Aircraft Landscapes With Watercolor - Learn to Paint Stunning Airplanes and Seaplanes

1. Welcome to the Class: Have you ever imagined how our lives would be if the Wright brothers hadn't invented the first airplane in 1903? Before that, scientists thought it was impossible to build a structure that was heavier than air which can fly. Since the 1900s, the world has changed, and more than 100 years since then, we all love airplanes and cannot imagine a world without them. I still run outside and gaze at the sky if I hear the sound of an aircraft. I could spend my whole day watching them takeoff and land at an airport. Hello everyone. I'm Geethu, I'm an artist and art educator originally from India, but based out of the United Kingdom. But above all, I'm an aerospace engineer by profession. I always dreamt of becoming a pilot and luckily, I made it into the aerospace industry as an aerospace systems engineer, where I get to work with these flying marvels every day. I still dream of becoming a pilot, but painting aircraft landscapes every now and then gives me so much satisfaction and peace. Today, here I have finally made a class on painting aircraft landscapes. I have had so much love and warmth from the art community for my aircraft paintings, for which I'm really grateful for. We will start right from the art materials we need and some handy tips to sketch the aircraft. I have also included in detail about the importance of color mixing and how we can use it to our advantage. There are four exercise lessons in which we will focus on painting aircraft landscapes, where I will take you through all the phases right from sketching the aircraft to painting the aircraft, and it's landscapes. I have also included tips and tricks on how to sketch an aircraft perfectly to make it easier to draw regardless of your expertise level. Once you have familiarized with these techniques, you have two class projects where we will paint two majestic and standing aircraft, the Boeing 747 soaring into the sunset sky, and a cute little sea plane docked along the river bank. I'm sure after taking this class, you will understand the basic skills required for painting aircraft, the importance of capturing the pencil sketch, learning about painting the shadows and highlights. The class projects and exercises we'll also be taking you through painting skies and reflection on water. The classes are designed to help you take your time to learn and most of all, enjoy the calmness painting brings to your soul. You can see all my aircraft paintings, airplane videos, my flight stories, and a bit of everything else on my Instagram feed. Colorful mystique, where I created mystique world and my mystique aircraft. If you love planes the way I do, then this class is for you. Let us now jump into the next lesson on the art supplies you will need. The wait is over. Onboard everyone. [NOISE] 2. Art Supplies: Let us have a look at all the art supplies that we will need for this class. I will be using this Arches paper. It is cold pressed, 300g/m^2 or 140LP, 100% cotton paper, that is from Arches. Or you can also use Saunders Waterford paper. This is a classic watercolor paper, which is also cold pressed,100% cotton paper and 300g/m^2, as you can see. You can use any of the 300 g/m^2, 100% cotton paper that you have. I mostly use paper rolls from Arches, so I cut them out into the shape that I need so that I can work with different papers as in the sizes. So I will be using A4 and A5. The brushes, I will be using this flat brush from Eskoda. As you can see, it's got really nice flat hairs. You can use any of the flat brush that you have. This is mainly for applying the water and applying paint to a larger surface area. You will also need a larger sized round brush. This one here is a Size 16 brush, but you can use any larger size brush you have such a Size 12, Size 10, Size 8. Then you need a medium-sized brush. So the medium-size depends from person to person so it can be either a Size 10, a Size 8, or a Size 6 brush. These ones here are from Eskoda. They both are natural hair brushes. One of them is a Size 10 and the other is a Size eight as you can see. Then we will also need a synthetic round brush, because it will hold lesser water. Natural hair brushes, as you can see here. This one here is a Aquarius series, which is the natural squirrel hair brushes. They will hold a lot of water and paint. We also need synthetic hair brushes. That is why I'm using this one from Eskoda, which is their product series. As you can see, I have various sizes in their middle range, which are Size 4, Size 2, Size 1. We also need a very smaller size brush for the details. You can use the smallest size brush that you have. Ideally a Size 0,1 or 2. Or you can use the tip of the pointed brush that you have. These are the smaller size brushes that I will be using for the details. Then you also need a flat synthetic brush. This will be for lifting off paint. So synthetic brushes are the best for lifting off technique. That's why I'm using a flat brush. But let me tell you one thing. Ideally, all you need is a large brush, a medium-size brush, and a smaller size brush. You can join me with whatever brushes you have because we're going to have a fun painting session. We also need two jars of water. One of them will be to take fresh paint and also for applying water. We need clear water for that. The other one will be to wash off our brush, which has been since we start painting it. As you can see, the water will turn muddy eventually. But we don't want to be using this muddy water when we're trying to paint the wet-on-wet technique and applying the water. That is why we need two jars. Then the watercolors, of course. So I will be using watercolors from tubes from various brands, mostly Art Philosophy Go and White Nights. These here, are the White Nights tubes, as you can see, they are a Russian brand. Then Art Philosophy Go, so this one is an American brand. These two brands will be the ones that I mostly we'll be using the colors that we will use in different exercises and projects. I will be telling when we are doing the projects and will also be listed as you start them. Then of course we need something to mix these paints. I will be using ceramic palettes. This one is a ceramic palette that I have. I'll also be using this ceramic bowl. You can use whatever palette that you have. For example I will also be using this dinner plate, which I have already filled with a lot of colors, as you can see. This is also what we will be using in this class. You can join me with whatever watercolor palette that you own. Then we need a ruler to take measurements, draw grid lines, and make the aircraft sketches, and eraser and a pencil. I'm using a mechanical pencil here with nib off 0.5 millimeters, because it's easy for me and I don't have to keep sharpening my pencil. Then I also have this board where I tape my paper onto. As you can see, it's a plywood board, so you can use whatever you have, Magazine, your tabletop, whatever. Then I use this normal masking tape to tape down my paper onto the board. I will also be using this masking tape to get an angle on my board. Whenever I want a bit of gravity to work on my paintings, I will keep this masking tape under my board. As you can see, now I have an angle. Then I will be using this white gouache. This is a white gouache from Winsor and Newton. As you can see, I've used it a lot and it's almost finished. But you can also use other white gouache. This one was permanent white and this one is zinc white. You can use any whitewash that you have. And if you don't want to have white gouache, you can also use your white watercolors. As you can see, this is titanium white, which is from Sennelier. As you can see it's PW4, which means pigment white four and I want to show you what is there in this gouache paint. As you can see, it also says PW4, which means that the pigment used for both of these, the gouache and the watercolors is exactly the same. It doesn't really matter what you're using. Join me with whatever watercolors and paints you have and let us have a wonderful flying lesson through the clouds 3. Techniques: Let us have a quick look at the different techniques that we will be using for this class. If you want to learn about these techniques in detail, then I suggest you take my class on Ultimate Guide to Watercolors which has over 25 lessons focused on only the different watercolor techniques. There are also several class projects. In this one here, I will be explaining them very briefly because we already have a class on that. The first one is wet on wet. It simply means that the paper is going to be wet and also we will be applying wet paint. That is why I'm applying water onto the paper first to make it wet. Using a natural hair brush is best for the wet-on-wet technique because it holds a lot of water and it'll be easy to paint. Here I'm taking Indian yellow and you can see how the paint spreads as soon as I apply the paint onto the paper. This is because there is water on it. This technique of painting on a wet surface with a wet paint is known as the wet-on-wet technique. You can see with the swift left and right movements how I blended the whole area with the Indian yellow. Next is wet on dry. That means on dry means the paper is going to be dry and we're applying wet paint. You can see I'm making some straight strokes. You can make whatever shapes with the wet on dry. Anything that you paint on a dry surface is known as wet-on-dry technique, it can also even be on a dried-up paint. If it is a dry surface, then it's known as the wet-on-dry technique. Next, let us have a look at wet-on-wet advanced blending. Again, this is wet on wet, so I'm just going to apply water onto the paper. Here my paper's not taped and we don't have clear borders. Ignore the edges where there's no water. Just concentrate on what is the wet surface. Applying water, and then I'm starting with my Indian yellow. I'm going to apply onto the paper as you can see. First I applied a whole wash of Indian yellow. It seems like an even blend now, doesn't it? As I said, ignore the borders. Then on top of this one, we're going to be adding Indian gold. This is a nice golden brown, golden yellow shade. As you can see, I'm making these strokes on top of it so it's not evenly, just adding them using the side of my brush. It's not the tip, I'm using the side of the brush that is placing my brush at around 30 degrees angle to the paper and using the whole of the brush. You can see they're just swift left and right movements. This will introduce that paint onto the wet paper, giving it a different blend. This technique is what we will use to paint different types of skies. You can add more colors on the top. As you can see, I've taken a bit of Venetian red now and I'm adding it on top, which gives a more contrast because now there's a yellow, there's a golden shade, and then there's a red on top of it. Also to get your shapes lose on the paper, take a note on where you're holding the brush. I'm holding the brush further away than closer to the tip, which will make the strokes lose. Let us move on to the next one, which is wet on wet shapes. As the name suggest, it's again going to be a wet-on-wet technique, which is why I'm applying water. I've got very less space here, so I'm just going to quickly apply water in a rectangular shape. As I said, ignore the borders. I don't have a tape here on this paper. Then the whole of the paper again, I'm going to be applying Indian yellow. This will be the base layer for this technique. What I want to show is how we can apply different shapes with the wet-on-wet technique. As you can see, I just applied the paint on the paper and the paper is still wet. Now we're going to add some shapes on top of it. Let us do that now. I'm going to be taking this synthetic brush. This is a size 6 brush from Escoda and it is their Prado series, which means that it's not natural hair like this Aquario series, which is natural squirrel hair brush and holds a lot of water. This one, the Prado series, is synthetic and it holds very less water. It helps when we're painting wet on wet shapes if we don't want the paint to spread a lot because the brush itself holds less water and will not add more water onto the paper. That way, we get to know much more refined shapes when we're adding the wet-on-wet technique. Also, as you can see, my paper was wet but it's into the drying stage. If it is really wet, it's going to spread a lot, whatever brush you use. It's just going to dry but not dry. It'll be like shining if you look under the light. Then using a synthetic brush, you can make different shapes and it will stay in shape, almost in shape. You can see, I'm drawing some buildings with this brush. I can still get roughly the shape of the building and it's not spreading a lot. Two factors helped into this. One of them was the fact that the paper was not too much water on it, almost going to the drying, but not dried, still wet. The second is this synthetic brush because it holds less water, it does not introduce more water onto the paper. Next, I want to show you the use of these thinner-size brushes. The first one is a size 1 and this one is a size 3/0. So it's a very small size. 3/0 means it's a triple zero size. Let us take some paints with the size 1 first. You can see the small tip that it has. See the line. When I press on the paper, I can get this fat of a line. Here are the smaller lines that I can get with the tip of my brush. It really helps if we can practice these small, thinner lines with the tip of your brush. Try to get them in a straight line because it's going to be really helpful for this class. Now I'll take the size 3/0 brush and try to do the same. Let us see how it is. Picking up nice paint on my brush. You can see the thinner lines that I'm getting. It's really thin and delegate. It's very useful when we want to paint details. If you can practice a bit with whatever smaller size brush you have, try to make the thinness of the lines with your smallest size brush. Also, see if you can paint small circles and small things. Basically, this is just an exercise to help you understand how to work with a smaller brush and add in the tiny little details. It's always easier to work with a larger brush and very difficult with the smaller one because it requires a lot of attention to detail. 4. Colour Mixing: In this Skillshare class here, I'm also going to teach you the importance of color mixing and blending two different colors on the paper. First we will see blending two colors on the paper. It's wet on wet blending. I'm going to apply wet paint onto the wet paper. That's why I applied water first. I'm starting with a rose shade. This is alizarin crimson or rose madder. I applied at the top. Then right below it, I'm going to apply with a blue shade. As you can see, I apply that blue shade right below the pink shade. Then again, I will take the pink shade and apply it below the blue. Now we have three colors on the paper, but we need to evenly blend it. For that, we will use this swift left and right movement from the top all the way to the bottom. You can see how we have created a nice gradient there with a perfect mix. The rose is going into the blue shade by creating a purple violet shade, which makes it get the perfect blend that we want. Now let us look at different blending. A second one, which is known as wet on dry blending. As you can see there's no water on my paper. I'm just applying wet paint. The key factor here is this dark edge here. Before that dark edge dries and starts forming a dark edge, actually, we need to paint the next stroke. You can see, I'm painting the blue right before it starts drying. As soon as you apply the previous stroke, you apply the next blue on top of it, giving it no time to dry. The same again, I applied blue, but before the blue can dry off, I'm using my red on the top, right below it and applying. This is the key rule for this technique. Before the previous stroke dries, you apply the next stroke so that your paper, it always stays wet. When you apply wet paint it's obviously wet. That's what we're doing. Once this is done, you can just evenly use the swift left and right movement to blend it evenly. You can see we are again getting the nice perfect blend of the two colors. I included this lesson within the color mixing part because we're actually using two different colors and creating a violet or purple shade here. Next, I will show you how we can do some color mixing or blending write on the paper itself. First, I'm painting on my paper with the rose shade or the permanent alizarin crimson. I just made a rectangle here with the wet paint. Just a small rectangle. Then now I'm going to pick up my blue shade. I'm going to apply it on top of the permanent alizarin crimson. You can see that as soon as I apply the blue paint on the paper, we're not getting the exact blue shade, but rather we're getting a mixed shade. We're getting it like a violet shade. This is because the paper was wet and it mixed with the red to form a violet. If you add more red on the top, it will turn purple. This is how you can mix colors directly on the paper. Here are the two shades that we just used. It's cobalt blue and the other one is rose madder, which is pr 83. It's pigment red 83 and the cobalt blue is pb 28, which is pigment blue 28. Both of these colors will give a beautiful mix of violet, purple, and different shades of violets and purples actually. I will show you how it is very important with regards to color mixing. I have the rose madder and the blue here in this palette. I will show you how we can get beautiful color mixing shades using just this two shades. It's going to be useful for a class exercise as well. As you can see, I've mixed some of the red shade and the blue shade. You can see that I'm getting a very beautiful violet here. Let us add a bit more red into the mix. Now you can see I'm getting a purple shade. You add more red into it and it turns into a red purple shade. This diverse mixing capabilities, it's only possible when you actually mix two different colors. If you were to use a single violet shade, you will not get this on the paper. If you really want to switch between the different combinations of the violet and the purple that you get with these two shades, you really need these two shades. Not exactly these two shades, but rather if you can use a red shade and a blue shade, because obviously, so color mixing 101, or the basic principles of colors, blue and red will mix to give a violet. That's what we're going to be using here. Just, we need different shades of purple and different shades of violet. Just by varying the different quantity of the blue and the red that we mix onto the paper, I mean on our palette, we can vary and we can get different violets. See this beautiful purple that we have got. If you add more red into it, you get a more reddish shade. If you want to paint right on the paper and add all these different tones or different shades of violet, it will be really possible only if you mix two colors. This is just with two colors. Imagine the possibilities that we can get when we mix all of the colors that we have. We only need the primary colors itself then you can actually mix a lot of colors. See this beautiful violet shade that we have got. Isn't it really beautiful? The possibility of adding a reddish purple shade right next to the violet and still not make it look odd is because the first violet that we applied already has a red in it. You can see how it is. Here, so this is a violet shade right from the tube. I'm not saying that this is not good. This is definitely very vibrant, very beautiful. But we should definitely see the difference. Because here we don't get that different shades of purple or different shades of violet. All we can use is just the different tonal values. The first one is the purple that we mixed. You can see the different tones that we're getting, the violet, the purple, and some red into it. It gives the additional beauty to it. The other one is the violet straight from the tube. 5. Sketching Aircraft Landscapes: Painting aircraft landscape sounds very exciting. right there's one thing I want to tell you. If you look closely at this picture, so you can see how the aircraft is symmetrical, almost at the center, so it's got the wings on both the sides. Then if you look at this one, this is also symmetrical, but it's flying at an angle. There's that difference. Then this one is again symmetrical, so it's got the wings on both the sides. This one is like the second picture that I showed. You can see how important the pencil sketch of the aircraft is. Look at these two. These two, as you can see, they are almost similar but flying in opposite directions. This one here, the aircraft is flying towards the paper that is further away from us, so it's a take-off view. Here also you can see how everything is symmetrical and equal in both sides. How the pencil sketch would be, can you imagine that? What about this one? Look at this one. This looks so tough. Because of all the pencil sketch, all the details, the sea plane itself looks so tough. I want to show you all a way in which we can easily make the pencil sketch for all of these. Because when it comes to aircraft paintings, the pencil sketch is what is most important. Here Here going to introduce you to a new mobile application, which is known as grid. This will help us with making the pencil sketch. It is available on all the major platforms, such as Android, iOS, and you can even get this on the desktop. Here I have installed the grid app. In the grid app, what you can do is you can load your reference picture, and once you load it, you get these reference lines. As you can see, it's like a grid that you get on top of it. You can also control the number of grid lines that you want. So the number of rows and the number of columns. Once you adjust that, you can save that to your device and you will have the grid lines, there are a lot of other adjustments available, but you don't need to use all of that. This grid lines is what is most important to us, because it will help us in making the pencil sketch. You can use the grid lines to make the pencil sketch the way you want it. With the help of this grid, it will be easy for you to sketch the aircraft, because you can make use of those lines and see how and where each part of the sketch goes. I hope that this app would be really helpful for you to sketch the air and get the symmetry perfectly 6. The Aircraft: Hey guys. I will be referring to a lot of parts on the aircraft for painting the different aircraft lessons in this Skillshare class. Let us look at the different parts of an aircraft because all the names that I use will be really helpful for you. Here is a tiny little aircraft that I have in my studio here. The body of the aircraft is known as fuselage. The whole center portion, that is the body, that's known as a fuselage. Then obviously we have the two wings of the aircraft on either side, which are obviously symmetrical for every plane in the world. Then this thing is known as the vertical stabilizer, and then the two horizontal stabilizers at the back. Then we have the engines of an aircraft. They are usually attached to the wing, but as you can see for this one, it's attached to the fuselage. Usually they'll be somewhere around the middle or closer to the fuselage on the wings. Then the front of the aircraft is known as the nose of the aircraft. The nose is what is at the front of the fuselage. Then obviously, we have the nose landing gear. There will be usually landing gears on the wings or the fuselage, two of them, or maybe four. They're known as main landing gears. Then these tiny parts here are known as flap tracks. This is what the flaps of the aircraft use to move up and down mechanically. I hope that these terms will help you when I'm referring to them while painting. I don't want this to be a technical lesson, of course. Let us get started with the exercises. 7. The Bright Take off - Part I: Welcome to the first exercise. Here here the Archie's 300 GSM paper that I have cut out into an A5 size. I'm going to tape down this paper on all the four sides. I'm using a normal masking tape that I showed you in the art supplies video. We will tape down all the four sides just to make sure that the paper sticks onto the board. Then I'm going to use this ruler to press firmly on all the sides to make sure there are no gaps where the paint or the water can flow. First, we will draw the lines of symmetry. The vertical line in the center. Measure your paper to get these lines of symmetry. Take the center point and first draw the vertical line. As you can see, I'm measuring the paper and I'm marking the center point so that I can draw a perfect vertical line. The horizontal line, we will draw at about one third position from the top of the paper. Then we will start with the pencil sketch of the aircraft. You can use the grid app if you want to get the grid lines on your paper and make the grid sketch. I will be showing it in future lessons and projects. Make the fuselage of the aircraft first, that is the body of the aircraft and mark the lines. As you can see, I have made an arc in the center. Then we will draw the wing. We have to make sure that everything is symmetrical when we're painting the aircraft, the wings should be equal on both sides, the location of both the engines at the same place and everything. That is why I'm using my ruler to take measurements, the exact measurements. Also, the picture is fairly straight as in the aircraft is flying right in a symmetrical position not at an angle to the viewer, so both the wings and everything will be symmetrical and equal in length. That is why you have to take measurements. I have attached the reference pictures in the resources section, so you can use that to get the exact reference image that I have used. Refer closely to the reference picture to get the lines correctly and if you really find it difficult without any help, then of course you can use the grid app like I showed, and use the grid lines to help you make the sketch. We will have to very carefully draw the engines and every part of the aircraft. When it comes to aircraft paintings, the pencil sketch is what is the most important thing, so we have to do it very carefully. As you can see, I'm taking my time to do the pencil sketch, and I'm also using my eraser whenever I'm making a mistake. You see, we don't get it right at the first time, but we can always erase and make it correct. Under the wings, we had the flaps of the aircraft, so that is what those horizontal lines are. We will mark all of that with a pencil. Refer closely to the reference picture to get all of the lines correctly. You can see all of these lines very clearly in the reference picture, so that will really help you. Then, the windows on the cockpit, that is the top part of the fuselage, two small windows and we will also mark the shadow areas on the fuselage. Next, we will add two main landing gears. You can see that I'm taking a lot of attention to making the pencil sketch because that is really important when it comes to aircraft paintings. That is getting the shape correctly, the symmetry correctly, so we have to be very careful. Next, we will draw the land area. First I'm marking a horizontal line, then we will follow the rule of perspective to draw the lines on the land. They will all start from the vanishing point and spread away from it. Make sure to take measurements as to how much distance you're drawing the lines from. The same we have to do on both the sides. Exactly as I did on the right side, I'm doing on the left side. Now, erase off the unwanted symmetry lines after finishing the main sketch. These are the main colors that we will use for the background. Burnt umber, permanent yellow deep, yellow ocher, cobalt blue, and indigo. For the aircraft, we will be mainly using this color, ivory black. You can also use Payne's gray or neutral tint. So let us start painting. Here, I will be using this three-quarter inch flat brush to apply water onto the paper. Apply water to the whole of the paper. We have to make sure that it's evenly applied everywhere. It's alright to apply on top of the aircraft also. We will paint the sky first and afterwards the aircraft. So the whole of the paper with water evenly. Then using the same flat brush, we will take cobalt blue and we will apply to the sky area at an angle like this. All of the strokes should be such that they are from the outside to the inside, but make sure that the center area of the paper remains blank. So from the outside towards the center at an angle at all the top edges of the paper. Next, I will switch to a Size 10 brush, take the same cobalt blue and apply on top of the earlier strokes to make it a bit darker. It will be the same inward strokes. So as you can see, I'm painting from the sides of the paper to the inside. Then taking yellow ocher, we will apply this at the center, but this time outward from the center. So these will be the sun's rays. So we will leave a small gap in the center and all of the lines outward. Apply small lines from the center outwards and leave the center gap white. Next, we will take indigo and apply on top of the cobalt blue at the edges of the sky. So we want some darker tones in the sky, that is why we are applying indigo. So apply in smaller strokes to get a darker contrast in the sky. Leave some spaces with cobalt blue, and most of the edges on the top left and the right with indigo. So you can see I'm making darker at the top. This will give a nice contrasting effect to the sky. You can also add more cobalt blue in areas where you think it is faded. This will also help in mixing and blending the cobalt blue and the indigo nicely. Then I will apply more water to the ground now. For painting the ground, we need the angle for our board, so I'm going to keep the masking tape under the board to get the angle, to let the water flow down under gravity. Then taking burnt umber, we will apply to the ground on the left side. So we don't need a hard edge for the horizon line, that is why we're painting with wet on wet. So the horizon line is far away and it needn't be that dominant in this painting, so that's why it's going to be with wet on wet. I mixed indigo with burnt umber to create a nice gray shade and applied it onto the left side. Then we will take permanent yellow deep and mark the sun's rays again. Then using burnt umber, we will paint the rest of the ground area. So we fill all of the spaces between the sun's rays with the burnt umber. Then we will mix more of the gray paint, that is indigo and burnt umber, together. We will paint the ground towards the right. So at this point, I decided that the whole of the right side and the left side we will paint with gray shade. So we have to make it symmetrical, that's why. Let's apply the same onto the left side, and on the right side to get the exact symmetry. Next, I will take my Size 6 brush and apply burnt umber again to make the ground a bit more darker. Apply carefully so that the sun's rays are not disturbed, and apply inward from the bottom to the top at an angle. So you can see it will be always focused towards the center. Then use your brush to lift off some paint to get the sun's rays to give a more original effect to the rays. Add more burnt umber if your color is starting to fade. We will also make the horizon line a bit more sharper. Just add the gray shade on top of it in the form of a straight line, then use your damp brush again to lift off paint. This time again, outward from the center, the direction that you're lifting off. So this will create the nice sun's rays and give a nice contrasting effect between the yellow, the white and the burnt umber 8. The Bright Take off - Part II: Our background has now completely dried. Now I'll take my size 2 brush and we will start painting the aircraft. Apply water on the whole of the aircraft body or the fuselage. This center body part of the aircraft, it's known as fuselage, and we will apply water to the whole of it now because we're going to work on the wet on wet for the body of the aircraft, so very carefully apply water onto the body of the aircraft. Now, we will take the ivory black shade, but a slightly lighter tone of it and we will apply this to the whole of the body, that is the fuselage. Note here, it's going to be a lighter tone that we're going to be using. You can use Payne's gray or neutral tint or black shade, but in a very lighter tone. As you can see, I have left a tiny space on the right as white, because we need that area to be light. Then we will take a medium tone of the black and we will apply on the wings. Leave the engine for now, just the wing area, we will paint with the medium tone of the ivory black shade. We will do the same with both wings, so apply on the left-wing as well. Ideally, the wind direction is set from the direction of the cockpit, that is where the pilot sit. What we're painting right now is actually the right wing, but for the purpose of this Skillshare class, I will always mention as we see it on the paper. Next, we will take a slightly darker tone of black and we will apply to the flaps on the wings. This is the area under the wings, the extra lines that we did remember when we were drawing the pencil sketch. That now we will use a slightly darker tone of black. I'll show you now how we're getting these different tones of the black. The paint straight out of the tube is darker or the darkest as you can see, and then I'm adding water and it gets lighter. Each time adding more water to it, will make it lighter and lighter. This is how you get different tonal values of a single color. Now, the aircraft has dried. I will take burnt umber and apply on top of the black, that is, the lighter tone of black that we applied earlier, but only in the underside of the aircraft in the center area, we know that arc we made with the pencil sketch, so within that area evenly. Then we will take black again. Again, a medium tone of black. As you can see, I will make it in the shape of a shadow on the fuselage area. This is how I get the shadows on the aircraft by applying different tones of several colors. Here, it was ivory black and burnt umber. Next, we will take the darkest tone of black again and apply on top of the wing area, that is the engine. Not the wing area, but this is the engine on the wing. We have to do it very carefully to maintain the shape of the engine correctly. It's not exactly round, but for the painting purpose we can make it round. Next, I'm switching to a size 1 brush because this is even smaller than the one that I was using which was size 2. We will carefully draw the horizontal stabilizer. These two horizontal lines on the aircraft at the back of it is known as the horizontal stabilizer. There's two of it to either side, so we will paint that with the medium tone of black. Remember, they have to be symmetrical and equal in both sides. very carefully because it's very delicate. Next, we will take the darker tone of black again and apply on top of the wing area. Just a small line on top of the pencil sketch that we made as you can see. It's mostly to cover the pencil sketch and get a nice shadow lines correctly. We will do the same for both the wings, and also the wing tip which has a slight bend at the end as you can see. Then draw the outline on the engine with the same black shade, darker tone. This is like the outer circle. The inner circle is what we painted earlier and mark the engine body. We will apply a medium tone of the black into the engine body. As you can see, the whole of the aircraft was just different shades of black and burnt umber. This is how different tonal value comes into use. Next, using a darker tone of black, we will draw two black windows on the fuselage. It's like a knock, but there's a slight separation in the middle. Then with the black again, we will draw the flap tracks. These are just vertical lines, just make these vertical lines on the wings. These are known as flap tracks. That is the track for the flap to come down when the aircraft is taking off or landing. You might have seen it if you have traveled by air. Then for the landing gear, we will draw using this micron pen. This is 0.8 millimeters. Simply draw the two main landing gears. I usually draw this with the brush itself, but I thought that this might be easier for us for this painting as it's very delicate. As you can see, when we look at it from this angle, there's the two views on either side, and then the two struts joining the two wheels, and then the nose landing gear on the body. It will be slightly smaller than the main landing gears. Then using a black tone, again, we will draw some lines on the fuselage and also add in the landing gear doors. This is where the landing gear goes in after takeoff. Lastly, we will add some highlights with white. I will use whitewash, but you can use white watercolors if you don't have wash. I'm using my smallest size brush again. Onto the horizontal stabilizer, we will add horizontal lines and on the wings as well. As you can see on nose of the aircraft, there are some highlights there which we will add now. Adding highlights and shadows will increase the contrast between different details. Then on to the engine as well. Then make this small spiral shape inside the engine; this is to show the rotating engine. Then some on the wings, just a line to mark and show the contrast between the black and the white. At the bottom part of the engine as well, so you can see I've added some to the bottom part of the engine. Then using black, I'm going to just add random details to the aircraft, just some spots here and there. Because actually on the body of the aircraft there are a lot of things, lots of small minutiae details, so that's why. Add some random spots and you can add more highlights. To the flat tracks, I'm adding vertical lines. Next, we will add some details to the ground. This will be the last thing to do. With burnt umber, mark the edges of the road area. These needn't be that clear, our focus here is on the aircraft. Then we take some white to add some lines on the road. We need not make it much detailed, just subtle lines. There's the lines on the road or the runway. Once that is done, the painting is complete. Just some delicate lines. Now, we can carefully and slowly remove the tape. Remember to pull it off away from the paper, otherwise, your paper might tear and go into the painting. Here it is, the final picture. 9. The Tropical Sunset: Here I am starting with the pencil sketch, which is the most important thing when we're painting aircrafts. First, we will draw the aircraft. We will have to draw it very carefully. If you want, you can use the grid app to draw it correctly, by using the grid lines and marking them on your paper. It will give you the correct lines of reference to help you sketch the aircraft. As you can see, I'm using a ruler to get the straight lines. Here, you have to notice that the aircraft is flying at an angle to the viewer, and hence the lengths of the wings will not be the same. But you have to get everything correctly in the right angle. It's okay if you make a mistake, you don't have to be stressed, just try to do it exactly as you see in the reference picture. But it's okay if you don't get it right the first time. Then draw the vertical stabilizer. You can see it extends upward on top of the wing on the left side. The tiny cockpit windows, then the two horizontal stabilizers. As you can see, I'm always checking the angle with the reference. Here when I was drawing the stabilizers, my reference was the wings. They have to be in the same line. As I said, the wing on the right side should be shorter. Here I am adding two semi-circles for the engines. Then once you're done with the aircraft, with your pencil just lightly we will add the palm trees. Just very lightly mark the placeholder. That is, we're just adding the place where the boundaries would go. Just roughly add the pencil sketch for it. Now the colors we will be using are: Ivory black, Indian yellow, Venetian red, burnt umber, and Indian gold. We will start by applying the water. We will apply the water to the whole of the paper. Here we don't have to be worried about what's going to be the aircraft area, so just apply water to the whole of the paper. I'm using my three-quarter-inch flat brush. Then with the same brush I'm taking Indian yellow. We will start applying from the bottom in wet on wet method. I will cover the entire paper with Indian yellow, except for the bottom center, where it will be the sun. Leave a slight gap at the bottom center, and the rest of the paper just cover with Indian yellow. You can also use transparent yellow, if you want. Just do the whole of the paper, every corner and everywhere. Then switching to my size 10 brush, I will take Indian gold, and we'll apply on the top of the Indian yellow while the paper is still wet. I'm applying from the left side towards the center, and from the right side towards the center, in straight lines, as you can see. This will evenly blend it on top of the Indian yellow. Make swift left and right movements with your brush. You can see how this movement is making the Indian gold. Just blend evenly on top of the Indian yellow. Remember to keep the sun area clear. If you accidentally paint over it, you can clear it with a damp brush by using the lifting method. Now we will take a darker tone of Indian gold and apply on the top with the same brush movement from the left to the center and from the right to the center, but at random places. We're just darkening the corners, the left and right. After that, now we'll take Venetian red, and apply on top of the Indian gold, first in the center area, and then we'll move towards the top. The Venetian red, we start from somewhere around the middle center area, and then all the way towards the top. You can see that I'm using the side of the brush to make smaller clouds. Remember to skip the aircraft area this time when applying the darker color. Some of it might go on top of the aircraft because we're still applying wet on wet, but that's all right. Now we will take burnt umber and we will apply it on top of the Venetian red. You can see we're gradually starting from the lighter colors and then moving on to the darker colors. Evenly blended into the background, because we don't want it to appear as if it's overlaid on the top. If you think that your color appears lighter at the bottom, you can add more Indian gold and Venetian red. Just make sure to lift off paint from the top of the sun, as it should be left white. While blending if you see that if you accidentally got rid of the white area, you can always lift off again using the lifting technique. You can see, I'm lifting off more paint from there to create the whitespace. Now, while the paper is still wet, we will take more burnt umber and add it on top of the Venetian red. We are now creating the darker shadows on the clouds. We will add it towards the top area and on top of the smaller clouds. Again, using the side of the brush. You can also add clouds as small lines if you want. You can see, I'm making smaller lines. Just make sure to make the top part darker than the rest. What's the bottom part? We will have smaller clouds. Don't make any huge clouds at the bottom part, just very small and very lightly. All the darker clouds should be at the top and the lighter clouds at the bottom. Also the bigger clouds at the top and the smaller clouds at the bottom. We just have to make sure that the top part is darker than the rest. Add more burnt umber to the top to make it dark. You can use a darker brown that you have. Van **** brown will also work. After this we have to wait until the background is dry, when you're finished with the sky. Now we will move on to painting the foreground palm trees. I'm using my size 2 brush. I will take burnt umber. This time I'm taking a very darker tone of burnt umber, almost similar to black, but I'm not using black here because I just want it to be brown, but very dark brown. Use the darkest brown that you have. I will draw the palm tree first, and then add the palm leaves. You can see I'm adding the strokes of the palm trees, that is the leaves of the palm trees, using smaller strokes like this, very randomly, and in quick small lines on the palm trees. We don't have to focus much on getting these lines perfect. No palm trees are actually perfect also, so painting it randomly would make it look more real. There will be that tall palm tree and then two smaller ones so we will only see some part of the leaves of it and not the trunk part. You can see closely here how I'm making the lines on the palm tree just randomly, quick motion with my brush. Now to the left side so you can see some of the palm leaves can be bent and when you're adding these lines in some areas, you can leave it blank too they may not all be filled. What do you need to understand is we don't need to rush in any part of this process. Sit back, relax and enjoy the process, as I always say. Painting is all about enjoying the process and just take your time to do everything, nothing to rush about so that's why I love painting. Remember to use the smallest size brush you have idly a Size 0 or a Size 1. I'm using my Size 2 here but if you want, you can use a smaller size. Now I've switched to a smaller size, a Size 0 brush, because I want even thinner lines on some of those palm leaves. Once we've finished with the palm tree, we will move on to painting the aircraft. Now we will move on to the aircraft using Indian gold, we will paint the body of the aircraft, that is the fuselage. Paint the whole bottom part of it with Indian gold. You can see that there is that tiny space at the top of the fuselage that I've left behind so except for that, the rest of the body we'll paint first with Indian gold. Be very careful and paint along the lines that we have made and also on top of the vertical stabilizer using the same color, Indian gold. Now, using Indian yellow, we will paint the top fuselage. That space that we didn't paint with Indian gold here, so we'll paint with Indian yellow now so that's because that area needs to be lighter than the rest, so that's why with Indian yellow. The area top of the wings and the engine, that is the outer body of the engine, that's also with Indian yellow. Next, we will paint the bottom part of the fuselage with burnt umber so as you can see, there will be three colors on the body of the aircraft, which is Indian yellow, Indian gold, and burnt umber so the darker shadows will be with darker tone of burnt umber. As you can see, I'm painting the whole body, the bottom part of the fuselage with this burnt umber very carefully. We will also paint the whole of the wings with burnt umber so these are again the details as in very delicate parts of the aircraft so we should be using the smaller size brush that we have. I'm using my Size 2 brush here so both of the wings, we will paint with burnt umber, and also the area inside the engines so the inner part of the engine and the wing area, that's what we'll paint with a darker tone of burnt umber. Remember, no need to rush this process, take your time, and very slowly. You can see how very slowly and concentration is most important when we're painting this. Next, we will paint the two horizontal stabilizers with the same darker tone of burnt umber. As I said, you can also use any darkest brown that you have. Transparent brown, Vandyke brown, all of these are colors that you can use. Then the flap tracks, small thin lines outward from the wing area so these are known as flap tracks in an aircraft. Then using the same burnt umber, we will paint the cockpit windows of the aircraft just a small, tiny line at the top. Next, I'm going to add a slightly lighter tone of burnt umber so be careful, it's a lighter tone of burnt umber onto the body of the aircraft on top of the Indian gold, and I'm blending it with the already existing color using water. This was just to get that darker contrast from the lighter to the darkest tone which is burnt umber. Next, we will use whitewash and add some highlights. First, we will add it to the end of the vertical stabilizer, and then the top portion of the fuselage to depict the highlights so this area is going to be really bright and white but if we leave it white, it's going to look odd so what we're going to do is we're going to take some water and blend it with yellow. It using a damp brush, not a lot of water, just a damp brush and then we'll blend it with the existing colors. As soon as you apply the water, the paint will flow so apply the water and then blend it smoothly with the yellow underneath it. Now you can see the transition from the white, to the yellow, to the brown, which makes it look beautiful and the same way with the bottom part. Now, with a very thin brush, add tiny white lights, two lines to depict some of the details on the fuselage and the wings. They need not be very dark white, just few lines on top of the wing, the horizontal stabilizer, and in some areas of the fuselage so you can see what I'm adding just some lines. Even though you apply white because it's on a dark background, it's going to turn into a lighter mood so it's alright. Now lastly, we will take some Indian gold and add it to the palm trees to show some glowing leaves. We will add to all of those leaves that are closer to the sun so on the left side, all leaves to the right, and for the trees on the right, or the leaves to the left, just in some areas, add the Indian gold to show that there is that glowing sun reflecting off the boundaries. These leaves are illuminated by the sun and hence glowing gold. Now our painting is complete and we can slowly remove the masking tape so this was just a small exercise. I hope you like this and here's the final painting. 10. The Flying Whale: We will start with the pencil sketch as always. Here, I'm making two symmetric lines in the center. This symmetric line will help us to make our pencil sketch. Use your ruler to take measurements. This image here is the reference picture that we will be using, the A380 soaring through the blue sky. I have loaded it in the grid app and I will set it to four columns and four rows. Here it is. Let us get back to our paper and try making the grids first. Use a ruler to take the measurements of your paper and split it into four rows and four columns. Then at the center is where we will make our pencil sketch. Just keep in mind that we have to make sure that the plane is symmetric on both the sides, as in the image. You can see from the reference picture that the airplane is exactly in the center of the line of symmetry. Make the sketch of it slowly and very carefully. Everything should be in equals, that is the lengths of the wings and the position of all the engines and everything. Make the sketch of the engines in their correct position with reference to the grid location as well as the flap tracks. The engines on both the sides. This is why we use the grid app because to get the lines correctly, that is the position of each of the elements correctly. If you are comfortable to make the sketch without the grid app, then you can do it. This is just to make it easier for you. As you can see, I'm using my eraser a lot because the pencil sketch is what is the most important part and we need to get everything in shape, the symmetry, the position, and everything. That is what is very important. Then we draw the horizontal stabilizers symmetrically on both the sides, followed by the vertical stabilizer. Use a ruler whenever you require. Once you have done the pencil sketch, we will erase off all the grid lines that we made because we actually don't need them in the painting. Here I have removed all the grid lines. Now. I will use my Escoda flat brush to apply water on the paper. I will wet the paper as we will be working on wet technique for the background. I will wet the whole of the paper, except for the main body, that is the fuselage area of the aircraft. It is all right if we apply water on the wings, just to avoid the fuselage area. Very carefully. Even on all the four corners of the paper. Then I will take my size 8 round brush. This one is again from Escoda. I'm going to take some cobalt blue first. We will apply it at an angle like this. I will be using a mix of colors for the sky. The next color that I will be using is Taylor blue. Taylor blue is also known as bright blue. It's PB 15, that is pigment blue 15. We will add it at an angle like this, just right above the wing. Now I'm going to use my small size two brush to lift off some paint. I'm using a synthetic brush here because synthetic brushes are the best to lift off paint from the paper as they hold very less water and will not add any more water onto the paper when we're trying to lift the paint off. Slowly, lift off the paint in a line, wash the brush in water, and then dab it on a tissue to remove the water. Repeat this a few times to get the sun rays correctly. Now we will paint the right side of the sky. I will take bright blue and apply it randomly like this. Here we're going to add some clouds in the sky. We will leave some spaces white, and I will use the tip of my brush to make smaller clouds on the side of the brush to make larger clouds. You can see I'm using the tip and the sides of the brush to make the shapes of clouds. Next, we need to add a darker color on the top. We will add indigo onto the wet paper. Apply the indigo on top of the bright blue, mostly to the top and on top of the larger clouds. Remember, apply the indigo only if your paper is still wet. Otherwise, wait for everything to dry and then reapply water on the whole of the paper to work on the wet on wet method again. That is one golden rule that we have to wait for the paper to dry if your paper has started to dry. Now we will paint the bottom part below the airplane wings. This time we will take a lighter tone of bright blue. As you can see, I applied a bit extra water and it was creating a dark edge between the top and the bottom part because the top-left area was starting to dry. But we can avoid the dark edge by repainting on the top all over again and as you can see, that is what I did. At the bottom part, we will use a lighter tone of bright blue, very light. Then we will take a very darker tone of indigo and apply it onto the wet paper as small strokes like this and form the shape of the darker clouds at the bottom. I'm also going to leave some white spaces for the clouds. The rest of the areas, I'm applying with the darker indigo color. You can see I just made some random shapes and some areas I left white. Just make sure to leave the white gaps for the clouds, which we will paint later. Next, we will take a lighter tone of Payne's gray and apply some smaller strokes like this for the clouds above the horizon, that is actually just right at the horizon. So use the tip of the brush at an angle to make smaller clouds. We will also add the smaller clouds to the white area that we left behind while painting the darker indigo clouds. Using the same Payne's gray, mark the faraway horizon with the lighter tone and blend it smoothly with a **** brush, actually. Make sure that there is not much water on your brush when you're doing this. Now I'm going to add smaller clouds to the top part also and here I'm using a damp brush again. I'm taking the paint with my damp brush because my paper has almost dried so we don't want any more water on our paper. As you can see, my brush has almost no water and I'm picking up only paint to make these smaller clouds and add them very randomly also with a very lighter tone of Payne's gray. Now, I'm going to use this white gouache to add more to the clouds. You You also use white watercolors if you don't have whitewash, it will be exactly the same. I'm applying the whitewash to the edges and the areas with indigo to give it a more cloudy effect. We want to make those clouds have a fluffiness that's why we are adding this white watercolors. The white watercolors or the white gouache we add are almost opaque, and adding this will give more fluffiness to our clouds. But as you can see now, it looks separate from the top. Now I'll blend the top edges of it with my brush, just blend it smoothly. If you want, you can add extra water here at this point with our brush to blend it smoothly with the background but the water will form dark edges as you can see, it is already forming on my paper but obviously we can correct that. This exercises mainly to make you understand how we can work with water, with dark edges, how we can solve them, and how we can work around it and used it the way we need it. Remove the dark edges, simply use a damp brush and blend it to the background. You can see I took fresh paint of the Payne's gray and just add it on top of the dark edge and now it's gone. Now after the background has completely dried, we will paint our giant monster now. We will start adding shadows to the body so apply water to the fuselage on the right side, halfway through the shape of the shadow. Observe the reference picture closely. I'm using my escoda brush again and adding Payne's gray for the shadows. This is my Size 2 brush now and we're applying wet on wet itself so it's okay if your paint spreads. After that using a medium tone of Payne's gray, we will paint the bottom part in the shape of a triangle, almost like a triangle as you can see. Then using the same medium tone, we will paint the horizontal stabilizer very carefully on both the sides. Use the smaller size brush to get thinner lines and you have to be very careful. We don't want any pain to go outside. Then next, we will paint the wing. Paint the whole of the wing with the medium tone of Payne's gray. Both of the wings and we have to be very careful to maintain the shape of the aircraft so this is why we have to use the smallest size brush and the tip of the brush to get the edges correctly. Then the vertical stabilizer. After that onto the wet paint on the wing, onto the wet paint that we just applied, I'll add a slightly more darker tone for the shadows. Continue on with this darker tone to the area right below the fuselage. You can see that darker area right below the fuselage that is just below the area so that whole area, we will apply with the medium tone of Payne's gray again, it's slightly darker to medium tone. Everything is about light and shadows that's why we are adding different tone of the Payne's gray and I just added the winglets on the plane with a very darker tone of Payne's gray. Now I'm going to add more darker shade to the bottom part because we want more shadows and as you can see in the reference picture, it is a bit more darker so now we will add a darker tone of Payne's gray here. This is like the undertone that is the areas under the aircrafts so it's like the shadows. Add a darker tone of Payne's gray or you can even use black or neutral tint. Next, paint all the four engines with Payne's gray. I'm using a very darker tone concentrated Payne's gray so that's why it's almost like black. You can also use black if you want and paint all the four engines similarly and very carefully. You can see, I'm actually painting the inner circle of the engines so that's where the engine is actually so that is with a darker tone of Payne's gray. The outer covering of the engine we will paint it later. Remember to use a smaller size brush because all of these are tiny minor details which we need to paint with ultimate attention. Then we will add the flap tracks with this darker color, the same darker tone. It's just these small, tiny lines you can see on the paper. Next, we will take the medium tone of Payne's gray again to make the outer covering of the engines so this is where now we're completing the engines. Using your smaller size brush, again, make the outer covering of the engine with a lighter tone or a medium tone of Payne's gray. Right now, we will use thinner lines to mark the shadows on the horizontal stabilizers so just a small line under the horizontal stabilizers. The airplanes are all about adding shadows and light and the tiny little details that's why it takes so much time, but it shouldn't stand in the way of painting. The same way, add a line to the vertical stabilizer. Now using a darker tone or black, we will add the cockpit windows, four small little windows, and then two small ones on either side. Two small lines as you can see. Lastly, now we will add the final highlights with white gouache or white watercolors. Using the pointed tip of the smallest brush you own, add the lines surrounding the engines for the highlights so you can see in order to get the shape that are clean we need to add these highlights. Add these white lines just like you see I'm doing. Remember, light and shadow in a painting is very important. It's what gives the painting their real look. Add it to the vertical stabilizer as a straight vertical line. I'm adding it towards the right right and then also to both of the horizontal stabilizers, just a small line on the top and also to the top area of the wings, this is mainly just to get rid of the pencil sketch. Now our painting is complete, let us remove the tape and look at this glorious beauty. I always wonder who took this amazing shot of the A380 right from its front. It's majestic, isn't it? Here is our final result. 11. The Violet Bird: Hey guys. Welcome to this exercise lesson. Here, I have already made the grid lines on my paper. This aircraft here is what I will sketch into the right corner. This aircraft is part of a bigger picture and I've cropped out the aircraft part out of it. We will be sketching this aircraft part onto the right side of the paper as we will have other elements. I'm starting the pencil sketch. We will very carefully add the rough outline of the aircraft onto the paper. For this one, the right side will be slightly longer than the left side because of the angle that the aircraft is flying at. As you can see, with the horizontal stabilizers, the right side is slightly longer than the left side. The viewer also is seeing the aircraft at an angle so that is why we have one side longer and the other side shorter. The right wing will be slightly longer than left. Add in the engines as a small semi-circle on both the wings. We only want rough outline of everything. Just make it very rough. The engines, the flat tracks and the little parts of the aircraft just mark them on the shape of the aircraft. Then the nose landing gear and the main landing gear. Because of the darkness, only one main landing gear will be visible, as you can see in the reference picture so we will draw only one. After that, let us erase all the grid lines as we don't need them for this painting. As you can see, this painting has only the pencil sketch of the aircraft. We will be using these two colors for the painting. Only these two colors. Cobalt blue, which is BB-28, or pigment blue 28, and Ross Nader which is BR 83, that is pigment red 83. This is also known as Alizarin crimson in several other brands. Mainly what you need is a blue shade and a red shade. Now I will add these two colors into my palette, which is the ceramic bowl. Then I will add water onto the whole of my paper with my flat brush from Escoda. Applying the water evenly as we will be working with the wet-on-wet technique. We will then mix some blue and red together to make violet. Add more blue so that it's violet and not purple. Then using my size eight brush, I'm going to apply it on the top so at the top part where the sky is going to be. Now, I want an angle for my board so that the water and the paint will flow down. Here I'm going to keep this masking tape under wet. Then getting back to the violet, I will add it to the top and then to the right side. Remember more blue in the mixture that's how we get the dark violet shade. It's okay to paint on top of the aircraft. Then to the left side, we will paint in the form of small clouds. Use the pointed side of your brush to make the small clouds and leave white gaps. Some lines on the right side towards the left. Then using a very lighter tone of violet, we will paint all the way to the bottom so that we can blend the whole of the sky to the bottom of the painting. Now, let us add more red into the mixture so that we get red purple shade. We will use this shade to add smaller clouds in the area that we left behind. Again, I'm using the tip of the brush for the same you can see so just make these smaller clouds randomly. Now, I will mix nice concentrated red, purple shade using both colors, but more of red so that's why it's purple. With this color, we will add some trees at the bottom. Use these small strokes to create some trees shaped like pine trees. Then we will mix dark violet by adding more blue to it. We will add this to the red purple trees so that we continue painting our trees and adding the darker shadows on top of it. This way, we will get a good mix of both colors for the trees. This is the sole reason why we're mixing colors here and not using readily available violets or purples. I want to show you guys that color mixing is beautiful and that it's so much diverse, for the colors we can achieve by mixing different shades. Also note here that I'm painting the trees with wet-on-wet because the main focal point of this painting is the aircraft and not the trees. That is why we're painting it with wet-on-wet so that it will be blurred. All we have to do is mix the two colors in different ratio and add it to the paper to form trees in different shapes. Some will be violet, some purples, some closer to blue, some red, and then add in some shadows with the darker colors. Here, I'm switching to my synthetic size brush and using the tip and red bubble shade to make it a bit more darker on top of the clouds. Here, I switch to a synthetic brush mainly because the sky region will have almost dried by the time I painted the trees and if I use a natural brush, it holds a lot of water, so there is a chance it will add extra water onto my paper and I don't want that because then it will create dark edges. That's why I'm using a synthetic brush because it holds less water. Using the same synthetic brush, we will add some lines to the trees so that it looks more like pine trees. As I said, the lines will spread lesser than if painted with natural hair brush and that's it. We will paint the aircraft after the background has dried. Now, I'm going to use the size 2 synthetic brush from Escoda for the whole of my aircraft. As you can see for the whole of this painting, we will only be using the various mix of these two colors. I will mix a nice dark violet shade and we will apply to the fuselage area of the aircraft. Mixing a dark violet, as you know, more blue and less of red, that will give us the dark violet shade. Apply it to the whole of the fuselage that is the main body of the aircraft. Very carefully following the pencil sketch that we have made. Then we will mix a bit of red to the mixture and add it at the bottom left part. The key thing is all the areas in shadow, we will paint with the darker violet shade and the high light areas with the red purple, that is with more red in the mixture. The left side is going to be in a more red shade and the right side in a dark violet shade. When I say red, I mean red purple. This is the beauty of mixing these two colors because we can vary the ratio of the blue and red and create the purple or the violet as we need them. The right wing will be in the darker violet shade. You can see I'm adding the darker violet shade to the right wing The left wing, we will paint with more red in the mixture. But on the left wing, there's the engine that's a bit visible so that would be in shade so we leave it blank for now, and then we will add a bit violet later. You can see what I did here was one of the wing, I painted with red, that is the bottom half and then on the top I added in a bit of shadows with the dark violet and the same we will do with the engine. The engine I'm painting with dark violet. This is because that area is under shade and hence darker. This will also give that nice contrast between the red and violet and make our painting look more attractive and beautiful. Also adding the flaps so you can see it's a slight gap between the wing and the flaps. Then I have added the main landing gear. The other landing gear is not visible because it's on the body or the fuselage at this angle that we're viewing. Then the nose landing gear. You can see that for the whole of this painting, I'm using the same size 2 brush and just using the pointed tip of it. Now, once the painting on the aircraft has dried, we will paint with whitewash. I know I said two colors, but we don't count white as a color. We will add the highlights just as you can see to the left wing. Some areas of the fuselage. Then at the bottom part of the fuselage and at the top , just really lightly. This area here I missed so that's the vertical stabilizer. I'm adding it with violet and then we can get back to adding the white. Just adding some small lines on the wing to just mark the separation between the wing and the flaps and that's all. Let us remove the tape to reveal the beautiful painting and here it is. 12. The Sunset Take off - Part I: Let us start with our first-class project. Here Here the paper, I'm going to mark the center of the paper because my aircraft is going to be right at the center. This one is going to be Boeing 747 aircraft and it's got four engines and it's one of the huge aircrafts in the world. We're going to be drawing it in a simple way. The first, the fuselage of the aircraft that we will have a small circle but somewhere flat at the bottom, as you can see, and then add part of a circle on the top. It's not really a circle, but you can see it's like an oval shape. This is how the body of the aircraft is. You can see it looks like a bug that's flying. Then we will draw the wings on the aircraft. It's going to start from the bottom circle, somewhere in the middle, and towards the top. The wings are going to be at an angle. You can see it's not straight and horizontal, but it is at a slight angle and then there's the tip which has a slight bend towards the top. Then on the wings, we will add the flaps. These are separate surfaces on the aircraft wing. Then of course the engines. As I said, the Boeing 747 has four of these, so adding small circles in the shape of the engines and make sure to get their position right. Whatever position you do on one side, we have to replicate that on the other side. As I said, if you want, you can make use of the grid app and the grid lines to get your symmetry correctly. Here I am measuring the length of my wing because I want the exact same length on the other side as well. The direction doesn't matter exactly. The angle need not be correct because the aircraft might be on a role and it might be flying in a direction. Roll means when the wings move up and down. That is the roll angle. We will add in the flaps for this one as well very carefully. As you can see, the first flap that's where the first wing starts, and then there's another flap where the second wing will be, the second engine. We'll make sure to get the position of each of the engines correctly. They have to be symmetrical, that is, at equidistant places on both the sides. Then adding the flap tracks. These small tiny lines, they're known as the flap tracks. We will add them. Now what we have to add is the landing gear. Because it's a jumbo jet, it has multiple main landing gears, so there's two in the center, then there's two in the wings. Just right next to the first engine, we will have another landing gear. This one has actually four main landing gears with multiple wheels on each of them and then there's the nose landing gear. That's what in that semicircular area in the center, only a very tiny part of the nose landing gear will be visible. Then the two main landing gears on the fuselage, and then another two landing gears on the wings. As you can see there are multiple wheels, and because it's flying at an angle, they'll be seen as stacked on top of each other Then, now we have to mark the shadow areas. As you can see at the bottom part of the fuselage, it appears to have a darker shadow and then we need to add in the vertical stabilizer. That's this small triangle. Make it extending to the top. Use a ruler because it would really help. You can see I'm using one. Then the two horizontal stabilizers. They need to extend as much as the first engine. That's your measurement. Right where the first engine next to the fuselage starts, that's where the length of the horizontal stabilizers are going to be. Once you have done that, that's all for the aircraft. Now, we will start painting. I just put my tape under my board for the angle. Then I'm going to use this Escoda flat brush as always, for the background. We're going to wet the whole of the paper with water. Usually, I use a masking fluid for my aircraft. But since many of you may not have masking fluid in hand, I wanted this whole Skillshare class to be without any masking fluid. That's why I found out a way to use without masking fluid and a lot of color-mixing exercises. First, we will start with a nice bright blue shade. You can also use cobalt blue if you want, or ultramarine blue. Then, this is permanent yellow deep. All of these we're going to add in the form of strokes, as you can see horizontal strokes. I was going to say vertical. That was a mistake. Horizontal strokes. Then we will take Indian yellow or transparent yellow or you can use permanent yellow light. What we used is two different shades of yellow. One was a permanent yellow light and the other is permanent yellow deep or you can use Indian yellow and Indian gold. Then next, you can take a red shade. This is cadmium red, or you can use Scarlett. Apply it on top of the yellow in the form of lines. This is the advanced blending technique that I showed where in wet on wet, we will be applying the strokes at different places and yet blend them together. Just use these random strokes in the form of lines. Then at the bottom, I'm adding in a rose madder. Taking rose madder again, mix them on the paper itself on top of the yellow at random places. This is totally random. What we're doing is just trying to create an advanced blending sky. Just mixing at random places and adding in the various shades. I first added in yellow, then, now again, I'm adding in permanent yellow deep. When permanent yellow deep mixes with the red, it would create a nice bright orange shade so that's why we're mixing them together, which will give us a nice bright orange shade on our paper. Then add more of the rose madder or alizarin crimson. It's almost the same. It's PR83, that is Pigment Red 83 and we will add it on top of the blue, so that will mix and form purple. You might have understood by now how much I love that mix, that is the mix of blue and PR83, which makes purple. That is what I'm going to utilize here. I'm going to use this mix to create that beautiful purple on my paper. Instead of mixing it on the pallet, I will mix it directly on the paper. First I apply blue. So this is bright blue or as I said, you can use cobalt blue or ultramarine blue. Add in the blue nicely at the bottom. Very prominently make it vibrant. Then on the top of it, I'm going to add permanent rose, alizarin crimson or rose madder. It's all the same, it's just basically PR83. Now we need to make the sky more vibrant. As you can see, the paper has already absorbed some of the colors and it's getting lighter. In order to make it more vibrant, we will add more of the same exact shades that we applied. So starting with Indian yellow and permanent yellow deep or permanent yellow light and permanent yellow deep. Add it to the sky exactly in almost the same exact place that we applied earlier. Here I have applied all the yellows. Just make sure to apply them at the same places where you did earlier otherwise you'd be creating a whole lot of mixture on your paper. For example, if you mix it to the place where you created purple, then you would be creating a brown so just be careful. Then we'll take our red again. This is permanent red, scarlet or cadmium red. You can use whatever red you have. We will apply it on top of the permanent yellow and Indian yellow mix. You can see I'm mostly doing horizontal strokes with my brush. I'm not using the tip of my brush, but rather the whole of my brush and just blending it smoothly. I want to stress on the fact that we're getting a perfect blend and also the paper is staying wet for a longer duration of time, mainly because it's 100% cotton paper. When we're painting with watercolors and we want to do a wet on wet technique, 100% cotton paper is really important and you really can see the different when you start using 100% cotton paper because you will see how much longer your paper stays wet and you're able to do the wet-on-wet technique for a longer duration of time. Also there's that fact that the more strokes you apply on your paper, the more it stays wet. To all those areas, I'm adding my strokes again. You can see I applied blue at the top and blended it with the rose to create the violet. I really love this violet shade. We want violet at the top, but we don't want to add violet directly onto it so this is the reason why we mix blue and red together. Next, we're going to paint the bottom part, some details, some buildings. This is where we're going to make use of the technique where I showed we will do buildings with wet-on-wet. We'll be taking indigo and we will apply it at the bottom. I'm not using a synthetic brush here because my paper has nearly dried, so my natural hair brush would do but if your paper is wet and has a lot of water, then use a synthetic brush because it will not introduce any more water onto the paper. Just this bottom part I will do with the natural brush. This is the land area. We want to make it a bit more darker so I'm going to add neutral tint on top of it. You can also add Payne's gray or black, but make sure that it doesn't turn a lot of black because we want it to be seen as a bit of blue. This is the reason why I applied indigo. Use a mix of indigo and black for the bottom. Now, here I am taking my synthetic flat brush to make the shapes of the buildings. Remember the exercise in techniques where I showed you how we can make wet-on-wet shapes. I made buildings. I'm going to make a large building here, a long one. It looks like a factory landscape. Maybe there's a factory right outside on the outskirts of the airport. That's the first one, and then we'll just add some random towers and buildings stuff. Just small and maybe some detail that looks like a tree. We don't know what they are. They like far off, so that's why. They're not going to be detailed. Just randomly, we'll add in the strokes and you can see. Once you're done with this, that's all. Now you can wait for the whole background to dry after which, we will paint the aircraft. 13. The Sunset Take off - Part II: Hey, all. Welcome back. Now our background has dried and let us paint the aircraft. Because there's already yellow paint on our aircraft, we need to mix a gray. I'm mixing gray by mixing all the three primaries together. That is the yellow, permanent yellow light, some cobalt blue or bright blue, and the alizarin crimson, which will give us a nice gray shade. This gray shade is what I'm going to use. I'm mixing this on purpose because there is already yellow paint on top of our aircraft. You can see the gray that we created. It looks almost exactly the same as Payne's gray, isn't it? But the most important thing here is that we created this with a yellow. I'm going to start with my size 6 Escoda brush, and we will first water the aircraft because we're going to work on the wet on wet technique. You can see here, I'm applying water on the fuselage area. Very carefully, along the lines of the pencil sketch, apply water. We don't want a lot of water, just moist your paper, that's what we want. Then we'll use the gray shade that we created and we'll apply on the top. Because this gray shade is made with a mix of yellow, it would look really bright on top of our already existing yellow paint, and also the existing yellow paint will give a nice sunset feel to that aircraft because the sunset colors will obviously reflect on the aircraft surface. The problem with if you use a Payne's gray, is that Payne's gray has gotten underlying blue tint. That blue tint will mix with the yellow to create green, so that is why I avoided Payne's gray and using this mixture that I created. Once you've done with the fuselage, we'll paint the wings. I'm using a medium tone of the gray that I made, and you can see I'm making the wing area. When I say wing area, it's the wings and not the flaps, so you can see the flaps are still there at the bottom part, so just the wings. We will start with that, and we will apply the gray tone all the way to the end so you can see it tapers. Be very careful to use a thin brush and the pointed tip. I'm using size 6 brush here, but you can also switch to a smaller size brush if you feel that that's what's most comfortable with you. Then we will do the same on the left side, the wing on the left side. Starting with a thin line and then it will increase and join the fuselage with a thicker base. Take your time in doing this and enjoy the process. I really love to see the part where the aircraft comes to life with each stroke that I put on the brush. Now that is done. Now I'll switch to my size 1 detailing brush and we will apply water onto the wing area. I'm applying water because now I want to add in some shadows, so I'm going to be using Payne's gray. Using the wet on wet technique, I'm adding paint only to the top area. Remember only the top area, and because I added water, it's going to spread down but create a beautiful blend, creating the shadows. The same thing we'll do on the left side, apply water to the whole area of the wing. But the Payne's gray, we'll apply only at the top, so that will flow down and blend by itself creating a beautiful shadow. Now, let us draw some lines on top of the wing area. The same shadow when it extends outwards. It's just seen only as a line, so that's why we added it as a line towards the wing tips. You can see, adding small lines. Now we're adding the bottom part of the wing. As you can see, it's got a black line. We're not using black, but we'll use Payne's gray and we'll do the same to the left side. The top side of the wing, we used a wet on wet technique, but the bottom side, here we're using the wet on dry technique. This is still not the flaps, it's just the wings. We haven't reached the flaps yet. Very carefully, as I keep saying, aircraft landscapes are very delicate and takes a long time, but we have to be very careful. Use a thin brush, tip of the brush, practice thin strokes if you can before starting this landscape. Now we move on to the flaps. With the flaps, you can see there's going to be that slight gap between the wings and the flaps because the flaps are joined using the flap tracks and other systems of course, but there's that slight gap between the wing and the flaps. The same way for the second one, but in this one the gap is not that much visible, so it looks as if it's joined together. At the end there are the ailerons, the other parts of the wing. There are several things on dollop of an aircraft wing, for example, the spoilers, the flaps, the ailerons, the slats, a lot of different thoughts. But most of them are not that visible as details on top of an aircraft, so you need not worry about all of that. Make the flaps the same way on the left side as well , both of them. You can see how minutely detailed these things are. Just make sure to do them slowly, take your time, enjoy the process, and you don't have to be stressed. I know that some of you might feel that all of these details are so overwhelming and so difficult, but please don't be tensed. Just put in your best and I'm sure that anybody can create aircraft landscapes. It's very easy once you understand that all of these aircraft parts, how to add in the details, how to add in the shadows, and all the highlights. That's what is really important. I'm pretty sure that after this class, when you look at an aircraft picture, you'll be able to see where the highlights are, where the details are, and you'll be able to do amazing wonders. Now I'm adding in the flap tracks. Here on this one, you can see that the flap tracks go all the way towards the wing, and this is what joins that flaps together. Between that gap that we left also there's the flap tracks. Mark all eight of them on the aircraft, four on the left and four on the right. Now, we're going to take a medium tone of the mixture that we did and we're going to paint the engines. It's a medium tone, and using this medium tone, we're going to paint the whole of the engine, even the outer covering as well. This is because the inside covering, that is the inside, the engine part or the black part, we will add in later for this one. You might remember the process if you've attended the exercise lessons, what we used to do, was we used to paint the dark inner circle first and then with a medium tone, we used to add in the outer circle. Here what we're going to do is, we're going to do it the opposite way, adding medium tone on the whole of the engine, for now. Then I'm going to paint the vertical stabilizer. To the gray mixture, I added a bit more red, so it's now more purple-red gray shade. This is what is most important, I'm using the same mixture for all of these. That's what's most important. I added a bit more red to it, or the alizarin crimson, permanent rose, rose madder, whatever it is, in your set of tubes or set of watercolors. Add in the vertical stabilizer of the aircraft. Now, with a darker tone of the mixture, that is the gray mixture. Create the mixture again by adding more blue, more yellow, because there's already more red in it, which we just added to make the vertical stabilizer. Make the mixture again and mark in the shadows. You can see, very carefully, add in the shadow part. It's like two small semicircular regions joining at the vertical stabilizer. Then using the same darker tone, paint the horizontal stabilizer. These are all small triangles, you can see, with a very pointed tip. That's why we need a very detailed brush for these tiny details on the aircraft. Now I'm going to mark that circular shape using medium tone of gray. Now, this is where I said that we're going to paint the engines in reverse mode. We first apply the medium tone. Now, to the inner circle, we will add a darker tone. I find that this way is more easier because we don't have to paint the smaller region afterwards. The inner circle of the engine, we paint with a very darker tone of the mixture, the gray mixture. Do the same for all the four engines. Now, we'll paint the fuselage. The fuselage is not done yet. It's still very light, so we need to add shade to it. First I applied water, then taking a medium tone of gray, I'm marking at the center of it. This mark here is because of the shape of the Boeing 747. If you look at the images of Boeing 747, you will understand that it has a head, a little extra space in the front. This is actually where the first-class seats are, by the way. That is on the top deck, the first-class seats. That head portion is what we have made with the Payne's gray separation because this adds the extra headspace and the shadows involved with that. We need to make the back of the aircraft more prominent and more shadows so I'm just going to use wet on wet, apply water and add in a medium tone of the Payne's gray. But make sure that the gray is not as dark as the shadow that we made. If you want, you can add more Payne's gray to make the shadow more darker. You can see I'm adding a darker tone on the top because I want it to be more dark because I felt that after it dried, it lightened up a bit. Next, for the landing gears, I'm taking my micron pen again so you can either use a 0.8 millimeters or a 0.5 millimeters or if you are so confident, then you can also use your pointed tip of your brush. Adding the wheels, the landing gear strut, the small nose landing gear at the front, and the four main landing gears. The two on the wings, as you can see, has multiple wheels looking like stacked on top of each other so just add them. Now the last part obviously, adding highlights with white wherever necessary. I'm just going to add in some white onto the fuselage because I want to make the gray line that we made in the middle to be more prominent. Because that gray line is the shadow separating the head and the body. The head, as in, if you really look at the pictures of the Boeing 747, you will see it. I'm applying white at the tip as well so the center portion of that fuselage is what is with Payne's gray and the rest of it is with highlights but not that white just a little bit. Then, as you can see, remember we applied dark Payne's gray shade at the top and we let it flow down so the bottom part, we need to add the highlights because it needs to be a bit more white. The same way we'll do to the left wing. Apply water at the bottom or to the whole area of the wing and the white we will apply at the bottom. Earlier on what we did was we applied water and we put the Payne's gray on the top so now we're applying water and we're adding the white at the bottom instead of the top so that gives a beautiful blend between the two if you can see. Adding some highlights on the vertical stabilizer as well as a small line and blend it smoothly onto the red. Make sure that you maintain the shape. Then the small spiral inside the engine so use the smallest tiny brush. A straight line on the horizontal stabilizer for the details on both of them. With a more tiny brush just blend it onto the black shade, that is the Payne's gray or the gray mixture shade because we don't want the white to seem as if it is separated out of the painting of the aircraft. We will add a bit more to the center. Because I want that gray to be clearly visible, that gray to look more contrast and prominent so this is the reason why I'm adding more highlights to the area below it. Now, after I've added white, doesn't it look more prominent, that gray at the middle area so this is the reason why I applied a highlight of white. The whole thing about light and shadow is obviously about bringing in the contrast so the shadow areas will be darker and the areas in light would be lighter. If I feel that it's not enough lighter, I add in white. Now we'll add in some details to the area below, the factory. This is going to be plain and simple with my white, I'm just going to add in tiny little dots or lines. You can see just tiny lines quickly, no shape at all. Just add small dots, Some may be in a straight line so these can be like the lines of buildings or whatever. Maybe it's the lines of the runway. We just don't know. It's just far off some minute tiny details. Then to the factory building on the left or that building on the left, we will add some lines to mark the roof of it so it's going to be using a very light tone of white. I'm not going to make it very dark so just really light. Because if you use a large amount of white here, that's going to stand out and ruin the beauty of your offer aircraft so just using a medium tone of white. So slowly. Add whatever shapes you want. You can even add more lights if you want. Let us make the wing tips more prominent with gray. For me, getting the shape of the aircraft perfect is what matters more than the sky, more than the land, the shape of the aircraft that's what matters to me. Then our painting is done so let us remove the masking tape. This is the most satisfying part, isn't it? Here is the beauty, the flying beast. 14. The Bird on Water - Part I: Welcome to the next class project. This picture here is what we will be painting. As you can see, I have already loaded it in the grid app. You can also load it in the grid app. Here on my paper, I have already made the grid lines. As you can see, there are six grid lines. That is six rows and six columns. That is what we will be using to paint. First I'm going to mark the land area. Just because I don't want to be confused between all the grid lines and the separation between the water and the land, I just extended my lines out of the paper onto the tape. At the bottom here, as you can see in the picture, we have a wooden board. That's the foreground in the picture. Now we will start to draw the aircraft. This is a sea. I really love the seaplane because somehow it combines the sea and the plane, both things that I love. I love the ocean, I love the sea, and obviously love the aircraft. Seaplane is something that combines both of them. I don't know if you've seen any of the seaplanes, but it's mostly seen in tropical islands and tropical countries. For example, in places like Maldives, Mauritius, they have a lot of seaplanes. The main thing with seaplanes is that they can land on water. They have their bottom part surfaced like in the shape of a boat, which enables them to land on water. That means they don't have landing gear. That is, they don't have the wheels. Instead, they have a board surface at the bottom part, which enables it to land in water. With the help of the grid app and looking at the grid lines, just matching that, I'm trying to make the seaplane. We just have to do it very carefully. Also there is something very important when it comes to the grid app that I want to point out. We might get these grid lines. We chose six columns and six rows, but there is that difference between the size of the grid. Just because the tablet that I used was in 16:9 ratio and my paper is not exactly 16:9, it's an A4 sheet, as you can see. That means the grid lines are going to be different. That is, it's not exactly going to be a square in the grid. That way, our pencil sketch is going to change a bit. You just have to get the help of the grid lines using the grid app, of course, but you have to be really careful as to get the shape of the aircraft right. Sometimes one line might be in the center of that grid, but you might observe that when you're adding it in the center, the shape of the aircraft is not right, then you might have to shift it a little bit. My point is if you're using the grid app, try to very carefully get the shape of the aircraft also right. It's okay to change a bit from where the exact grid lines are. That is the reference of the image within the grid lines. As you can see, I've made the body of the aircraft and then also added one wing. You can see the wing is somehow at a 30 degree angle to the bottom part, somewhat slanted, and the other wing is going to be towards the other side, that is towards the inside of the paper. It's not going to be much visible because it's behind in that other side. Then we will also add the markings on the aircraft. What makes an aircraft beautiful is, of course, when it's all painted. Coming straight out of the factory doesn't make it look good, so you need to paint it. Obviously since we're doing a painting, we will draw exactly as it is. Now I'm drawing the bottom part of the seaplane, as you know. As I said, there's no landing gears, instead we have these two floats. These are called floats. As the name suggests, obviously, it just floats in water. That's why they're called floats, and that's what makes it land in water. Here, observe the perspective. The float that is on the other side, that is on the further side, is extended a bit forward. The one that is nearest to us, it's going to be a bit backward. If you're very good at pencil sketch, then this is going to be really easy for you because all you have to do is look at the picture and try to make it exactly as it is. If you want, you can change elements in a painting. I always say that. But obviously when it comes to aircrafts, you can change the look of the aircraft. Otherwise it would be totally a different plane or you might even lose the symmetry and the shape of the aircraft. This is something that is very important. I know I've been saying this throughout this class that getting the shape of the aircraft right is what is most important. The elements in the background, you can change it the way you like. You can move a tree here and there, you can change the water, you can change how the light is applying onto our subject so that the reflection changes and all of this changes. But the pencil sketch of the aircraft, that's really important, and we have to get it right. You can see here how our seaplane is coming into life already. That pencil sketch looks amazing. I also prefer to add in the shadows, the shadows in the water. Here it's in water, so it's called as reflections, the reflections in water. The pencil sketch will be of help for us when we're painting. It will help us as to know where we're supposed to paint. Just add in roughly the shadows. Also one thing very important with pencil sketch is don't make your pencil sketch too dark. Just make it very lightly because after painting, we don't want our pencil sketch to be visible. That's why. Then once you're done adding the shadows, you can remove and erase all the grid lines because we don't need them. If we leave them behind, it's going to be odd because when we paint the sky, it's going to be lighter in color and the grid lines will be visible. We don't need that. Let's just erase it off all of them. As you can see, I'm erasing all the grid lines. Make sure not to erase your aircraft sketch. Make sure not to erase them, and draw back the separation between the water and the land at the back if you've erased it off like I did now. This is why I marked on my tape where the land was. That helped me to draw that line back again without the grid lines. Let's add in some trees at the back. Our pencil sketch is almost done. here it is. It's looking really nice, isn't it? Oh, and I forgot to add in these parts of the wing that's attached to the fuselage of the aircraft. Then, we will start with our painting. I'm going to use this Escoda flat brush and I'm going to apply water to the sky area. Make sure not to touch the aircraft because we don't want to paint on top of the aircraft. Around the wing and around the front engine fan. Very carefully, we will apply the water. If you don't have a flat brush, you can use whatever brushes you have, the pointed round brush. As you can see, I'm going to switch to my pointed round brush for watering the paper. Here it is. I have also placed my masking tape at the bottom this time because we're painting the sky. I want the water to flow up because I don't want the water to flow down. This is why I put the masking tape below. Then cover the rest of the areas of the sky with water. The pointed round brush will help you to cover all the areas and go in the areas between the parts of the aircraft. Then we're going to start with yellow ocher. Using yellow ocher, apply straight strokes from the left towards the center. As you can see, I'm drawing them in straight lines so straight line strokes. Here, observe it's alright if you paint on top of the engine fan blade. This is because that blade is going to be a darker color, so it's alright. But be very careful about the wing area. Apply the yellow ocher. After that, I'm going to take Indian yellow and we will apply it on top of the yellow ocher. This will give us a nice yellow mix on our sky region. But we don't want the Indian yellow on all the places, just in some areas, the rest of the areas I'm going to add in the yellow ocher itself. You can see and towards the top we add a very lighter tone of yellow ocher. The Indian yellow was only on the left side and a bit on the right side. Now the next color that we will use is Alizarin crimson. We're going to mix it with cobalt blue, or you can mix it with Taylor blue. Here I'm mixing it with Taylor blue. Taylor blue and Alizarin crimson. Mix both of these together and we will get a very nice purple shade. Using this purple shade, we're going to add in the clouds. For this one, we will be adding it in straight strokes again. This is something new that I learned when we're drawing clouds instead of using the tip of the brush, use the sides of the brush. Use the whole of the brush and swiftly make these left and right backward movement and you will get a nice clouds in the sky. We're using a mix of these paints, which really helps because each time when we add the strokes, we will have different colors. The purple will not always be the same so this is exactly what I showed in the color mixing lesson. Using that purple, we will add in on top of the sky and we will be using different tones. In some areas, it will be really darker tone and in some areas use a lighter tone. Keep mixing the Alizarin crimson and the Taylor blue together and you will get a beautiful shade of purple or violet and add that. Towards the left, there is going to be a darker cloud, which is why I'm adding more darker tones as you can see and here I'm using my size eight brush. Use the medium-sized brush that you have. Now, our sky is already looking really beautiful, isn't it? Just blend it nicely. This brush is a dry brush. Using a dry brush, if you blend it, you will get rid of the flowing edges that is this because our paper is wet, using wet on wet technique, the colors are spreading a lot so we can prevent it from spreading if you just blend it with a dry brush. Then using your normal brush, add in more of the violet, lighter tones and smaller clouds towards the bottom. Blend them with the dry brush. Now, we have to wait for the sky to dry or you can continue directly because we will be applying water onto the trees region. We will paint the trees now. Apply water to all the areas where the trees are. You can see I'm carefully applying the water. But if you apply water to the sky, it's going to spread down. Just roll your brush. You can see I'm rolling my brush on the paper. That way we will make it wet and also not disturb the paint on the sky. Here, rolling my brush like this. As you can see, the tree area is now wet. I will be using two brushes. I'll show you why. Just keep your other brush in hand and we will mix burnt sienna first. The burnt sienna add a bit of blue, very little bit of blue. The color is going to be burnt sienna and the Taylor blue and add a bit of transparent brown. Instead of transparent brown, you can use any dark brown such as Van **** brown. The three colors that we mixed up, burnt sienna and a bit of Taylor blue, and then the transparent brown. The other brush is because we still want to apply the water when our paint has dried and my other brush already has paint so I don't want to wash it off. Our paper has dried, so I re-wet it again and I'm going to add in this mixture of brown's. Just add small random strokes. Small strokes shaped like trees. They may not be much details because they are like in the background. This is the background, which is why we're going to paint it like in a loose manner. If it was the foreground, we would have added much more detailing onto it. But we just have to make it random small strokes because this is the background. But we don't want it to be in a single color. There will be shadows there, so we will add the shadows soon. First, paint the brown. Now we will add the shadows. So for the shadows, I'm going to be mixing Payne's gray and transparent brown. Mix the Payne's gray and transparent brown and then just apply random strokes on top of the tree region that is on top of the brown mixture that we did. Just randomly. These two mixes together just apply them together at different ratio on to that trees so that we get two different combinations of colors. The same we will do to the right side. You can see how I'm making use of the two brushes. In one of my brush there is the brown mixture and in the other brush I have the Payne's gray and the transparent brown mix. Very carefully, just add in the random strokes, simple strokes for the background trees. Remember we applied water, so it's easy because it's going to be wet on wet technique, but also make sure to not apply a lot of water. Just add in the transparent brown, burnt sienna and a little bit of Taylor blue mixture. There's that little area under the fuselage of the aircraft. You can see there is that small wing area so that's the horizontal stabilizer. We left it white. Now we're using the other brush. We will add in the tiny shadows and you can also add in some shapes of the leaves if you want. It's backgrounds so that's not going to be really much detail, just in small, very tiny strokes. Just random. If you want, you can add in the shape of a small tree here. Then we add in the shadows at random places. It's just totally random. If you asked me to create this exactly as it is, even, I cannot do it because it's totally random. I just applied the strokes as randomly as it can be. There's no specific rule just here and there. You can see the brushstroke that I'm making just randomly. Once we're done with painting the background trees, we can proceed to painting the water. See you guys in the next video? 15. The Bird on Water - Part II: Let us now paint the water and the reflections, we just finished with the sky and the background. First, I'm going to water my paper. I'm using my Size 10 brush here to water my paper. Just use the largest brush that you have or Size 12, Size 10 brush to water your paper. Just make sure to not to apply water onto the floats of the aircraft. Skipping the float, the rest of the areas water because here also we will be working on the wet on wet technique, so you can see I'm carefully applying the water. Very careful along the edges of the float. Just a float region. We will not apply water, but the rest of the areas we will apply water. Then once we have applied the water, we will start with Indian yellow so we're going to add in the reflection exactly as in the sky, because the sky is what is reflected on the water. First we will add in Indian yellow onto our paper, so you can also use are aureolin or transparent yellow and after that, add in the French ocher. Exactly the same shades that we used for the sky, as you can see so first Indian yellow, then the yellow ocher or French ocher. Be careful again around the wooden area at the bottom, which is the foreground. Apply exactly the same way as we did for the sky that is straight strokes. I always prefer to paint in straight strokes and then back to our purple mixture so that's going to be Alizarin crimson and Taylor blue or whatever blue so you can mix whatever blue you have, because you will get a nice purple shade. We will apply it to the right corner and the left side so this was where most of the clouds are right on the left side and the right side. As you can see, the center area is somewhat empty, so that's why we will add all of the strokes on the left side and the right side and the center area is going to be mostly with the yellows, both the yellow ocher and the Indian yellow. Towards the center, we just add in some smaller strokes. As you can see, because of these horizontal brush stroke, it gets evenly mixed. That is the yellow and the purple. Now, I'm switching to my natural hair brush so this is a Size 8 brush from daily running. You can use whatever natural hair brush or your normal brush itself. It's all right if you don't have all of these, and we will mix the same again. But this time we're going to take a darker consistency and we will apply. Now what we're going to paint is the lines on the water and the reflection. First what we painted was the base layer for the water. Now we're moving on to the reflection. First, the reflection of those trees in the water. Here, use your brush and make these straight lines and as you can see, there's not much water on my brush because there is already water on the paper. We just painted the water so it's wet. The paper is wet and the reason for switching to a synthetic brush is exactly this. Because it holds lesser water and it will not introduce a lot of water onto my paper. When we're painting with wet-on-wet technique and we don't want it to flow a lot, but also want it to look exactly like the wet-on-wet technique. Then we use the synthetic hair brush because the synthetic hair holds very less water and we'll put the paint on the paper without introducing any more water onto the paper. This is the reason for switching to a synthetic brush. As you can see, I'm applying some strokes onto the paper, just straight lines and you can leave some spaces that will give originality to the reflection. If it becomes too dry, then you can mix a bit of water. But remember there's not supposed to be a lot of water on your brush when we're doing these strokes. As you can see, they're just random lines, simple lines, horizontal lines. All of these lines we just added onto the wet surface and because our brush is just damp and not a lot of wet, it's not going to introduce more water and hence it will not spread a lot. It will give us the perfect lines for the reflection in the water. Just make these simple lines. As you know, we need more lines on the right side. This is because the background trees are taller on the right side, so we need more there and then we also need to add some reflection of the trees and the clouds. At the angle that we're viewing here. The reflection of the trees on the water will extend all the way towards the bottom so that is why we're adding more of these lines. As you can see, they're just simple lines and it's okay if your paper has dried at this point. Because as you can see, my paper has also dried and I'm just adding random strokes so simple lines, just some simple horizontal small lines. They are totally random. Again, if you asked me to recreate this, I will not be doing these strokes exactly the same way. Just randomly, some strokes leave some gaps in-between so this is like the water and the ripples on the water so the ripples are actually what is forming the reflection of the background on the water. We're adding in the ripples and remember to add in the mixture to make the mixture a bit dark. You can add in transparent and brown to the mixture if you want. You will get a darker mixture so the mixture is actually Alizarin crimson, Taylor blue, and transparent brown mixed together. You can see, I'm mixing. Here now I want a dark gray shade for the shadows. I'm mixing Taylor blue, alizarin crimson, and we will also mix together Payne's gray. That will give us a darker shade which we're going to now paint the reflection of the aircraft. We will start right below the floats. First adding the reflection of the floats. Follow the pencil sketch that we made and fill it up. But as you can see just random strokes they have to be staggered because that is the reflection which forms the ripples on the water. Random staggered lines. Slowly and very carefully. Here as you can see I've already switched back to my natural hair brush which holds a lot of water because the underlying water layer has already dried. Now this I'm painting with the wet-on-dry method. But the wet-on-dry method in which I paint the next stroke right before the previous one dries. Remember this technique that I showed. This is wet-on-dry blending makes the shades and before the previous stroke dries we have to apply the next so that they don't form any dark edges. This is the staggered lines for the legs that goes to the float. That's the strut line that goes to the float of the aircraft. The first black or gray surface was the floats that is the reflection of the floats. Then there was the struts. Now we're going to add in the body of the aircraft that is the fuselage of the aircraft. Again these lines are going to be staggered. But when it comes to the whole reflection in the body part we have to color in the whole area. I'm filling up the fuselage reflection. Very slowly with your brush. This is why I said that making the pencil sketch is very important because once you have the pencil sketch correctly all you have to do is follow it up slowly. You can pre-mix your colors if you want. You can have the mixture ready. The mixture is alizarin crimson, Taylor blue, and a bit of Payne's gray which will give this dark gray color. Obviously that means the mixture of the purple plus Payne's gray. That will give the beautiful darker shade. Then I added a bit more Payne's gray into the mixture and I'm making a darker shadow for the tip of the float. If you look closely at the reference picture you can see that this part of the float is actually black and it's darker and so will the reflection be. That's why we just have to use different tonal values here and apply some darker tones on top of the reflection. If we make it just one line or one stroke it's going to be really weird because it just looks like a simple thing. We want it to look real. That's why add in the staggered lines and also use a mix of different tonal values. Here as you can see we have added in the reflection of the aircraft. Using my purple I'm adding slightly a bit more ripples in the water. Because my paper has really dried these are going to be wet-on-dry strokes. As I said you can use the black or the gray mixture to add in the reflection. Then draw in the curved line. But again it should be a bit staggered. This is the line on the float. Now we will add in the foreground. At the foreground you can see there is that board. It's actually not the board it's the docking station. It's where the aircraft has been docked and this is where you can board the aircraft. It's like a pathway in the water. First we will apply a bit of burnt sienna and then we will apply transparent brown on top of it. First I applied water. This is going to be the wet-on-wet technique, remember that. You can add in some darker shadows using Payne's gray. But remember not to add it at all places just at random places. You can see I have added the whole thing with burnt umber or transparent brown. Because I painted the wooden board while my shadow was still wet some of the paint seeped into my foreground so that's why I'm just re-adding it with the darker mixture. Once you are done now all we have to do is paint the aircraft. This will be it for painting the water and the reflections. 16. The Bird on Water - Part III: Now, after painting the sky and the water, we will get on to painting the aircraft , the seaplane finally. I will start with the wing area and I'm going to start with a wet on wet technique. I applied water to the wing and then a bit of yellow ocher, very lighter tone. Then we're going to use our purple mixture that we used for the sky. The reason we're doing this is because the aircraft is actually white, but it's got the colors of the sky and the water reflected on it, so that's why. But remember, we have to use a very lighter tone. Then to the area where it's joining the fuselage, there we will add a darker tone of gray. Here, I'm using the gray mixture that we made, that is, the mixture of Taylor blue, alizarin crimson, and Payne's gray that is already gray in that mixture, but there's also some blue and some red. But if you want, you can go ahead and use a gray from your tubes, a gray directly, it's all right. Slowly. As you can see, the edges of the wing, I have left slightly white because that area, we need to have some highlights. Then what we will do is we will evenly blend the gray mixture onto the aircraft. Now let us get on to painting the fuselage, so I'm going to apply water. As you can see, there is that split between the line, that is, the writing on the seaplane and the bottom part. To the bottom part, I will apply water first, the whole of it. I'm going to take the gray mixture again and we're going to add it, but observe that here we're going to only paint the shadows. The shadows, as in, because the aircraft is white, the seaplane is white in color, but we cannot just leave it white because we have to add in the shadows. Here I'm adding in the shadows with the gray mixture. You can use Payne's gray if you want. All the way towards the bottom, the shadow will be intense and darker and as you move upwards, it will be lighter. This is the reason why we applied water because this will make sure that the whole thing blends smoothly, just blend it smoothly into the background. Here in this angle, you can see more closely. Then now we will paint the top area. Here, as you can see, I'm using the dark-gray mixture again or you can use Payne's gray directly. I'm using the Payne's gray and adding the top part. Here at the top part, you can see that it's black and it extends all the way to the back of the fuselage of the aircraft. There's that line below the yellow bar, another line with Payne's gray. These are the markings, that is, the paint on the aircraft. That is what we are adding now. Remember, you have to make sure that the water we applied on the aircraft is dry because this stroke that we're doing right now is wet on dry and we don't want it to spread on to the bottom part, very carefully. See, I can already see the seaplane coming to life, it's looking so beautiful. Then we will take a darker tone of Payne's gray and we will paint the engine blade. This is a different engine from the ones that we just drew. This is a propeller engine, which is why it's got the fan blades. For the other blade, we will not paint the whole area, but just one of it because there are some highlights on it. Then some lighter tone of Payne's gray onto the horizontal stabilizer and then the darkest portion in the painting, which is the float. On the float, the front part of it, as you can see, it's very dark, so use the darkest tone of Payne's gray or you can even use black, very carefully. Now, we will add, in the other parts of the body of the aircraft, the yellow paint in between the two Payne's gray. As you can see, this is part of the aircraft paint. That is what they spray paint on the aircraft. This is the logo. Different companies have different colors on their aircrafts. This one is yellow and a gray shade, so that's what we're applying. Towards the front, add in a small, tiny little square. You might have understood by now that aircraft paintings are all about adding the details. There's this part of the sky that is between the wing and the body that we missed, so we can paint that. Obviously, I'll use the wet on wet technique and blending in yellow ocher. Just very lighter tone of yellow ocher, that would do. We also will need to add in part of the background tree. Getting back to our mixture of the trees, which was burnt sienna and transparent around together. Just small strokes, the whole thing won't be covered, it's just going to be some part of the tree is going to be visible. We could have skipped and not added the trees, but I added the trees there on purpose because that would bring the seaplane to the front, as in, you know that part of the fuselage, which we didn't paint because it's white. If we add in the background trees, the white would be more visible and it will have a more contrasting effect. This is the reason why I added in those trees at the background, that is, in the space between the wings and the fuselage. Now, let us get back to painting the aircraft. I'm going to add in the windows of the aircraft now. I'm using a mix of Taylor blue, alizarin crimson, and Payne's gray again, but to the same mixture, I added a bit of Taylor blue again, that is, a bit more Taylor blue so that it's more in the blue side so that we get a tiny blue shape for the windows, but we need to add in more details later. For now, let us paint the windows. As you can see, I'm painting it, but leaving certain spaces white, that is, the outer covering of the window I'm not painting. We have to be very careful when we're doing this. Then on the top, we add in the shadows with Payne's gray. Using Payne's gray, add in the lines, that is, the straight lines joining the float and the aircraft together. It's a darker tone of Payne's gray. Using a very small tiny detailer brush, draw in some lines on the fuselage. They should be curved because the aircraft body is actually curved and to get in that curved shape, that's why we add in the lines as curves. You can paint this along with me by observing all the strokes that I'm doing, and I'm sure that you can paint this too. You don't have to worry as to how difficult this is going to be. Using a medium tone of Payne's gray again, we're going to add that join between the fuselage and the wing. I painted to the right side of it and left one of it white. Now onto the other blade that we left white, we add a medium tone of Payne's gray. There's that part of the wing on the other side. You see that? Just a small, tiny part visible so that we will paint with a medium tone of Payne's gray. Now, we need to make sure that the windows appear flawless and seamless. So add more Payne's gray on top of it. Next, I have to make sure that the wings are clearly visible and they have all the markings as they should have. You can see I'm using Payne's gray and just adding some tiny strokes onto it and just mark the outer lining with Payne's gray, and you can also add in some strokes inside, but then we will use a wet brush and blend it. You can see I'm using a wet brush and blending it. It's just like I said, one half of the wing should be in a lighter tone and the other in a darker tone. This is the reason why we're adding more colors onto the wing area. Just add in more colors to the windows on the aircraft. Next, we will paint the float. One float at a time. Apply water to one of the floats. That is, we'll start with the background one that is the other side one. We're going to do the same with what we did with the fuselage. We're going to apply the shadows only because the floats are white. The bottom part, we will paint with lighter tone of Payne's gray, and we let it blend towards the top. This way we will have highlight at the top and shadows at the bottom. The same thing we will do with the bottom one. The only thing is that when you apply water, make sure not to touch the other float. That way your paint won't spread and it won't become a single mass. Next, we'll take in the Alizarin crimson and add in the lines on the float. Make sure to draw it exactly at the place where you made the reflection of it. A lighter tone of Payne's gray on to the horizontal stabilizer. If you want, you can mark the border of the float with a very light tone of Payne's gray. Remember, it shouldn't be dark, just light tone of Payne's gray. Towards the underside of the wing, we need to have more shadows, so I applied water and I'm adding a bit of darker Payne's gray again so that I get a darker shadow here. You can see, I'm making it darker towards the corner where it meets the fuselage, that is the wing joining the fuselage. That area should be darker. This is because that is the area that is most under the shade. The same way with the wing on the other side, which is only visible very less. Now we will add the highlights, that is, always highlights very important because there might be some areas which we missed. First, we will start by adding the letters on the aircraft. You can totally skip this if you want. But I really love it because that's what makes this aircraft look real. It looks as if it belongs to someone, maybe me or you. If you want, you can add in your own letters. Let's have a tiny twist to it. Writing your name on this aircraft, wouldn't that be really nice? We will add in the highlights and blend them to the background, just like we did for the other exercises and projects. We will also use the white to highlight the struts, that is the lines joining the fuselage and the floats together. You can see I've made it really white. We painted this earlier with Payne's gray. Now we'll make lines parallel to it along the Payne's gray so that a slight Payne's gray is visible but also is the white. Use the white to make all the small strut lines, the joinings between the fuselage and float. Slowly and very carefully use a thin brush. You can also use the white gouache to get rid of any extra pencil lines. We'll just paint on top of the pencil lines with a thinnest brush that you have. This will get rid of any extra pencil lines. Now using the same white gouache, we will add in the features of the windows so we have to make it extremely clear if there was any paint errors that we did. Very clearly. You might have to add in multiple times the white because it might fade after some time. Just add on top of it once the paint has dried. This will make sure that it stays white and you can make it more white. Now the last thing to add is the details on the wooden board, that is the foreground board. Using a darker tone of transparent brown, just add in some random lines onto it. They need not all join together. Just randomly with a semi-dry or semi-moist brush. Use the tip of your brush. Add in lines. You can also add in lines with Payne's gray or black. Very carefully, just some random lines and some detailing. This is what we're doing to get the wood effect, which makes it look real. Now our painting is complete, so let us remove the masking tape and see the final beauty. This one here is my most favorite. Of all the aircraft paintings I did, I really love this. Here it is. 17. Thank You: Did you all like the series of exercises and glass projects included in this class? I hope you will all join me and paint all the beautiful aircraft landscapes. If you do, then please upload all your marvelous paintings into the project gallery so that we all can see how a great painting pilot you are. I'm looking forward to see all your creations. Once again, thank you all for joining me. See you all in the next class.