so fantastic throughout this part, I would say. 11. Vibrant Sky Part 2: In continuation to our part one, we are going to do very simple things is to lift off the colors. Lifting off as a very, very important technique, which I did show you during their techniques section. And we will do multiple kinds of lifting techniques. And this one is that you are doing right now with the help of your brush. That is majorly a flat brush, I have mixed some more amount of blue and adding it as use absorb on the ground. Continue doing this. But overall, now when you observe, you can see that the colors have faded a bit compared to when we were going ahead and adding it on the Cloud section. This is what always happens for a wet on wet technique. If you think that this is the exact color which unique, you might have to go one shade darker than what you currently observe on the people that were really made sure that you are getting a similar color on the paper. Going with some more cleanup or lifting up of the colors and just below the bushes that you also, I will do a very nice and beautiful process over here. My paper is not having so much of water on it. Which means that I can go ahead with some clean water and make these kinds of grasses on the darker values that we have applied. What happens in these cases, you will get beautiful marks on the darker part of the values of the colors. Even know if you have darker values, those parts will appear lighter and they will appeal like grasses. I have done this in pretty much many of my other paintings. And this is a very beautiful and secret method of working through any kind of process that you want. You can frankly walk toward on any other paintings to where you have wild grasses or you want to add some kind of crowns. This comes in very handy. On the left side. What small problem happened does that we had a drop falling on the just the left side, because of which it has become, again, a lot more wet than we expected it to and going with some darker value adding on that. But in the meantime, we can work on the right side. This is having the correct amount of water, which is majorly about very light sheen is seen on the paper. It is semi wet kind of a situation as you have seen on though, techniques are in the technique section where we did go ahead and try this out. And now you again of Soviet over here. This is the second way of lifting off your colors using plain water. So the whole concept of watercolors, frankly, revolves around how well you can partner with the medium that has watercolor itself. And water plays the major role in it. Whether you say, you are going to lift off the colors, whether you are using that color to make any kind of particular row gradient or washes. Everything starts with water and pretty much ends with water. Let's have a closer look at it. Now again. You can see that I'm going ahead and making some more darker lines. Now. This is practically pushing those same four colors that I had. Taking those same darker value of green and adding some more grasses in the similar direction. The way we have painted our Rome. Grassland over here. That is, so there are rules of crosses that though is there. And hence, you have to paint the grasses and the similar way. This usually gives direction has well, as it gives more detail to the grassland that you want to paint do we could have easily leftward at the stage that you did earlier. But I really wanted you guys to try this out. It's a bit of an advanced technique, not exactly a really advanced one. But yes, it helps you to go through this whole thing of watercolor in a bit more depth and understanding, process. It, it really requires bit more majority, I would say, yeah, let's sell. To continue working through it. I ever worked through it on the other two or three directional or grasses that we have and the roles of basically clauses that we have. Once that part is done, we will actually make some amount of quash with our greenish yellow that we have used for this grassland. Then go ahead and add it on these grasses. In the similar way we are adding darker value. We will do that. Once our paper is completely dry, orals the colors will move into each other that we really want. Time to add a bit more opaque color to your grassland. Again, this is a step which you may do or you may not do. I would leave that decision up to you. But overall, this step will really help you to get that detail outline or that detail understanding of the whole process and those details on the ground really look nice. That's the only reason I have gone ahead and added this to detail a little bit more and not only concentrate on the Cloud, but the grassland really adds a lot of flavor to our painting. And as per the rule of thirds, you already know that if you have a Cloud, you should concentrate on that, on the major part, which is majorly two-third of our painting, is covered with the Cloud. Rest of the part is not so important. Hence V are either do grassland or we are going ahead constructing some buildings, any kind of street that you want. This is part which you will always understand better in case you know the rule of thirds. I have outlined it in my all your classes too, so go ahead and check them out. I think that way it would be easier for you to understand how you should place your subjects. Placement of the subject is most important in any kind of a painting that you do, whether it be watercolor, whether it be paced tools, whether it be acrylics or oils, anything that you really want. I think placement of the subject really plays a major role in it. Going back to the painting, I'm making these small, small strokes. Just show that, yes, there is some kind of a field and it has either some flowers or some fruits or whatsoever the top area is like that. I guess it's more of an imagination over here. It's not that something which I did think or which I did see. But it looks great when we do it or apply it on paper. This is it guys. Let's just peel off the tape and have a look at the painting. Embrace you all cells. The next painting is going to be even more interesting. 12. The First Light Colors: Let us just discuss all the final colors which we need for completing the painting. Again, we are going ahead with some warm sheets. That is your yellow. This is Indian yellow, which I have, you can see exactly a replica on the left side where I have named all the colors which I'm using. The next one is Naples yellow deep from Sennelier. The third color that I'm going to use is Sennelier orange from again the brand Sennelier. The fourth color is quinacridone coral. This is one of the most used colors I can save from. Though watercolor, florals palette, as well as I use it very often for even many of my sunset paintings. Along with it, I am going ahead and adding some amount of my Compose Opera. This is a color which is very close to the shape that is red violet. Along with it, we will use some bright violet. And the last one, I would say is in non-trained blue. This is very often I have been using for many of my paintings. But there are some more shapes that is good to have, which is majorly my Payne's gray and burnt sienna. This has been my palette for quite some time. I use it for florals, I use it for sunsets, I use it for Sunrise, landscape, or any kind of other paintings like birds, animals, etc. In case you are planning to create a palette of your own. Something similar to what I have can be really helpful even in your own watercolor journey. Let's have a look at all the color combinations which we can leak from these sheets that we have. The first is our Naples yellow deep, and then assess any year orange, it would give me a color that is really light and downs of the orange, which I get. Next one is my Compose Opera. And compose violet, I will get Carlo, which is lighter than violet, but in-between caboose violet and your Campos. I'm mixing my orange and some amount of inventory in blue to get a color which is conquered and in-between the Warren, just Alaska in lawn three, this is majorly used for a lot of clouds. Are you good for the water area where I want to depict the trees as well as the billings. 13. The First Light Part 1: Whatever we have learnt and now we will be using all of it for completing the painting. Let's suppose pretty wet paper. And once you have added water to your people, make sure that you start adding some of these yellow small, small strokes. Now these strokes are towards the bottom area as you observe. And we are going ahead with all very small brush of size four. You can also use any brush coffee or Joyce bark method of smaller size because that would help nucleate or smaller lines. Switching off to my mop brush and I am having some orange in my brush right now, I'm loading if you have already also Cao Pi Ping typically spaces. When we were discussing about the brushstrokes in our previous exercises, we will be using the similar approach for this painting to going ahead with some more orange and just adding it. Also cooler semicircle. For Mano. Of course it's legal to fully semicircle is kind of the semicircle. So cool that we are using adding some more compost. Compost is a color which is pretty close to red-violet. All this is happening pretty fast. Let me tell you. When you are trying to paint your sky stop people would remain wet for four to 5 min, all maximums six to 7 min depending on where or how you are using it. If you are using another plan, it's going to stay even less wet for a longer period of time. If you are going ahead and using an AAC, it can stay wet for a longer period of time. Though I'm using only one, in fact, GSM hundred percent cotton paper. So you can see that I have to walk very fast as the paper's pretty thin to absorb the water very quickly. Going with my darkest value right now. And this is the problem though. I'm using the palette which is more like analog, this palette, all the colors are close to each other poeple of courses. In addition, as I always say, it's from the darkest value and I'm using the range that is yellow, orange, or red. You can use if you want Oren's, your compost corpora, and some amount of corporate to create this whole sunrise or sunset kind of an effect. For me, the sunrise and sunset is really, really special as I have been a fan of it for many long years now. From the time I've started painting, I can only remember sunrise, sunset, which I have been painting for so long. Applying the purple towards the top and just taking it towards the bottom. So this is how I allow the colors to move into each other, but you can truly absorb fat that is really less water on my paper now, if I keep painting over it and I will get the hard edges. So there is a regretting technique which pie will tell you over here, which comes very handy for everyone who has been painting clouds. One aspect of it is to let it dry completely and then go head and worked all night. Wash of water at the colors haven't added. And then finally, have the same thing ready for yourself. Another approach is to partially with how place, which is quiet right now. Then going ahead with few of your brushstrokes over there, Hi would explain this hub bit more in detail as we progress. Blending is a very important technique. I have been focusing on this for a long time. If you see over here when there is no smooth blend, I tried to go head and have for heft behind more colors so that the blend looks very smooth. The mean, No, Carlos, that also changes called lot with your case, my quinacridone coral. I have told you about the colors like orange, red part there is a beautiful quinacridone coral, which I usually use for many of my floral paintings that I did use for the cloud over here. And it is fantastic. I would say. I have never seen such a beautiful painting which is so close to what I have seen in photographs and in real time. So this particular paint, I would suggest to each one of you who was into florals or who is into watercolor class. This can come really handy in case you want to switch from orange or from red to blue. Quinacridone, gold. Okay, some more colors or taco value as you see that darker value as one of the important aspects of the painting. You can get more interests where you create value. So when you use different values of column, if you are not using different values of color and in case you are not adding their direction to your clouds. What happens is that you will create less interests for the viewer or for the spectator who is watching your painting. In case you can actually create a lot of values within the same painting. Just watering our bird of water in your brush along with the pigment that you have taken. I think it is magical and it will create all the reference that in with the darkest value. And going towards the bottom, I'm using my size four brush as you can put solve. This part is also getting completely dried. So trying to blend a bit with my blending brush, as you can observe, I would say, this is one of the parts where I want to add a bit more color and it's almost dry, so you will get a few hard edges which you can of course blend with the blending brush to create soft edges. Do I have told you this primarily even audio that if you are working on wet paper, you will get soft edges. But if you are working on a dry paper, you will get hard edges. And there is a very, very soft line or very, very soft definition of the difference between both of them. What happens is we wet the paper, but if it dries very quickly, you will get really less chance to add all these clouds and the beautiful smaller details that you want to create in terms of production or in terms of smaller lines, mono readings. All of those can get messed up. Whereas if you work really quick between this, there are more chances of going ahead and capturing all of it. Let us just understand a bit how far rewetting technique which is coming next. For me, I'm going to ahead and rewetting with my quinacridone coral that I have already shown you. And I am just blending it with some more clear water in the whitespace that happened. Again, an important, important trick that I can tell you for painting clouds of warping thing. Any kind of Skies. Try to leave some white spaces. This whitespace, you know, can create so much of impact in your painting. If you leave the whitespaces that is already available on the paper, you can see how much your painting is calibrated in terms of the level at which you have been printing and in terms of where you are painting now. So this is an important aspect which I'm good. You can cautiously, but in your mind, when you are working with watercolors. And we have done this in the harmonious pallet when we read flying up clouds. In case you do not try it out, I would highly recommend you to go back and try and had painting with you will cool at them. This painting has that would really help you to build up the grounds for this particular painting. Okay, Let's have a closer look at how I apply my paints. Has you did have code approach, but let's see how it looks like when you see it closely. I am applying the colors and then blending it with my flat brush. This is quite an advanced technique and I will not say that. You will get it just at school. It takes awhile to get this. And in few of the places, I would even go ahead and remove my columns. You can also observe that the value of the bubble, which I have added is changing a lot extent. Sometimes it's become lighter and sometimes it's becoming darker. Though. You can always remove a bit of a color from the watercolor paper or the people that you are using. If it is watercolor, then it allows you to pick up the color to a great extent. But there are a few things which are happening or staining this. And then they would leave their own stains on the watercolor paper. And that would not be very pleasant exercise to do. Finally, I guess it's time to work a bit, even on the bottom, where you can add a bit more darker clouds. The darker clouds is not only in only purple color, you have to add a bit of indigo and trained for getting the darkest cloud you do. It all depends on the kind of value that you are using. If your violet has anything to do with it. I think it is good to go. If it doesn't have much of doing it, of course, then you have to add a bit of blue and use it. Something that I have noticed over time is it all depends on the pigments that you color has rather than depending on what you're using for your painting. 14. The First Light Part 2: We are completely done with our clouds now and you need to let it rest and dry off completely for a good period of time. Once that is done, go ahead and then start applying this dry brush technique on the people. This dry brush technique we did already discussed in the techniques or brushing movement or section I would say with majorly, we did understand how to use your brush, but still for people who might have just skipped it, I will repeat them. Pick up your paints on your brush, and then take it off all the extra pins on the tissue, start applying it in this a slanting weight onto the values to an extent because some of it would be taco and some of it will be lighter. I'm using simple brush movements for this part of the spaces in between. I am leaving empty as Taiwan, some cannula that is two-pronged the bottom to be sure clearly over here. Now, whatever I do, it's kind of pretty random in terms of the brushstrokes. Believe me, this point in time means rarity of my painting is what? The only thing that I keep in mind while I paint the bottom area or near the horizon line is just to keep my sky more intact, work only in the lower one-third part of the people and rest. Leave it as okay, so over here, we need to add a street life. And whenever we have to add any of those kind of things, I always say that go ahead and make a rough sketch. Because as a big nor we don't have so much of confidence just to go with a brush and pad has many strokes as we want. Therefore, it's always nice to first made to offline and then Google with the final painting. Finally, yes, there are not worn lines that we need to now add for our house. It's so simple process, I would ask you to solve this. Let me just painted and then go over it with your own brains. Has this part, you might not be in a great position to also my pencil strokes has this already has an underlying column and it's not white anymore. So there are chances of missing out of bed on few of the areas at this stage, but I don't want you guys to spoil any of your painting. You have majorly done humungous amount of work that was needed for the clouds. Do all of this painting usually takes about eight to 10 min for the clouds part, frankly speaking, and although difficult part of adding the details near the horizon, no. Ten, not make or break the thing that I really do want you guys to be safe in this spot. And let's just see. I'm going with my darker shade of blue that is a non-3GPP blue. And then having it slowly, this part, I would be going ahead altering the values. Sometimes I'm picking up my darkest value and somewhere I'm using my water. Now, this alteration of the values will come up. But over time I can tell you, I initially did not decide that I would be altering the values, but I love to do it at every point in time you will see altering the values. So this guy altering the values or the bottom area. In case you are not well-versed with the values, I would highly recommend you to go ahead and check out my molecule class, where we have a lot more in detail on the value small airplane things because paintings, various different kinds of shapes and colors. I think that's one of those very pretty classes and easier classes, which can teach you a lot in terms of how to work with various values of one single color. And then of course it can be used in multiple column Mike. Only small trick. While I change the value was one sidewalk with a brush. Then I worked with clear water. Then again, I worked with brush. Easily these colors blend into each other, which is majorly the water part, the color, pigment part, and theme of the spaces. And it creates a nice effect that you can also try has a tip in many of the paintings and I'm pretty sure about it, you will get some amazing results. I'm going over though, pencil mark, which I did apply audio. And then using my tip of the brush to add these railings for the top part of the house. It's pretty imaginary, believe me, there is no connection to the reality for this one. It's more like what I thought when I mentioned. And then I'm coming up with this. Finally, adding some more lines here and there. And once I have added these lines, you will see that there is one or two small loose lines here and there to create more debt. All you can say create more interesting. That's really, really simple. That's how I see it always. Adding one more shade, an area for the building part, joining it with the bottom part. I think it's not yeah. Now it's absolutely straight As I was a bit on what streets. So I made it straight. Small. Learning that I got from this particular painting for myself is that if you try to paint one painting three or four times, they might not be similar. I tried this four times. The first time it came out, so well, the second third time, it did not come out exactly the way I wanted. You will see it on the left-hand side how the blending was not proper. And you can see brush marks. So on the left side of the paper. Hence, I had to go ahead. And again, this painting as an office or has all art enthusiasts, there will be times where you will not be happy or where you want to try it again and again. I would always ask you to be patient with watercolors. Watercolors is a medium that is very rarely spontaneous, accidental, magical. But having said all of it, it's dangerous. And getting the same result becomes a bit tough. But All I can say is this is one of the most beautiful medium that I've interacted with ever. Picking up some of my royal blue or else you can also see the bright blue that I always say, yes, one of my favorites, I love to add it as a detail of my painting. Small aspect do not go with the colors that are transparent, go with colors that is opaque. You can also mix a bit of blue in your white and then had these spindles remove the tape at an angle. And now you're painting. 15. Conclusion: Hi, I would like you guys to try this photo which is taken from Unsplash and even upload it in the resources section. As I am a true believer that tell you start painting on your own from photos, you will not be in a position to actually have all the learning. If you have like anything about this class, do give a feedback that really helps me to improve upon all my future classes. As well as it's a great source of motivation. I'm waiting for each one of your constructive feedback. Along with it, do post your projects in the project gallery so that I can give my own valuable feedback to you that can really help you to ace to any of your future paintings. Can't wait to see you in the next class. Bye for now.