Aqua: Let us Master Water, Ocean, Waves and Seascapes with Watercolours in 30 Days

1. Welcome to the Class: Water is one of the most fascinating and difficult subjects to paint. Combine that with the unpredictable movement of watercolor pigments on paper. You can imagine how complex the subject is. Hi, I'm Geethu an aerospace engineer or a watercolor artist and art educator originally from Kerala, India, but based at the UK. I'm mostly known as Calvo Mistake, especially in Instagram where I had been sharing my progress ever since I started painting consistently with watercolors four years ago. From then, my watercolor skills have improved tremendously and I started teaching in Skillshare and taking in person workshops. I mostly paint with watercolors, although I love to occasionally experiment with my arclic and go oceans. Welcome to this class on painting water, ocean waves, and seascapes. Even now, the subject intrigues me and every painting is a learning process for me. In this class, I'm going to teach you everything I know about painting water and help you master this subject through this versatile medium, that is watercolors. Until about a few months ago, I was still trying to figure out the best ways to paint water and the complexity of the ocean and waves, and with so much practice, I learnt it. That is why I'm so excited to teach you the subject today, because if I can do it, so can you. In the 30 days of this class, we will go through various oceanscapes and seascape paintings and dive deep down into understanding the structure of water and how to paint it. Every class project is preceded by an exercise lesson, which will clearly explain about the techniques and materials used for the respective projects. Some of the projects are supplemented with downloadable worksheets to help you understand the brushstrokes better and master the subject. This class is well suited for all levels of artists, especially beginners as it is perfectly structured to start at a basic level and advanced to an intermediate stage at a steady base. So even if you're new to watercolors, you can start with this course and you will definitely be able to step up on painting water, which is one of the toughest subjects to paint with watercolors. This class is structured in such a way that we will gradually progress from the easiest water paintings to the intermediate ones and after this course, you want out yourself with water paintings. However, if you are an ultimate beginner with watercolors, and would like to understand and practice the basic techniques such as wet on wet, wet on dry, etc, then you can have a look at my ultimate guide to watercolors class where I teach all the basic techniques with watercolors. The only assumption in this course is that you understand the basic terms such as wet on wet, wet on dry, splattering, etc. Another class I would recommend watching is the watercolor pigment properties and color theory, where I explain all about color mixing and I believe that the concepts introduced in that class would help you to progress this class in a better way. We will also go through the colors and color mixing insights before proceeding to any class project, which will help you to premix your colors in advance. It is one such topic that requires a lot of patience and understanding to learn as well as practice to get the best results. This is the reason why I decided to go for 30 days, 30 paintings, so that I can have a comprehensive coverage of this topic. Whether you're a person who paints regularly or a hobbyist playing around with watercolors, I'm sure you'll love this class about capturing the magic of water. Are you as excited as I am? Then let us dive into the lessons of this class. 2. Art Supplies: [MUSIC] When it comes to watercolor paintings, that has a huge impact on the paintings, if you do not use the correct materials. Let us go through all the art supplies that we need for this class. I will be using a 100 percent cotton, 300 GSM paper from Saunders Waterford. This paper brand is quite expensive, so you can use any other paper that you own rather than using the same one that I'm using. However, I would recommend that you use watercolor paper that is 100 percent cotton and a minimum of 300 GSM weight to achieve the best results in this class. I will be using this 10 by 7 inches arches watercolor paper for practicing the techniques and the exercise lessons before each class project. The watercolors I will be using for this class is from various brands such as Schmidt, Daniel Smiths, [inaudible] Magellan, White Nights, Rembrandt, etc. But you do not need the exact same colors that I will be using. I will also be helping you out with the color mixing at the beginning of each day's lesson. One thing we have to understand is that whatever colors and pigments were used in the painting, it will look beautiful ones the correct tonal values are applied. It doesn't really matter whether using a basic palette or expensive watercolor tubes. About watercolor brushes, I will be using this flat hockey brush to apply water as it's wide bristles provide maximum coverage on the surface of the paper. Then I will be painting with this three-quarter inch flat brush and this small flat brush. Apart from that, we will need pointed down medium-size brush, both natural and synthetic. That is one that holds a lot of water and one that doesn't. It is up to you whether you use synthetic for both purposes. I will be discussing the brushes that I use for each lesson before starting each day's class project. Then, we will also use masking fluid. You can get this in any local art stores or even in Amazon. This doesn't need to be bounded and comes in a variety of sheets, mostly blue and white colors. You can use either one as it doesn't have any difference. You can still continue with this class if you do not have a masking fluid, would rather not invest in it at the moment because I will be explaining the alternate way to paint the same before we start each day's lesson. I also have a lesson entirely on masking fluid to discuss the alternatives and explain about its usage. Using the masking fluids involves a lot of drying time as it is advised not to use a heater with the masking fluid. This waiting around for the paper to dry out each time can be quite frustrating, and hence I have a quick way out for you. While the masking fluid is left out to dry, you can move on to the next painting or spend your time to analyze the techniques for the current painting. You can return to the masking fluid painting the next day or the next time you are ready to paint. We will also need a toothbrush for adding some splatters, both using the colors and the masking fluid. I will be using my old brushes to apply masking fluid on my paper as masking fluid is a brush killer. It can damage the bristles of your brush and once used, you can never get it back to normal. For this reason, I keep aside a few of my old brushes for the sole purpose of applying the masking fluid. I will also be using this ruling pen, which is a masking fluid applicator pen. Of course, if you're not using the masking fluid method, then you needn't worry about this. You will need two jars of water. One for washing off the paint from your brushes, which will eventually turn into a muddy mixture, rendering it useless for applying fresh water on the paper or taking fresh paints from the palette. This is why you need the second jar, which will stay clean so that you can pick up fresh water to take fresh paints, as well as for applying water onto the paper. You will also need a pencil and eraser for the interior pencil sketch, if there is any. I will be using a mechanical pencil like this one and I needed eraser like this one. A masking tape to get clean edges for our paintings when we're not applying water on both sides of the paper. Before every day's lesson, we will be going through the painting at first along with understanding the techniques and tonal values, the paint that specific painting. If you are one of the students of my cityscape class and have followed along with me, with the watercolor journal exercise, then you will have your watercolor journal which you can use to fill up with your tonal studies, composition learnings and color mixes of each of the paintings. If you're yet to take the cityscape class, then I encourage you to keep aside a notebook or journal for these studies so that you can refer back to it in the future. This can be any book that you have just so as to document your learnings as you move forward with the class projects. A spray bottle to spray water onto your paper in case it dries up is optional. As mentioned earlier, this class progresses from a basic level to an intermediate level, and hence after the initial few days, we will start by applying the water on both sides of the paper. Hence, it would be better if you have a plastic board that you can stick your paper onto. I will be using an acrylic board like this one, which I got from Amazon UK. You can get the same from local hardware shops in specific sizes or get it cut to your desired shape. A wooden board would absorb the water easily and hence I would advise against using it. However, there is a simple way to create a plastic surface if the board using is not. You can simply cover up your non plastic board with cling film, which would eventually give it a plastic surface. Lastly, you will also need paper towels to dry your brush to remove excess water and pigment, as well as for the lifting technique. You can either use paper towels or a clothe like this for the same. You can refer to the project description section to find the list of all the materials that have been used in the class. If there is any material that I have missed, it will be discussed in the exercise section of each class project. I request you to go through the same before starting each class project, I have created a page with written description, list of materials and images for each of the class projects, so that you can easily refer to it at any point of time. You can find a link to this page in the About section of this class. Once you are in the main page, clicking on each of the images will take you to the description page. It is really important that you understand the techniques, the concepts introduced in each of the paintings, and the color mixing involved. Hence, I would recommend that you watch the video once before you attempt any of the paintings. I request you to understand the process totally before starting, rather than blindly following the stroke that I do on the paper. I do not edit out the mistakes that I make, but rather show you how I correct them and fix them on the paper so that you can understand how to do so if you make the same mistake in the future. Hence, I would advise you to go through the painting process rather than repeating every stroke. Also, watching the video in advance will help you to understand if there are any mistakes that I made and rectified, which you can totally avoid in your painting, as well as help you to incorporate small changes in your painting. Let us now move on to understanding the important concepts of this class. 3. Masking Fluid and its Alternatives: [MUSIC] Let us have a quick understanding about masking fluid because it is one such thing that is very good to have for seascape paintings. Masking fluid is a rubbery liquid that you can apply on the paper to mask out certain areas while painting. If you apply this rubbery liquid on the paper and after it has completely dried, if you paint on the top, that area will remain white because of this liquid on the top of it. After your painting has dried, you can simply peel off that masking fluid and that area would be white, which you can paint whatever you want later on. For example, if there is some subject in the middle of water and you want to mask it off, you can use a masking fluid and just paint freely over that surface while painting with the wet-on-wet technique. It is very useful because otherwise, you would have to go around that subject and be very careful when painting. Masking fluid allows us to paint freely without any restrictions. When I started as a beginner, I thought that using masking fluid was an intermediate level or advanced level paintings and didn't take me long to realize that masking fluid is one of the basic art supplies that any artist should own. There are various brands out there and unlike other art materials, this is one such thing that you do not need to get expensive ones. Go for whatever masking fluid you can afford because using masking fluid is an essential component of learning water and seascape paintings. However, if you would rather not invest in masking fluid, then as we progress in the projects I will be suggesting alternative methods to paint the same. You can go with either methods. Masking fluid works differently on different papers and from my experience, I have seen that it doesn't work well on handmade papers. The fibers of the paper starts coming off when you try to remove the masking fluid. I would suggest that you first experiment with the masking fluid on your paper intended for painting the projects in this class and understand how it works. This would help a lot when it comes to the actual paintings. If you do not want to use masking fluid and want to create white areas in your painting at the end, then you can use white gouache or white watercolors and paint on the top. But just remember that you will need to apply it in a concentrated amount to get the paper to turn white because of the colors that you're using, especially if you're using Phthalo blue. Because Phthalo blue is a very staining pigment and would need multiple coats of white on the top to retain the whiteness on top of it. But if you're going to paint an object in water which is not the color white, then obviously if you're going for the non-masking fluid option, you would have to paint around the subject and be very careful when you're painting the waves and all the shapes in water. Alternatively, another option that you can use is a masking tape. You can use a masking tape to create a mask around that shape. For example, if it is a circle shape that you want to mask out, just draw a circle shape on your masking tape, cut it out and paste it on that area where you want to mask it. That is one option that you can go for and if it is a very big object, then obviously you will have to draw multiple shapes on the masking tape, cut them around, and paste it. Or you might want to use a thick masking tape for that purpose, but just make sure that the paper that you're using is suitable for this purpose. Because there are certain papers that if you stick the masking tape even in the center, it can tear off the fibers. Mostly handmade papers tend to do that. Now I want to tell you some tips and tricks regarding the usage of masking fluid because it is very important to understand those things. Masking fluid is a brush killer. If you want to apply masking fluid on your paper, do not use your expensive watercolor brushes. Use a brush that you're no longer using and you can afford for the tip to lose. For example, here is the tip of this brush that has been damaged by masking fluid. As you can see, you can never recover the bristles of the brush because masking fluid dries quite quickly and will stick together all the bristles, which can never go back to its original shape. I will be using some of my old brushes to apply the masking fluid. Also, I have this rigger brush or liner brush that I use for applying thin lines of masking fluid. Alternatively, you can also use something like this, which is called as a ruling pen. It is mostly used for applying masking fluid or liquid items on your paper. You see the gap there that acts like a capillary action. If you dip it in the masking fluid, the fluid comes all the way up to wherever you've dipped in and when you apply on the paper, it starts to come out and gets applied on the paper. This is our ruling pen. I will also be using this, but don't worry, you don't need all of these. All you need is an old brush to apply on your paper and if you want to apply thin lines, you can use a toothpick. Now, if you're just a beginner who has just started out with watercolors and you're still going with the masking fluid method, but you do not have an old brush, you can use the backside of your brush to apply the masking fluid. Simply dip the backside of the brush in the fluid and apply it on the paper. Now let me tell you a quick way in which you can save your brush from reaching to this point, which I obviously did not do when I was using masking fluid for one of the times. What you can do is after you've applied on your paper, immediately wash your brush in water. Using soap and water would be most ideal. Nowadays I have started to keep another extra jar of water next to me so that I can wash my brush immediately after using masking fluid. You can imagine how many glasses of jars are right next to me. I have two jars of water for washing my paints and taking fresh paint, as well as a third glass of water for just washing my brush after using masking fluid. I started keeping that third jar when I moved on to seascape paintings. That is one option that you can use, just simply immediately go and wash your brush. It wouldn't still save your bristles, it just avoids accumulation of the masking fluid like this. The same goes with the toothbrush if you're going to use it for applying the masking fluid, just immediately go ahead and wash it off and you would be able to save the bristles. I will just show you what happens if you don't. Here is a brush in which I didn't not wash immediately after using the masking fluid and as you can see, it's completely damaged and I cannot use it anymore. Just immediately wash it off, that's it. It is advised not to use a heater or heat gun with masking fluid on the paper. This is because the masking fluid could likely stick to the paper for good and not come off at all. You might have to wait around until the masking fluid dries. I know that it is a lot of waiting time. Lastly, I want to talk about this hard square eraser that I use for removing masking fluid from my paper. It is known as adhesive remover or adhesive remover square. If you would like to have such a thing, then you can search for these options in Amazon or whatever local shops that you buy from. But this is absolutely optional because you can simply use your eraser or your ruler or some hard object to remove the masking fluid from the paper. I just normally use this. That's it. But this is just optional, but I just wanted to show you in advance. 4. Structure of a Painting: When we're trying to paint any subject with watercolors, we need to understand the structure of it. This includes the composition, the tonal values, the size, shape, and everything that makes the subject that we're painting. Let us start with composition first. As a general rule, it is always best to create paintings with the one by third rule. This means dividing your paper into three sections, horizontally and vertically. Placing the horizon line at any of the horizontal lines is more effective when painting to make the painting more pleasing to the eyes. That would be around here or here, rather than at the center. Any subjects that you are adding, adding them to the intersection of the horizontal and vertical lines is again, more realistic and natural-looking. Perspective is an important part in any painting and has to be on point to make the painting look more believable. Both linear and aerial perspective has to be accounted for. For any subjects in water that we add, such as boards or lighthouses, we have to focus on linear perspective and take care of aerial perspective in the whole painting. Aerial perspective is the method of creating the illusion of depth in a painting. This can be achieved by changing the wound size and shape of the subjects that we're painting. Let us understand this in more detail. First, let us look at the tone. In any painting to create the illusion of depth, we need to vary the tonal value of the colors. As you may already know in a painting, the horizon line is the furthest point. That is, the depth is furthest at that line. Objects further away from us needs to be in a lighter tone and objects closer to us in a darker tone. The tonal value increases from the top to bottom when we are painting with water with the horizon line at the top. Remember that the tonal value increases from the top towards the bottom, so the darker tone will be at the bottom, and the lighter tone at the top. For example, you can see in this painting, this is the horizon line and all the darker tones are away from the horizon line at the bottom. Also at the top, which is the furthest point away from the horizon line. Always the tonal value increases from the furthest point towards the closest point. Here in this picture, this center line where the horizon is, that's the furthest point. Here, the tonal value will increase from top, that is this middle portion, towards the bottom. From here to the top, also it will increase. This is because the horizon line is in the middle. But for certain water paintings, when we are painting waves in water, our horizon line maybe at the top. That means our tonal value will increase from the top towards the bottom. Next is size. To create the illusion of depth, the size of the subject increases again from the top to the bottom. This means that the subject that we paint should be larger towards the bottom and gets smaller as we go towards the top. This is again true with regards to the horizon line only. This is because the horizon line is the furthest point in that picture, so always the object's closer to us, we will have to draw it in a bigger size and the object further away from us will be in a smaller size. That was about size. Now about shape. The third one is shape, which means that it has to decrease its shape and form as we go away from us. Towards the horizon, the shape will be more flattened out. The shape and size together contributes to the details in a painting. This means that, the details will be lesser towards the horizon and more details towards the viewer. Keep these three things in mind. That is, that tone, the size, and the shape. No matter what colors we use, if these three things are correct in a painting, then you will see that it is perfect. You will not at all need to worry about the colors that you should use to paint water if these three things in a painting are taken care of. 5. Understanding Colours: [MUSIC] As I said in the previous lesson, you won't need to focus much on the colors that you use if your tone, size, and shape is correct in a painting. However, let us discuss about the colors for painting water and seascapes as using the right shades of colors is just going to increase the overall beauty of the painting. Let us look at the basic colors that we can use. I have gone through all the blues and greens that I own to understand the perfect color compositions while painting water. The best colors to use are phthalo blue or phthalo green. phthalo blue is PB15 pigment, and phthalo green is PG7 pigment. Apart from the basic colors in your palette, even though if it's just a simple palette with just the primaries, the only colors I would suggest getting are these two. This is mainly because the phthalo blue is a primary blue and hence cannot be made by any mixes. Although you can create a color very close to the phthalo green by color mixing, I would still recommend getting the pure PG7 phthalo green pigment because you can use that color to make so many other mixes necessary to paint water. Phthalo blue PB15 pigment is a highly staining, beautiful blue color. It is known as bright blue from the manufacture of white nights. You can see the tube, it's almost finished because I love it and use it almost every day, and it is the most ideal color to use for mixing seascape shades. Similarly, the phthalo green PG7 is known by various names by different manufacturers, such as viridian or emerald green. Always look at the pigment numbers before getting any new colors. If your local shop or online store that you've purchased from doesn't provide this information, you can always quickly head to Jackson's Art website to the respective brand color list and find out the pigment numbers of that color name. This is what I always do for finding out new colors and pigments. If you look at all the darker shades that I own, you will see that it is actually a mixture of PB15 and PG7 in various ratios, and hence giving a color more biased towards green or blue depending upon whichever is added in what quantities. If there is more PB15 in the mixture, it is obviously more bluish, and if it has more PG7, it is more greenish. This is why I said that you can get just these two colors, the phthalo blue and phthalo green, and you can mix the darker shades on your own. Don't be mistaken seeing all the blues and greens in my swatch chapel, these are just different shapes that I own, but they are mostly the same pigments. For example, white nights, emerald green PG7, schmincke phthalo green PG7, Sennelier viridian green is PG7, and a mixture of PG18. I wouldn't say it's a pure pigment. Then there is art philosophy viridian hue which is again PG7, PWC ShinHan viridian hue PG7, [inaudible] viridian PG7, Rembrandt phthalo green PG7, and [inaudible] phthalo green PG7. It's just the same pigments. I've just washed them out to see which one is the best out of these. Now you can see the Sennelier phthalo green deep is a mixture of PB15 and PG7. If you just have those two colors, you'd be able to mix this color. You can see here scenario turquoise is also a mixture of PB15 and PG7. Again, you'll be able to mix this if you have the phthalo blue and phthalo green. This has more blue and this has more green. That is why this is greenish and this is bluish. White knight turquoise blue is also PB15 and PG7. A lot of these colors are just similar media low peacock blue is PB15 and PG7 again here. Then there's a lot of PB15 that I have. This was just me trying out the best colors and I've got him to the conclusion that all you need is the phthalo green and the phthalo blue. Indanthrene blue or PB60 is also under the great blue for seascapes and water. But it is a warm, dark blue which you can create an almost exact match by mixing your colors. However, if you would like to own the pure pigment for your paintings, you can get that, although this is highly optional. This is PB60, indanthrene blue. Here, I have made this color mixing chart of some of the blues and greens that I own with the other basic sheets in my usual palette, such as White Nights, Indian yellow, cadmium orange, Aurelian, olive green, green from White Nights. Quinacridone, violet, rose, burnt sienna, neutral tint, Payne's Gray, and lavender. As you can see, the mix of phthalo blue with those basic colors, and phthalo green with those basic colors are absolutely enough to create a wide variety of shades. For example, look at this beautiful purple color made by mixing phthalo green and quinacridone violet rules, it is a dark, warm purple. If you add more quantities of the phthalo of green, you will see that it starts to turn into a bluish tone much similar to indanthrene blue, or indigo. Let us try to understand why that is. It all lies in the understanding of the color wheel and color theory. Phthalo green is a green shade and red or pink is its complementary color. Hence, if you add that to your phthalo green, then you are desaturating the color and it turns more dark and more like a dark blue. Hence, you will be able to create varying shades of dark blue by mixing reds and pinks in different consistencies to your phthalo green. The same way, phthalo blue is a cool blue, and mixing it with red or pink darkens the value and makes it more warm and biased towards purple. I would highly recommend creating a college out similar to this one, using the greens and blues you own to know the endless color mixing possibilities with those sheets. Lastly, another pigment I would like to discuss is PG50, or most commonly known as cobalt turquoise. This is another good color to own if you would like to paint tropical seascape and water. However, this is also optional because we can create a similar mixture using the phthalo blue that we have. I will be going through the colors of each project before we start the painting, and will also explain how to mix each and every shade from a basic palette. 6. Day 1 - Techniques and Exercises: Welcome to the first class project, painting light and waves in water. This is the painting that we're going to do today, and it is about painting simple waves in water with important focus towards the light in the top right corner. If you look at this painting, the bottom part is the closest point and the top part, the furthest area. The horizon line in this painting is somewhere at the top outside of our region and painting area of the paper. Let us understand the tone, size, and shape for this painting. The tonal value will increase from the top to the bottom because following the simple rule of aerial perspective. I've already made some notes about my learnings regarding this painting , whatever I learned. First of all, let us understand the tone on sketch. Basically, all the darker shades will be at the bottom and the lighter shades towards the top. But here in this painting, there is another extra element which is light. The top right corner, which has a bright spot because of the light source near the water, and hence we need to account for the tonal value near the light as well, and hence the tonal value will increase as we go further away from the light source. In total, tone should be taken care of twofold in this painting. One, the aerial perspective way, and two, because of the light source. Now, about the size and the shape. The size and shape of the waves needs to increase as we go towards the bottom from the top. This means that the waves will be larger towards the bottom and get smaller and flattened out towards the top. Painting these waves using watercolors can be quite difficult and needs a lot of practice to get it to look more natural. Hence, to help you, I have prepared these practice sheets containing some general wave shapes which you can use to practice your brush strokes before you attempt the final painting. You can download and print these practice sheets from the Project Resources section in Skillshare, and if you're unable to print the same, you can load it on your phone, tablet or PC, and quickly draw those shapes into a sheet of paper which you're going to practice on. The ones I have here are not watercolor sheets, but just normal printer paper. But it doesn't matter so long as you're practicing the brushstrokes. Your wrist has muscle memory and practicing those brushstrokes before you attempt the exercise and final painting can help you achieve much better results. The first two sheets are the same. I printed it twice because I wanted to show you with a pointed round brush as well as with a flat brush. The third one is just a smaller version of the first to get more precision and learn smaller strokes. Let us quickly try it out and practice. I'm going to use my Size 10 pointed round brush and paint on those shapes. Try to use the full length bruises of the brush to create that shape. Do not paint inside the sheets like a coloring book. Try to get it with a single brushstroke. I'm not going to bother about the color right now, so I'm just picking up a blue shade and I will show you. This is simple papers, so it's going to bend and buckle a lot, but let's not be bothered about that. Here I'm taking my blue and I have a pointed tip for my brush, and I'm going to start there. Gradually, I am going to press my brush and move on that way and then lift off as I reach the end. The brush was too small for this wave, but it's all right, we keep practicing. Starting from the tip and pressing and as I reach towards this fatter area, I'm twisting my brush so that I can stay within that structure. Keep practicing this. Then another one again. You probably need a Size 12 brush for this, the Size 10 is too small for that, but that's all right. We are still trying to learn how to make those brushstrokes. Now, this one here starts with a squared end, where this one ended with a square end. Let's try this one. When it starts with a square end, you want to start straight with your brush, and then go all the way by pressing your brush down, and as you reach towards the end, twist your brush and lift off. Again, now we've got smaller ones, I think these ones will be enough for this brush. Yes, it's good. Same way, so let's just keep practicing. The end zone matter because you will have a masking tape at the end. You'll be going outside of the paper. Essentially it will be like you'll be painting until around outside of that shape. Again, this one, I need to start this one like that and then twist my brush angle like that. You've seen all these shapes. This is a very good factor sheet for practicing. Now, let us look at some triangular shapes which we need to achieve for making the waves. That would be, again, using your brush going towards the triangle then coming down and filling those areas in. But you can go ahead and make the shape for these triangular shapes. It's absolutely fine. Again, use the maximum amount of your bristles for this one, but then to cover up that center region, you can go with your brush once more. Let's see. But you can also use various types of connecting shapes. It's absolutely fine. For example, this up to the end point and coming back. Press your brush down and lift. You see, I connected that. But this is a little bit tougher to achieve when you're painting on the water. It can distort the shape a lot if there's a lot of water on your paper, so just go with your instincts. You can paint on the top multiple times when you are using these triangular shapes. Just try to go with a single stroke when making the top part of the triangle. Let me show that to you for this last one here. I'm going to start with the tip of my brush, press it downwards, then the top tip then continuing on until the end. We miss only this bottom part of that triangular shape, which we can fill later on with our brush. That was with a pointed round brush. There's also this smaller factor sheet which you can practice on. You can use a smaller size brush or you can go with the same brush that you're using. The thing is you can print as many of these sheets as you want and use it to get your shapes correctly and practice. Print as many as you want. Like I said, if you can't print it then all you need is to trace out the shapes onto a piece of paper in which you're going to practice and just practice on that. This is available in the Resources section for you to download. Now let us understand about painting the same using a flat brush, which is quite tricky, it won't be perfect, but you can still achieve it. Let me show you this one first because it can start with the square end of a flat brush. There, and you press the whole of your brush and slowly twist as you reach the end. Like this one again. This is too small for the flat brush, but that's absolutely fine. Just create the shape. Now let's see how we can do these ones. For those ones, you'll start with the end facing like this on the brush because that's where it's facing. Then slowly you start to twist as you reach towards the center. There, start that way, and then you start to twist your brush. You can twist it in whichever direction you prefer. It's totally up to you. Don't worry, it's just a normal wave. You can go around on the top of it multiple times as you wish. Use this practice sheet to practice the waves so that your muscle memory will help you to paint on a larger sheet of paper using the wet on wet technique. Here I've got a smaller sheet of paper divided into two but here you will be practicing the wave shapes and I'll be using this Silver Atelier hockey brush to apply water onto my paper because it covers a lot of surface area. This is a smaller sheet of paper down what I will be painting on. Since it's A4 we need to practice first on smaller sheets of paper and make sure that we are able to get the shapes of the waves correctly before we move on to a larger practice sheet. We'll start with the left side here. I'm just going to quickly apply water. I prefer to paint in the wet on wet method always because it allows us enough time to work on creating the beautiful wave shapes. Here I have applied water onto that side. Now I'm going to work with my size 10 brush here. This is size 10 mix of natural hair and the daycare Silver black velvet CDs brush. Here I'm going to take turquoise blue shade. Taking turquoise blue shade, I'm going to start at the bottom. I just picked up a darker shade on my brush so it's really dark paint and I haven't diluted it. The dark paint should be at the bottom if we're looking at the tonal value. There I'll apply it at the bottom. I'll apply using lines like this. Like that. As I go towards the top, my tone needs to get lighter. Now I will make sure that I add more water into my mixture. You can see I've diluted my paint and that's what I will go and use towards the top. Another way to keep the water to stay lighter is to give an angle for your paper. If you lift the board or the surface where you've taped down your paper, your water would flow down and it would accumulate at the bottom and the top region will have the lighter tones. There you can see I am applying the paint but making sure that I have lighter tones towards the bottom. I need an even more darker shade. I've got the darkest blue here. Since I just picked up fresh paint I'll apply here at the bottom part. The first part is creating the background. For the background I'm going for a flat wash here. We go for a flat wash and notice I'm keeping an angle for my paper which is really very important. Using that flat brush, I am going now towards the top and as I go towards the top I'm also creating some breaks in my strokes. Let me show it to you. Here is my brush and I'm taking the color and I move from the bottom towards the top like that. But then as I reach towards the top I start creating breaks in my stroke. Still a lot of paint in my brush, just taking a lighter tone. As I go towards the top I start creating breaks in my stroke. It's rather lighter and also there are a lot of white gaps. Now, we've done a gradient wash using the turquoise blue shade. Now what we need to add is the wave shapes. Let's get on to adding darker tones on the top. For now let's just ignore the colors. I'm just going to take turquoise blue and let's mix it with Payne's gray. That'll be much easier, I can't find indigo on my palette here but here if I mix it with Payne's gray I get a darker shade like this. Here mixing my turquoise blue with Payne's gray. I get a darker shade and using this darker shade I'm going to create waves. While creating the waves now, I'll keep my paper back on the table because you don't want an angle when you're creating these waves. This is a darker tone in my brush again, so I'll use that at the bottom. I'm going to use the full hairs of my brush to create those waves because we want a larger wave at the bottom. I'm going to hold my brush alone and just brush it across. Let's do that. Let's mix the paint again. Darker tone, and using the whole brush I brush it across. But as you can see I made a slight angle towards the bottom. Let's do the same thing again. Here I move my brush and create a wavy fall. Another way to do that would be use the pointed tip of your brush as you go, then press your brush on the paper along the full hairs and create those wavy shapes. You just move the paint and fill up on the side. Now, this is how we create the waves. Let's do it again. Like that. Pressing your brush at random directions and now as you move towards the top you need to have smaller waves, so then you press your brush not as much as you did for these ones and also the shape will start decreasing its shape so it needs to get straight. More straight as you move towards the top. It'll start losing its wavy structure and also lighter colors. You can see my drawing is not getting lighter and also I'm starting to make straight strokes. Now my color is still dark so I'm going to lighten it up, I'm just going to wash my brush off and remove all the extra color and go for a lighter tone by just picking up a little amount of the paint and also making sure that I dry my brush because this top region has already started to dry out. We need to always look at the water control on a paper and make sure that the amount of water that we apply is lesser than what is there on the paper. That's too dark. I can correct that. I just wash my brush, then go over on the top. It just has a lighter paint there, I correct that. This is how also you can correct because as long as your paper is wet you can always go over on the top and correct your strokes. Here I'll pick up a very lighter tone. I'm just picking up from this area here which is actually lighter in the mixture. I'll dry my brush because the top region is what must be dry and just some lines now. Not going to go all the way towards the top. Let the top region be light and dry and I just want to spread this out and blend it. There. We're done with the first section of the waves. That was simple. Sorry, I know it's really tough to paint water, but I'm sure with a lot of practice, you will be able to crack it. It's as simple as that. Watch this video as many times as you want. Observe my brushstrokes and how I did it, the shape of the waves, and the size of the waves, all of these things, these are the things that you need to understand. That is, how can you get the waves to look natural? The thing is obviously the tone, the size, and the shape. Tonal value has to increase from the top towards the bottom. The size also decreases from the top towards the bottom and also the shape will be more visible towards the bottom rather than at the top. At the top, it looks like flat line and as you come towards the bottom, it starts to get more shape in the water. These three things we need to understand, it's the most important basics of painting water. Next thing, let me show it to you with a different brush. You can go for any method that you want. Here I've used the Size 10 brush. Now, when we will go to using a flat brush to create the wave. Let's see that. How do we do that? I'm going to apply water to my paper again on the right side now. Since it's a smaller paper size, I don't have to apply multiple times, so there. That's a smaller paper size and I've applied the water and now we'll start with a flat brush. You can go for whichever method that you like and whichever way you prefer. Now I'll take my flat brush and I'm just going use a different color so that this looks a bit interesting. That's it. you don't have to go with a different color if you're practicing. Here, I'm taking Indantherene blue and because I'm taking a darker pigment, obviously I'll start at the bottom and using my flat brush now. I need to now go for my paper if you need to have that perfect gradient. Here, I'll just apply my paint all the way towards the top and as you can see, the strokes that I apply, I try to leave some white gaps in-between. I don't need to have that perfect gradient. This is not about creating a perfect gradient if you need to create that perfect looking water. It's taking the water to the next level. That is, let me show to you what I'm doing. Here let me take the paint and I start at the bottom using the full length of my brush. As I go upwards, I start twisting the brush so that I'm using this direction with a flat brush, there is different directions that you can use to create different strokes. There, I'm going towards the top. I need to make my brush lighter and remove the paint. I've just dipped my brush in water and removed the extra paint and still a lot of paint in my brush. Let me clean that up. This brush holds a lot of paint. That's why I love this brush. There, that's better. I move towards the top. We take the dark pigment and leaving a lot of gap and I've applied the water. You can see there's a lot of white spaces that I've left behind and that's absolutely fine. We need those white spaces. There's a lot of water here. Let me absorb that with my brush. Now let's paint the waves. Now for painting the waves, I'll keep my paper down. I'll take the blue paint. Possibly let's mix it up with the Payne's gray again so that we get a slightly darker shade. That's Payne's gray. Now, here is the interesting part. Again, we need to have the shape at the bottom. I'm going to use the full length of my flat brush and have a nice bend on my paper like that and we'll do a little bit from the right side as well. Now need to decrease the shape as I'm reaching towards the middle, I won't use it in a full horizontal manner, but rather I'll start to use it at an angle so that we're just using a little part of the flat brush. I know this part, I think the Size 12 or the largest brush is easier. But it's good to practice with different kinds of brushes. Now I've already reached the middle part. I need to lighten my color. I'm dipping my brush and removing all the excess paint. I only have very light paint on my brush now, but I'm reaching towards the top so I need to lighten, not lighten, dampen my brush and remove the excess water. That's good. See, that's a lot of pigment that I can just take it off by using the brush. Now we are reaching towards the middle. Use the flat area of the brush to create flatter strokes. We have created flatter strokes so we need more color at the bottom because this is now darker than the one that's at the bottom. Remember, always check the tone. We need to check the tone. Here when I observing on my paper, I feel that this wave here is darker than what's there at the bottom. I am going to darken my bottom wave. I think that's much better, but now the other one is too light, so I just apply very little water and paint on it. I'm not going to dip anymore paint. I'm not going to take any more paint, but rather, the leftover paint in the brush after applying the stroke, that is what I'm going to use. That it will be anyway, is lesser than what we used for the first time on that one. Think that's much better now. There you go. I've created the width, so remember the shape. That is very important. The shape, tone, and the size. That's very important when we are trying to attempt paintings. Now you know the technique of painting water. Just whichever techniques you prefer, you can go ahead and practice them as much as you can. There is no shape to exactly how you would do the baby movement. You can do it in any way as you want, the trick is to leave some lighter tone in between so that you get that baby structure. While I wait for this to dry, let us look at the colors and the brushes that I've used for today's painting. For the first few paintings, I have used a dyadic tube rather than mixing because I wanted to keep the focus on the techniques and the width rather than a lot of mixing. But obviously, if you would like to mix the exact shapes, you can go ahead and mix it. If you have the two basic shapes that we discussed, the thalo blue and thalo green, you can directly use that because the color that you use really doesn't matter. I will be using this aqua green from Winsor and Newton. It says pigmentation on the tube and no number. I'm assuming it's thalo green in a concentrated form. You can easily create the same using both thalo blue and thalo green. Let me show you how. First, let us try with thalo green, so this is thalo green. In order to make it darker value we need to be saturated. I'm going to mix it with a pink sheet. Taking more of my thalo green, mixing a little bit of pink to that value. That would desaturate the color and make it turn darker. That is a darker green color, which is almost like the aqua green that I'm going to use. You can see the color here. It almost matches. That is why I said, you can just use your thalo green and make that pigment. Now let us see how we can make the same using the thalo blue sheet. Here is thalo blue. Let's see how we can create our green almost similar to this one. I'm going to take my thalo blue, mix it up with a bit of yellow to create a green. When I mix it up with the thalo blue, you can see it creates a green or moves like viridian or thalo green. Now, only what we need is to desaturate it by adding a little bit of pink. Here we go. I'm adding more pink and you can see it's desaturated its value and turned darker. I'm going to add a little bit more blue to that mixture. Maybe a bit more yellow to make it greenish. More blue. I think this is now good enough. I've added more blue to that mixture. You can see it's almost similar. If we just add possibly more blue to it, it might turn into a thalo green shade. Yes, that's good. Let me show it to you with more water. See, now we've created that just using the thalo blue color. I mixed my thalo blue with my yellow to form a green shade. When I form that green shade, it was a very saturated degree. In order to desaturate it, I mixed its complementary color, which is either red or pink, it doesn't matter. I added red to that mixture and it desaturated its value to a darker tone. Then I added more blue to that mixture to get this dark thalo green color, which is almost exactly similar to the aqua green. The second color that I will be using is indigo from White Nights which is BB15, BBK7, and BB55. As you can see, it consists of BB15, which is the thalo blue, and a black pigment, BBK7. I have seen that most indigos are a mixture of thalo blue, or black pigment, and another violet, or red shade, which these saturates the color and creates a darker value of indigo. Hence, if you do not own indigo, you can easily mix it by mixing your thalo blue with black and a little bit of rows, red, violet shade. Let us quickly see that. The thalo blue, I'm going to mix my thalo blue with a black from my palette. That's a black from my palate. It's already almost like indigo because it doesn't actually need pink. The pink that is there in the indigo pigments could be in a very little quantities. There I've added a little bit of red and now it's desaturated its value from this to this, making it look more exactly like indigo. This is why I said, all we need are some basic colors from which you can make all the other colors. If you know color theory and how it can help you, trust me, you just need a few pigments in your palate. You don't need all of these green, this indigo, or all these different colors that there is out there. You can just go with a few shades and create marvelous paintings. That's why that knowledge is very helpful. It's just the mere basics. Thalo green is a green shade and I wanted to desaturate it or to decrease the counter and darken it up. So I mixed it with the opposite color. That is the complementary color, which was red or pink. As much color I'm mixing into it, I started to get it to desaturate its color and turn into a darker tone. See how it's dark that color is, let me add water into the tone and value of that. See that the tone and value of that color. You can basically make all of these just with the knowledge of color theory, trust me. Knowledge of the color wheel and color theory is going to take you a long way into mixing any colors that you want. One thing to remember is that if you're going to mix your colors, premix enough color in advance so that you can paint easily rather than mixing in-between and losing the wetness of your paper. I will also use white gouache from Winsor and Newton for adding the little sunshine drops in water and some waves structures. You can either use white watercolors or white gouache for this purpose. Next, the brushes that I have used for this painting is Silver Atelier hake size 20 brush. This is a larger size brush which I usually use to apply water onto my paintings. Then for the waves, I have used the size 12 brush, and synthetic brush which size 8 from silver silk series. It's synthetic and holds less water, so it's easier for me to paint the waves while my paper is drying. You remember I was drawing out the excess water when I was painting the waves. This brush doesn't have that much extra water, so it helps me to make the waves. But don't worry if you don't have such a brush and you usually have a natural hairbrush, which is highly unlikely because if you are a beginner, you most probably have a synthetic version than a natural hairbrush. Because natural hair brushes are very expensive. You already have such a brush, so don't worry about it. When we're painting with a natural hair brush, understanding the water consistency is very important. This is because your paper might start to get dry as you reach towards the final waves. If you add a lot of water using your natural hairbrush, then it can turn into blooms. In order to avoid that, you need to probably remove the excess water. Water consistency with the natural hair brushes is one very important thing to note when we're painting the waves. Remember, you can attempt this on an A5 sheet rather than an A4 size. If you're worried that your paper will dry out quickly, it is always easier to downsize a painting as you can simply ignore or remove some lines or details as opposed to upsizing because when you do so, it tends to flatten out the painting due to the lack of details in the original A5 size. Here my two waves has dried. Let's remove the tape from the middle and the sides. There you go. There's the two waves that we practiced. One using a round-size brush and one using a flat brush. As you can see, they are both very much different because you don't need to have the wave shapes exactly the same. The only thing that matters is the tone size and the shape. If you're happy with the techniques, the colors, and everything, let's go ahead and paint our first-class project. 7. Day 1 - Light and Ripples: We'll start by applying an even coat of water onto our paper. We are going to be working with the wet-on-wet technique so we need our paper stay wet for a longer duration of time. Make sure that you water your paper evenly multiple times in order to ensure that it can withstand the number of strokes that we want to do. Apply the water multiple times. I'm using my silver atelier hake brush. It covers a larger surface area. This is the reason why I'm using this brush. Also, you can lift the paper or board that you're using and give it an angle so that all the water can flow down rather than accumulating on any areas and forming pools or to bend the paper. Give it an angle while you are applying the water. This ensures that you will have an even coat of water on your paper. We're going to be working from the top to bottom. Here I've coated my paper and we're going to start. There, but we need it to be a lighter tone when we're adding at the top, so make sure to dilute your paint enough. We'll start at the top right corner and add these strokes from the right side towards the left side, like that. Let's stop it on midway so that we can continue from the left side. Again, dilute the paint. From the left side to the right side now, we want this area to remain white. This is the reason why we apply in this manner. As we go towards the middle, we want more color so take more color, dilute your paint nicely, mix it in water. You can see now my stroke has increased. That is, my tone has increased for each of my strokes. Taking more paint as I move down. There, taking more paint now. You can see this is the middle portion. That needs to be in medium tone. As I go downwards, each time I go down, I pick up more paint. More darker consistency of paint each time I move down. We need to be working quickly. Otherwise, the top regions are going to dry out before we can add in the waves there. Make sure that you work quickly. Taking darker consistency of the paint now for the bottom region. You can see how dark my paint is. Keep taking a darker tone and filling at the bottom. Towards the middle will be medium tones and towards the top, it'll be lighter. As you move towards the top, dilute your paints. Now I'm going to keep adding and I'm going to add these little triangular shapes, like the wavy shapes that we practiced and some lines. Now I'm going to quickly switch my brush to my synthetic one. If you've been using a synthetic brush, then you don't need to switch at this point. Here, now I'm going to take a bit of diluted paint and start applying some strokes. Start at the top. I want to get rid of excess water. I'm going to get rid of excess water and start adding some of these strokes. Some nice wavy strokes. If it's forming any hairs, just spread them out again. It's forming hairs because there's too much water on your brush so make sure to dry your brush before you stick it on the paper. You can see now, this one doesn't form many hairs because I dried my brush. If you don't dry your brush, then it's going to form the hairs that we talked about. Quickly, just add the strokes. I'm going to dry it now because I want to add some strokes towards the center. I've added some strokes towards the center. Now as you can see, it's too bright in the white background so I wet my brush and I'm going to quickly go over it and lighten them up. Don't spread it too much onto entire white surface, just lighten them up. Now you can see it's all lighter strokes but it's still there and the whiteness of the paper is also still there. We are working in this region first because we do not apply any paint there. That is the reason that it's more likely to dry out faster. Now let's go back to the top and add nice wavy shapes. Add some waves in the triangular form and use these swift left and right movements of your brush. Now you can start mixing some indigo into your aqua green as you move towards the middle. You can see how the movement I am doing with my brush and as we reach towards the bottom, we are increasing the tone. You can see my color tone, I have increased the tone that I'm using. It's getting darker and darker towards the bottom. Now we pick more diluted paint whenever we want to add some nice wavy shapes. Mixing with indigo, and adding some nice wavy shapes. We need to be quick now because our bottom part may start to dry, so go with diluted paint and start adding. Here, I'm going to add it in a direction towards the top from the corner and creating larger waves. At the base, we can start creating larger waves and go with a nice darker consistency of the paint. You can see the consistency of the paint that I'm adding. It's darker. Did different wavy shapes. Now we've created some nice baby shapes, some nice dark waves at random places. Again, don't apply the paint once your paper has dried. I can't go over to the top now because it's almost dry there. I'm not going to go over to the top. But what we'll do now is we'll add some nice drops of sunlight. As you can see here this is almost complete, we already have the waves in shape, we have the light in shape, it's all good. All we need to do is add some light, I'm going to take my white gouache paint. We're going to add it on wet itself, so that it'll spread out and give it a little tiny star like appearance. But we have to be careful, don't have too much water on your brush. This is the reason why I'm using a synthetic brush. You can see I put a drop there and as soon as I put that drop, it spread. Because it spread, it has that little edge and looks like a star. We can use that wet on wet to our advantage to create these drops of sunlight. I'm going to drop this white paint in lots of places. But as you can see towards the top, it's almost dried up and it's not spreading, so it's not creating those star-like appearance. I'm just going to add more towards the bottom. I think that would be enough, we you don't need to add a lot because it's already white in these places, and the others are just the extra bit that enhances the painting to give the appearance of the sunlight. I'll give some random by strokes, but I'm going to switch to a smaller size brush because I think that this is too big brush, it was a Size 8, so I'm just going to go with Size 1 brush now. It's synthetic. We're going to pick up my Size 1 brush and a little bit of white paint. I'm going to just drop off in some places to get that light effect. As you can see, it's just forming some nice strokes in water. I'll give some light strokes here towards the bottom where we haven't added much. But this is the thing that white watercolor or whitewash, if you add it onto wet paper, it'll eventually mix up and turn lighter than the white that we already applied. This is the reason why I'm applying this here because I know that it'll eventually lighten up. Just blending it because I don't want it to be looking too white. I think we're good to go. If you feel that you know some areas of your painting are lighter or it's not dark enough, you can go ahead and apply some more color. I'm just going to wait for this to completely dry so that we can remove the tape. Here our painting is now completely dry and as you can see, these white lines that we added is also very much lighter, but it contributes towards the general likeness of this region here that we want to add. One last thing that is now left to do, is to sign your painting. This is something that I started doing recently, that is to sign my paintings. I mostly use a very nice contrasting color to sign my paintings. I'm going to be using the cadmium red light. Cadmium pigments are opaque, so it'll come on top of this darker background here. I'm going to be using that to sign my name. You do the same as well. This is a masterpiece that you've created. Make sure that you sign your name, and it's a good practice to learn signing your name using the brush itself. Create an artistic signature for your name or if you already have one, then go ahead and use it. I'm going to sign my name. I have signed my name, and the painting is also complete, let us go ahead and remove the tape now because I believe all the edges are dry. Here is the finished picture of today's painting, I hope you like it. Just make sure that you get those wet on wet strokes on your paper. You know water control is the most important part in a painting. It's all right if you didn't get it in the first try, remember that, always. Here you go, and thank you for joining me on this project. 8. Day 2 - Techniques and Exercises: Welcome to Day 2. This here is the painting that we are going to do today. As you can see, it's an underwater scene with a lot of water droplets. It's like the view is from under the water towards the surface and there's a lot of bubbles in water. This painting is actually quite easier to do than the day one's painting but this one takes a lot of time because of the bubbles and the details on it. Let us first understand the techniques to paint this one. Here I've got my 10 by 7-inch paper. I've just divided it into 1/2. There isn't a lot of techniques involved in this one. It's very easy but what we need to understand is obviously the tone, size, and shape. So I'm just going to quickly show the techniques to paint this one in this side here. But before that, let's just go through the tone. So this here is some light source above the water surface. As I said, we're looking upwards towards the surface and there's that water source. Obviously, the tone needs to be lighter around the light source and as you go further away from the light source, the tone needs to get darker. So here there is no horizon line or anything because this is a picture which has a complete different view. The light source here is what we have to consider the tone. That means away from the light source all the tonal values will be darker. As you can see as I'm further away from the light source, here are the darkest points, and closer to the light source, it will be lighter. Then just we have to add these water droplets on the top. Again, with the water droplets, we obviously have to look at the light and shadow for many of those bigger ones. So there is no relation to size and shape here. That is mainly because again, as I said, there is no horizon line and we're just looking at it from underwater towards the surface. So these bubbles can be of any shape and size. It doesn't really matter. So this is one unique painting that it's quite easy to do and only the tonal value needs to be taken care of. In the class project, I have used a flat brush to apply these strokes and you can see that in the class project. For those of you who don't have a flat brush, I want to show it to you how you would paint with a pointed round size brush. I'm going to do it with the pointed round size method here and if you want to do it with a flat brush, then there is a class project obviously but both brushes are completely fine for this method. So let us quickly apply the water. Like I said, if you're not confident on painting on a larger surface at first, that is why you can attend this on a smaller sheet of paper and just makes sure that you are able to get those light and tone values correctly. If then, and when you're confident you can move over to our largest size sheets such as A4. Or if you're attempting this whole painting in a smaller size then, perfect. You don't have anything to worry about. So I'm going to go use my size 10 brush here and the colors and the original brushes used in the class project I'll explain later. For now, I'm just going to take my bright blue, which is my pale blue. That is my pale blue. Let us assume that the light source is going to be in the center here. What we do is we have to make sure that our strokes are from the outside towards the inside. That way you would have a lighter tone next to your light source because when you pick up paint from your palette, it's really dark on your brush. Those dark strokes you need to apply farthest away from the light. The farthest away is obviously towards the edges of the sheet. That is why we always start our strokes from the outside and towards the inside. So we just do these strokes. Can you see that just these inward strokes from the outside always. Each time you pick up paint from your palette, make sure that you do it from the outside towards the inside. It's quite simple as you can see all you have to do is from the outside towards the inside and lift off your hand as soon as you reach towards the center. So don't do it slowly, do it faster. So that way you're able to lift it off easily because if we want slowly, you will end up creating a dark mark there. It's basically like this. See that? I've lifted my hand off and just sliding your hand. That is the process. I'm using pale blue here, which is the bright blue from white nights. Remember to use the correct amount of water, which is very important. After the first step and taking the bright blue paint, I have not dipped my brush in water. This is mainly because my paper already has water and I don't need any more water on my brush to apply these tools. Now, I'm going to put some more darker tone towards the edges, so I'll pick up more darker tone. Now is the point that I feel my brush is completely dry. I'm just going to dip just a dip little amount of water. That's why water control is very important when we are painting. Make these sorry, inwards strokes. What I meant to say it was stroked from the outside towards the inside and I mixed up both the sentences and it came out as outward. Anyway, taking the bright blue and you can see all of these strokes inward from the outside. That's it. That's just basically the technique for this lesson. Obviously, we have to take care of painting the water droplets, but that's quite easy. I will show you one or two droplets on top of this. Let me dry this up. I'm not going to do the entire large amount of droplets because it's quite a lengthy process but I'll show you one or two of them. Also, I'm explaining this again in the project lesson. This is mainly because I normally shoot the project first and I speak while painting so I explained the whole process. After that, I decide what are the techniques? How should I go about teaching this in a basic way? Then I shoot the techniques lesson like I'm doing right now. That's why you'll have all of these instructions in the project lesson as well. It's dried up, so I'll show you a few droplets. So what I do for the droplets is we are going to take our blueprint itself, the color that we added for the base and now we're going to go with a few of wet on dry. This is dry and our brush is wet. Let's add a huge droplet here. Doesn't have to bother about the shape for now. Just draw a random shape like that and I added a few of those shapes like that onto the paper. I'm not going to do all of them. I'm just going to leave it like that and make some tiny shapes now don't want to add a lot because this is the techniques. Now, what we do is we are going to apply water into the inside of the droplet. Now obviously we are going for the wet on wet again but in the inside part of the droplet. So in the inside part, we go for the wet on wet we take the bright blue paint again. We add it inside the droplet that is covered up but we leave like one side of it to dry. Which side do we leave? We leave the side facing the light because that side is got to have that tiny reflection or the highlight part because of the light. So here, I've added my bright blue onto that wet area of the droplet and I left a gap there. We also need to get the other side of the droplet a little bit darker to give the effect of light and shadow again, so I'll take a bit of indigo and I'll apply it again towards the further end. Can you see that applied to the further end? But we also need to apply a little bit towards that side because that is how you get the rounded shape. I'll explain the light and shadow in a while. Lastly for the highlight, because our base is bright blue, that is, the underneath color is dry blue. We don't have a white spot unless you're adding your droplet in the middle of the white area. I'm going to go with a little bit of white paint, pick up a little amount of white paint and drop it into some area. Again, the droplet is too wet. Just dropping, that white paint. So now you can see it has got a nice dimension and shape. This is what we do for all of the droplets. They're like for example, this one taking my bright blue paint, applying it into one corner at the back, taking a bit of indigo applying at one end. Then finishing off with a little stroke of white and the white facing the light source. Basically, that's it for the droplets. Now, I need to show you the splattering method. Splattering is obviously where you splatter these spots onto the paper. Gear up because you're going to ruin the whole of your table. For splattering, we pick a color such as indigo, a dark color, and use a lot of water in your brush so that it can splatter down. The paint needs to be concentrated, but with a lot of water. If it's too much diluted and lesser paint than water, then those splatters are going to turn lighter as you dry your paper. But if it's concentrated as well as has a lot of water, then you're going to get nice stack splatters. Here, watch the consistency. In my palette, you see that all of those paint flowing back into that well there. I'm picking all of that, including the water, including the paint, all of that. Then I usually do my splatters like this, by using my one hand and tapping on the brush like that. But obviously, there are several ways that you can add the splatters. I do this because this is a more controlled way and it at least reduces the area where the whole thing spreads. Because if you use the two brush method, then it ends up going everywhere, even on my face. Can you see? Just holding my brush with my second finger and the other fingers are actually free, but you can also hold it there with the other two fingers. This, your index finger, is what you use for tapping. Don't hold it closer to the bristles, hold it backwards. That gives an area for you to tap, and you can tap, and your splatter falls. This is more controlled because it's not fallen anywhere outside of my table, which is great, isn't it? If you want to do these controlled splatters , this is the best way. But obviously, the other way is to have the paint on your brush again and splatter using another brush and tapping on it. Another thing is, the size of the splatter changes with the size of the brush. This is because a large brush holds a larger amount of water and paint, whereas a small brush holds lesser amount of water and paint. That means that if you're using a larger brush, then you'll get some larger splatters like this. With a smaller brush, you obviously get tiny splatters, which is great for galaxies and stars. But if you want to get some larger bubble shapes like these, then you need to use a larger brush for the splattering. That's basically it for the techniques. Because I haven't added anything to the outside after this has dried, I'm just going to peel off the tape. There, you can see how it has turned out. I'm sure that this is going to be quite easy for you. The only thing that takes time is to add these details into each of the droplets. That's it. Now let us understand about the droplets, and light, and shadow. Assume this here is the droplet, and assume that the light source is here somewhere. I'm talking about this droplet, the light source is here. Because of the light source, it needs to have a highlight or an area on the surface where it reflects the light. That lightest area is going to be the highlight, which is what we added with the white. Then as we move away from the highlight, it needs to have a medium tone, which will be the mid tone. Then further away from the light source, it has darker tones. But remember I added a layer of indigo towards the outside. That is because it would have that dark tone again there because it's not exactly like a rounded shape which gets light only on that side. It is a droplet and it is not the shadow. It is actually the reflection. The reflection of the light happens to be somewhere inside the bubble. It's basically how physics works. I don't want to go into the scientific details here. Anyways, just want you to remember these names. That is the mid tone, the highlight, dark tones. The highlight, you can either leave white or use white gouache. By leaving white, I mean, if your underlying color is white color, then you can leave white. But because we used dark color on the background and we're adding these droplets on the top, in order to create the white, we can use a white gouache paint. Now let us have a look at the colors that I have used. I have used this peacock blue from Mijello. Like I said, for the first few days, I'm going for ready-made colors. But obviously, you can mix these colors if you don't have these exactly same shades and you don't need exactly the same shades in fact. The peacock blue from Mijello, if you look at the tube, it says PB15:3 and PG7. PB15:3 just means that it's a phthalo blue, green shade. The phthalo blue has a warmer shade as well as the cooler shade. Colon three is the cool shade, and colon six is the red shade. PB15:3 is phthalo blue, green shade, or also known as blue shade. That is why it's called colon three. They're actually very different pigments, but because they are like phthalo pigments and mostly similar, that is why the international standard naming system consists of this colon and three or six. This is PB15 and PG7, which means that it is a mixture of phthalo blue and phthalo green. The two colors I mentioned is very important for this class. You can easily make this paint if you have these two colors. Otherwise, most other brands call it turquoise blue. For example, turquoise blue from White Nights is almost exactly the same. The only difference when you mix these pigments together is that the ratio in which you add these pigments might be different, and hence you get slightly varying colors. For example, if you add more of the PB15, then you get a bluish color. If you add more of PG7, you get a greenish color. That is why this peacock blue may not be exactly similar to turquoise blue from White Nights or M brand. That's it. But like I said, you can go with any color for this project. For example, if you look closely at the exercise and the class project, you can see that this is a bright blue or the phthalo blue shades that I used and this is the peacock blue that I used. Literally, there's no difference. The color is not quite as important. The important part was to get the tonal value correctly. Even if you paint this with a red color or even a green color, I think it would be absolutely fine. There, peacock blue, and indigo. The indigo I've used is from White Nights. Like I said, it's PBk7, PB15, and PV55. Again, you can mix this up if you don't have indigo. All you need is the phthalo blue, a black shade, and a pink shade. I've already explained this in the Day 1 lesson about how to mix this color. This is Sennelier indigo, and it's PB60, PB15, and PBk7. This one doesn't have a pink mixed in it, rather it has PB60, which is indanthrene blue, and PB15, which is phthalo blue, and PBk7, which is the black. You can use any indigo paint or a dark blue shade, that's it. We just need to get that darker shade. Like I said, if you're going to be using a red color for the water scene, you just need a darker version of the red in order to add that darker tone at the edge of the droplets. The three brushes that I have used in the class project are these three. It's the 3/4 inch flat brush from Silver Velvet series, the Size 2 brush for the droplets, and the Size 8 for splattering because I wanted some larger splatters. Basically, you can go with any brush that you want. Because I used my flat brush to paint my inward strokes, I've shown you how to do it with a round brush as well. You can use any brush and you can also go for any smaller size brush for adding the tiny details. Just for the splatters, remember to use a slightly bigger one if you want to get larger splatters. If you'd prefer to have smallest splatters, then you can use the small brush as well. If you are happy with the techniques and confident into moving on to a larger size, then let's get to painting our second class project. 9. Day 2 - Underwater Droplets: We will start by applying an even coat of water on the paper. In this painting, it does not involve a lot of wet-on-wet strokes on the top of each other. Your paper should be able to withstand the initial strokes that you do, so just applying an even coat of water. This is possibly actually simpler than the Day 1 painting, where you had to do a lot of wet-on-wet strokes. But I wanted to complete the ripples fast. Now that you have applied an even coat of water, let us add in our first strokes. I'm going to be using a flat brush for this. This is a 3/4 inch silver black flat brush. Going to be taking my peacock blue. We're going to be starting from this left corner here, and I'm going to have my strokes towards the center like that. Like I said, this here is the light area which I want to leave white. All my strokes are going to be from the outside towards that center area. The flat brush helps in getting these line-like strokes. I'm going to go at it. I can see a pool of water here. This is where I always say we should avoid having any pools of water. But then sometimes it's not in our hands, just like this. This is because the paper starts to bend. When it bends, it accumulates pools of water in that region. You just need to flatten it up with your brush. Let me get back to adding my strokes. The reason why we need to start from the left side and go inwards is, each time you pick up the fresh paint, all of your new strokes that is loaded with dark paint is going to be on the outside and as you move inwards, your paint would lighten up. That way will be helpful to achieve that light in the center. Let's keep going and getting those strokes. Towards the top here, we need it to be smaller because this area here is the light. Keep going and adding the lighter strokes, making sure that the area of light remains white. That is why a flat brush is helpful. But don't worry if you don't have a flat brush because you can also use any other brush. All you have to make sure is that your strokes are from the outside towards the inside. I've filled the entire area. Now, I'm going to go with the darker paints on areas that I feel are still light. Make sure that you use the right consistency of water. Because if you start adding a lot of water into the areas that you've already painted, for example, this is the area that I started with, so it must be considerably drier right now. If I go with diluted paint, then it's going to create blooms on my paper. In order to avoid that, we need to make sure that we have the right consistency of water on our brush. As you can see, I'm not dipping my brush in water, but rather, just using my brush and picking up fresh paint. See the consistency of the paint here. It's not too much diluted. Going with my brush towards the center using that. I just dip my brush a little in the water to pick up a little amount of water, just because my brush is too dry and I wanted a little amount of water to match the consistency with what's there on my paper. Picking fresh paint again, and going over the top. You can see that light area. Now, if that light area has dried up because you haven't put any fresh strokes of paint on top of it, we're not going to touch that area, we are going to work towards the outside regions. Make sure that every region that you work on has the right consistency of water as your brush. Remember the watercolor rule 101 that is the Number 1 rule, which is, there shouldn't be more water on your brush than what is there already on your paper. If you add more water on your brush to the paper that has lesser water than that's there on your brush, it's going to form blooms. In order to avoid that you need to have lesser amount of water on your brush. Always the consistency of water on your brush is really important. I can see these regions are starting to dry already. I cannot add a lot of water from that side. I think that's enough. I'll take the last stroke of paint. I want this side to be darker because this is again, further away from the light source. I'm going to take some more of my peacock blue paint and fill in on that left side to make it darker. Fill my brush with the darkest of the paint. I think this is good enough. Now we can stop. Now we have to wait for this thing to try to add in the water droplets. Now my paper has completely dried. Let us add in the water droplets. I'm going to be using my Size 2 silver black velvet brush to add in those tiny water droplets. Go with the smaller size you have. This has got a pointed tip, which is why I'm using this brush. If your brush doesn't have a pointed tip, use the one which has, such as a Size 0 or a Size 1 to get the tiny water droplets. I'm going to start with the peacock blue color itself. First, I'll add in the droplets at various places, after which I'll add in color to them. My first droplet is going to be somewhere here. It's basically trying to create random shapes for the droplets. It doesn't have to be perfectly round in shape, but rather making it in different shapes is what makes this more attractive. I'll add a bigger one here. You can see the random shape that I have made. Another one here. As you can see now, this process is fairly repetitive. Let us go on adding various water droplets, at different places, in different shapes and sizes. They don't all have to look same. Sit back and enjoy the process of creating these water droplets at various places. You can also add the droplets on top of this light region. Don't be afraid to go on the top of it. In some places you can actually create perfectly round chips as well. You can have some of them really close to each other and touching each other. Now that we've added on all of these droplets, let's add some dimension to each of these droplets. Observe what I'm going to do to make these droplets have some dimension. Let us start with this first one. I'm going to apply water into that droplet so add water into that droplet. That is, that tiny little droplet is going to be with a wet on wet technique. Pick up the peacock blue and we're going to add some color, but not on all the edges, but just some edge of that droplet. As you can see, some of the paint spreads towards the inside. Let's have it spread towards the inside. Now, this is where I need a little bit of indigo paint to get some darkness that is a dark color. Here I'll go with a little bit of indigo and I'm going to drop it on the top towards this right side and a little bit on the left. We're not yet done with that droplet. We need to make sure that we blend it smoothly and without it forming any little hairs inside that droplet. Now that we've added the droplet, we need to add a teeny tiny amount of white to show the bright light of the white reflecting inside that droplet. For that, I'm going to be using my white gouache paint. I'm going to add a little bit of white into that. Let me just add a teeny tiny amount of white onto my palette. Taking a teeny tiny amount of white on the tip of my brush, and I'll just add that light area on my water droplet. Now that I have added that white, can you see it already having dimension or the look as if it's reflecting that light? Soften the edges if you want. Now see that droplet, it looks as though it is a droplet with the light reflecting through it. This is what we have to do for almost all of the droplets. But just note one thing, we don't have to do it for all the tiny droplets. Just the bigger ones are what is going to have some dimension. Let's get with this one first, so let's get to this one now. Again, I'm applying the water all inside of that droplet, then picking up my peacock blue and painting all around. It doesn't need to have any specific order in which the light is being reflected, but make sure that it always faces towards this light area as in when you add in that white, make sure that you don't add it towards the bottom of the droplet, in the case of this one, for example, because the light is at the top of it so then the reflective part is going to be mostly at the top. There you have added the dark parts, now I'm going to make it even darker by adding a little bit of indigo. The dark part again, further away from the light, which is at the bottom here of this droplet so that it is darker but I'll also have some extra shadow here at the top. Now let's soften all of the areas so that it doesn't look as though it's having hairs. Then we'll go in and add in a little bit amount of white. My white is going to be here for this one. That is the light reflected from that droplet. Now I'm going to repeat the process for the other larger droplets. For example, I have one here. Sit back and enjoy the process of creating these droplets. As you create each one of them, you will get perfect with each of those droplets. If one of them doesn't turn out fine, it's absolutely fine. But as you move towards each one, you will see that it's really easy, and also you'll learn the process of doing it because there are so many droplets and I'm pretty sure that you will love doing this exercise. I'm not speeding up this exercise mainly because I want you to see how much fun this exercise is and also to see the pace that I'm working on. I don't want you to be stressed. I'm also taking it really slow, and working on each droplet by droplet. You don't have to add the light for all of the droplets, some of them you can leave as black as they are. Some of them the light can be the dark blue color as well. That is the Prussian blue color that I have applied. Towards these ones in the center, you can actually leave the white of the paper itself to get that lighter area, don't paint the whole of it, but rather just little areas around, so that you get the white of the paper itself to look white rather than adding an extra amount of light. For example this one. If we were to apply water into that one, it's considerably larger droplet. As you can see, I have applied the water. Now I'm going to just drop in my Prussian blue, but only around the outside areas, and I'll take my indigo and again at the outside area, and a little bit at the top, the center portion. I'm going to leave it white. For this one, we don't really have to apply any white paint because it's in the center, and there's already white in it. The same way for some of these in the center. Now we have added these water droplets everywhere. Now let's go in and finish off by adding in some splatters. I'm going to pick up my brush and load it with a nice watery amount of indigo to add in some splatters. Here, and I want to make sure that it's a nice watery amount. You can see the consistency that I've loaded up. I have a lot of water on my brush. This is what we're going to do, add onto our paper. You can see as soon as I tap on my brush, I'm getting a lot of splatters. The brush that I used was a Size 2 and I got some smaller splatters on it. Now I want a little amount of largest splatters. Actually if due to my Size 8 brush and I'm going to load the same with a nice amount of indigo and diluted paint of course. I'm going to add that. Can you see this splatter? This one was a splatter from this brush and it's quite large as compared to the smaller ones that I got earlier. Make sure that you load your paint nicely if you want larger splatters. I prefer to add my splatters this way rather than the tapping method with the brush because if I do that it tends to splatter all over my table. Whereas this one you have a lot more control on where your splatters falls on the paper, especially if you're holding it really close. Even though you hold your brush really close for the other method, it creates a lot of splatters and it tends to go all over. This is the reason why I prefer to use this method. I'm just adding a lot of these splatters. As you can see they are teeny-tiny but considerably bigger in size than the other one. I think we're good to go. As soon as we add the splatters, this looks much better, isn't it? I feel so. That's mainly because it's as though it has those smaller water droplets. You can actually also add some splatters with white paint. Here I'm loading my brush with white paint. Again, you need to load in a nice consistency. Here I've loaded my brush and I'm just going to drop it. You don't need to drop it at all the phases, just some. I think that's enough. I won't add too much of the white troops. I want lesser of the white splatters because white splatters are really rare but also, now I'm going to convert those white splatters into droplets. Here I've got my brush and around those white droplets I'm going to just create a stroke of indigo, just around, so that they look as though it looks like these droplets but with a teeny-tiny amount of white reflecting the light source. For example, here is this by white droplet, it's quite big. What I'm going to do is around, just around that, I'm going to add my indigo paint. You'll see that some indigo flows inside. That looks like a splatter now. Once it dries it'll make more sense. Just drop in a little amount of indigo towards the edges of each of the whites splatters, not all of them. You can leave some of them as it is as well, it doesn't matter. But it is better to add some nice indigo to the edges of the white splatters and create a more original look to your painting, mainly because these white colored droplets doesn't exist. We're trying to make it more realistic as possible. We just don't want to be painting something random. That's why I'm adding these indigo strokes around. You could actually totally skip adding these white droplets. This is just my way of showing different ways that you can add in droplets actually. I think now we're good to go. We can actually wait for the painting to dry because I do like to see how it looks on the camera. I'm just going to wait for all of these droplets to dry before I remove my tape. All the splatters has now dried. Let us remove the tape. Here is today's finished painting. I hope you like it. The key thing from this painting is obviously how to apply these strokes such that you leave the light in the middle and also how to create these beautiful bubbles in the water. It's a little bit time-consuming, but I hope you really like it and enjoy it as well. Thank you for joining me today. 10. Day 3 - Techniques and Exercises: Welcome to day 3. This painting here is what we are going to do for our class project. As you can see, it's a rope in the water with some ripples. Let us have a look at the exercises, which will include the techniques for painting this one. Here I've got my paper separated into two halves. The paper from last day where the right side was still empty, I'll use this for another day. If you've used up a paper like this and you have the right side empty, just save it for another day. Today, I have two different techniques to show you, which is why I need the whole sheet. The two techniques involved are basically the wet-on-wet method and the wet-on-dry method. I want to show you the wet-on-wet method as well. Although in the class project, we have gone for the wet-on-dry method for the ripples. If you look at these ripples, you would see that they are on the top. They are wet-on-dry, they're not wet-on-wet. But there is a way to paint with the wet-on-wet as well. But because it was a lot of size paper and I didn't want to complicate it more, that is why I opted for the wet-on-dry for the class project. But I'd like to show you all the methods. We're going to start with applying an even coat of water onto our paper. On the left side here, I am going to apply an even coat of water. Since it's a smaller area, it's easy for us to control. But when you're painting on a larger size paper, it is very difficult to control with the wet-on-wet method. Here, I've got my paper wet and I'm going to use my size 8 brush. I'm going to go with my normal Taylor blue color because that's the easiest color to use for painting water. I'm going to start at the top this time. I will dilute it and use a lighter consistency at the top. Because I just dipped my brush in my palette and I'm not sure as to how dark it is going to be because you can see it's the Taylor blue color and it can be quite dark, I'm going to apply it around the middle first, not at the top. Because if I start applying at the top region, then if it's gone too dark to paint on my brush, that would be too much for the top. I think that's much better. I know what is the consistency on my brush. I've removed all the paint and I'll push this upward. Rather than bringing it down, I push this paint upward so that we get that lighter stroke. This is what we call as being careful as to what is the paint tone in our brush. As I always say, the tonal value is very important and the tone at the top needs to be lighter. There, we got the water. Now we come down. Now as we come down, I need to add in the ripples. There's extra pool of water here at the bottom, let me absorb that. This is why you should always tilt our board because if there is any extra water on our paper, you just float out. Now that we've got our paper properly with the correct water, I have taken Taylor blue and I'm now taking it in a more dilute, concentrated consistency. What we're going to do is we're going to create ripples, but let's not create an angle on our paper because we need our paint to stay where it is. For the wet-on-wet method, I'd rather switch to a synthetic brush mainly because I want my paint to stay where it is. If there's a lot of water in your brush, then it can flow to all the other places, which we don't want. Then actually, I have brush that I use, holds a lot of water, which can be quite difficult when we're trying to paint. Here I'll take my Taylor blue and we're going to create ripples. We're going to create elliptical shapes. I'm going to create an elliptical shape, a smaller one here. Can you see? I've just made a circle, and obviously, your paint is going to spread and that's absolutely fine. Keep your cloth or tissue in your hand and absorb the extra water. Then create these elliptical strokes, so leaving some gap. I created a stroke here. Now keeping that one there, I'll create another big ripple but towards the side of it. There, something like that. Because we don't want to paint to spread too much, I'm using my synthetic brush, which doesn't have a lot of water, absorbing all the extra water from my brush, which is very important. Then using the side of my brush and creating these ripple strokes. As I go towards the outside, you can increase the thickness of your strokes. You can see my strokes are now thicker because they're towards the outside. We create these elliptical strokes. Then as you come towards the outside, we again, go for these ripples. But now because it's bigger, it goes towards the outside of the paper. As you can see, we always need to look at the tone. This one here is to almost towards the middle, and it's quite darker so we need to lighten it up. I dipped my brush in water, removed all the excess paint, and then pull the paint out and made it lighter. Did you see that? Now I'll take lighter paint again and keep going towards the outside, creating these larger ripples but making them in lighter tone. Then I take some paint now and apply along the region that we've already painted. Maybe I'll create another ripple line but observe the tone. Very lighter strokes now. I'm taking paint from this area of the palette here where there is very less paint. I'm not going into this big puddle here, but rather in this corner so that I can keep the lightness of my water. You can see how it's turned out. Towards the inside, I feel that one is slightly lighter so I'll go over the top. In the inside region, I want to add another one. There. Now at the base, we'll go with darker tones and make bigger strokes. This is the wet-on-wet method of applying the ripples. But as I said, this is quite tough and very hard to achieve. But in the end, you don't have to make any extra ripples with the wet-on-dry strokes. See, we've created some nice ripples but I think I want to darken the color at the base, so I take more of my teal blue, and want to go over the base region. Taking a very nice darker tone and apply it at the base. We need just to tone. Now you can see my strokes are dry, but I'll show you how to adjust it. Here's my dry stroke and I'll apply in this area as well. It's come out a little bit dry. Here, I've washed my brush, so we're going to soften up the edges of our strokes. This technique is called as softening technique. This is going to be useful for our class project so if there are areas where your strokes have dried, you can go and reapply on the top but then after that, wash your brush, remove all the paint, remove the excess water and then slide your brush over the edge of your stroke which will soften out its hardness. Do that multiple times. Remember, after each stroke, you will have to wash your brush, remove that pigment that is accumulated on your brush and repeat. There, I go over, I wash my brush again, we're going over the other side now and trying to soften it up, there. Now I think that's much better, isn't it? We have softened up the edges, making sure that the water surface doesn't have any hard edges and we've got the tone correctly coming down into a darker tone towards the bottom. How about while we wait for this to dry, we'll go with the wet-on-dry technique. This is because I want to add something in the front, on the top of this, as to why the ripples are being formed and we also need to look at the reflection as well. Let's go ahead and paint on the right side now. Let's apply the water. Careful when you apply the water, don't go over to the left side. There, apply the water evenly and I tilt my paper so that any and excess water can flow down and then I'll later pick it up with my cloth. Well, let's now go with the wet-on-dry method for that and pick up my paint again and I'm going to create this ripple spot. But when I create the ripples, it's going to be on the wet paper. We start with the wet-on-wet, but then when we add the final ripples, we add it with the wet-on-dry method. Here, I've got my brush, taking my teal blue and create these ripple shapes. But as you can see, we're just roughly creating them and my paper is too wet. Anyways, it's absolutely fine. I'll go with it. Creating these elliptical shapes with my brush. That's a dark color. Lightening it up and then we'll go over the top and apply our flattened downstrokes. See what's happened on my paper because my paper was too wet? Anyways, it's absolutely fine because I'm just going to go over on the top and re-add all of those ripples, so now I'll stay in place. I think my paper surface has a bend here in the middle, so that's why it's flowing upwards. But it's absolutely fine so long as you know how to correct it, which is what I'm showing you. I'm just going over the top again with more dense pigment and that'll get rid of all those shapes. Now going with teal blue and going with a darker shade towards the bottom. This was really wet while this was somewhat dry, but the strokes were wet-on-wet. Now the ripples, we will add more in detail with our wet stroke. With our dry stroke, I'll show you in a while. It's okay if you can't get these ripples shapes now because we'll add it to more properly with our wet-on-dry method. Adjusting the tone, I need to be having a darker color towards the base. Now what we'll do is, now we'll wait for this whole thing to dry. Just adding a little more teal blue here at the base because I feel it's turned lighter. That's better. Let's dry this up. It's dried now, so since we are not done with the ripples on this one, let's continue with this itself before we can add in the foreground. Here, I'll switch to my smaller size brush, which is a size 4 brush. Now I'll take a darker tone of the teal blue here and we'll go with the wet-on-dry method. On the top, we're going to create these elliptical shapes. You see that on the top, we create these elliptical shapes. But you don't have to complete them. You can have breaks like this because it's great to have breaks when you're painting these subjects. That's mainly because your brain tends to complete those circles for us even though you haven't painted it. That's what increases the beauty of paintings. Not all of them, don't make all of them as pointed lines. For some of them, what we're going to do is, we'll start and then we press the brush at some areas. See, I pressed the brush on that region. Let me come to this, I pressed my brush down and I get these strokes. See? Let's go forward. As I'm coming towards the outside, I'm making my stroke bigger, and I pressed my brush. Let me get another one here, pressing my brush towards the paper. Let me show it to you clearly once more. We take a brush, we start with the tip and then as you go, move, you press your brush so that you use the whole shape of the brush. But this stroke obviously, we have to do it in an elliptical format. That's the trickiest part here. If you can't do it on your main exercise painting, try practicing it on a different kind of paper, just a draft paper where you try to create those elliptical shapes. You go and you start and see? Just keep practicing them. What I'll do is, I'll probably create a worksheet for these ripple shapes and I'll upload it to the resources section. You can refer to that worksheet, try to download that and practice those strokes by trying to keep your brush in those lines itself. I'll definitely create a worksheet and upload it along with this. Let's go back to our painting. See, just pressing our brush. Now we've come towards the outside. Press more and creating larger ones, just these lined shapes. You can see what's going on. As I move towards the top, I need my tone to be lighter. Here, I'm diluting my paint with a lot of water. This paint is now diluted and then I'll go with it on the top. There, so keep moving and then we start to get our strokes straight and going further away. I'm not adding too much detail towards the top. Let's get to adding towards the bottom now, so here again diluting my paint because we're coming towards the bottom so the tone needs to be darker. Here, adding larger ripple shapes. If you're using a smaller size brush, go over it multiple times like here I just did. When we're painting this on a larger sheet of paper, as you go further away from the ripple shapes, the shape also increases and gets to flatten out. In the class project, when you go further away from the ripples, you can see that the shape gets flattened out. I've used the wet-on-dry method here for painting the ripples as you can see. Okay, there. Those are the two methods to paint that ripple. Let's go into the foreground on this one. I'll take my size 2 brush. It's just something random we'll add on the top. Let me take my brown. I'll go with my transparent brown, dark brown color. Taking it nice and dark, so I'll pick up more need to be dark. You can also use sepia or Van **** brown. Any color. The colors in the exercises don't matter, so that's why I'm not stressing much. Just go with whatever color that you like. It doesn't have to be exactly the same as what I'm doing because this is entirely for practice. What we're going to do is we have these two ripples heads here, one here and one here. Ripple heads or ripple centers. One is there and one is there. This one is a larger ripple and this one is a smaller ripple. Let's see. Let's create branch first. Possibly I have my branch of let's make it like a fern or something. I have my branch here and I'll have my fern leaf pointing into the water right there at the center point. Let's have the other one also towards the center point. Now we just need to add in the fern leaves. Just going to quickly draw these shapes. It's basically nothing. I've just added something like that on the top. Let me show it to you. Just making these strokes like that towards the center. That's it. In order to make this look more original, you just add some more, just need to make it look original. Let's have something from here and it's hanging. These ones are not touching the water. They are above the surface of the water, so they're not creating any ripples. The only ones creating the ripples are the ones touching the water. That's how you distinguish between the ones that is touching the water and the ones that are not. I think that's good enough. We have the fern touching the water. Now that region is dry, so I'll go ahead and add in different thing here. Maybe I'll add like small, grassy structure here. Okay, there. Just a grassy structure in the center just like that. That's enough. That's what's creating the ripple. That's actually not going to create the ripple if it's not stagnant water, but maybe there was some small insect that led to the creation of that ripple. You must understand that. Now we have the fern pointing towards the water ripples, towards the center. Now we need to add the reflection. For adding the reflection, I'm going to go with a darker tone. Possibly I'll take indigo or you can take Paynes gray, any dark color. That's it. That's the point, the point where it's touching the water. That's where we should start. The next thing we need to note is we see these rounded shapes of the ripples. Wherever these rounded shapes are, it needs to change the shape, the reflection needs to change the shape. We come towards the edge of that one. Now there's an empty space. There we changed the shape and we reached the ripples. That changes again. Now there's an empty space, and then we reach the ripple. That's how the shape of the ripple changes. Let me show it too closely. Here again, we reached the white space. In the white space, it needs to change the direction. Again, on the ripple, it changes the direction and it reaches the next one. There we've reached the next wave and that goes bigger. We've reached the gap again, so just creating these random strokes. Can you see that? There we reached the shape, so change direction. We've reached the end of that wave, so we change the direction again. This is what we do. As you come towards the end, you can just make it straight. We do the same for this one as well. This one it's a whole gap there. We create these ripple strokes. As soon as you reach the wave, you change the direction. Again, now you reached an empty space, change the direction. It's just these left and right movement with my brush to create those shapes, but it's just that. We need to change direction every time you reach an empty space or the shape of the wave. Here. There. Now we have the reflection. Because there is these fern lying on the top, it's not touching the water surface, but it's definitely going to have this reflection. I will add some more, just some lines to show the reflection of those things. But they're not going to extend towards the ripple area. Let's not complicate stuff. Just this one maybe I'll add towards the ripple area. As you can see, I'm creating this shape such that they are changing the direction and next to the ripples. Now, that theory doesn't change for this one either. With the class project, it's completely different because of the way the rope lies in water, but this is just a theory where I wanted to show you how it works. There, changing direction, changing the direction again. It needs to touch the point where there is the land and the water. The grasses shape. So here we create bend and there is another one there as well. I think that's enough. I don't want to spend a lot of time on the exercise, especially when it's just something that we added on the top. But I know that if you are a beginner, you are looking up towards the easy exercises and I'm sure that you will love it. I need to show you one last thing before we stop. I need to show you how to create different ripple in water so taking my indigo paint again and create this wet on dry ripple strokes. l'm going to create these in the breaks here and it's basically have a line and then not it back inwards into that line itself. Do you see that? Let's create some more. l create one here. Or you can start with an elliptical shape and then create a tail for that. They are not the same always so it's basically creating these shapes like that. You see that one? Creating these rounded shapes. They almost look like tadpoles in water, I know but that's how it is. What's the top just adding some lines. Maybe I'll add another ripple shape here. There. I think all the edges are now dry, so I'll go ahead and remove my tape. There you go. I hope you enjoyed this exercise lesson. Let us now look at the colors and the brushes that we need for today's lesson. The colors I'm using are, it's this blue Sennelier paint. It's PB15:6, which means it's the phthalo blue red shade, which is a darker shade of the phthalo blue. We can easily create that by mixing arterial blue with indigo. Or like I said, you can desaturate the color of this and make the phthalo blue, red shade yourself. It goes in the name itself, it's the phthalo blue, red shade. That means if you add red to your phthalo blue, you should be able to get the phthalo blue, red shade, which is PB15:6. It won't be pure pigments like the one I have here, but it's absolutely fine. Another thing to note is you don't have to use the same you can go for your phthalo blue itself. Don't bother about the colors as long as the tone is correct. That's very important. Then the next color that I'll use, is phthalo green of course, which is PG7. Then I will be using Indanthrone blue. That's PB 60 and I know that you may not have this color, but again, you'd be able to create this very dark blue by mixing your phthalo blue with more red or pink shade. We've already seen these in the color section, which is why I'm not repeating myself. You can easily mix this color. Those are the three colors that we use for the water. Then we need olive green and transparent brown for painting the rope. The olive green is a color which is very easy to mix. You can mix your green with brown and you'll get olive green color. Then we just need another brown color, like transparent brown or sepia or any dark brown color that you have or burnt umber in fact. Those are the colors that we need. Now I need to explain about the masking fluid. We're going to use masking fluid for the rope. It's going to be entirely different method if you don't have the masking fluids because you won't be able to mask out the rope. If that is the case and you're not going for the masking fluid method, then what I would suggest is go ahead and paint the whole thing, then once you're finished with your water strokes, paint the rope on the top, using your brown and your olive green itself because it's the topmost layer and because using the wet on dry method, it will come on the top. The only thing that you'd have to do extra would be to use your white paint or white gouache to create these white accents at the top, which is the highlight on the rope. At the top, use your white gouache or white paint and just create the smaller light tone of white at the top. That is how you can approach this painting without the masking fluid. I am going with the masking fluid method, so don't worry about it. I've already told you how you can go otherwise. Now about the rope, as I said, we are using olive green and burnt umbrella transparent brown. What we do is we paint olive green first, and then we use the transparent brown to add in the darker tones, which is the shadow parts. Assuming that the light is coming from the top, so the top region needs to be lit, which is why I said you can add white if you're not using the masking fluid. But if you're using the masking fluid method, then we just leave it white and we don't paint it, we leave a gap when we painting with the olive green, that's what we do. That's what the tone of the rope is. Every object, we just need to look at the tone and the light and shadow. This is the most important part in any painting process. The brushes that I have used for this painting are my size 8 brush, my size 4 brush and my size 2 brush. The size 8 for the background, the size 4 for the ripples and the size 2 for the rope. But if you'd like to go with the wet on wet method and you'd like to control the amount of water that you're putting into your paper you can go for a synthetic brush as well, such as a size eight or a size 6. It's totally up to you which method you want to go. One last thing before we move on to the class project is, like I said, we paint this with the wet on dry method but if you would like, you can go ahead and attempt this with the wet on wet method and let us see if you can do this. I will be doing that and I will share it in the project resources section as well. Take it like an additional bonus work that you can practice on your own. Only if you want to do it there is no pressure. I will be doing it myself and I will add it to the project resources section. If you're happy with the techniques, the colors, the brushes, and everything that we've discussed so far let us move on to the class project. 11. Day 3 - Rope in Water: Let us start with the pencil sketch. We're going to have that rope somewhere in the middle here. Let's assume its start point. We need to be going outside of the paper. Say we just quickly trace out a line for the rope. Let's say that is the line of the rope and we have the reflection somewhere like that. That's it. Then we will have the ripples in the water. The ripples are going to be right where the rope is. Don't write too hard on your paper because we don't want our pencil marks to be seen. Just roughly trace out some concentric ellipsis, so ellipse shapes like these just to mark out the space outside and some lines extending outward. I don't want to draw too much details. Just this should be enough. This is the pencil sketch. Now what we need to do is we need to mask out this line of the rope so that we can think it later. As I have already explained, if you don't have masking tape, you can draw it later on at the end using different watercolors just by applying white or mixing your white with different pigments or by using a gouache paint. Here is my masking fluid, which is from Pebeo. Instead of using the brush, I'm going to just use my masking fluid applicator. It's masking fluid applicator or ruling pen. That's what you would call it. Just using that, I'm going to mask out this line of the rope. If you have masking fluid, then you can use that. Or another method is if you can cut out your tape into such a thin line so as to create like a rope, then you can use that also. There are several ways that you can mask out your area of the rope. It doesn't have to be exactly the masking fluid itself. Always the part where you're applying the masking fluid takes a little bit of time. Because once you apply it, then you have to also wait for it to dry. It takes quite some amount of time. If you're using the masking fluid, then this might be a little bit lengthy, but not as lengthy as compared to what's going to be coming in the other lessons I show you. Here, so I have applied the masking fluid. Now what we have to do is we have to wait for this to dry. With masking fluid, we cannot use a hairdryer, so we actually do have to wait for it to dry. Now my masking fluid has dried, so we'll start with applying the water onto our paper. I'm going to take my flat brush and I'm going to apply water onto the whole of my paper. Again, we need to be doing this multiple times in order to make sure that our paper stays wet long enough for us to work on all the wet-on-wet strokes that we're going to apply. If in case your paper does dry out in-between, you can use a spray bottle and spray some water onto your paper. But for now, let us just apply the water evenly and make sure that we are able to keep our paper wet. I'm going to be doing this multiple times. I'm going to take my time and apply the water on my paper. Here I have applied water on my paper. We'll start with the scenery blue color. I'm going to take the blue nicely on my brush and make sure that I get rid of extra water because we want our strokes to come out beautifully. I'm going to start in the center. Here I've taken my brush with the paint that is loaded my brush with the blue paint, and then I'm getting rid of any excess water from my brush and then I'm going to start in the center. In the center, I'm going to go and make some strokes like that, some elliptical strokes. That's it in the center. Now I'll go around and I'll start making some water strokes. There we keep applying these strokes. These are lighter strokes. Make sure that the strokes that you apply are lighter. As you can see, the strokes that I'm making are lighter. I'm using the length of my brush to push outward like that to create these lines on my paper. Make it in a wave like that. I think towards the top let's apply the color. The whole of the top area I have applied the color. Then I'm going to pick up my paint again and I want to start applying in these areas. Again, I will apply in a wavy form like that. For now, let us just imagine that this line doesn't exist and just paint than water like you normally want to paint. It's just adding all of these lines. I want to fill up the bottom part again with whole of the blue paint that I'm using, the scenery blue. Just fill up the bottom part. Now we've made a lot of wavy shapes. Let's now get to adding the different colors. Now I'm going to go with my taylor turquoise. You can mix your green and blue together makes a little bit of more green as in viridian, then you get this taylor turquoise color. This is what we are going to apply in the areas in between. I want my water accents to have both these colors and also for them to blend together. I'm picking up my color and applying in the areas in between, leaving half white areas. But for now, we're starting at the base and in these colors on our paper. Just keep applying and filling the areas in between. As you can see, as I move towards the top, my strokes are going to get lighter. Here I'll apply the same in the center as well. I've applied some strokes there. Each time I pick up fresh paint, I'm going to try it at the bottom because I want to get rid off the brightness of the paint so that when I move towards the top it will be lighter. See the stroke that I'm applying at the top? It's light. Towards this region, we'll add it like a ripple, like I said, make some round shapes. Created some nice round shapes. Now we want our strokes to be lighter at the top and also just subtle strokes. We don't want any harsh strokes or large amount of strokes towards the top region. I just blend those onto my paper. I'll pick up some very lighter stroke of blue to apply at the top because I think my paper has started to dry here at the top. In order to keep it wet, I need to reapply the water. But I'm going to add it along with some pigment like I'm doing now, so there. I've wet that region and it will stay wet enough now. Any darker paint will always apply towards the bottom and make sure that you're reapplying your paints if you find that your strokes are starting to dry. We don't want our paper to be drying, so run your brush along on the areas if you feel that it's starting to dry. Like here, I felt that my paints are drying so I'm just going on the top again. Now you can see we've made some water strokes. I think I'm going to just add little bit of color to these middle regions because it's too light at the moment. Just blending those regions. Now we'll add some dark accents before this whole thing dries. Here I'm taking my Indian green blue. I'm going to get rid of all the excess water. I'm going to start at the base to make sure that I don't have darker strokes, then I'll start applying my darker strokes. Now, we'll start applying this in the form of some waves. We'll just add it in the form of some waves at random places. You can see it's forming a wavy shape. That was a lot of paint, but I'll show you how to correct that. I'm just going to lift off from that region and just use my water to blend it. Okay, not bad. Let's keep going at it. I'm picking more paint, now dark paint, and I'll start applying at the base and certain areas to give some dark accents for the water. I'll mix a little bit of indigo as well to create that depth in the water. Going to take a little bit of Taylor turquoise, making sure that my brush is not too wet, and ending my strokes wherever I think that it's creating any harsh edge. I'm re-adding on the top so that I blend each of my strokes, so that they don't create a harsh edge. So better. But if I see any harsh edge, I just try to soften them out with my brush by just using water and going over at the top. What do you need to remember is that if you're using water to soften the edges, then you'll see that each time you add the water you create a line and it just goes all the way up. But this is the thing with masking fluid. Right where you have that stroke, you have the option to stop there and get rid off this problem of line that you're forming. Let me just show it to you clearly. I'm having to reapply my strokes in each of these places. When you reapply your strokes, make sure that you pick up some more paint. Like I said, it's all about the control of water. If I take some more paint and I apply it here, take a little bit of Taylor turquoise, apply it there. Now, can you see that line there? We need to get rid of that line. Here I'm going to just use my water and blend along and get rid of any excess lines. If you want, you can add the paint. Now I'll just use water. What about towards the right side? Where will you stop? Towards the right side, what we can do is make sure that your strokes go and follow that elliptical pattern you have. It will form the ripples in the water because of the rope. Here we'll just soften it to the end. Can you see? It's formed a nice ripple shape there. Wherever you see any harsh lines, you can go ahead and start applying your strokes. I'm going to give some darker accents there at the bottom, picking up my darker paint and just going to drop in some darker strokes like that in the water. Some maybe strokes. Now that I have added them, I need to soften the edges and make sure that it blends smoothly into the water. There, I've blended those regions. As you can see, my paper here at the bottom has dried. But if you want, you can spray some water if you'd like to work on it some more. I'd like to work on some more on this left side, so I'm just going to spray a bit of the water here and at the bottom. As you can see, as I've sprayed, it's going to create blooms because it doesn't have water in all the areas so it will spread. But then I'm going to use that water to my advantage. I'm going to make these strokes. Like I said, when you reach these areas, just make sure that you go around and try to make it like the head of book. In these areas, just go wet your stroke. Wherever you're seeing any harsh edge, fill it up with the paint. Now that you've added the water spray. But can you see as the water spray has settled, all of the strokes that look like the stroke marks has now gone and it looks perfectly blended. That's why we can use spray bottle to get our strokes. I'm going to reapply my water unto the bottom part of that masking tape and make it even up to the bottom. Here I'll just go around, making that circular strokes. I'm just going to soften the edges of these strokes so that they don't spread out a lot. Now, these areas, I'd like to keep it light, but I want to add some paint to this area as well, so I'm going to drop some water there. I have sprayed water onto those regions. Now I'm just going to make use of that water and apply my strokes. As you can see, I'm getting wet on dry strokes right now but don't worry I'll go with my next color right next to it and create the softness that I'm looking for. In some areas I just use water to blend the thing. There. I've just blended that and the top region I'll use water. I just wanted the color to be even as I go towards the top so that it doesn't have any uneven surfaces. It's all about water control. I know this is quite a bit tough to achieve. We just need to make sure that you know the strokes that we apply. But there is one thing that you need to understand is that, even if your strokes turn out to be dry, that is if you're adding any paint on dry strokes, it's absolutely fine because even then this whole thing is just going to look beautiful. It doesn't need to have perfect strokes. That's what the thing is. That's what the most important part about what it is. As you can see, this region is still wet and if we need to work our ripples, we need it to be dried. Let us now dry this up. There. It has completely dried and it's looking amazing, isn't it? I can't see any harsh edges or any blooms right now on the paper so I think my technique worked. Now we're going to add the ripples on the water and I'm switching to my size 2 brush. We're going to pick up a darker color now. We can go ahead and mix our Indian green blue with indigo. That's the dark color that we're going to use. But make sure that the paint is diluted, so here I'm adding a lot of water to my paint because I want the paint to be diluted while I'm adding this. There. That's the diluted paint. Let's start adding. You can start somewhere on the top. This is the reason why we need diluted paint. Make sure that your brush doesn't have a lot of pigment. We just need to be lighter because we're going over the areas at the top now. Let's see. We add in some ripples like that. What we're going to do is we're going to just add in some ripple shapes in the water. Those are just basically some shapes that we are going to create. Don't stress on the shapes of these. It's possibly like some tadpoles or something. Doesn't it looked like tadpoles? Anyways, just creating these random shapes. I've added at the top. Let us now get to the bottom again. Now that we have added the head we are now going to add in our ripples. For the ripples again, we are going to need to use diluted paint, so make sure that your paint has a lot of water. You can see the water here, and then that is what we're going to use and make some ripple lines. I think in order to get the perfect ripple lines, I'm actually going to shift to my size 4 brush because I don't want it to be too thin and also not too thick. Here is my size 4 brush and I'll use that to add in the ripples. It's going to be starting from the point where the masking fluid ends and just make an ellipse. Then we go with the next ellipse but don't fill it up. Just try to add in some lines. Can you see? Don't make continuous lines. Add these broken lines because they add a lot of value in your painting because that's how the human brain works in a painting. It completes that painting for you when there are broken lines. As you can see, sometimes I'm using the side of the brush to create strokes like this, as in not the pointed tip itself. Just use the side of the brush to get some dry strokes like that. Then I will use the end of that to create some ripples. The ripples, they are not going to be continuous there, so we'll just go add some more ripples to the outside. This is why I said, even if your paint doesn't blend smoothly, you can cover it up with these ripples actually. Now we've added the ripples. We're not done yet, we need to add in some hard strokes. Here, I am going to take and then I'm going to extend my brush, and I pressed my brush on the paper to get those harder strokes. Can you see? Just press your brush and we're going to be doing this at various places. Let's create darker strokes. Now I'm going to create bigger ripples. These are definitely wet on dry. At first it will look like it's not making any sense, but when it dries out, it's going to look like that and it's going to look lighter, so it will be fine. This is why I said we have to use diluted pigment. If we use darker pigment, then it's not going to turn out this lighter but then if we use diluted pigment, then it'll be fine. That's why I said mix a lot of water with your paint when you're adding these strokes. Added, a lot of these small streaks and to add all the way to the bottom. There are various ways to paint this. You can paint this using the soft method as well. If you want to add these reports in a soft manner, then you would have to reapply the water on the top. At least apply the water on the whole of this painting again after the first layer and then cool with the wet on wet method. You can approach this in different ways, it's totally up to you. Just adding lines, VB shapes that will be at the bottom. Once you've added those VB shapes, make sure that this region here where you're going to add the shadow is dry and after it's dried, you can go ahead and start doing the reflection of row. For adding the reflection now, you will pick up a darker type and non-diluted version of the beam. Now you can see I've taken out the indigo and intertwined blue mix and it's a concentrated mixture without a lot of water, so now I have a concentrated amount of paint on my brush. Can you see that stroke? It's very dark and that's what we're going to use for the shadow as in the reflection of the shadow. We'll start there. There is a lot of water on my brush. I'm just going to get rid of that. We're going to do it like that. Have your brush move in movement like that, left and right, as you move downwards. As you're moving downwards, have that and you can also see, you will try to move your hand downwards to get that reflection. You can have some breaks in between. It doesn't have to be continuous. Take it all the way to add some water. Now we've added the reflection of that rope. Now just need to add some darker repulse. Just going to create a darker repulse. Take the dark version of the paint again and drawing some lines. Add erratically shapes but darker repulse now. This is totally at random places. This one here was too dark, I want to make it lighter, so I'm just absorbing that with my brush, so that goes lighter. I think we're good enough with our strokes now. Now we need to wait for this to dry to remove the masking fluid because I have applied paint, find where it ends. It's dry now so I'm going to peel off the masking fluid. Since it's just a small line, I'll just use my hand and remove the masking fluid. You can see it's a clear line now and I'm going to switch to my size two brush now because we want our line to be thin and within this. Here, I'll take my olive green and I'm going to mix it a bit of brown to it so that I make it like a darker, brownish-green color. Of course, we need to dilute our paint, but note here, when I'm applying, I'll leave like slightly some areas at the top to be white. We don't want to cover the entire area and observe how I'm doing my strokes. What I'm going to do is taking my olive green and brown mixture and add in like that towards the top. This is going to create a rope-like structure like that. That's what we will do for the entire length of the rope. At the top, leave some areas white. I have applied the olive green at first. Now, I'm going to apply some darker accent to it for the shadow. Here I'll pick up my brown. This is transparent brown. What I'm going to do is, I'm going to add it towards the bottom side of that olive green. We won't cover the entire part of the olive green, just at the bottom here. Let me show you too close again what we are going to do. We're going to apply it here at the base like that, but not the entire length of the olive green. First, you leave some white gaps at the top. Now you're going to leave some olive green space. The brown is really just going to be subtle at the base and depicting the shadow. See it closely and add it like that, strokes such that it looks like the twisted rope, can you see? Just adding it in these strokes towards the side. It's like a curved stroke, making it look like it's the rope. If we just painted a straight line, it wouldn't look like this. It wouldn't look like a rope, but rather some string or something. But we want to make it look like the rope, so there. Then at the piece, make sure that you join both the rope and the shadow. The reflection. I don't know why I keep saying shadow. It already looks like a rope. I'm loving this. Once you've added on these, you're actually done. Can you believe that? This is the final painting. We can actually remove the tape. Here, I'm going to use my cadmium red to add in my signature, so don't forget that. This is something that I start off recently that is to sign my paintings because that's your achievement, isn't it? You did this, you painted this. Definitely, you need to put your mark on it, so I'm going to do mine. Here I have signed the painting. Now let us remove the tape. Here is today's finished painting. I went to the easy method for adding in these repulse status with the wet on dry method. I didn't want to go with the wet on wet because it's a little bit complicated and might not be easy for everyone to attempt. But then if you really want to try it, that just remember how I explained it and you can try out for yourself. You can take that as an exercise or a homework for this day's lesson, obviously, there might be not enough time, but like I said, I don't want you to go in the same pace that I am going. I want you to paint freely, understand it, and also take your time in developing your skills to paint water. Thank you all for joining me today. 12. Day 4 - Techniques and Exercises: [MUSIC] Welcome to Day 4. This here is the painting that we are going to do today. It is the paper boat in water with its reflections. This is probably one of the simplest paintings that [LAUGHTER] we are going to do because it's just some wet on dry strokes. The paper boat, of course, maybe the pencil sketch might be quite difficult, but the concept in this one is really easy. Let us get to understanding the techniques for painting this one. You remember the paper that we saved the other day, the right half after day 2? I'm going to attempt on that one now. For the exercise, I am going to show you a quick and simple paper boat, whereas for the class project we'll be going with a little bit advanced version. If you can't paint this advanced version of the paper boat, you can paint the simplest version as well. The simple one is basically created using central triangles or several lines. Let's see. I'll have my boat and we're going to create a triangle. There I've created a line. Then we bring these lines downwards, both of them. Then we join it to this edge. It doesn't matter the way it is bent because it's just our paper boat that we've created. It can have all those bends in it. Then at the center, we add another triangle, or it can be like the edge of a square. Then we complete that part of the boat by adding some lines behind. Let's say in there. That's it. That's the simplest paper boat. Let us get to painting this one now. We'll apply water onto our paper. In this one all we have to do is to make sure that we apply the water by skipping the area of the paper boat. We're not going to apply any masking fluid. But if you'd rather paint freely and you don't want to go around the boat, then you can use the masking fluid and apply on the top of the boat. But it's absolutely optional because it doesn't have a lot of difficult strokes involved and not a lot of difficult waves. It's quite simple and don't waste your masking fluid. But another option is to obviously use masking tape. That is, you can cut out some tape in the shape of the surface of the boat and cover that as well. Here you can see I'm just using my flat brush itself and trying to avoid the area of the boat and just applying water. I have these dots on my paper from last day's splatters. But since I didn't want to waste the paper, I'm still [LAUGHTER] going on top of it. I'm just tilting my paper so that I can move the water that gets accumulated here because we're not painting on the boat area. Done done applying the water. I'm still going to hold my paper at an angle. I'm obviously going to go with yellow blue because it's the easiest color to paint water. But if you're following the exercise and you'd like to change it a bit you can go ahead and use turquoise blue, which is what we will be using the class project. Here since this is the exercise and I want to quickly show it to you, I am going to be using the yellow blue itself. Obviously, the color needs to be lighter. I am going to use a lot of water and I'm diluting my paint. See, I've added a lot of water into my palette, add some more. I need my paint to be diluted. That's what I'll start at the bottom. Here I'll start at the bottom and have the strokes. As you can see, my color gets lighter as I move towards the top. The only thing again is we have to make sure that we skip the areas of the boat. I'm not going to pick up any more paint. I'll just go and use the same because I want my color to be lighter itself. Whatever is there, it's on my brush. That's enough. That's why I've used was the top. I think that's enough. See. Towards the bottom, we have all the darker paint, and I also have the angle on my paper to enable my color to flow down. I've skipped the area of the boat. Maybe I'll pick up some more for the bottom region. That's it. Darker color for the bottom region. As you can see I'll also create lines like these so that it may mix waves. Very simple. That's it. That one was a huge, I wanted to have a bigger wave at the top region like that anyway. Because this is going to get lighter once it dries again, That's it. Now, we have to dry this up in order to add in the ripples and the paper boat. Here, it's now completely dry, so I'll go ahead and start adding the reflection. For adding the reflection, we use the same color, which is yellow blue now, but we need to take it in a darker consistency. Also, remember the tonal value. The tone here, right underneath the boat, it needs to be darker. This is because of light and shadow. The shadow cast by the boat onto the water here. It's basically not the shadow but the reflection. Reflection is because of the effects of light. The reflection right underneath the boat needs to be darker. We'll go into more details about the light and shadow in the next days painting. But for today, let's just focus on the simpler parts that this right below the boat. It needs to be somewhat darker. I'm thinking my darker yellow blue applying below and then we just have to create these ripple shapes and paint. We just need to go and add these shapes. We won't add in too much details. We're just going to make it really simple for you to understand the techniques because the process involved in the class project is fairly similar. The differences, the boat of course, the simpler one. Also we'll be switching colors in-between for the class project. You can have broken lines as well. Remember to paint in a continuous manner so that you don't create any harsh edges. In order to do that, that means that you need to apply your stroke before the previously applied stroke dries out. Here I'll take my darkest paint and apply right below. I'm just going over these areas to keep it wet. Now, just apply. There's the boat and we'll just add these lines. Maybe you can add certain ripple marks away from the boat surface as well like the main region of reflection. We just adding some dotted lines here now. Probably this will depict as to how the boat was flowing, the direction. Now, in order to make this more interesting, not as simple as this. Now we'll go ahead and add some reflection towards the other areas. This reflection is probably due to some other object which is not visible in the painting, but it's there above the water surface. I've lightened up my tone, now we're going upwards. That's why. Using that lighter tone, I am going to apply. You can see I'm using a lighter tone and I'm using my dotted lines. Now I need to lighten up my tone again. Here I'm mixing my yellow blue with water. [MUSIC] Now, let me tell you something else. I am going to apply my strokes right above the boat line as well, some ripple shapes. The reason for this is when we apply the color onto the boat we want it to be standing out. It stands out. That is, it's mostly going to be white with some writing on it. It stands out if there is some color to make it have a good contrast. If we add the blue contrast into that region, then your boat is going to look nice because it's going to stand out. Just adding some random shapes. You can see my brushstrokes. I'm just making random strokes. [MUSIC] Add some more here to the right, but I think that's absolutely enough. This is basically it for the ripples in water. Now for the surface of the boat. For that, I'm switching to my smaller size brush so that we can add in some details. Basically, it's very simple. All we have to do is to mimic the shape of the newspaper or something. It's totally up to you to create whatever paperboard that you want. Maybe take a paper that you own, make a boat out of it, keep it in front of you and observe the things that you see when you keep it at that angle. Maybe you can add that. It could be your own paintings. That would be quite interesting as well to add your own painting into the boat and depict it in all the folds of the paperboard. I'm going to make it very simple. All you got to do is to add in the details. For that, first what we're going to do is we're going to just wet this middle region of the paper boat to depict some color. It's not purely white. It's going to have some shadow from these two areas. The inner depth is going to have some shadow. Here I'm just taking some Payne's gray or black. It's a darker tone that's there in my palette from some other painting. Here I apply the darker tone. I'm going to pull this darker tone towards the top so that it is darker, but the most of the dark is towards the bottom. Now we have to dry this up in order to add the writing on the boat. Once it's completely dry, we'll start to add writing onto the board. I'm going to split this center area up into the area between a section. All we do is just add some random gibberish on the paper like that, but make sure to follow in lines to depict out how it's in the newspaper. Have you seen the paragraphs in newspapers? They have this perfect writing, so it shouldn't go slanted or anything. In some cases, you can add a picture. I have a paragraph up till here. Now I'm going to add a picture, so I'll just draw a box. Then it's black and white newspapers. We don't know what the picture is just add some random things. In order to create harmony because there's a picture here, so let's make writing onto the right side now. Leave gaps. It would take spaces. Is it not visible? Let me show it to you more closely if that helps. You can just see, I'm just touching my brush and creating these small strokes. We'll do the same. Let's say our paragraph ends there. That's the paragraph. Something's written there. Actually, if you want, you can go and write something. I think I do that in the class project and maybe a picture here. Obviously, we have to go and do it in the other areas as well. This region here, we just have to follow along the direction of the fold. This is an edge. Then we leave a gap and then we follow along. The same on this side. Leave a gap for the edge of the paper. Papers don't. They have a margin. They don't usually write towards the very bottom, so that's why. No image there. Now let's add some more here. Maybe I'll add another image here. You can see I'm following along the line because that's very important that you follow the lines does the folds of the paper. Maybe another image here. Every time you draw an image or anything, just follow along the direction. This is the horizontal lines. The horizontal line has to be like that. Then the line for the other edge is perpendicular to the horizontal edge. Here again, let's create a break and create a paragraph. Even with the paragraphs, you need to be careful to have it split in the correct edge. You see that line because this edge here is the edge that we're following through. Perpendicular to that is a paragraph. A paragraph is going to start. there. Those are the lines and we have a gap for the paragraph. We follow it through. If you want, I'll add this one as an image. That's the image. I am just using my brush and leaving some gaps and just adding something into that. That's how I do the image. There. [NOISE] It's as simple as that. The boat is done. That's all. That's it. In order to make this more interesting, we need to have our light and shadow because as you can see, this edge of the paper here is probably facing away from the light because obviously, the reflection is this side, so the light is from somewhere there. These edges here are completely away from the light source. We can add a little amount of dark color there at the bottom to show it's the shadow. What I've done is I just took some water and I spread it around so that the already existing black paint will just move and create a shadow for me. The same way if you do that here on this side. We just added the black plaint. If you add some water it helps. Now you can see it's got a little bit dark color. If not, you can just always take more black and add it at the base. There. I'm taking a little amount of black and adding and you can see it pulls out some of my pigment, the blue pigment and that's absolutely fine. It's just going to act as the reflection, the color of the water being reflected onto the object. That's done. Basically, that's it for the paper boat. All the edges are dry. Yes. We can remove the tape. There you go. That's the exercise for today. Now let us have a look at the colors. I've used three colors for the class project, which is turquoise blue, phthalo green, and Payne's gray. The turquoise blue that I've used is from White Knights, and it's PB15 and PG7, PB15:3, which means it's the blue shade or the green shade and PG7. If you don't have the turquoise blue, you know what to do. It's very easy to make because PB15 is the phthalo blue, which is bright blue from White Knights. PG7 is emerald green in White Knights or the phthalo green in other companies. All you need is to mix those two colors and you can get turquoise blue. But like I said, you don't need to be using the exact same colors that I'm using. Because it's water if you used two versions of these colors which is phthalo blue or phthalo green, you're absolutely fine. You don't even need to mix them. But if you'd rather, you can mix them together to get that. Or if you have a shade of turquoise blue itself ready in hand, then that's absolutely fine as well. Then for the boat, I've used Payne's gray. The Payne's gray I'm using is from White Knights, which a PBK7, PB15, and PV23. These are the colors that we will be using today. The brushes we need today are Size 12 brush for painting the background. A size 12 covers our largest surface area, which is why I've used the Size 12 brush. A Size 8 is what I have used for the ripples. Then you can use a smaller detailer brush such as a Size 2 or a Size 1 for the writing of the newspaper. These are the brushes that we need. If you are happy with the techniques, the colors, and the brushes, then let's go ahead and start painting our class project. 13. Day 4 - Paper Boat: Let us start. I'm going to quickly sketch out to the paper boat. So I'm going to make it somewhere towards this side and a little bit towards the bottom. [MUSIC] So I'm going to be slightly slanted towards the side. The front side of the board is going to extend to the dark. So it's almost like some triangular shapes when you're adding. It's right there, slightly slanted. Let me make that straight. I don't want it to be that angled. So that's the shape of the boat. That's it. Then it's going to be a lot of reports in the [inaudible] , of course. As I've already mentioned, there are various ways to paint this. One is to obviously go around the boat and painting the details. The other is to apply a masking fluid so that you can get a perfect wash on the paper. Let's go with the non masking fluid method. Mainly because this is a large board and I don't want to waste my masking fluid onto the large surface area and also I think it might be easier because many of you may not have the masking fluid and prefer to go with the non masking fluid method. But if you do have masking fluid and you want to create a perfect blend, then you can actually mask off the entire surface area of the board. So here, I'm applying the water on all the areas, but we're just going to skip the area of the boat. Using my flat brush to go through the edges of the boat. We have to be extremely careful when we are applying the water of course. Just because we are not touching the areas of the boat and being really careful when applying the water, the areas that we've already applied the water will start to dry. It's not as simple as applying the water when you're applying to the whole of the paper because then you don't have to focus on certain areas. But like here when you are trying to skip the area of the boat and go around it, you'll notice that maybe this corner or the corners that you apply the water at first we will start to dry off. We might have to do with this quite a multiple amount, number of times. The best thing about applying the water on this painting is that we don't have a lot of background, so we can just work quickly at the main background and then be done with it. This is going to be one of the easiest paintings. It's just a matter of applying the [inaudible] and the reflection in the water. I'm going to be using my size 12 brush now to add in the base layer of the water. So I'm taking my dark [inaudible]. I'm going to start at the bottom. Pretty important. Starting at the bottom and I'm just adding the line all the way towards the left and going up. So as I go up, my strokes are getting lighter. Each time you pick up the fresh paint on your brush, apply it at the bottom. So there I'm applying it at the bottom and then as I move towards the top, my strokes are getting lighter but be careful when you reach closer to the boat. Also, now towards the top, we need to have our strokes lighter. Note here, I'm not going to take any more fresh paint. I'm just going to move with my brush. Already the paint that's already there on my brush, that's what I'm going to use. As you can see, it's very light. This lighter too here', s what we are going to be applying. I'm going to go and make these slightly lighter lines. Now I'm going to wash my brush, get rid of the paint because I want my lines to be even lighter at the top. So I'm just going to go over the top and pull out those paint so that it's lighter. Can you see how light it is at the top? We've got that medium tone in the middle and then we've got that darker tone at the top. I need to [inaudible] near the boat. Make sure that there is pigment near to the boat. We can't have a line anywhere near the boat. The base part is all right. Because we'll be adding the reflection. When you pick up the paint from your palette and you realize that you got a lot of pigment in it, make sure that you go and apply it at the base so that the darker color that is in your brush will be at the base. You can apply it in the form of lines like these, like I'm doing here. [MUSIC] Wash my brush and move that pigment. Because I want it to be lighter and medium tone in that region. Just add few lines. Few medium toned lines and my lines are going to be smaller as well. Observe the length and the width of my lines. They are smaller because we want it to be smaller towards the top. Smaller, lighter, and thinner towards the top. That's how it should be. Anyways. Now we've added in our background and that's basically it. That was quick, isn't it? It's such a simple background, one single color, and there's nothing else that we need to do. This is why I said that, for this one, it's okay that, if your paper starts drying quickly because you can quickly do the background before your paper starts to dry. Now let us quickly try this up so that we can add in our foreground. Here now my background is completely dried. Let us add in the reflection and the ripples in the water. For that, I want to switch to my size eight brush. We're going to use the same pigment. At this time. We're going to use a little bit of viridian or emerald green as well. We will start with the underside of our board. Taking that creamy consistency of the darkest blue shade. Going to start here right under the base of my boat. Applying that in a dark consistency. Basically you don't have to worry about creating a perfect shape because this is our water ripple. And it can form any shape. Just do for whatever shape you like. Just add in the water. Going to paint inside now. This is the part where we need to be quick so that each stroke that you've applied, there lines don't form any harsh edges. That is, you need to be quicker. These edges should not form any harsh edge. Just go with it each time. Make sure that the stroke that you've applied, the color that you're applying on the top does not dry out before you're adding the next stroke. This is why you make sure that you have a nice creamy or diluted mixture. Use the tip of your brush to create edges. [MUSIC] Extending my ripples, and making sure that we keep the underside of the boat as wet it can be. That's why I'm applying the paint on those regions. Now I'm taking some darker consistency of the pigment and I'm going to drop it right below the boat area, because I want it to be slightly darker, that region. Now it's slightly darker. Now I'll go with my diluted pigment again. You can see I've added a lot of water into that. Let's add in our different shapes. Just with my brush creating these structures. Let's paint inside that structure that I created. As you can see, the paint here is diluted as opposed to how dark it is there. What we're now going to do is we're going to add dark edges to certain areas. Like here I'd like to add some dark edge. Going back to picking up the darker consistency of the paint and going to add more lines. [MUSIC] You can already see how this is turning out to be beautiful. I had some other ripples. Bearing the color of the ripples that you're adding. They needn't be in the same tool. Let's have broken lines as well [MUSIC]. It's just a matter of adding these different ripples. Now let's take it upwards. It's not just a reflection of the water that is typically something else that is overlooking the water. It might be like a branch or a plant somewhere on the top that is not visible in the photograph, but it's there at the top of that water from which it's getting the reflection. The reflection of the boat is just this region here. That's why it says dark pigmented. Because it's closer, and it's right there, the boat. But the other areas where you're adding the reflection is just the reflection of some other object. We don't know what it is. But it's there on the top of this image where he photographer has obviously not captured. Let's also not capture it. [MUSIC] Let's get to add more. [MUSIC] As you can see, I'm doing all of this with my size eight brush itself. Occasionally, I'll drop in darker tones. Now, as I move towards the top, I want to go lighter and lighter. We'll dilute our paint some more. Now is the point where I'm going to add a little bit of the yellow, green and get some lighter strokes, [NOISE] but make sure that they're light. Just dropping in at random. You can see how lighter and lighter I'm making my stroke. Paint the inside. These strokes at the top, you've just painted it, but we're not going to leave it just like that. Let's add some ripples within that reflection. Pick up your paint and just add in some lines. This is where you can use the viridian as well, and dropping in some paint. Can you see? It's turning out to be our different color. I'm going to add more reflection. Just going to use the length of my brush to create these different strokes. You can see how lighter it's getting towards this side. I want to add in some ripples towards the top of this board, and paint the back area of the board. We'll create some extra ripples down here at the bottom. Always remember the tone. Now we're painting at the bottom side, so I want the tone to be darker. I'm going to go back to the top region. I'm going to use diluted paint because I feel that these areas are dry and lacking some strokes. So I'll just add some strokes in-between. We've added the strokes. Now, I just want to wet this region here again because I can see that it's turning [NOISE] to a blue, which if we reapply the paint on the top, we should be able to get rid of it. I have rewet that region. Now I'm going to apply some paint to some edges to create that depth again. I think I'll apply a bit to this side on the right. [NOISE] I think we are good to go there. I'm want to drop in some more paint and reflection lines towards the right side. Remember the tone, it's at the bottom, so we need it to be darker. Darker tone of the darkest blue shade. [MUSIC] We've added all of the [inaudible] in the water. I think we can get to painting the boat. The boat is just basically going to be simple. You can add whatever you want. I've taken up my Payne's gray. What we're going to do is we're going to apply water onto our boat region, just the whole of it. We'll apply some nice amount of water. If your blue is still wet, you'll see that it starts to flow towards the top a little. That's absolutely fine. You can have your blue tone on top of the water on the boat. That's fine. At the moment we just need our boat to be slightly wet. We're going to wet that. Actually I'm letting it spread slightly onto my boat, but make sure that you don't create any blooms in the bottom region during the process. Now that you've applied the water we'll take a little amount of Payne's gray, but make sure that you take a very lighter tone and you start applying on your boat. That's already a very dark color. I'm just going to use my brush, water and blend in that lighter gray color. This is only because we don't want it to be paper white, just dropping in some accents of shadow here and there, so mainly this region here needs some shadow. This triangle part needs a little bit of dark shadow. I've applied a little amount of Payne's gray there. Then we also need a little bit of shadow on this one. Make sure that the tone that you're using is correct, it needs to be lighter than this region here which is obviously the one under the most shadow because obviously if we have the reflection here, which means that the light also is going to be on this side. This side here is the one that is mostly away from the light source. That's why it's going to be darker. Then obviously this corner is also going to be slightly away from the light. Just pull out your paint and let it spread, here the same. Just applying some darker accents and darker tones. There you go. Now I'm going to pick up my Payne's gray again and I'm going to give it a darker tone towards the top, not as dark as this. This is just the base layer that I apply so that I can go over the top like this. Because this region here needs to be darker than this. I think I'll go with more Payne's gray. [MUSIC] There. Now you can see the shape of the boat that has come out of this. Now let us try this whole thing up. Here everything is now completely dry, so I'll switch to my size full brush to add in those details. Now we're going to go with a nice, darker, concentrated consistency of the Payne's gray, almost like black because that's what I use for black. If you have black you can use that as well. You don't need to go with the gray color. We're going to make the lines on the paper. There are some things written on the paper. That's what we're going to do. Taking my Payne's gray, and it needs to be on a straight line, remember that, because this is like the border there. I don't know something is written on the paper. We will vary the tone each time. Now I'll take a lighter consistency of Payne's gray on the paper. If you're in the mood you can actually write down news on this with your brush. I know that it takes a lot of time and a lot of patience. Maybe I write, "I'm painting a boat seen with watercolor." It doesn't have to be perfect but it actually makes sense. It looks like a writing and I think I'm liking this. I'm just going to write all kinds of nonsense that comes into my head. This is a [LAUGHTER] skill-share class. Thank you all for joining me. [MUSIC] We've added some notes there. Let's do the same on, which side do we want to do that? Let's do it on this side here. Let's assume that there is some things written there. I don't want it to be perfectly seen, so I'm just going to assume that there's a line of things written. Maybe it's a newspapers so it can have some images. It's a black and white newspaper, so I'll have an image here. [MUSIC] Let's have some image. Then again we have some writing. [MUSIC] I've added something such that it looks like a paragraph, that's why I added like that and maybe I'll add a picture here. [MUSIC] Note that this is the extreme bottom where it's devoid of light, so we need to make that region darker. Darker than the rest of the areas, all writing and everything, a little darker. What else can we do? I think I'll go with the next paragraph of writing here. I'm just using the tip of my brush to create some writing lines. We need to make into account the fold of the paper. The paper is folded right there, which means that it's going to be slightly slanted, all of this writing, we need to follow the paragraph. The paragraph is right there, that's where I'm trying to end. Right here, it's going to be folded towards that side. You'll understand when I write in the next line, there, so follow along this line of the paper. [MUSIC] Like I said, these regions next to the bottom needs to be darker. When I've added that bend there, you can actually see how the writing has bent onto that region. How about we add in another image right there. That's going to look bent as well, so the image is bent like that. [MUSIC] You can see the bend now. [MUSIC] Enough writing on that. How about here again? Again here, this is again like the edge of the paper, so we need to add in a gap. Then now we have this region here. For that region, it's bent around like that. We need to take into account how it is bent, so think of how you would make a paper boat. The paper boat is here, it's bent like that. Let's assume that this here is one of the ends. Again, going to have some writing there and maybe I'll add a picture in the newspaper there. For this one, maybe I'll add the picture here. [MUSIC] There, I think that's good to go. You can see how now we've defined the shape of the boat. How we've made the darker and the lighter accents and all of that. This process here was slightly lengthy and out of the topic as in, we didn't have to add those details, but then I thought, we'd just do it. It's just one of those things that makes your painting look more attractive. But now coming to think of it, I feel that this area is slightly empty. What I'm going to do is I'm going to add in some more ripples there but I'm going to make sure that they are very light. I'm going to dilute my paint. You can see how diluted that is. I'm going to use that diluted paint to add some tiny ripples. [MUSIC] Just a few lines. I think that's much better, rather than it being empty in that region. This one thing that concerns me it's that the shadow under the boat is still not that dark. What I'm going to do is I am going to apply some paint. I'm going to apply darker turquoise blue again under my boat region and bring it towards the bottom. To bring it, I'm just going to soften the edge. There, soften the edge and blend it towards that region. Let me pick up a dark version of the turquoise blue again and I'll add it. I'm going to soften all the edges of the strokes that I've just created. [MUSIC] If you want, you can add a little bit of the viridian as well. Or there's something to be seen on top of this dark turquoise blue color. I think now that's better because I can see the depth under the boat. Earlier it was not looking like a reflection; how it should be. Now, let us remove the tape. Whoops, there's one thing that I forgot. We need to sign our painting. Let's sign it. Here's my cadmium red. I've signed my painting. [NOISE] Let's now remove the tape. Finally. [MUSIC] Here is the finished painting. I hope you like it. 14. Day 5 - Techniques and Exercises: Welcome to Day 5. This here is the painting that we are going to do today. It's quite simple, but there are a lot of concepts that I would like to introduce in this painting. For example, the effects of light and shadow reports, etc. The color scheme I have used in this painting is quite different and you may not have the same colors that I have used. But don't worry, I'll give you alternate suggestions as well. We'll be using the masking fluid to mask out this structure in the water. Let us look at the concepts of painting light and shadow on different structures. For example, this ball here. In the first column here, let us look at how the light and shadow falls on an object such as this ball. Let me show it to you. Let me demonstrate here how the shadow works. Here, I'm going to place this ball on the table, and I'm going to point the flashlight from my phone onto the ball here. There. Now you can see the shadow and obviously the shadow will move along with the flashlight. But the most important thing here to note is that this line here separating the lit area and the darker area. There are two types of shadows. The two types of shadows are the form shadow and the cast shadow. The form shadow has reflected light from the surface. This is because light bounces off the surface and is reflected back onto the object. This is known as the reflected light, and this appears in the form shadow. If you look at the form shadow, the darkest part of the shadow is here in the centerline. That centerline where the darkest part is it is called as the core shadow. The core shadow depends upon the surface that it is resting on, for example, because this is a darker surface, there isn't much light or the lighter area to reflect back onto this ball. But if I were to bring in a white surface such as paper, you will see that the darkness decreases and there is more of the reflected light on that form shadow part. So if I'm bringing this paper closer, you'll see that the light here changes and that is the reflected light on the form shadow. Observe closely and you'd see the reflected light so there's the reflection of the paper appearing on the surface of the ball. Now let's focus more on the lit area. On the lit area, if you observe closely the point where the light is directly touching the surface of the object is known as the center light. The center light is the light as it reaches directly on towards the surface of the object. Here the ball. But the highlight is different from the center light. Don't confuse the center light and the highlight. The highlight is the reflection of the light source. It is at that point where the light bounces off the object and reaches the viewer's eyes. You'll understand more when we try to draw this, don't worry, so we shouldn't confuse the center light and the highlight. It is very difficult to see the highlight on this ball here. But actually, we can see the highlight of the table, so every surface we have the center light, highlight, and everything. Here on this table here, this is the highlight because this is at an equal angle from the light and towards the camera. On the ball, it's not that visible, but I can actually see the center light is here, which is the darkest point and the highlight is actually here. It's not at all visible in the camera, don't worry, but I will definitely show it to you on paper. Now if we look at the lit area again, so where I center light is and where the highlight is, the other areas are slightly one shade darker than the center light. That one shade darker place is known as the mid-tone or the halftone. It is the area where it is lit, but as not lit as the center light area is. Now let us try to understand this on paper. I've just quickly drawn the shape of the ball and the light was here, and it's a cast shadow. This is the ball resting on any table surface let us assume, our table. This here is the light source. The light source is facing towards the ball and so the light separating the two regions, that is the lit area and the unlit area is known as the dominator. Then obviously, like we said, there are two types of shadow, which is a cast shadow and a form shadow. The cast shadow is the shadow formed by the object blocking the light onto the surface. The form shadow is the shadow on the surface of the object itself, which is facing away from the light source. Now, this area here, possibly formed by another line here, will be known as the core shadow. This is because the light bounces off from the table surface and cast back onto the form shadow, making it slightly lighter than this area here right below the dominator. So that area may be mostly more darker. This area here where it is the shadow is going to be slightly lighter than our core shadow area. Mainly because the light is reflected back from the surface of the table. Now let us understand about the lit area. Along the lit area here, the center point where the light is touching on the surface here is going to be the center light, but the highlight is going to be in a different place. Let us see where the highlight is. Let us assume that this area here is where the viewer is standing and looking at the ball. That's the viewer and that's the light source. Where would the highlight be? The highlight is going to be at that point where the light bounces off the object and reaches the viewer's eyes. If you take a point and join the center of the light so the highlight is going to be here. Can you see it's away from the center light and not at the same position as the center lights. The highlight is because of the viewer's eyes so if the viewer's eyes were to move, for example, if I place the eyes here, then the highlight is going to be here. Somewhere there. We need to draw a straight line joining towards the center of the light source, that is center of the line from the light source. Then you'll see that the highlight is here. So the highlight has moved. If the viewer was somewhere here, let's assume that the viewer is here. If the viewer is here and we join towards the center. Ah, this point it's almost the same as the previous one, but that's absolutely fine. But you get the point. It depends upon the viewer's position. The highlight moves with the viewer. We shouldn't confuse the center light with the highlight. This lit area is not completely lit in a uniform way. The center light is the lightest part, but then there is the other area which is in a slightly one shade darker tone than the center light. That darker tone is known as the mid-tone or the halftone. I marked the center light with my pen itself because there's a lot of lines and I didn't want to confuse you. Now that is about the form shadow. Now let us understand about the cast shadow also, although it is not relevant for this, it's good to understand since we're dealing with the shadows anyways. The cast shadow is the shadow cast by the object onto the surface because it's blocking the light from reaching that surface. Where the object and the surface meets the shadow is darker because there is less light reaching that area. Like right here, below the ball, it's going to be darker. That is known as occlusion shadow. I know these are a lot of confusing terms but you'll get to it once you understand the concept. Occlusion shadow. The rest of it is obviously the cast shadow. The occlusion shadow is the darkest part on the shadow right below the object. Now, if you understand the concepts of light and shadow, let us see how we can apply it to our painting. We have the buoy here in water and you can see I've added the highlight. In this painting, you can see that the darker part here is towards the right, which means that the light source is coming from the left and here the light source is the sun which is very far away. All of the lines on our shadow are going to be smoother. You remember the line here, the terminator separating the lit area and the unlit area. This line would be sharper if the light source was closer but if the light source is very far away, then there will be no clear distinction between these two and the terminator will be too soft that you cannot see a clear line there. That is the case with our painting here now, because the light source, which is the sun, is very far away. We're not going to have any clear distinction for the terminator light. Here, I've added the darkest part which is the form shadow, which is going to be on the right side. But when we're adding the form shadow towards the right side, remember I said that there is the possibility of the reflected light, but we don't have to depict it when we're painting water paintings, mainly because the water is not something stagnant. It keeps on moving. That is, it keeps on flowing and there's a lot of movement involved. We can't clearly distinguish where the position of the reflected light is going to be. You can completely avoid that. All we need to focus is on the right side, I've added the form shadow, and I've lit that area here towards the front. This here towards this region is going to be the center light. But the highlight, which is the white, is of course the area where the viewer is. Maybe the viewer is standing somewhere here and looking at the object. The light is reflected from the sun onto that buoy here and that is the highlight. It doesn't really matter where you position the highlight. It just needs to be on the lit area. That's it. Because you can't put the highlight here on the right side because it'll never be forming on the form shadow. The highlight will always be in the lit area. That is the only thing that we need to focus on and the position of the highlight doesn't really matter because you don't know where the viewer is standing. The viewer could be standing here, could be standing here, anywhere. It wouldn't look bad even if you move the highlights slightly left or right or even down. I just wanted to give you the basics of light and shadow and understand all these concepts. That's it. It is easier for you to attempt some other painting in the future. Now, if you understood the concept of light and shadow, let us go ahead and start with our first exercise, which I'm going to make it very simple. We'll completely use a different color don't turn in the class project because the colors that I've used in the class project, probably you all don't have the same. But I'll draw the exercise with completely different sets of colors so that you can attempt the class project using this set of colors if you don't have these. I'm going to draw a buoy in water and I'm going to slightly change the shape of it because I don't want to go with the round shape again. I'm going to place that buoy around somewhere here at the bottom mainly because to follow the rules of composition, that is to place objects at around one by third of the painting. I'm not going to put it in the center. I'm going to put it at one by third from the bottom, which is here. That is my buoy in water but I slightly change the shape. Something like that. That's the buoy in water. Then obviously the reflection. I'll have a break in the reflection. That is the reflection and this is what we are going to paint today. Because it's the smallest surface area, I'm not going to mask the same, but you can mask it if you're afraid that you won't be able to paint the lines perfectly. Let's go ahead and apply water to the surface of the paper. Applying the water. I'm going to go around the object very carefully. Here I've gone around the object. Now what I'm going to do is I'm going to apply water more closely but going around the object, so I've just taken a smaller size brush and applying my water. Here I have applied the water and I'm going to start with my yellow-green and apply it onto my paper. I'm stopping in the middle because I want to have a lighter tone towards the darker. I wasn't sure how much of the darker tone is on my brush so I start with the middle and I will go lighter as I move towards the top. There now towards the top, it is a lighter tone. I'll bring darker tones towards the bottom. But obviously, I'll have to make sure that I'm careful around the shape of the buoy. Like I said, you can mask it if you want. It's completely up to you. Darker tones towards the bottom because we need to focus on the light and the tone always. Here, I've added a darker tone towards the bottom. Now let's go ahead and add in the waves. For adding the waves I'm switching to my size 6 brush. I'll take this yellow green. Using that, I will add it onto my paper towards the bottom. We just need to be careful and avoid the boy and its reflection. There I've added, now I will just start adding more towards the top. But now I'll start to reduce the color tone. Any darker color that you pick, go ahead and apply it to the base because it needs to be darker. You can mix a little bit of blue to it if you want to make it slightly darker or red sheet remember. Well, right here I'm taking yellow turquoise from Sennelier and that's making it slightly darker shade. Now I go back to my yellow-green and start applying. Now my lines will start to get straight and move away from the bendy wavy shape. They're going to get straight. We'll make them smaller as well as we move towards the top. Here we finished adding the background water. Now we just have to wait for the whole to dry so that we can add in the buoy, including the light and shadow parts. Here it is completely dry. Let us go ahead and add in our buoy, I'm going to be painting this on wet method. This is mainly because we want to show how soft the light is, that is the separation between the two types of form on the object. I'll just apply water to the hole. Here we don't need to make a clear separation between the reflection. The reflection is a completely different thing from the shadow. It's the reflection on the water because of the light source again, but it's completely different from the shadow we learned. The reflection is the deflection. That is, the object is being reflected on the water surface. Here I will apply my water onto the surface of the object. Now I'll start with my transparent orange and I'll apply my transparent orange. The darker tones towards the right side, assuming that the light is always coming from the left. Here in my painting, the light is coming from the left. That's why my darker tones towards the right side. Don't bother about the shape for now. We'll adjust that later. For now, let us just add this shape. That is the darkest tone. Now, I'm going to apply the same. Here is the center light and that area is going to be lighter and we'll leave a huge gap for the highlight. If you can't leave the gap for the highlight and your paint is flowing into that area, that's absolutely fine because we can add it later on with our white paint. Let's add more dark paint towards the right side. I'm taking my transparent orange and adding towards the right side. In order to make this more darker, you can add burnt sienna or maybe I'll take a little bit of alizarin and adding towards the right side. You can see how I'm mixing the alizarin on top of the orange so that the right side is more darker than the left side. That's the light falling on the object. Now I just take my orange and go back and add on to the reflection. Don't worry about the paint going towards the outside because we can connect it using our other colors. I'll explain in a while. Here's the reflection. Now I'll just add some darker tones of orange in the form of a V-shape inside. It depicts the waviness of the water. Now we've already added the buoy and its reflection. Now what we need to add is to add separation between the two. For that, I'll take a little bit of neutral tint or you can go for any dark tone such as black or even you can go for olive green. I'll take olive green as well. I'm going to apply it right at the base here. This is basically the dust and the dirt accumulated at the bottom of the buoy because of the water surface touching. If you've seen such objects are resting in water, you will note that there is a lot of algae, and all of it accumulated on the surface. It's very dirty at the bottom it's moss basically. I'll probably take a little bit of olive green as well to depict the moss, taking olive green and cutting. All the mossy stuff. Whatever we add onto the buoy, we need to add it to the reflection area as well. Here I'm adding. I'm just going to soften this here onto my boy surface. Now you can see it more clearly. Right at the point where the buoy is touching the water, I'll make it more dark using my neutral tint , it's more dark. Getting some more color towards the right side. You can make this whole thing darker by taking more transparent orange in a darker tone or like I said, you can add more Alizarin there. I added more orange, but as you can see it's not soft, so I'm just going to soften out the edges. We've already learned softening. It's basically running your brush along the edge where you've made the stroke and then blending the paints. But make sure to remove the paint from your brush when you're repeating that process. I'll take a little bit of alizarin now and I'll go over to the right side to make it extremely dark. I'm softening that as well. Now you can see it's got that nice down the shape. Adding this light and shadow is also how you can make something give it's form. That is if you look at this object, if you hadn't add the light and shadow, you won't be able to distinguish it as having a rounded shape. Now let's just go ahead and add a few detailing. That is to make this shape. I'm just taking my orange paint and adding that line right below that to give it a shadow again. This thing is like a little protrusion from the surface of the buoy, so then that means that will have a tiny amount of shadow right below where it is protruding, towards the right side, let's add red to show the dark edge of the protruding part. That's it, we've added. Now if you want to make this more interesting, let's add some darker shadow effect onto the reflection part as well because we need to show the light that we just added, that this, the shape that we just added. I'm using alizarin over the top of the reflected area. This is cone so I'm reapplying the paint. If it's forming a darker tone or any line you can get rid of that by applying move water and softening it out. You can see the alizarin reflection area that I've added and also towards the reflected area, we'll add some red towards the right side to show the depth in the reflection as well. But let me soften that out. The neutral tint I added it has turned lighter, so let me add more towards the base, and more towards the right side. As you can see, I've gone all the way up, so there's going to be half more the right side here. This is why I said that even if your paint mixed with the yellow-green, it's fine. We can cover it up with the neutral tint or the darker tone that you're using. That's basically it. Maybe we'll add a little bit of the neutral tint towards the right side here as well. That is basically it. In order to make this more interesting, probably add in our water levels as well because this painting looks empty. I'm just taking my Size 2 brush and I'll take yellow green. I'll just add some random shapes. That's much better, its looking more interesting, isn't it? Since we are done and I think all the areas around has dried, we can remove the tape. For the highlighted area of the ball here, if you can leave it white you can actually go ahead and add it using a whitewash or white watercolors. I think that's what I've done in the class project, and it's absolutely fine. The reflection that we've added in the class project is a different kind of reflection. We didn't do it using the shapes that we have done here, and it's absolutely fine. Also, I'm using masking fluid to mask out the shape of the buoy. If you don't have masking fluid, then the alternative method that you can do this is by using a masking tape. That's the easiest way. I wouldn't recommend painting around the object because it is best to get that flatness of the water using a flat brush or whichever brush you're using just plainly on the top. If we were to go around the surface, it wouldn't look as great as this is. I would recommend that you use a masking tape if you don't have masking fluid. With the masking tape all you have to do is trace out a rounded shape on the tape and cut it in that shape and just stick it onto the area where you want to mask out, and then you can paint freely and later on just pull off the masking tape. We have three shapes here, and you just use that method to mask out these three areas if you're not using masking fluid. As for the top region it is fine even if you don't mask it because you can see it's slightly darker, so it'll appear on the top of your background even if you you mask it so you can just clearly avoid it. For the highlight region of that top area, you can use your white paint. This is how you can approach this painting without the masking fluid, but if you do have masking fluid then it is the best option. I hope you liked the class exercise. This region is still drying, so let us have a look at the colors that I have used in this painting. At the top here for the background, I have used with Jaune Brilliant color, then lavender, and then moved on to cobalt aqueous. Don't worry if you don't have exactly the same colors. I've already shown you how you can paint differently with the exercise. You can also shift the exercise a bit if you want. You can start with a blue-ish tone, paler blue, and then move on to a green color, and make this interesting yourself. But like I said, it's totally up to you. You can change, you can do whatever thing do you want, and just try to focus on the colors of the water. That's it. Jaune Brilliant number 1, this is from [inaudible] and the colors are po73, py65 and pw6. You can see it's completely different; it's hard to make this color, but another alternative for using this one is the naples yellow or raw sienna. You can use either of those two colors. It doesn't matter which one you're using. You can even use yellow ocher. It is a very good combination with lavender. The lavender I'm using is from Rembrandt, and it is PB29, PV 15, and PW6. That is an ultramarine blue component; PB29 and this lavender, and PV15 is a violet color. You don't exactly need PB29, you just add some varying tone to it. All you need is possibly a violet color, so here I have violet. If you can mix your violet with white, you will be able to get lavender easily because it's got a component; PW6, which is the white color obviously. If I were to mix my violet with white, here you can see it's turned into a nice lavender shade. Violet mixed with white will easily give you lavender, but you need to mix larger quantities of it in your palette before you start if you're going to use the same colors. I have used burnt sienna and its from Daniel Smith. It is PBr7. Burnt Sienna, I won't go explaining much because this is usually there in most palletes. You can also use any other prom that you have. Then I have used cobalt turquoise light, it is PG50. It is either cobalt teal blue, cobalt turquoise, cobalt green. It's called in different names and different brands, so it's PG50 pigment but don't worry you don't need exactly the same. Instead of using cobalt turquoise, you can go with a different combination. Let me show that to you. This paper is completely dry. It's not 100 percent cotton and neither is it a watercolor paper. I'm just quickly showing it to you. That's yellow ocher then lavender. I'm mixing it up with lavender. Then instead of the cobalt turquoise at the bottom, you can go with cobalt blue also. It will give you the same effect and the same look, so there; cobalt blue. Just try to go with that same combo so you can get to use this color combination instead. Cobalt blue instead of the cobalt turquoise is something that you can use, then I have used indigo. This indigo pigment is PB60, PB15, and PBk7. It's basically just some blues mixed with black, and that's how you get indigo. You can also mix your blue black mixture with a little bit of pink or red, and you'll get a beautiful indigo shade. Then for the buoy, I have used cadmium orange which is PO20. Cadmium orange is opaque and I just used it, but you can go for any orange color. You've just seen the exercise that we did I used a completely different orange which was transparent orange, and it's PO71 I guess, and you can use that as well. The orange that you use doesn't matter. Then for the depth; the area where it is covered by moss and the dirt, I've used some neutral tint and the neutral tint is from McKee. It's PR122, PB60 and PBk7. Again, if you look at this combination, you will see. PB60 is indented in blue, PBk7 is a black pigment, PR122 is a red shade. You can easily mix up this neutral tint by mixing your dark blue with a black and mixing it with red. But if you'd rather you can go ahead and use any dark tools such as pinks, gray, or an olive green mixed with black, any kind because we just need to understand the concept of why we're using this color. Don't just think of, "Okay, I need to use the exact same color that [inaudible] is using." No. We just need that little dark part at the bottom. For that, you can either go for burnt umber, sepia, Payne's gray, or whatever. What is that dark part? That dark part is the moss or the dirt accumulated at the bottom because of the water surface touching the buoy. This can be painted with any dark color that you have, so you don't necessarily need the same neutral tint that I'm using. I think I've discussed all the colors. Yes, that's it. Those are the colors that we will be using for the class project. Now for the brushes. I'm using my 3/4-inch flat brush for the basic background wash, then the size 8 for the waves, and the size 6 for the buoy and it's ripples. Like I've said before if you want to paint the waves and your brush holds a lot of water, and you want to use a synthetic brush , that's absolutely fine. Just understand the usage of these brushes. These brushes are natural hair brushes. They're silver velvet CDs which is actually a mix of natural head into thick brush. It holds a lot of water and you need a lot of water control to achieve that perfect wet-on-wet strokes of the waves. If it is difficult and you can't get the same with the natural hair brush, immediately switch to a synthetic brush. Like I said if you are a beginner then you probably don't have a natural hair brush and you're painting this with synthetic brush then all is perfect. Don't bother about anything that I've said. Here, these are the brushes that I'll be using. If you are happy with the exercise, the colors, and the brushes that we've used in this painting, then let's go ahead and paint our fifth class project. 15. Day 5 - Buoys in Water: Let us quickly sketch the boy in water. I think I want it to be somewhere here in the center in one of them. Somewhat circular in shape. Half, not half, but like three-quarters of a circle and that area is going to be with water then we'll have a hook on the top. That's a hook on the top. That's one of the buoys in the water and we'll add few more. They don't all have to be same so I'm adding a different hook for this one and maybe another smaller one. That's it. Then obviously we will have the reflection, but let's not get to that. We'll do that with our brush itself. Let's quickly get to painting this. But how do we paint these, these three things they have to be in orange, so we have to actually mask them out if you want to paint this whole thing perfectly. If you don't have masking fluid. What you can do is at the end use squash painting or when we're painting the water, you can go around it and paint the whole of the water. What I'm going to do is I'm going to apply the masking fluid. I'm going to apply masking fluid on the whole surface area of each of the three buoys. It'll probably take you some time to apply it on the whole whereas it's going to take a while to dry as well. So we have to be careful. Unless you have a masking fluid applicator then this is going to be a little bit tricky process to apply to the whole of it. As you can see, I'm using an old brush here. You can use a rolling pin or if you have a masking fluid applicator with a needle tip, that will be much better. The problem with masking fluid is that it dries quickly enough. So if you don't do all the areas together at a time, then you're going to have trouble going back to the same area. For example, if I leave a slight gap here and I want to apply masking fluid again in that area, then it's going to turn around and come sticky. That is going to stick back onto my brush. So we have to be really careful. Be quick in the process as well. There. Now, for this hook as well. Now the other two. Here we have applied the masking fluid on all the three buoys. Let's now wait for it to dry so that we can add in our background water. Here my masking fluid is now dried, so I'm going to apply water to the whole of my paper. Again, we're going to work with the wet-on-wet technique again. Let's apply water to the whole of our paper. This is why masking fluid is so easy because when you are applying the water, you can just be carefree and apply to the whole of the paper without being bothered about where are the places that you have to go around. But if you really don't have it and can afford to have it, then it's all right. You just have to go around each of the three things and apply the water. For this, I need gravity to work on my paper. So what I'm going to do is I'm going to lift my paper, and I'm going to have this tape underneath so that my board will be lifted. As you can see, I have an angle on my paper. I'm going to apply the water again because it's surely not enough if we have to work on the wet-on-wet technique. Keep applying. Now that I have applied the water, I'm going to use my flat brush to paint the whole background, the main background, then we'll add the ripples with the other brush. I am going to start with this Naples orange shade. I'm going to take a very lighter tone of this Naples orange. So this is to depict the light at the top. We'll start with that lighter Naples orange shade. As you can see, I've applied the shade, but I'm going to dilute it because I don't want it to be this thick. We're going to dilute that paint and bring it down, tone it down. This is why the angle helps because the water and your paint is going to flow down. I'll pick up the Naples orange again, and I'll let it flow down. Then the next color I'm going to go with is lavender. Going to pick up my lavender, and apply right below the Naples orange. As you can see, it might form some grays and mixed and that's absolutely fine. Let it mix and form slight grayish tones. Let's keep adding the lavender stroke. Now when I reach here, because for the reflection we haven't applied the masking fluid. What I'm going to do is I'm going to slow down as I reach towards the underside of this main one. The other one is fine because that's going to be lighter anyway. As you can see slowing down and I'll apply lesser color there. You can see I've left a little bit of whitespace, and I'm just going with my lavender on the top. You can see that clear blend there because we have the angle on the paper so all the water and the paint is just flowing down. That's exactly what we want. Here's my lavender. As you can see there's that slight lighter area. That's all we want. We don't want it to be too white. Here taking my lavender and just applying at the base. You can have more darker paint towards the bottom. Remember the tonal value for the ail perspective, which is very important when we are painting any subject with watercolors. Now, that we've added the lavender, we'll go ahead and start with our cobalt turquoise. That's my cobalt turquoise, and I'm adding on the top of the lavender. Adding the cobalt turquoise. Can you see when you add the cobalt turquoise on top of the lavender, it mixes to form like a bluish color? I started at the bottom and I'm going to go up with my lighter tone. Medium tones towards the middle and lighter tone towards the top. Each time I pick up fresh paint and I feel that there might be a lot of color on my brush, I go and start at the bottom so that, that is where all the darker colors would go. Now, that I've applied the cobalt turquoise, let's switch brushes and take a medium-sized brush. Here, I'm going to take my size eight brush. We're going to add in the ripples. For the ripples, we're going to go with indigo and we're going to mix it a little bit of cobalt turquoise to that, so that we get a nice opaque shade. Taking my cobalt turquoise and mixing with indigo, and let me suck out all the water from my brush. I'm going to add lines like these and make these ripple shapes. Can you see? Just these ripple shapes in water. The darker paint obviously needs to be towards the bottom and as you get to your medium tones, you can go towards the top and start adding your ripples. Also make sure that you have lesser water on your brush when you're adding towards the top. There now I'll just go and start adding these lighter lines. My lines are getting lighter. I think I need to dilute my paint because it's not that light as I expected. Here now I've diluted it. Now we'll go back with our darker tone at the bottom. Towards the bottom, we can make it more dark. Like here it's really dark towards the bottom. Mixing a little bit of cobalt turquoise with my indigo here. You can add more ripples towards the bottom, as well as darker ripples. In order to make it light we add in the cobalt turquoise. It's just lines and smaller ripple shapes like these, that's what we're adding. We will have kite underneath this structure as well just some of them. Added a lot of the water shapes. I think we're good to go. Let's not ruin the whole thing. Now that we've added a lot of these shapes and I also think that my top region is now completely dry mainly because we have the angle so actually all the water would just flow down. We have lesser ripples at the top lighter ones and towards the bottom, we need to have darker-toned ripples. If you have your darker paint apply them towards the extreme bottom like here I'm adding indigo towards the bottom. That's where the darker ripples would go. Now since we have added in the ripples let's go ahead and start adding in the reflection. For adding in the reflection we will go with the same color that we're going to use. That would be cadmium orange or any orange you can go. I'm taking my orange shade and what I'm going to do is, I'm going to dip my brush in the cloth to absorb all that extra water and then I'm going to add in the shadow. For adding in the shadow, the reflection I mean, so we start right at the base. I'm just going to create these lines. They needn't be perfect just go with the flow and create some wavy lines. You can have breaks in between, that is let there be the other colored ripples seeing through. Now I'm going to go over the top again to add more color. At first, I was just fixing the shape and the position of the ripples, once you've fixed that you can go with more color on the top then we'll do the same to these ones. As you can see it's almost really tried my paper. Leave some gaps when you're adding the ripple. Now for this one on the top I want my ripple to be lighter, because that's at the top and so it should be very very light that is the reflection should be very light. I'm going with a lighter tone of my orange. I'm going to absorb all that extra water, and I'm going to add it at the top. There. Just added a reflection very likely there. Now we're not done with this reflection because there's got to be some details on the bottom part of that deflection. For that, we're going to be using a little bit of red. Any red or you can go for burnt sienna as well. Let me take burnt sienna. Here is my burnt sienna. That's a little bit darker tone and using my dark burnt sienna I'll apply to the right below the structure, so that I have some depth. That is going to be the lighter area. The same for this one. I won't apply to the whole of it but just add in these bottom areas but at the area right below we need it to be darker. We need it to be more dark. Now in order to get it more dark, we're going to be adding a little bit of neutral tint or paints gray. Taking that in my brush and absorbing all the extra water, add that to the base. Just a bit of darker tones can you see that? That gives the reflection a dimension because this is not just purely orange it needs to have the shadow, the highlights, the mid-tones, and everything so that's why we are adding that tone there. Right below is where it would be darker, and the other areas just a little bit of those mid-tones. I think we've added enough of the reflection right now. This area, I forgot about that one. Let me mix my burnt sienna and add in a lighter tone there. Now that's much better. Now all we have to do is let's wait for this whole thing to dry so that we can paint in these three structures and some other details in the water. Here my paper has now completely dried, so I'm going to remove these masking fluid with my eraser. Here I have removed all the three with my eraser now let's paint inside those three regions. For that, I'm going to take my size six brush and I'm going to start by applying water inside these regions. We cannot paint it with the wet on wet method to get the perfect shadow and the mid-tones and the highlights. Assuming that the light source is from this side, then we need to have a highlight on the top. Added the water, so we're going to start with our cadmium orange, and going to apply the color on the top. Let's leave a large area of white there, that would be the highlight. All the area around is where we repaint. Now we're going to go with the dense paint towards the right side. Leave that little area there as white and apply my dense paint. Here is the mid-tones. Let that be lighter. For the mid-tones, that area is going to be having the medium tone. This right side will have the most color, so take the darkest tone and apply it towards the right side. We need it to be more dark and also we need it to have some depth just like we added in the shadow. In the reflection, I'm going to take my burnt sienna again. Using my burnt sienna, I'm going to add on the top. So adding some darker tones on the top. That will be towards the bottom. That's where I'm going to add and that is for the darker tones, the shadow areas. Can you already see how that is looking like a round shape and making it look beautiful? Blending that into the background. Now, we'll pick up a little bit of neutral tint, or you can use Payne's gray. We'll add that to the bottom. Because this thing is standing in water, it needs to be having some dirt or the algae or whatever bad things accumulated. That's why I'm taking my dark paint and adding towards the bottom. Now, I think that looks much better. Now let's do the same thing for this one here on the right. We'll add the hook later on. Going again and applying water into this region. Once you have applied the water, we'll go with cadmium orange again, so the dense paint towards the right side and the medium tones towards the left side, and leave a huge gap of white for the highlights. You can add more to your reflection if you feel that you know it's not in the right place. Adding some burnt sienna now towards the space to give it dimension and a little bit of the neutral tint at the bottom. That one's done. Now the only one left is this tiny one here. For this one, remember again, it's far away. It has to be slightly lighter. We don't need to be in it as detailed as this one. That is my color. Going with the darker tone towards the right side. That's enough for the color of that one. That needs to be lighter. I'm going with my burnt sienna and a little bit of the neutral tint at the base. That's enough. Can you see how light that one is and these two are more detailed? This is following the aerial perspective so that you can apply in the details and make sure that you make the perspective correct in the painting. Now let's go ahead and paint the hook on the top. For that, let's go with indigo. I'm just taking a dark version of the indigo. I'm going to apply that. We're going to need to paint the highlights, but because this is a smaller area let's not use the wet-on-wet technique, but rather we'll use the white paint. Just make that shape or you can actually leave some white space if this thing larger enough. I think it's better to leave some white space. I'm going to leave a little bit of white space. There is some white space, but we can also add some white later on and do the same. Added in a little hook for this one. Obviously, we need it to be lighter tone not as dark as this one. Still dark so I'm lightening up my paint. I think that's much better. Let us add in some highlights. I'm taking my white paint and I'm going to apply at the top and blend it to that indigo so that I get a slightly lighter color. You can do the same on all the areas. Also this is the time that if your highlight is gone you can go ahead and add it with your white paint. I've just added a white part there. But of course, I need to soften it because it shouldn't look raw like that. We just needed to blend it to the background so then it looks as though it's that white area. You see, so now that looks like a perfect white area. I've lost some of the white region here as well. I'll just go ahead and add a little bit of white paint. Then I'll soften the edges and blend it into the background so that it looks perfect. I think that's much better. Now we have three life buoys in the water. You can see these are the things that you tie those boats onto. If you want to make this much better or if you want to add more things to it, like you can add in maybe a rope from here and you can add a boat maybe, you can improvise and add more stuff to it. This was just the basics to what we were trying to do. Since we're done with this painting, let's go ahead and sign our name. Here's my cadmium red. I'm going to sign my name. I love this part where I'm writing my name because it just gives a lot of satisfaction now right before peeling off the masking tape. So here, I've got my name down. What about yours? Have you written down your name? Once you've done that, let us remove the tape and look at our beautiful masterpiece for today. Because I'm taping my paper onto my gummed part itself, that is to my paper block itself, it's hard to remove the tape. But then it still worth it because my paper does not buckle because it's sitting there with all the four edges attached plus with the masking tape as well. It's actually better if you're using a block like this, you can just keep it on the top itself and once it's completely dried then you can remove it off. Here is the finished painting for today. I hope you really like it and enjoy it as well. There you go. Thank you for joining me today. 16. Day 6 - Techniques and Exercises: Welcome to Day 6. This here is the painting that we are going to do today. This is probably the most difficult one from the ones that we've already painted. These are surface waves in the water. As you can see these are waves in the water, and you need to have a lot of brush control, and understand the movement of water to proceed with this painting. As you can see, there are some dripples on the water as well, and then some sunlight drops. These sunlight drops, I'm going to teach you using a very unique way. I want to show it to you in the exercises because the way I've explained in the projects is completely enough. I request you to go through the project but it doesn't involve any wet on wet stroke. So you can do it along the process as well. You don't have to watch it beforehand. Now when you look at this painting, I know that it probably doesn't make a lot of sense if you haven't ever seen the surface of the water itself. This actually depicts the movement of the water along the surface, and the photograph is probably taken very close to the water surface, which is why it's like this. I'll show you the picture that I've referred. This here is the image that I used to paint this. What I did is I extended this image into landscape version. As you can see this is a square format and needs to be converted into a landscape, and that's what I've done. If you would like, I'll upload this image to the resources section if you'd like to refer to the same as well. Now let us go through the techniques and understand some surface waves in detail. For painting the surface waves on this one, I'm going to turn my paper like this and move it into a landscape format itself. This is because when you're painting the surface waves, it doesn't look that great if it's in the portrait format unless you have a specific reference image that is oriented that way. I'm going to teach you the techniques from my head itself, but similar to the class project. I need it to be in the landscape format hence I'll turn it this way. Before we proceed, let us understand the tonal values and the movement of the water in the class project that we're doing. This knowledge will help you to go with the exercises well. At the top you can see it's got lighter values because obviously the viewer who has taken the photograph is somewhere here and is looking towards that side. This is the furthest point. Implementing the area perspective, we need the top areas to be lighter, not for the ripples though. Even the ripples I have implemented perspectives, that is, the ripples are lighter here and darker ripples towards the side. You can see the tone gradually increasing towards the bottom. The bottom wave is the darkest. Here, again there's wave, [inaudible] in the water, and you can see it's movement. This movement is depicted by the brush movement. The way you move your brush on paper when it dries, it will become evident and show that movement. That's what we need to learn with this exercise. You can see clearly now how it is structured. Now let's go ahead and attempt our exercise. I'm not going to do any pencil sketch for the exercise because it's such a smaller surface and I want you to paint freely without any pencil sketch. We'll start by applying the water. Here I'm going to wet the surface. Wet your paper nicely. Like I always say, you could attempt the class project on a smaller piece of paper like the exercise itself, which will be much easier if you are unable to get the water control on a larger piece of paper. It's much easier to downsize a painting rather than making it bigger. Let's start. I'm going to start with my indenting blue first. I'm going to take very lighter tone of my indenting blue. I need it to be lighter tone because we are attempting from the top now, I'm using my Size 8 brush and starting from the top. I'll just hold my paper for angle, and here. That line the blue tone. Just a lighter tone for now, starting from the top and moving downward. As I move down and I reach somewhere around the middle, I'm going to switch color and I'm going to take my teal green. That's my teal green. Now I will go and continue towards the bottom now. Continue all the way towards the bottom, and then when I reach the further bottom and probably mix my indenting blue, and my teal green to create a dark color. You can create that for mixing your blue and dark green together, or your dark blue, or your indigo and teal blue together. Now we've created the tone. The tone that's needed. Just going all the way up to create that even gradient. We've created the base stroke now. The next thing we need to do is to add those waves. For adding those waves, I'll start, and I'm going to start with my indenting blue properly now. We'll probably take a darker stroke. But make sure that it's not too dark, and also when you're applying, we need to take care of the water controls to make sure you absorb the extra water from your brush. This brush is actually helpless in the tip so it holds a lot of water, and we don't want that. I'm going to create my waves. This time we're going to follow the line, that is follow the movement of water that we want to depict with our brush. We've been doing straight waves now. Those straight waves remember I said that your waves become flattened out and straight as you move away from the viewer because of aerial perspective. The principle is the same here. We do follow aerial perspective with a tonal value but then because this is very close to the surface, you can see the movement of the water, you can see the bend and the waves, you can see how waves are bend. There's not going to be flatter waves here at the top this time. We'll start with an angle there. Start with a nice angled wave. Here at the top my waves are going to be facing at an angle like that. I'll probably create some triangular shapes. Again, you can see my triangular shapes are at angle. The triangular shapes that we learned in the class project of [inaudible] the exercise of the first one. That's probably this. Here again my waves are bend and you can see how I'm applying my tone. I'm very careful about the water, that I'm applying. Always remember the water color Rule 101 which is less water on your brush then water is there already on your paper. Here I'll create triangular shape again, and create a nice stroke. Just a bendy wave and I'll probably create another wave bend but a larger one now. I've created a nice wave there. Now I'll get back to my pale green to add a nice waves. That's my pale green. Absorbing the extra water from my brush. Now I'll add a different wave, so I'll probably add a wave like that. Let's see the wave is facing like that, the movement of your brush matters. That's how to waves are created. I'll make make a triangular shape here and maybe a smaller wave here. Because we have larger wave that we're making here. I'll go along with it and make another wave towards the bottom there. The movement of your brush as it makes these waves matter, because as it dries up, it will be evident on the paper. I'll make smaller ones towards this side, slightly angled and smaller ones. I'm going to make a larger one here. Taking that dark turquoise blue color made by mixing the indenting blue and the teal green or indigo and teal green. You can use that as well. Our paper is starting to dry, so we need to go up quickly. Here adding some nice movement. You can see this is like bend not unlike the normal wave that we use to add. Now I'm going to add a bigger wave towards the bottom. I take my teal blue and mix indenting blue to it. You can mix your indigo and teal green together, that'll give me a darker tone. You can see the dark tone that I'm using. Using that I'm going to create like a baby separation in the water. That's the baby separation in the water. You can also use the tallow turquoise from [inaudible] or the tallow green deep from [inaudible] if you have that. I'll fill up the bottom part now, we need it to be darker towards the bottom anyways, for following the aerial perspective. Now, we've applied a darker tone. We need it to be more darker towards the bottom. I'll make that more of green because it's slightly bluish so they'll know that's a darker tone. I will apply that towards the bottom. Now, within this bottom region, I tried to create some wavy shapes. We try to follow along direction that we want our waves to be. That's the key thing, because when it dries, this brush movement that you've already done, will be clearly visible. I'm having these wavy shapes in this direction here, and somewhat straight here at the bottom. There, I've made that region darker. I want to go with a little bit more pale green towards the top. But I guess my paper has dried, so I need to be careful. It's almost dried up. I use my brush to soften the edge of it, soften the edge of the stroke. You can see it's forming some harsh edges, so I'll just effect my brush, and I'm going to run it over and make it softer. There, I've softened it. We can always do that. Here, I'm taking more yellow-green, and I'm going to apply it onto the paper at the top. Let's see. Here, on the left side towards the top region, and maybe another wavy shape and here. But as you can see, it's completely dry. What do we do? We need to soften it. We take our brush, wet it, and go towards the edge of it, and soften our strokes. You can see now that's softened, and do the same to the other one, it's basically softening the edges. We can do it with our brush by just dipping it in water, and running it along the edge such that these strokes gets softened up. I'll do it on all the sides. Make sure to wash your brush each time after you soften. Otherwise, you'd be pulling that color and introducing it onto the top itself. There, I've softened all the colors. Now, I'm going to pick up a little bit of that darker turquoise color to add to the base here because I want this wave to be darker than the previous one. I've added the waves because it's dry, I'm going to soften it up. This softening thing is a very important technique that is important for painting the waves. We did the wet-on-wet strokes for a long time, but we need to understand this softening method of creating the waves as well. Here, you can see I added the waves, and I just softened it, and see, it looks softer, and it doesn't have harsh edges. It looks just like the wet-on-wet method itself. I need my brush along, washing my brush, dipping it in water to wash it, and then removing the excess water, then run along the edges again. That's how you soften. When the brush turns too dry, dip it in water again, but remove excess water, just make it damp, that's it. The damp brush is what you run along the edges to create that softness. There, it's there now, you can see, now we've created a nice wave. I'd like to go with a darker tone towards the bottom, to make it darker than the ones at the top of it. I take my indenting blue again, mix it, add, and more green to make it greenish, indenting blue. Just making that darker tone. Okay, there. To that dark tone now, I'll apply to the base. But again, I am going to follow the line. Again here, we probably need to do the softening method because these are just harsh. Removing all the paint from my brush, then going in on the edge, and softening all of those groups. I think that's good enough. Now, all we have to do is wait for this thing to dry. I'll show you the alternate method of adding some drops in water because for the class project, we'll be using masking fluid. I will show you the ordinate method now. Here, it's completely dry now. We go ahead and add in some ripples in the water just like in the classroom. For adding those ripples, I am going to be taking my indenting blue or you can even use indigo. Probably I'll mix some indigo with my indenting blue, and I know that many of you may not have the indenting blue, but that's absolutely fine. You can just use indigo. Here's my indigo paint. I'm diluting that because I want some lighter strokes, you can see the amount of water in my mixture. Diluting my indigo paint, and I will use that for creating some nice ripples. Those ripples, what I'm going to do is, I'm going to use my smallest size brush. This is my Size 4 brush, and using that in-between those waves, these are the wavy forms that we created. In-between those waves, I'm going to create some strokes like these. This is going to depict the ripples. Soft ripples is actually the reflection of some objects. It could be the reflection of what do you say? The waves in the water itself. Just using my brush and creating these random strokes. They usually go in a zigzag manner like that. You can just use whatever zigzag manner, and add these waves. You can have broken ones as well. You don't have to make it continuous. Make it broken. Make it as some drops at certain places. Just some dots. I think that's good. Now, I will move to the bottom side. Again, towards the bottom side, we add in some of these lighter areas, for now. Because it makes much more sense when I add it in these lighter areas. You see? I've added some nice strokes. Same here, so make sure that you follow along the wavy shape. Okay, can you see? This one, I followed along the wavy shape. Do along this one as well so you can clearly see and following along the wavy shape that I'm making. Another one here, you follow along the wave, again. The zigzag manner can be in any direction but just when you do those things, make sure that you follow along the wave. Maybe another one here. Somewhere I'm pressing my brush to get thicker strokes, and somewhere I'm using just a tip. Now, I'm picking more paint. You must have seen that I picked up a little bit more paint in the middle, these were lighter. Now, we go with more darker tones as we move towards the bottom. Towards the bottom, I'm not going to add a lot, just in this region here probably. Here I'm just going to follow along. Remember we painted in this direction, so I want to just depict it. I've made it in that angle. Your rippled angle also help in the perceptive view of this surface space. I think that's enough. I don't want to ruin it by adding a lot. Now, all we need to add the sunlight drops. Again for the class project, we used masking fluid. Now I'm going to suggest you the alternative method if you don't have masking fluid. You can do the same thing for the class project if you don't have masking fluid. Here, I am going to take my white paint. This is just the bowl that they used to keep my white paint. I think everything is now dry. Yes, it is. All you need to do is just go ahead and add these drops of light at random places. Some on top of the ways, some at other places, but a lot of these drops. You can see I'm making these smaller drops as well and some are larger. Some large rounds, a lot of these white drops, and some of them can be smaller as well. I'm going to make a lot of tinny ones here. Probably I want to make some bright spots here, closer ones. I'm dipping my brush and creating a lot of spots. Don't draw on top of the ripple itself. You can draw anywhere in-between the ripples all the ways, but not on top of the ripples. I think it's enough for now. Now we need to add some lines on top of these sand drops to make it look original. That is because it has that buckling effect. To create that sparkling fact, we need to go back to our white paint, but the problem with using white paint is that it doesn't give even consistency throughout because your light paint can dry out and not give you that dark effect. Dark as in the bright effect. When I see dark, I mean dark white, which is eventually white. What we can do is you can take a white paint and switch to a smaller size brush and from the center make a line pointing upwards. Make sure to lift your hand off as you do this so that you get that stroke in the same towards the bottom. I think this is probably easier than the method that we're going to do for the class project but I love the one that we do for the class project because it's such a unique way and also it creates those sharp edges. With the brush, we wouldn't be able to get that sharp edges. There, towards the top and also with the brush, you can end up having such thicker strokes which are not ideal. But if you don't have it, the masking fluid, and you want to go with this method, you can do that. You can see how it's not that thin as I wanted it to be, but use the tip of your brush to do these, and only for the larger ones. Just towards the top and towards the bottom. Now you can see how this one looks like it's sparkling. That is the effect that we want to convey. Try to go in one direction. I've chosen this right side for my sparkling effect, so try to keep into that. I think that's enough. Now you can see how these little sand drops are looking as it's sparkling. This is the effect that we want to create in the class project. As I said, it's a completely different and new technique. We are done with the exercise. Let us remove the tape. Are the edges dry? Yes, the edges are dry so I'm going to remove the tape. Here you go and you can see how the surface wave has turned out, and this is what we will be doing for the class project as well but on an advanced and a slightly bigger scale. But I promise you'll enjoy doing this because I think this is one of the paintings that I enjoy doing, especially because of these ripples. I think this was the one that I enjoyed doing the ripples on. Here you go. Now let us have a look at the colors that we're going to use for this class project. The three colors that I have used are indanthrone blue, indigo, and phthalo green deep, all the three from Sennelier. The indanthrone blue is maybe 16, and we've already seen in many of the class projects before how to make this indanthrone blue, obviously. You can mix your phthalo blue, which is PB15, with any pink or red, which would eventually make that shade that darker. You can use that instead of the PB 16 in indanthrone blue if you don't have this original one. Then indigo, this also we've seen many times already as to how to make it. This is composed of PB16, PB15, and PB7, so you can see it's PB15, phthalo blue, plus black, plus PB 60, which is the indanthrone blue. You can easily make the indigo as well. All you need to mix is your phthalo blue with black, and you'd get indigo. You can add a slight shade of pink to it as well to give it a little bit more beautiful color that is a slight violet filled with, that's why we add the red shade into it. The indigo shapes in different companies and different, for example, this is from Sennelier and the composition is PB15, PB16, and PB7, but for White Nights I believe it's got a red component in it and there is no PB 60. It's just phthalo blue, a black, and a red. That's why I said there are various ways to make indigo, which is basically a darker shade of blue. That's it. If you mix phthalo blue with a pink or a red shade and a little bit of black, you'll get an indigo shade, but I believe many of you may already have an indigo tube, you can just use our dirty. Then the next one is phthalo green deep. This is again from Sennelier and the composition is PB 15 and PG7. PB 15 is phthalo blue, PG7 is phthalo green, which is the two main colors that I said is a must for painting seascapes. The composition having those two pigments that we discussed, but this one is greenish too, which means that there is more of the phthalo green content in it. With the exercise that we just did, you saw how I created that dark greenish-blue color. All I mixed was my phthalo green and my indanthrone blue together. Like I said, you may not have the indanthrone blue, so what you can do is you can mix your phthalo green with your phthalo blue and mix a little bit of indigo to it and you'll probably get a darker green color like this one, but remember the major point what I said, you don't need to use the exact same colors that I'm using. It's seascape paintings. You just need a lot of blues and greens, mostly the phthalo blue and phthalo green. These are the only two colors that you have. Then you can paint the class project and the exercise just using that as well. You don't need to use the exact same colors that I'm using. Now, for the class project, I'm using these two brushes from Silver Velvet series, a Size 8 and a Size 4. A Size 8 for the background and the waves, and a Size 4 for the [inaudible] and the reflection. Like I've already mentioned, we will also be using a masking fluid, so keep an eye out for the alternative method that I've already discussed with you. If you're not happy with the exercise and the colors and the brushes, let us go ahead and start our class project. 17. Day 6 - Surface Waves Part I: Let us quickly mark the position of the ripples in the water. Let's say my deepest and the darkest spots are going to be here. I'll have my darkest ripple there, then from here I'll have another ripple. Make sure that you draw it very lightly because these are ripples and we do not want our pencil marks to be seen. I think that's it. Then, we'll have some nice ripples going this way. Give the wavy motion to the water. All our strokes in this direction. In this painting, the shape of your strokes is going to have a lot of importance, like I said. Some another strokes here. We're just trying to mark out the direction of the stroke so that you remember when you are doing it with your brush. That's good there. Let's have some strokes here. Then the strokes here are also going to have some angle, some straight here and then now because it's at the top it's going to be lighter and less detailed. This is how they just do basic sketch, I know it's very light that I have made. Let me show it to you closely. You can pause here and add in your pencil sketch. Now, let's get to painting this. Now that you've added in your pencil sketch, let us mark in some sunlight spots in water. For that obviously, I'm going to use my masking fluid. Don't worry if you don't have masking fluid because these sunlight spots are going to be entirely in white, so you can do it with white later on. I've already explained this in the overview. You'll be able to do it, don't worry. Here, I'm going to use my brush, I'm just going to drop some paint at certain places. This is going to be in a round shape because it's the sunlight spots. Just create these round shapes at random places. Then I'll have a bigger one here in this corner. You can have many of them clustered and close together. I want my light to be entirely on this right side. A big round, another big round. Here, I'm going to have a few of them clustered together. Maybe another big round here. I will have another bigger one here. Towards the left side, I'm just going to add just a random once again like one off here and there. Then we'll add some more here to the right side. Then, now towards the center of the whole painting, what I'm going to do is I'm going to add some random ones. I've dipped my brush in the masking fluid and I want to do some splatters. Let's see. Dipping my brush and then add some splatters, so that would make the masking fluid fall at random places. They'll be small as well so can you see, they're small. You can do the splatters with any brush obviously, but here it's with the masking fluid, that's the only difference. Now we've got these splatters scattered over. The big ones are here on the right side. Now let us wait for our masking fluid layer to dry out so that we can start with our painting. Here, the masking fluid is dry, so I'm going to apply water to the whole of my paper and we'll be working from top to bottom, so make sure that you apply the water nicely. The reason why we're going to work from top to bottom is to make sure that we can work on each of the ripples. Even if our paper dries at the bottom we'll be able to apply the water and the water will just flow down rather than flowing up and ruining the existing strokes that we've already applied. Let's go ahead and start applying the water evenly. At first make sure that you apply the water evenly. That is on all the areas of the paper, even though we're going to work from the top region. Here, I have applied the water all over. Now I'm going to start at the top. I'm going to take my size 8 brush for the same. Taking my size 8 brush and we're going to start with indanthrone blue so this is PB 60. I've already mentioned the colors and I'm going to start with a lighter tone because we're starting at the top, so we need to make sure that our tones are lighter. Keep your tissue or the cloth that you're using in hand so that you can always remove the excess water from your brush. Here's a medium tone, making sure that I remove the excess water. Going to start at the top. I've pressed my brush here so that I get this shape. Like I said, always focus on the shape in this painting. Here, now at the top, it is fine even if you don't have much bigger shapes. The shape is fine at the top. Still we need to be a bit careful. I think I want to give in a little bit of color at the top at first and then I'll add my strokes on the top so let me go with a lighter tone. Again you see, I'm just going over with my brush and adding that lighter tone at first. This is very light. You can see the blue that is going on the top, it's very light. Keep adding and applying the blue until around mid position. Let's see. Until around the midway position, I have applied my blue. Now, we'll go into other ripples. Here I'll take my blue paint again. But this time again, one tone darker than what we've already taken and make sure that you dry out your brush because we do not want any excess water. We'll add in those ripples. Can you see? Now I've added in those ripples. Make different shapes with your brush and try to follow along the underlying pencil marks that you've added. This is the reason why I said that, it will be really helpful if you can just mark out with your pencil how you want your ripples to be. You can have a look at my painting, that is the final painting and then mark out the position of the ripples which will be really helpful to do with your pencil sketch. I want a larger one here. Just some water shapes. I'll go on to add more. At certain places I'm actually pressing down my brush and certain places I won't press down my brush, so then I get these different water strokes. Can you see that? That's what we're trying to achieve. Making these lined strokes here. Then I'll go further to the left again and have my stroke move in a wavy manner towards this side. Now I want to add certain darker strokes at the top. So for that, I'm going to take up my indigo, a little bit of indigo in the brush and add to the top. You can either use indigo or you can go for a darker tone of flashing blue. It's totally up to you which you want to use, but then we're working on adding a darker tone now itself. It's basically working from the top to the bottom. I need to remove that extra water from my brush, otherwise it's going to create some darker spots. Here just added darker stroke. It's totally up to you. If you want to add the darker stroke in the exact same place that I'm adding. You can actually improvise and change the whole thing yourself. Let's get back to adding our blue strokes now. I'm going to go with my baby strokes again. My baby stroke. I've added a lot of these baby strokes. Now I can see that the bottom part of my paper has started to dry. What I'm going to do is, I am going to keep an angle for my board like that so that we can make the water that we're reapplying to fall down, that is, go down rather than moving upwards. Here I'm reapplying the water here at the base. Make sure that you make use of gravity to help you here. I'm just following along the edge of my previous strokes, and added the water again. Now let's get back to adding our blue strokes. Here I'm going to add my blue strokes and follow along the direction that I've marked, there like that. Groups are going to do it this way. After reaching here, is where I'll move to take my viridian or the green that I'm using here, and we'll blend that in, that is the green stroke. We'll apply the green all over now. Here towards this side, it's going to be the green color. Make sure that the paint that you're using is diluted here. It's diluted version of the paint that I'm using. At first we're just adding in the base tone now. Let me take a little bit of the blue over to the top region and blend it. When you're blending in that region, make sure that you don't have a lot of water on your brush, otherwise you're going to create loose. Did you see the blend that I just made? I made sure that I dried my brush while I was adding the blend. I've got extra paint from my brush. Just going to blend that again. That gets blended. Let me do the background. Here again. Now I'll take some blue to this side and blend it. Need some blue on this side. This is the background look. I'll take the blue again for my bottom stroke. This region here that have been marked at the bottom needs to be darker and needs to be blue, so you can go with a nice dark blue. Adding the blue. We need to be working quickly, otherwise all our strokes are going to dry out. This is still the background. We just added that. Now filling up the empty spaces. Let's go ahead and start adding our medium tones. For that, I'll go with my blue. Again, using the blue, I'm going to make my strokes, my upward strokes. All of my upward strokes here are going to be with a nice medium tone of my indanthrene blue. They're going to be at an angle like that. We need to add in the form lines right at the top of that pencil sketch that we've added. Added them. Now I'll go with a nice viridian stroke. Again, I've taken viridian, but I've tried it out so that I don't have extra water in my brush. I'm going to extend the ends of these lines such that it looks as though it's viridian, and then dry it where we made that pencil sketch, going to draw an outline, and then add this viridian stroke towards the bottom. Did you see that? Now that area looks like a wave. Then you can go with more viridian and add in shapes in the water. The next part of the wave, like that. The next stroke is like that. Just follow along the pencil mark that you've made. So this is the reason why I said that adding that pencil mark was really important so that you get in the shape directly. I've got some shape like that, and I need to mark that. I think this edge has started to dry, so we can quickly work on that and get rid of any harsh edges. But don't worry too much about harsh edges because there is a way that we can avoid that later on, not now. Rubbing again to get some of that viridian on the water region. Now some blue on this side. I'm going to follow along. Here it's some blue strokes in the form of a wave. We add some darker blue strokes on the left, so just adding on the top. Now we have this region. For that, again, I'm going to start on the left, following along my pencil mark with a dark blue tone. I want this left side to be darker. Now I will lighten up my stroke and go with viridian. I'm going to take viridian. But I think I need to dry my brush and go with viridian. Adding the next part of the wave. You can see the consistency of the paint. You can see it not too much diluted. Also make sure that you remove the excess water from your brush. Following along my pencil sketch is to sketch on the side and here the wave is such that it's moving towards this side. Need a darker tone at the top, so I want to apply a little bit more darker tone at the top. Now because we are moving downwards, we can go with a slightly more darker tone because we're reaching towards the bottom. Now we'll add some strokes with the blue paint and make it join the green such that it looks as though the wave is a mixture of this blue and green together. Dislike my date here and make sure to blend it together. This is somewhat off to achieve. I've gotten dark paint here, but I immediately wash my brush and I'm going to move that paint around. This is how you work according to what's there on your paper to remove the strokes and get the stroke that you're looking for. Here again, I've got a lot of paint in my brush, but I'm just going to use that paint and move it towards the other regions because here the angle of the wave is in this direction. When you do your strokes it appears well on the paper, so make sure that you show it. The way you do your stroke matters, that is the movement of your brush. It's really important. Taking my green and lending along. I take my blue now and add towards this side. I take a little bit of my indigo and add to this right side for a bit of depth. You can see the nice wave that we've added. The very V-shape. Now we get to adding the leaves at the bottom, so for that, I'm going to go with viridian. Here is viridian. I'll apply viridian here at the end, so this right side is going to be this greenish until around the middle and can go darker. I know we already applied some blue there at the base, but now that blue is going to mix with this green and form like a bluish-green color with the viridian. It's going to form like the aqua green. Now that we've added that, let's go with indigo or darker Prussian blue color. That is what is going on the left side. Again, we'll start here and follow along the pencil mark that we added and fill up that base region. Let's fill it up. You can see the range of color tools that we have used. Take the Prussian blue color and applying on this side we need it to be as dark as possible. Here, blend it towards the green tone. On this left side, we need it to be darker. Taking the paint and at the bottom just blend it towards the green. Blend it along with the green color. You can see how that mixture of green and the blue has formed. But here on this left corner, we need it to be more darker. I think we'll add in a little bit of indigo. Now, taking a darker tone of indigo and applying that, so you can see how dark the indigo is towards this bottom side. I've taken fresh paint out of the tube and taken it as dark as possible. Because here on the left side is where we need it to be dark. I'm just leaving a slight gap between the edge because I want to show a little bit of light. There is in light as in slightly lighter than this bottom part. As always, go all the way to the right to blend it. Each time I pick up this hard lump of paint from my brush, I go and apply it towards this extreme left side bottom. I want it to be the darkest. You can see how dark it is there, that dense pigment and dense paint that I have picked up. I think we're good now. You can see that clear blend towards this side with that darker tone. Now, again, if there are areas that you want to actually work on and create some perfect strokes, it's absolutely fine for you to go and work over the top again so long as you remember to soften the edges. I'm going to show it to you exactly how. I want to work on this right side a bit because I want to darken the stroke. I feel that it's slightly lighter. What I'm going to do is I'm going to take my viridian when I want it to be darker. Then I'm going to absorb all the extra water. I am going to just go and apply it to this right side. Can you see? It's formed a harsh edge. It's not soft, it's formed a harsh edge. But then it's darker viridian at the right side. But then now what we can do is, we can immediately use water and a brush to just soften out the edges to the background. Using a lighter amount of water, of course. Don't use a lot of water. Remember this softening technique and just soften out your stroke. There, I've softened out that stroke. Now I've applied the darker tone that I wanted on that right side. Similarly, I want to get in a little bit of darker blue towards that bottom. Here, taking that blue paint and adding. Again, I need to soften out the edge. Softening out the edge and bringing my paint inwards. Like that. There. I think that's good, isn't it? We've got some nice blue strokes there. Where else do I want it to be darkened? I want it to be dark on the left side here. I'll go with my paint again. Absorbing all the extra water from your brush is absolutely necessary in the step. Again, I'm going to use a softening method to soften out the stroke, and make it join with my other strokes. There. I've softened it. Let me apply a little bit more blue. I think that's good. We've softened it. Let's add in a medium tone of the green here. Adding a little bit more viridian running along the edge. Then, obviously, softening the edge. Soften the edge by using water and blending into the bottom region. Even if it forms a line over there, that's absolutely fine. Because that's the line of the ripple. But we shouldn't have any harsh edges along the wave. That's why I'm softening along the wave, which is really important. There. Now, we have painted along the wave and added in our tones. I think I'm going to apply a darker tone too, slightly around this region as well. I've applied the stroke, now I'm going to soften them quickly. Now that you've applied the water, you'll be able to add in your viridian stroke right from the top and blend it. Make sure to follow along the shape, which is really important. Don't forget the shape. Now I've added enough colors there. I feel that I can lighten up this region a bit more. I'm just going to take my flat brush now. Because the top region is what we worked with at first and it's obviously dried out a lot, you'll be able to apply water on the top. Now when you're applying water on the top, make sure that you lay down your paper because you don't want your water to flow down into the regions that you've already painted. You can actually, if you want, have your board lift up in this direction. This painting, basically I want to show you the different ways that you can rework on your painting. Since it's already dried, you can see how applying the water is creating the effect that it has. I'm holding my paper at an angle to make sure that all my strokes, water that I'm reapplying, flows and flows towards the bottom. I'm going to keep my tape under the bottom here because I'm working on the top now. Let's get in some darker strokes at the top. Again, going with the blue and applying. That's too dark because I want it to be slightly medium-tone. It should be lighter than this. This area here should be lighter than this. This should be lighter than this. That's how we were going to work. Got some nice strokes in there. Now from the right side. Towards the middle, you can have just the darker strokes at certain places, not all the regions. I think that's enough. Let's not ruin it anymore. Towards the left here, I want to add in some strokes at some angles, picking this darker paint. Now you know how to rework on something that has dried. Let us now wait for this whole thing to dry so that we can remove the masking fluid as less work on the details of this painting. 18. Day 6 - Surface Waves Part II: My painting is completely dry. Let us go ahead and add in some ripples, which is going to be in the foreground. This is like the reflection ripples. I'm going to start by taking indigo. Here is indigo loaded up nicely on your brush. This is a size 4 brush that I'm using. I 'm going to start around somewhere I guess. I'm going to add it in the water. I'm just going to go along the wave. You can see the wave is in this direction here. Then I'm going to create these shapes. Just going around with my brush like that. As you can see, I created that in an angle. In the center, you can have these strokes that extend somewhat little bit towards the center. Then some smaller strokes , then another one. I have to go along the direction of the wave. This wave has a direction like that at an angle. Whenever you're adding these strokes, you see they're always following that line of the wave. It's just some random line. Let's add in the center. I added these lines. This was the reflection part at the bottom. Now let's move ahead to the top. Towards the top, I'm going to need the paint to be more diluted. Here is my indigo. I'm going to add more water into my mixture so that I make diluted indigo paint. Here is my diluted indigo. This is what I will be using to add in the details. Remember that we're using the wet on dry stroke. The next tool is going to be here. Again, always make sure that you follow along the direction of the wave when you're adding these, the pull strokes. I added some there, but can you see, I followed along the direction of my wave. Now I'm going to add some towards this side. This is now where you have to be careful and add in a lot of these ripples. These ripples are what is going to give shape to your whole painting, so make sure you add them really well. This is where I said now is the point where you can add in some ripples by your own. If you have created some blooms while you are doing your strokes, this is the time to step in and add some ripples on your own. But always remember to follow along the shape of the wave, that is. You can see the beam that I am picking up and the strokes that I am doing. It's just some random strokes and adding these rippled shapes. I'm just looking at my background and wherever I feel that maybe my shape hasn't turned out correctly and add these rippled shapes. This is how you can get rid of your errors at this stage of your painting. It doesn't have to be at the same place that I am adding. Just try to cover up any marks or maybe extra dark pencil mark or maybe like a bloom or like a hard edge that you want to cover up. Just go ahead and add with your brush and in the ripple. This is where I said that you have to make sure that your strokes are lighter. Use a diluted version of indigo. Take your time to do this. As you can see, I'm doing it really slow and it's mostly just random the way I fill it and trying to follow along some of the shapes of the wave, it doesn't have to be perfect. I can see nice water ripple marks, some inside the wave as well but when you're doing inside the wave, you have to make sure that it follows the shape of the wave. That's it inside the wave and at the top part. Maybe we can add some to these left areas. Now I'm going to dilute the indigo again and add to the bottom. Want to make sure that my tip of my brush is pointed and going to draw some lines along the edge. These lines will act like some ripple lines. See I added one line, so parallel to that, I'm going to add few more lines. For that. I'm going to take indigo, this watery consistency of indigo and load it in my brush and using the pointed tip to create these parallel lines as outlined so it's curved, but you're following along that valley shape and making each of them follow along. We will make around three of them together by leaving some gap between each of them. Make them broken as when you don't have to draw it continuous. That is all the three of them. But can you see you've added like a slight line there and you can continue at least to one of them to work the right side but make sure that it's broken, don't add a continuous line. In fact, you can do the same towards the top one as well. But for the top one, because it's got a green line, we'll use some viridian to do that. I'm loading my brush with viridian. Now I'm going to add that line I want to add it inside this wave. Added that line now I'll add another line in parallel to the first one but leaving a slight gap right next to it. One more. Now just add some ripple shapes and for adding those ripple shapes I'm going to follow along the length of the wave, that is the direction of the wave, which is very very important so here the wave is in touch, waved action like that. I don't want it to be too dark, so I'll just dab along with my brush. Last, I want to add it is here taking some more indigo and adding some extra lines towards this left side. Now we are done adding the ripples let's go ahead and remove our masking fluid. Lets remove them. There. I have removed the masking fluid. You can see how gorgeous each of these light drops are looking like. Isn't it perfect? It's looking like the sunlight is reflecting in that area of the water. But don't you think that there is something missing and we need to like make it look more original. As in these drops, they need to look like drops and have to have some originality. That is what I'm going to show you right now. I am going to use my paper knife. Just take any knife that you have. It just needs to have a nice pointed tip, which is absolutely necessary. Once you have that pointed tip and that's what we're going to use, please be careful if you're going to use a knife. I don't want it to be hurting your hand, so this is extremely dangerous for kids. I'm just giving you a warning. For example, let's start with this one on the left. You can see that around there. I am going to scratch out a bit outwards from that circle on my painting. Just scratching out a bit of the paper. Can you see I created a little scratch from that. Now it's looking as though it's got a little tail towards the end. What if we do that, the same thing towards all of the other sides. It's going to look like a star. You can't get that little teeny-tiny pointed head with a masking fluid. This is the reason why we use this to scratch out that little tiny pointed head to make sure that it has a pointed look. Let me show it to you how it ends up after you do it with this. Now, look at that one. Doesn't that look sparkling? That is why we use a knife. Please be careful. It's very useful tip, but please be careful when you're using the knife. Let us move on to the next one. Just make sure that the blade that you're using has a very pointed tip, which is why you have to be very careful. Also don't press too much such that you tear your paper. See I've added a pointed tip for that one. Let's do the same for all the others, very careful with your blade. Again take your time to do this. Do not rush in this process. It is basically scratching out that little fast layer of your paper. Now you can see all of these twinkling drops. You don't have to do it for all of the extremely small ones. Just the larger ones would do. Here we've made most of our drops to be twinkling. You can see most of them really looked like twinkles. Oh, God this is really nice. I really love how this has turned out. Don't worry if yours isn't as perfect as this but I'm pretty sure that if you try it out, you'll be able to do it. That is you'll be able to pull this yourself, trust me. I think since we are done on adding all of the details and also the twinkling drops, we can remove the tape. Here's the finished painting for today. I hope you like it. Let's go ahead and write in our name. Sign in our name, which is obviously important. Here, I'm going with my cadmium red. It doesn't have to be cadmium red. Like I told you, remember, that you can do it with any color. I just prefer to do it with red. I'm using a size two brush. You can do with any brush as well. It's better to do with a brush because then you start to get your signature style with the brush itself. Here it is, the finished signed painting. I hope you really like it. 19. Day 7 - Techniques and Exercises: Welcome to Day 7. This here is the painting that we are going to do today. It's basically in the sunlit ocean where we have the reflection of the sun right here in the middle. We're going to use several techniques for that. We also have those little sun drops that we learned in the last lesson. That is the shining, sparkling sunlight drops in water. Let us first have a look at the techniques that we need to learn this painting. I'm going to use the other half from the last day's exercise for this exercise. Let us split our paper into an area for the sky and the ocean. Because we're doing a daylight scene for the exercise, I'm going to do a slight night scene here. We'll split our paper into one by third. The rules of composition are very easy to understand. It's basically just that you need to place your objects or the horizon lines at around one by third or two by third of the paper. Here we are going for one by third. This is the whole of the paper, and if I split it into three, so that's one by third. My horizon line is going to be there. Let's just draw a straight line for the horizon line, so that is going to be the horizon. Now first, we'll paint the sky. The sky is going to be darker because like I said, we're painting a night scene. Let's quickly apply water to the top region where the sky is. Here I'm applying the water right above the horizon line. We need to be very careful that our line stays above the horizon. Although it wouldn't really matter if your watercolors do flow down because the ocean colors are going to be darker, so it's absolutely fine. I have applied my color. My brush still has a tint of the teal blue I guess, because you know teal blue is a very staining pigment and leaves stains, even your brushes if you don't wash them. I didn't wash them after last day's work and that's what's called a tint of blue, if you look at that water. Now, let's go with a darker tone. I'm just going to apply indigo because like I said it's going to be a night scene. I'm taking my indigo paint and applying that in the sky. I'll probably keep it flat down my paper. I'm just going to apply some straight lines and creates a beautiful cloudy effects in the sky. Just basically normal wet on wet that we do for the skies. We're taking it down a long the horizon and I'll go all the way to the right. I'm just adding some darker tones because I'd like to keep it really dark to depict the night sky here. All the dark towards the top, just in that center portion. I'm trying to keep it a little bit lighter, so that will add in a moon for the night scene. I think that's enough. Let's go ahead and paint our ocean. For painting our ocean, let me show it to you, for this one here, what I'm going to do is I'm going to apply water to my paper but only on the bottom side. The reason is we're not using masking fluid with the exercises because I'd like to include it as the techniques as well as the alternate method of using the masking fluid. No masking fluid, just apply water to the bottom, because the bottom part is where the larger waves are and we need to put in those larger waves. But towards the top, we need to get in some dry strokes as well. That's why I'm going to leave this region here without the water and just the bottom part with water. We're going to paint with indanthrene blue so go with a darker blue. It actually doesn't matter if you're going to paint with indigo as well. But if you're going to use indigo, I suggest that you mix it with a little bit of teal blue or a lighter blue so that you can create a slight difference between this and the paint that you put on your water. So there, I used my indanthrene blue. What we're going to do is we're going to start from the left and the right. Don't start at the center. Start at either the left or the right. Keep your paper at an angle because we're not waiting for the sky to dry, so I don't want all the paint to flow up. It's all right if the paint flows down but not up. Here just along the horizon add paint. You need to make sure that there is no white gaps. Just below the horizon line, a straight line. But what we're going to do is use your brush, pick up that paint and start from the left side. But as you go towards the center, try to make them into dry strokes. The dry strokes works well if your paper is having some texture, if it's hot pressed paper, you won't have any texture at all and you wouldn't be able to create some dry strokes. Let me show it to you on the right side as well. So we start on the right side, and we go towards the left, and there, my strokes are dry now. I'll take my brush and move my stroke. Can you see those dry strokes? You can already see the dry strokes as I approach here. But towards the right, we needed to have more color, so hence there make it dry towards the center. So there. You can see my strokes they're dry leaving some whiteness in that region. Do the same for the whole. But as we reach towards the bottom, we'll not leave any white. I mean, we applied water because we wanted to have some nice waves. Let's go ahead and start applying towards the bottom, we'll add more white paint. But towards these regions, I wanted it to remain white, mainly because it's the closest part towards the moon light. Now I'm taking my indanthrene blue, covering up most of the base part. I've covered up most of the base part. Let's now go ahead and add in some nice waves. I'm taking my paint. Now I take a concentrated amount of paint because we want to add in waves. Towards the top, I'll add flatter lines for the waves, so there. I'll keep my paper flat down because I don't want my waves to spread. These flatter lines will contribute towards the waves. But as we move downwards, we need to increase, so making my waves larger, and also start giving it a shape there, we need a shape, and at the base adding more bigger waves. That's basically it for the painting process of this one. Imagine painting this in a larger scale, so that's what the class project involves. But we obviously need to add in the moon and the light here in the center. Mixing a little bit of indigo so that I can add some darker waves towards the bottom. Because my indanthrene blue is starting to get mixed up with the whole lot. Let me just add some of my sheets here. Now we'll wait for this to completely dry so that we can add in our moon and reflection. Here I've dried up the paints, and you can see it looks beautiful with the waves, but we need to now add in the core element, which is the moon which gives the reflection of white onto our ocean. Here is my white paint and I'm going to load my brush, I'm using a size 2 now, load my brush with the paint and I'm going to add the moon here in the center. We need to focus as to where have we added the white. As you can see, my white is slightly towards the right side, it's not exactly in the center, so then my moon also needs to be right above it, not in the center. Here just taking the middle point and the moon needs to be there. I'm just going to quickly add the moon by making a circle with my brush itself. You can use a circle maker or a compass if you're not confident in adding the moon with your circle. I paint inside with the white itself, adding the whole of it with white. Here I filled it up, now let's give it a little bit more dimension. With that, what I'm going to do is I'm going to pick up a little bit of that same indigo color, but now when we apply it on the top because it's got that white in the background, it's going to spread and create some unique texture or unique shapes on the surface of the moon. Here just adding, make it darker here, there. That's looking amazing, isn't it? But I'd like to create some more bright area, so I'm taking my white again, and then add it to the areas that I wanted to be bright and white. For example, to this right side, and they get more bright because it needs to have that white where it's being reflected. Obviously, although the moonlight is much brighter and what we can imagine. There's the moon that we've added. Now let's go ahead and add in the reflection areas, we've already added until here, let's go farther down. I'm going to use my dry brush strokes like that, the dry brush stroke is easy, we just need to work on the texture of the paper and make sure that your brush is damp and not too watering. If there's a lot of water on your brush, you can absorb it with your tissue or cloth that you're using. Here I absorb all the extra water, and then I use that to create these dry strokes, so you can see there's the dry strokes. The problem with using white paint is obviously you'd have to go with multiple goals because otherwise, the white being mixes with the dark blue underneath and turns like that, we just need to keep adding a lot. I'm coming down and I've added all the way down. As I'm reaching down, I'll start to add some spots so that it's more clear as to the reflection. Here the spots are closer together, and as we go further upwards, the reflection spots will start to get reduced into tiny drops, and those tiny drops is what we see as lines at the top. Start making those small, tiny drops, use a pointed tip of your brush. I'm using a size 2 brush here, and then it starts to make into these drops. We'll be painting this in a larger scale now with the class project. If there are some areas where your dry brush stroke for the blue didn't work, then obviously, you can use your white paint and strengthen it at the top. Here what I'm doing now, you see I'm adding more with my white paint, and I'm going over the paints that I've already added because like I said, it gets lighter once it's drying up, so we probably need to add more. This is the technique that we are following. But obviously, if you look at this painting here, I've increased the reflection part, although in such a small painting the reflection will be only slightly in the middle. I did this on purpose mainly because I wanted to have an area that I could show you the dry brush technique. This dry brush technique is quite difficult if you can't control the amount of water that you're using on your brush and also if your papers not textured. Be careful as to how you approach the dry brush technique, other than that, there isn't much to say about the techniques, I'm going to dry this up so that we can remove the tip. Here I've dried it up, also I didn't add the sparkles to the drops on this one because it is a really small surface, and you already know the techniques how to paint the sparkles. It's absolutely fine if there is no sparkles added as well, so we don't have to stress about adding that if you can't do it. Here is the exercise completed for today. Let us have a look at the colors that we're going to use for our class project. We will need raw sienna, you can also use yellow ocher instead of raw sienna, or also known as natural sienna. The raw sienna, I'm using is from white nights, and it's PBr 7, so it's the raw sienna or you can use yellow ocher. Yellow ocher pigments are usually PY43. Then we will need cobalt blue, so cobalt blue PB28, or you can use ultramarine blue, which is PB29, or you can use both. For the ocean part, we will be painting with indenting blue PB60, but instead of that, if you have Prussian blue, you can use that as well, the indenting blue is PB60, which we've already seen how to make that color in a lot of the projects that we've covered before. The Prussian blue that I have here is PB27, which is from Sennelier, but the Prussian blue color might be composed of different pigments in different brands so just keep a note of that. But all we need is a slightly darker blue, that's it. For creating the even darker waves, we'll be using indigo, but don't worry if you don't have indigo or if you're going to be using your dark blue as indigo, then use black for your waves. We just need to understand the usage of these colors, that's what's important. We'll be using the raw sienna or the natural sienna here for the sunlight area here, which you can also use yellow ocher. Then for the sky will be using cobalt blue, you can also use ultramarine blue instead. Then, for the major part of the ocean, I've painted with indenting blue, this is where you can shift to another blue colors such as Prussian blue or indigo or whichever dark blue that you have, even if you're going to mix it. Then on the top of that, I have added these waves, as you can see, and that I've done with a mixture of indenting blue and indigo together, or you can also mix it Prussian blue if you want. These darker waves just need to get a darker shade of blue that you've already used, if you used indigo, go and mix your indigo with a little bit from black tones so that you get even more darker. If you've used indenting blue or a mixture of your dark blue, then just try to create an even darker version of it for these darker waves, just like we did in the exercise. Now the brushes that I have used for this class project are size 10 silver velvet series and a size 6 silver velvet series. The Size 10 for the background waves, the sky and everything, and size 6 for the smaller waves. We are also going to do a bit of lifting method to create the sun's rays here in the sky region. If your brush is like a velvet series brush and you have a great difficulty with water control using the natural hair brushes, then you can use a synthetic brush to lift off the paint. Because synthetic brushes are the best to use for lifting method majorly because they hold very less water. When you lift off and you wash your brush and you come back to your paper, there wouldn't be much water on it. Whereas, if you were to use a brush such as silver velvet series, you need to have more control and to dab it more on your tissue or cloth to remove all the excess water when you're using it for lifting method. That's the brushes that we're using. If you are happy with the exercise, the techniques, the colors, and the brushes, let us go forward and start with our class project. 20. Day 7 - Sunlit Ocean: Let us start. We'll start by adding a horizon line. Again, I'm going to look at one by a third of the paper, so that would be around here, and I'm going to add a line for my horizon. I think that's straight enough. That's the line of my horizon. Now, we're going to paint the sky first. But before that, let us add the masking fluid in the areas that you want to have those little sunlight drops. Here's my masking fluid. I'm going to add it and add certain drops. It's going to be right in the center of our paper. This is the center and let's add it. It's just going to be certain round drops on the paper at random places. Some of them can be clustered together. Keep adding. Now, as I move towards the top, I'm going to make them slightly smaller. Just small drops like these tiny drops. Towards the bottom is where we add the larger drops. As I'm doing towards the top, I'm just adding tiny and smaller drops. I think that's enough because, towards the top, we'll use the other technique, the Driver's technique. Now, lastly, what I'm going to do is I'm going to splatter some on the other areas of the paper. Just a random splatter. Now, immediately wash your brush if you'd want the masking fluid to settle on your brush. Now, we don't have to wait for the masking fluid to dry because we're going to find the sky first. While you paint the sky, this is just going to dry so let's just go ahead and paint the sky. We are going to be painting it with the wet on wet itself so let's just apply water. As you can see, I'm applying water right above my horizon line. For this one, we are definitely going to have a phone line for the horizon. There, so I have applied the water. Now, let's get to painting the sky. I'm taking my size and brush here. We'll start with raw sienna. Raw sienna or natural sienna. Pick up the color and we'll add it right in the center. This is the center where I have added those drops. Well, I think it's gone slightly towards the left rather than center but that's absolutely fine. Wherever you made those drops, that's where you need to pad in the sun. Let me just make sure that the water in my paper is even because I didn't give it an angle, so it might accumulate in pools in certain areas. But if you build your board and make sure that all the water accumulates in one corner, then you'd be able to wipe it off and make sure that it's not forming any pools on the paper itself. The center here where I've marked my drops, that's where you need to look. If your drops are towards the side, then you need to take care of that as well. Here, towards the center here, what I'm going to do is I'm going to draw a large circle with my brush. You see that? That line is going to be the sun rays. Go around. I've made a bigger circle because the paint is likely to flow inwards. If you make a smaller one at first, you won't be able to make it smaller later on. If you want to make it smaller now, all we're going to do is go inside but we have to be careful and note down how much of the cycle we're adding. I think that's fine now. That's a very good nice circle. It's right underneath. Now, all we're going to do is paint the rest. But before that, what I'm going to do is, let's make this a little bit bright. I washed my brush, and I'm going to pull out my paint like that and the center is obviously empty. Now, we go with cobalt blue or ultramarine blue, whichever you want, but this is cobalt blue. Let's go. Let's just add it onto the paper. The reason why we use natural sienna or raw sienna is because it doesn't mix with blue to create green easily. You'd be easily able to use it for your skies and alongside a blue without creating green in your skies. But we still have to be careful. Don't apply too much on top of it. Here, that's cobalt blue. As you can see, I'm making these shapes such that I leave some of the gaps so that it'll look like clouds in the sky. I'm staying right above the horizon line. The more color I pick, I apply it to the top side because the top is where I want it to be darker. That's my ultramarine blue. I'm mixing a bit of ultramarine blue because that'll help me to make it darker towards the top. The same on this side. Now, if your raw sienna is looking a bit odd, you can just use your water and spread it outwards from the circle. But make sure that you don't touch the blue and then go back inside with your brush because then you're just pulling paint inwards. I'm just using my brush to spread out my raw sienna towards the outside. It's just the sun's rays outward. I think that's enough. Let us see if our masking fluid has dried. No, I can see it's still wet in some of the areas. I thought this will dry faster, getting thin. I'm just going to have to wait for these larger drops to dry. Now the masking fluid is dry. Now I'm going to have an angle for my paper, so I'm going to keep my tape underneath. Let us start. We are going to apply the water onto the paper, but I am going to apply the water right just around the middle only. That's the middle of the paper. Towards the top, we won't apply the water but we'll follow the dry brush technique, so that is why that at the bottom I'd like it to have a wet on wet effect for me to make the waves in a nice shape. The base, just around halfway, I have applied the water. Now we'll stop. I'm going to take my size 10 brush again, and we'll start with the Indian green blue, which is the dark blue. You can also use Russian blue. Don't mind the colors, I've already told you that before. You just go with the colors that you have, the technique is important, the stroke is important, the tone is important, not the colors that we use. Let's start. Apply on to my paper. You can see because the paper is wet, we get a nice color on our paper. For now, I'm just going to apply on to the hole and there's all the extra water accumulated at the bottom. Let me absorb that. Now go back with my blue and fill up the base. Remember the tone is most important, so here I'm painting at the base and applying my colors. The tone has balanced the details. In this painting more than the tone, the details and the waves are what matters. Just applying my colors. As I'm going towards the top, the area where I had applied the water is over, so now is the point where we need to apply the dry brush technique back to in the center. I'll take my paint and start from the right side. Here I take my paint, start from the right side and move my strokes from the right towards the left. First, let's just fill up to the horizon. That is the horizon line, fill it up to the horizon in line. Now I'm going to apply the dry brush technique. It's basically moving your brush and letting it get those dry strokes towards that center region here. Towards the center, we need it to be dry strokes. Follow along the horizon line. Can you see? Let your strokes dryer, and some other places if you're getting a little bit of white, that's absolutely fine. We're going to do the same from the left side as well. Some dry strokes, taking my blue again from the left. You can see towards the top it's dry, that's wet on dry moving towards dry brushstroke. Along the horizon line, I'm moving my brush, and there it goes. As I reach towards the center, I make sure that my strokes are dry. See, it's dry. That needs to be right below the sun. On this side, I need to go a bit more towards the left and here a bit more towards the right. I'm applying very lightly. I've applied it in a very light manner. We have the light there now so that part is done. Now let's get back to adding the waves. I'm just going to strengthen the color on my paper here on the right side, and I need to make sure that the waves that we add are uniform. Just going with the color and adding on the top again, so let me just add my paint once more on the top. I'm taking nice wet paint now because remember the beam that you apply with your brush contains water and that will also contribute to keeping your paper wet. Now, well, because my bottom region has started to dry, just started not dry, I'm reapplying the water and my paint onto those regions. You can see I'm taking a diluted paint here, diluted paint. When diluted, I don't mean that it's lighter in tone, it's just diluted. I'm applying that onto my paper. This is to ensure that my paper stays wet. Now that we've added, we can go ahead and start adding our waves. I'm just adding my strokes here again because I feel there's a separation here between my strokes which I do not want. The right side is fine it's just this left side is gone a little bit darker and looks odd, but I think when we add the waves, it might make sense. Anyways, so for adding the waves, I'm going to switch to my size 6 brush, and I'll take indigo as well. Here is indigo. Taking a nice amount of indigo and I'll mix it with indo-green, blue, and I'll get a darker tone. Now, notice my color is going to be in a concentrated demand rather than diluted. It's nice amount of paint and we start. Towards the top, I'm just going to add lines. Add small lines towards the top same on this side. Just same lines. Here what I'm going to do is because I feel like a separation between the dark and the light colors, I'm just going to add lines wherever I feel that it's probably not looking uniform. That's good. Now we get into what's in the middle. Now we need to look at more detailed part. Here I'll add some larger strokes for the waves so there. I think I'll add a larger wave here and so larger waves. Now that we are getting towards the middle, we start making all waves larger and larger. Start with a line, press your brush and draw some waves. Drawing some triangular shapes here like in the darker paint, and also going near towards each of these some light spots now getting towards the bottom so my waves are going to get larger. Here at the bottom, my waves are definitely getting larger. Keep adding larger waves and getting towards the bottom adding more larger waves. Now you can see I'm tracing my brush and making use of all the Brussel area of my brush, that's how you can get to the larger waves. We've gone down to the bottom and we've started adding the larger waves, let me just get back to the middle and add some more smaller waves now. I'm going to use the tip of my brush again and add small lines like these in many of the areas. Even though your paper has dried, it's absolutely fine now when you're adding these lines. I'm looking at the areas where it lacks the waves so wherever I see that there's not enough wavy sheet, I go ahead and add my wave there. That is add my lines there. I think here we can have some more. In this video here let's add some more and here. I think we are good to go, I'm just taking my darkest tones from my palette and applying to the bottom. What we have to do is wait for this whole thing to dry so that we can remove the masking fluid. Here it's now completely dry, let's remove the masking fluid. There we go. We have removed the masking fluid. Now, what we have to do is as you can see, there's a drop in this line that we made. We could have added it all the way up through down here. But I didn't want to do in the wet, on wet area that we had to draw the width. So what we're going to do is we're going to join these two together with the help of some dry brush strokes with white again. Let us take our white paint. We're going to make sure that my strokes are dry so I'm not diluting it too much. It's concentrated. I will apply in horizontal manner like this, such that I get these drivers strokes, but I need my paint to be diluted and also a huge amount of paint. Because otherwise the white when it dries up, it's going to turn lighter. In order to avoid that we needed to be concentrated. You can see just use these dry strokes. Come and join all the already existing drops that you have. But make sure that they get thinner and also don't add too much. The large chunk of white will be right below the sun. Starting there. As you can see, my strokes are really dry. I think often there is enough. Maybe leave a gap and adding there. I'm having to go multiple times over it because your white definitely gets lighter. Just try and join these. Also don't make it in a pure lines, some of it can extend outward. I think that is fine. Now, what we need to do is make sure that each of these drops looks like the sun's rays. We going to do the knife technique. Please be very careful when using this. This is really something that you have to take care of. Just going to drop-off in the direction that I want my sun's rays to be. Now, I've made that one have the sun's rays. This is much better than adding the white on top of these because the whiteness of the papers that you have here, you can never get that when you're adding white paint. You can clearly see that in the areas where you've applied the white. But that region was a region a little bit more further away from the sun. So it was okay to apply the white paint and even then you saw how many layers I have to add. But if you were to add these lines with your white paint, imagine how many times you would have to go on top of it to get it to actually look white and by the time you do that, that is a high chance that you would lose the shape of that pointed tip. This is the reason why I prefer doing this. But if you don't want to do that, you can go with the white paint itself. Then towards the bottom, so I'm going to do that for each of my tiny drops. Just doing it for the bigger ones. I think you've got it, there is some more. I think I have added for all of these. Now, let me just go ahead and add for some of these smaller ones. Just some of them, not all of them. Ones at the top. I think that's good enough. But now we're going to do something just to give it the effect of sunlight. We'll go and take on raw sienna, the natural sienna that we used and let me dry my brush because we don't want a lot of water. We're going to apply just towards the edges, but make sure that you don't move any of your blue pigment that's something you have to be very careful. Don't apply in the center. Just what's the sides? Because as you can see, we have the white and then around it is the yellow region so that's why we'll apply some yellowish tones, warm tones around for mocking the warmth of the sun. As you can see. Now, as I've added that little raw sienna, it's looking much better rather than leaving it quite. Now, the main thing left to do is to add it to these drops as well. What we can do is just take your raw sienna and apply the color diluted amount again, not a doctor amount. Diluted amount through each of these heads that we added. I know it's very hard to get your paint to appear on that because it's actually the underlying layer of your paper. But whatever you get an add on, that's enough. It doesn't need to be perfect to game. You just need that subtle tone of raw sienna. The lesser, the better so don't stress on it's not coming out perfect. I think that's enough. So let me show it too closely. How much of raw sienna there isn't my paper? So can you see it's very less that you can in fact see that that exempt any at all. The other drops. Let's leave it at that. I'm going to touch them. We'll get to those other drops towards the other areas these are sun drops, they're just probably little bit of form in the water. Here you go. This is the final painting. Let's go ahead and remove the tape. Here is the finished painting for today. I forgot to add my signature. Just looked at this corner and realized that I didn't add my signature, so I'm going to do that now. Let's get to it. So he is muted. Very important. Add your signature because this is the masterpiece that you created. Taking my cadmium red. I'm going to write it in the dark region. Now finally again, here is the finished painting. I hope you liked this one. Thank you for joining me today. 21. Day 8 - Techniques and Exercises: [MUSIC] Welcome to Day 8. This here is the painting that we are going to do today. It's an image of a boat on a tropical water seen from the top. It's a top view of the water area. It could be taken from a drone or from a helicopter. It's the top view. One thing we need to understand when we're painting such things in which there is a top view is, there is no aerial perspective that we have to implement using watercolors. This is mainly because where you are at the top of the ocean, like on the Earth's surface, when you're looking down, all of the areas are mostly equidistant to you. That is when you're taking the drone shot, all of the areas will be in equal proportions. There is no aerial perspective. The only thing that we have to implement is obviously the different colors in the water. This is the class project that we're going to do. Let us do a similar one for the exercise and try to understand how we have done the techniques. I'll be using masking fluid for this exercise. That is, I will be masking up this boat so that I can paint freely around the water area. But let us look at the alternative of how you can proceed to this painting without the masking fluid method. Without a masking fluid, just draw the pencil sketch of the boat and leave it there, and then paint the whole area. In the end, you can just add your boat on the top either using gouache colors or even using watercolors itself, but when you're using it with watercolors, make sure that you use a darker color for your boat. You won't be able to add any lighter areas, such as yellow, for example. But again, there are options to add yellow as well. For example, if you use an opaque pigment such as cadmium yellow, then you'd be able to add details on the top. You can use your white watercolor as well to add foam in whatever area and all that. I'll show all those methods right now. Here is my paper ready. Let's go ahead and paint a smaller version of this. I'll show you the alternative method and the techniques. Here is my paper ready. I'm just going to quickly trace out the shape of a boat. Let us say there's a boat here, and I'm going to make it slightly smaller. [MUSIC]. There. Such a small boat, that's all we need. If you want, you can give it a dimension, but I'd like to go over the top view itself rather than a side view. In the boat, there's going to be some details in the center and the motor area at the back. Something like that. Here is the quick pencil sketch. Now let's go ahead and start the painting. I'm going to apply water to the whole of the paper. here again, like I said, we're not masking out the boat and I don't want to paint by going around the area. I believe that when you do a painting by going around the area, you create a harsh edge around the object, and also your strokes won't be perfect because you won't be able to paint freely. So this is the reason I advise against painting around the area, usually. Just go with the other methods. Well if you'd rather paint around the object and you're fine with it, then obviously, you can go with that method as well. Here I'm applying the water evenly because it's a smaller surface I believe this is enough. I'm picking my size 10 brush. I'm going to start with bright blue, pthalo blue, that's my black-blue, and this is what I'll add for the water. I want it in a nice diluted consistency. We're just going to apply to the whole of the paper. There, applying my blue color. Just apply it to the whole of your paper, that's it. Don't bother about any strokes or anything because it's wet on wet, it's absolutely fine, and we just applied the water. If there is a lot of water on your paper, then it's going to be absolutely fine when you're adding these strokes because they will just blend together without creating any stroke marks. We don't want any stroke marks. I've applied a very medium tone because I don't want to be having a very darker tone of the pthalo blue. We apply the whole of it with the color that we want. Now we get to adding the details. For that, I'm switching to my smaller size 6 brush and we'll start dropping in paint on the top to give it the tropical effect. Not just the tropical effect, but the accents in the ocean. It's basically what you see through the water. It must be algae, it must be the darker parts of the ocean because of seaweed or such other stuff. Here, I'm taking my indanthrone blue PB60. Don't worry, you can put indigo as well. Using that, all I'm just doing is dropping it in the water like that. Because our paper is wet, we just painted it, all we need to do is just drop the paint into the water area. Can you see? Making some strokes like that. This is the most important technique for painting this one. But we can also do some other kind of strokes, we do that in the class project, but the main thing is to understand the water control that is to keep your paper wet like that. So you've got to apply a nice low amount of water onto your paper and make sure that the underlying background stroke of the first color that we applied is not seen through. One thing we need to understand is when there is a lot of water on our paper and we're been through, the brushstrokes will not be seen. Remember in the previous day's project, we wanted to make sure that the brushstrokes were seen because we wanted to depict the movement of water on the surface. But this one, for the background stroke, we definitely do not want any movement to be seen. For the background, we just want it to be plain, cool, one color. If that is the case, then you need a lot of water when you're applying your stroke. Only then, you will not see the movement of your strokes. Once your paper starts to dry, you will start seeing more of the brushstroke that you're applying. I don't want to be adding to all the corners, but now I'll go with a slightly darker tone and make sure that I add a darker tone somewhere here. Maybe let's add another greenish tone as well into this water. I'll probably take my pthalo green and I'm dropping that into the water as well. It's not going to that corner there. Otherwise, it'll look like we're adding too much into the corners. These could be little drops of algae in the water area. Here I've dropped a lot of these details. Sometimes I'm just using the tip of my brush and sometimes I'm making larger circles that's what I'm doing. Now one thing I want to do is, probably, I'll add a reflection of the boat. So let's take a little bit of pthalo blue. For adding the reflection, as in where the light has dropped, assuming that the light is from this side, we'll make it towards the right. If we're adding towards the right, I've just taken my bright blue, and I'm just going to run through this side like that. It creates a edge to the boat surface and it'll be the reflection when we paint boat later on. That's it. [NOISE]. It's just quite simple, very easy, I believe. Now, I think this is quite enough and very easy to understand. Let us wait for this to dry so that we can add the board on the top and I'll show you the method of adding it without the masking fluid. This is completely dry now, so I'll paint on the top. For the class project, I believe we've used some darker colors, such as transparent brown or burnt umber and alizarin crimson, which is like a dark red color. So it's easy to come on the top, but I want to show using some other colors for this class project. So maybe let's go with indigo. No, not indigo. I'll take indanthrone blue for the surface of my boat. Just go with a dark blue like prussian blue, or even ultramarine blue. See, because it's darker, it'll easily come on the top. One surface of the boat. [MUSIC]. Okay. There. The motor area in the boat, I'll probably add it with a darker tone, but it's obviously not going to be seen, so I'll make it visible using some white maybe. Right now, I'm taking indigo and just adding towards the edge. Now for the inside part, I know that there's a little bit of phthalo blue inside, and you see it's not white, it's blue, obviously, but if we take a lighter color, such as cadmium yellow or even cadmium orange, because they are opaque colors, they should be easily able to paint on the top. Here, I'm taking my cadmium yellow and using that on the top. See? Because it's cadmium yellow, it's very opaque watercolor, and it comes on the top. This is one way you can use that, but obviously, if you don't have opaque colors such as cadmium yellow, what you can use is you can mix your yellow paint with white watercolor, and use that. Obviously, your yellow is going to be slightly lighter when you mix it with white, but in order to get it to turn more yellowish, add a slight tint of orange to it. There you go, I have added. I think I need to refine the shape of the boat a bit more. It's looking a bit wonky. There. That's much better. Now the only thing left to do is, I believe, I want to add some foam in the water so that it depicts the movement of the boat. The boat on the class project is possibly stagnant or it's just rowing slowly. This is a motorboat because we've added a motor in. Let's add some white paint. Take a nice consistency of the white paint using a thick brush if your brush holds a lot of water. I'm taking my white paint. I need my stroke to be dry, so I'm going to absorb all the extra water from my brush. We need a dry brush stroke. Towards the bottom here, I'm adding dry brush stroke. You can add your dry stroke in any direction. It just depicts the movement of the boat in water, that is which direction it was moving. Maybe it took a turn like that. Maybe I add a little bit of foam to the right side here to depict the water splashing out because this is a motorboat. This is a dry brush stroke. See? I think that's enough. I don't want to ruin it any more. Basically, this is it for the techniques. Now I'll just probably add some details onto the boat. Some white strokes. As I said, the light is from this side, so I just added a little bit of white to that side. I'll just blend that in with the indigo to create a nice lighter tone there to act like the motor area. I think that's enough. We didn't add anything towards the edges. We can easily remove the tape now. [NOISE] There you go. That's the exercise done. Now let us have a look at the colors and the brushes that we need for today's class project. The first color that we need is cobalt turquoise color. The pigment I've used is cobalt turquoise from Winsor & Newton, which is PG50. Mostly, cobalt turquoise colors are PG50 itself, but I know that I've said that this is not absolutely essential for this class, so many of you may not have it. It's absolutely all right if you don't have cobalt turquoise. One thing I want to explain about cobalt turquoise is if you look at it, it's a semi-opaque pigment. You see the half-filled square? It's a semi-opaque pigment, which means that it is halfway opaque, so you can actually create this cobalt turquoise color. If you have phthalo blue, mix it with a little bit of white and a slight amount of phthalo green, then you'll be able to create this cobalt phthalo blue color. Obviously, it's just not going to be that perfect blue, but that's absolutely fine. Or for the class project, you can paint with your phthalo blue itself. It's absolutely fine. What I've used is PG50, and I've mixed it up with my phthalo green or viridian. Phthalo green and viridian both are the same. In different brands, obviously, they name it differently, so what I've used is phthalo green, which is PG7. Then I've used up some indigo. The indigo I have here from Sennelier and White Nights. Like I said, they both have different pigment compositions, but you know how to create indigo. You just mix phthalo blue with a black pigment and possibly a red shade or even a darker blue shade. You don't need that darker blue shade. When you mix your phthalo blue with black, you already get a darker color like indigo. The next color that I've used is green. This is PG8 from White Nights. It's a nice darker green that I have. Don't worry if you don't have this green because you can just mix your sap green or Hooker's green with indigo or a dark blue, and you'll be able to create a dark green like this one. That's one way to use it. If you're mixing up your indigo, and you have a very basic palette, then you can mix your sap green with black and you'll get a darker green. These are the colors that I have used for the water area. Now for the boat, I have used burnt sienna. The burnt sienna I'm using is from Mijello. It's PBr25, PR112, and PY150. There is a yellow component in my burnt sienna. This is not ideal for other paintings where you want to mix grays because there's a yellow component, it will form a slightly greenish tone, but for the boat, I have used this burnt sienna. Then my transparent brown. Instead of that, you can also use burnt umber. The transparent brown I have is from Sennelier, and I love it because it's transparent. Because usually brown colors are not as transparent as this one, even though they say it's transparent, but I love this one. It's PBk7, PR101. Transparent brown. But you can use your burnt umber as well. This is just for the darker tone that we're applying on the boat. Then alizarin crimson for the details on the boat. That's what I have used. The alizarin crimson I have here is from Daniel Smith, and it's PR83. I think this is permanent alizarin crimson, and it's slightly different. This one is PR177, PB19, and PR149. The reason why I chose permanent alizarin crimson over alizarin crimson is because alizarin crimson, PR83, is a very fugitive pigment, that is it fades over time. The color fades over time. Daniel Smith has an alternate version, permanent alizarin crimson. It is transparent as well, but they've mixed it up using various other pigments, the ones that I've mentioned here right now. It doesn't matter [LAUGHTER]. I'm just providing this extra information so that if there is someone among you, who would like to learn, can get all this information. If not, don't bother too much about it. For the class project, mainly, you can use any of the colors that you want. You don't even need to use red itself, you can add a yellow like for the exercise that we did. All we need is a red shade. These are the colors that we'll be using for the class project. Now let's have a look at the brushes that we need. We need a larger size brush, such as a size 10, size 12 for applying the whole of the background. Then we need a medium-sized brush, such as a size 8 or a size 6 brush, for the smaller details. Then, obviously, size 4 or a size 2 for further detailing on the boat area. These are the brushes that I have used. You basically just need a larger-size brush, a medium-size brush, and a very smaller-size brush. That's it. Like I've already mentioned, we'll be using the masking fluid for applying onto the board. We've already discussed the alternative methods to proceed without the masking fluid. If you're happy with the techniques, the colors, and the brushes, let us go ahead, and paint our class project. 22. Day 8 - The Tropical Boat: You're going to start by adding the boat on a paper, so somewhere around the center here. It doesn't have to be any perfect shape because it's just made up wooden logs. That's what we're trying to do. Something like that. We can adjust the shape later on if it goes wrong, so there. That's how the end is. Then just adding minimal details to the board. However, you might have to add them on later on again, because we'll be applying masking fluid on the top and masking fluid acts like an eraser sometimes, so it might erase off these pencil marks, but I'm just going to place it in there. Then the center part B is going to have a wooden log and another wooden log tied onto the end here, but that's going to be at an angle, there. This is the shape of our boat. Now we're going to have to conceal this if we want to paint the background perfectly. Let's go ahead and apply masking fluid on the top of the boat area. Here is my masking fluid and I'm going to apply it on the top of the boat in all of the areas. We're not going to skip any region, just the whole of the boat with the masking fluid. Careful around the edges just to maintain the shape of the boat. Remember what I said about the masking fluid that you'd have to work quickly, because sometimes when you're trying to work all around the edges, and for example, if I go all the way to the edge here and by the time I work slowly and reach back towards this side, it might have dried and I might be pulling off the masking fluid rather than applying right next to it. We just have to be really quick and swift with our masking fluid application. You can see already it's drying and I might be pulling off the already applied masking fluid. We just have to be really quick. If you have a larger brush to spare, actually, you can apply the masking fluid. It dries very quickly, so you have to work really quick. This is what I was talking about. You can see that I accidentally pulled off a bit from the edge because I touched it with my brush and will have to go back on the top. We applied on their main body. Now, let's get to the tail. Let's apply to the tail using this liner brush now, which is also an old liner brush which I don't use anymore. That will be effective to add in these smaller strobes sticking towards the outside. There I have applied the masking fluid on the entire boat area. Now we just have to wait for it to completely dry so that we can start adding our water. The masking fluid layer has now completely dried. I'm going to start with applying an even coat of water onto my paper. But I'm just going to keep an angle for my paper so that I would get an even coat of water. That is gravity would help all the water to flow down, and not accumulate at any part of the paper. Here, just keeping my tape underneath and going to apply the water evenly. Masking fluid is really helpful in a way that we can just go ahead and apply the water freely, we don't have to go around any edges or any shapes. But if you're not using masking fluid, then it's also absolutely fine. You can just go around and apply the water. You just have to be a little bit careful. That's it, but it's not impossible to do. Masking fluid just eases the process that's all so don't worry if you don't have masking fluid and you're painting this without the masking fluid. Just apply the water evenly. Once you have applied the water evenly, we can get to painting. Here, I'm going to use my size 12 brush and I am going to be taking cobalt turquoise and mixing it with viridian. It's going to be like a nice turquoise blue plus green color and we're going to apply that onto our paper. Let's apply that to the whole of our paper, that mixture. Now I think we can get rid of the tape because I don't want an angle. We just want the water to be even in all surfaces and we don't want anything to flow down. It's absolutely fine the way the paint spreads. It doesn't necessarily have to flow down. Make sure that when you're adding your strokes, you add in a lot of water. Because we want to keep our paper wet. Make sure that you run over each of the edges more than once ensuring that the water level on the paper stays the same. You can see how much of water I'm adding to my mixture. This is because I want my paper to stay wet, even after applying the base layer, which is going to be with the two colors that I'm adding. Go around the whole of the paper once more, and add the strokes. Once you've added the base layer, now is the time that we need to work on the details on the top. That's why I said make sure that your paper stay is wet. We can't afford to let it dry so go over with your colors multiple times ensuring that you run your brush over each area of the paper so that you're able to keep it wet. Not just applying the water, but each of your brushstrokes can also ensure that your paper stays wet. That's exactly what we're doing here. Now we need a little bit of green. Now we're going to add the details on the top. For adding the details on the top, I am now going to add my strokes. Here, I'm taking a nice amount of viridian and using the viridian, I'm just going to go and apply to this edge of the boat. When you remove the tape, it's going to be acting like a tiny amount of shadow or reflection, not the shadow exactly, it's going to be the reflection. That's done. Now, we'll go ahead and start adding some nice strokes. Make sure that the strokes that you're adding are in the direction that you want. Because the strokes that you had will show up when it dries, so you need to have the strokes in the direction that you intend to add. I have marked it in this corner like that and I'm adding my strokes. I'm just going to add some line strokes like that. Can you see? I just added some nice lines. I'm going to add more color but here at the end. The other areas just going to add these lines. Let's go back. I'm going to pick up a little bit of my dark green now, and I'm going to add that here. We're going to add that green on the top of that viridian that we applied and make these strokes. Not done yet. Let's get back to adding, so here I'm mixing with my cobalt turquoise again. Now we're going to add in this corner, so we're just going to make some random shapes and join it along with this stroke that we just did. Just adding some strokes on the top. We need to work as quickly as possible. If you see that these sides are starting to dry out you can go ahead with your brush and reapply your color once more. I'm doing that right now because I see that this region is drying and we don't want to dry because we have colors to add on the top. Go ahead and work quickly and you have to do this while it's drying, not after it's dried. Because if you do it after it's dry, then you just going to pull off the paint and create more blooms, so in order to avoid that, make sure that you do it in-between. Now, we'll go ahead and start adding some more colors. Here, I am going to take my viridian, nice amount of viridian and we'll add it to this corner here now. I'm going to mix a little bit of green, my dark green to that mixture and adding my stroke. There now we're going to create those round strokes. Now we'll go with a little bit of indigo and add that on the top so that indigo will serve as some darker spots. Do the same to this side and I'm just blending that into the region stroke that we applied so that when we draw these lines, they are uniform. Now I'm taking the same green shade. Here is the green shade, mixing it with a little bit of cobalt turquoise. Let's apply that at the top. Because the background layer is still wet, the whole thing is just going to spread around and that's exactly what we want. Let it spread and create any kind of shape. You don't have to create the exact shapes that I am doing. Just try and improvise. You can add any kind of shape that you want. You can see my strokes are completely different. I'm just going with my instincts. It doesn't have to be uniform. Let's add some here. This is indigo. It just differentiates that we're trying to add, so I'm adding a mixture of indigo and the green, so that'll give me a darker green, and just adding on the top. I'm using the tip of my brush to draw these lines in the water and when I reach towards the edge, I am strengthening my strokes, as in I'm making larger strokes. you can see that. Now towards this region here, let's just drop some paint at various places. It'll be like some underwater things. But still, the water is going to be the main thing. This time you can see that it's spreading and let it spread. That's what's most important. You can see it's spreading and it's okay to have it spread. Now, you can apply more color towards this side. I'm taking more darker version of indigo and applying to this edge here, and making it continue in the form of lines. Let's get back to that viridian mixture and add more lines. These lines, they've spread into the water and it's not visible anymore so we'll try and add them once more. [MUSIC] [NOISE] I'm taking more viridian and I'm going to apply in this side here. Because this side was supposed to be the viridian side, I'm adding these lines. [MUSIC] I'm just adding my strokes now. Adding these viridian strokes in-between, that'll give more color. I'm going to pick up more blue and add it to these edges here and on the top. This is like adding more blue on the top. These are all still wet and wet strokes at the top. What I'm going to do is I'm going to pick up a little bit more cobalt turquoise mixture. Now I'm going to get rid of all the excess water in my brush and go over on the top here because that region seems to have tried and also turned very light. Using my cobalt turquoise mixture and going over the top. You can see I've applied an extra coat over there. I want to do the same to these regions. We can see the color that we've applied. Just make sure that whenever you are applying any of the stroke, your paper should be wet. If it's dry, then you're not going to get these strokes. I think we're good to go now. We don't want to add any more strokes and [inaudible] this. Let's just wait for this whole thing to try so that we can add in a boat in the foreground. Everything is now completely dried and you can see how the background has turned out beautifully. Now, all we need is to add in a boat in the foreground. Let's go ahead and remove our masking fluid. [NOISE] You just have to be careful that you don't tear your sheet in the process. Take it slow. It's really fun to pull out the masking fluid, especially if it comes out like this. I love when it does. This means that we have applied a very nice layer of masking fluid. Oh my God, that was really so satisfying to pull out the masking fluid like that. Like I said, we've lost much of the pencil marks. You see it's not clearly visible. I'm just going to go ahead and add a bit more on the top, the details that we wanted to add there then add a shape like that. There is this log that I want to add to this side which I missed and we didn't apply the masking fluid, but that's absolutely fine, we can have it with a darker color. That's going to this side. I've added the pencil sketch. Let me show you too closely there. This is the sketch that you have to make. Once that is done, we can get to painting this boat. Let us quickly get to it. What we're going to do is we're just going to apply water to the whole of the boat. Don't bother about any edge or any of those pencil marks that we've added right now, just go ahead and apply water to the whole of the boat. Then we'll start with burnt sienna. I'm just taking my burnt sienna and applying to the whole of the boat. I'm applying a very lighter coat of my burnt sienna, so careful. There, applied a lighter coat. Now I'm going to take my burnt sienna in a more darker consistency and going to apply around the edges. Just darkening the edges around the boat, so we're going to add a bit more color. There, I have darkened the edges. Now I'm going to quickly dry this up because I want to add some dry strokes on the top. That region is now dry, so now we'll go with the dry strokes. For that, I'm going to take my transparent front, so go with burnt, umber, or the dark brown that you're using. Now we'll just add the details. Here, we have the backside. Here, I'm going to use my size six synthetic brush. This is because it won't hold lots of water and my strokes wouldn't be too watery. Even if I add a lot of water, my synthetic brush won't have that much water in the brush. Let's get to it. I'm just going to add there wooden logs in the boat. For that, just adding these lines. Once you've added those lines, what I'm going to do is I'm going to use my brush and spread it around inside so the inside would be a version of light brown as well. Can you see? Now it looks as though it's got that wooden logs, but then it's a little bit spread. Still, you can see those lines. I'll show it to you again. What is it exactly that I did, I'm going to take my brown I'm going to do on the right side so you can note, let's see. We take our brown and we start adding it in the form of these wooden logs and create a gap in-between [MUSIC] We'll make sure you to take a nice dark consistency of the paint while doing this. There, created some lines. Now, wash your brush, and using a minimum amount of water that is your brush should just be dumb not filled with a lot of water like this. That's a lot of water, you can see this got too much water. We don't want that. What I'm doing is I'm taking my brush and running along the tip of my water jar, removing all that excess water, and now, this brush is what I'm going to run over on the top like that. That just spreads the paint but doesn't take it out too much and doesn't also introduce a lot of water onto the paper. That's one technique and we're going to do it for the entire boat. This region here, I actually have a different way that the wooden logs are going because we have some detail or some cloth on the boat. [MUSIC] I should've been careful. I accidentally touched my finger there and it smeared and took off the paint. But I think I'm not going to be bothered by that, accidents happen [MUSIC]. Now the same thing on this side, to create that wooden boats, but here I'm making those wooden boats thicker. Made I made those wooden boats thicker, now I'm going to do the same thing. Just remove the excess water from my brush and run along the edge like that. Seen on those edges. Now that we've done that, I'm just going to add this cloth or whatever is there in the center. For that, I am going to go with my Alizarin. It is just some random color you can go with, even if you want you can go with pink or yellow, just depends on what you want to add, and don't bother about your paint spreading onto the other areas. It just makes it look more natural if it spreads. There, I've added the Alizarin. I'm leaving that gap in the middle because we have that line going towards the outside. That is some cloth or something there. I should have made it a bit lighter, so It's going to try and pull off some paint if I can with my brush and just lightened some area. That was a success. Just lightening the stroke that is cooling off the paint that this is lifting off. Just to create a different color tone there. Now, we're going to go back with my brown and add to the edge of my boat [MUSIC]. Just added the color tones now I think this color region is now dry so I'm going to go ahead and start adding the darkest stroke. For that, I'll take my brown in a nice dark concentrated consistency and we are going to add the middle stroke [MUSIC]. Now for this log, you can leave a slight white. Also, don't cover up the entire space that we have left. Let me show it to you. You see this gap that we've left behind? Try and add your stroke, but leave a little amount of that underlying color. Not a lot, just a slight line. I don't even know if you can see it clearly, but if you look closely see, I did not cover the entire area. Let me do the same for this region here. This is what needs to go all the way there. The same for this, we'll leave a little bit of white but make you that you leave that white to one edge. I've chosen the top edge and you can see that there is a little amount of white, the same for the one of the top. It's just leaving that slight gap. We're almost done. All we got to do is just put in some darker strokes for the details on the boat. This is just totally random. Just going to take my paint and make these dots at certain places [MUSIC]. This is just adding the darker spots and details. It's totally random I just added out of my mind. Those strokes that you add just make it look as though there is something, it is just tricking the brain to think that there is something there and just makes it look aesthetic and natural, that's it. I hope you did not ruin yours the same way I did with this one. But I'm going to totally ignore that and just assume that this didn't happen because everything else looks so beautiful and I don't want to redo this. Anyway, I hope you like this one. We're done with this one. Let's sign the painting and it's done and sign my name [MUSIC]. We are done. Let's go ahead and remove the tape [MUSIC]. Here is the finished painting. I think with this painting the best part is that you can turn it anyway, and it still looks perfect. It doesn't have to be in any way. It's got no direction, this is mainly because it's the top view. The only thing that makes it look this side is the signature that I've added in this corner. If not for that, this painting could be in any direction. I hope you like this. Thank you for joining me today. 23. Day 9 - Techniques and Exercises: Welcome to Day 9. This here is the class project that we are going to do today. It is an underwater cave with the light coming through from the opening of the cave. We need to get these effects on the cave walls. Have you seen photographs of the underwater caves in the ocean? It's basically there are lots of trenches and caves under the ocean surface. They are filled with variety of ocean plants, so you need to cover that as well on that cave surface. What we're focusing on here is the light shining through from the top, that is basically this photograph is obviously taken from inside the cave from under the cave towards the outside, towards the opening of the cave. That's why it has this light effect. When I say cave, I mean, the dips and trenches in the ocean. This painting here, for these effects on the outside, I've actually used granulating pigment to get some of these granulation effects like here, some of them here but I know that many of you may not have granulating pigments. What I have used is Lunar Blue from Daniel Smith and another which I'll explain in the color section. But I know that many of you may not have it so I'm going to show you the alternative method to paint this using a different black color. I'm going to use the Ivory Black from Art Philosophy, which is just a normal black pigment. Here I've got the other side from last exercise. We'll paint to the side. First of all, let us sketch out the surface of the cave. It's going to be somewhere inside. This is basically the water area and the rest of it is the cave surface. Here just adding something this is like a protrusion of maybe the rocky area, the rocky surface of the cave. That's basically it. We first start with painting the water because the water is lighter and the surrounding areas are darker. I'm going to apply water to the whole of my paper. Obviously, it's a very small surface that is the inside of this figure that we've painted. We just need to simply apply the water quickly but for the class project apply more obviously. Here I'll take my size eight and I'm going to start with bright blue, which is teal blue. Using that, I'm going to add my teal blue. We're just adding the light. We add it in a different method than from the class project. I've just added my teal blue and I've left a gap there assuming that my light is going to come from that side. I don't know why I always use the right side for my light anyways. That's the light blue and towards the bottom which is away from the light, I'll add more darker tones. Here is the region away from the light so my tones are darker there. Now I'm going to do some lifting for creating the light lines. My brush already has some pigment that's not from this, maybe from the last painting. It's a green pigment. I haven't washed my brush with soap so you can see the pigment. I'll switch to a different brush then, I'll take my size six brush and I'll use that, that's much better. I'm going to create these lines. We're just using the lifting method so I'm lifting the paint and then I'm washing my brush, or dabbing my brush on my tissue to remove all that excess paint. Sometimes wash it as well so that all of it goes away. Basically, choose a point in the center which is going to act like the lightest area. I'm just going to focus on my corners towards that lightest area, pulling my colors towards that lightest area so that we get those lines. I want to do more lifting so from that point towards the outside. That's how we do the lifting from that point towards the outside, from that point towards the outside. That's the main technique of lifting. Here we're done with the lifting now all we have to do is just wait for this whole thing to dry so that we can add in the key surface. Here my paint is now dry so we'll go ahead and paint the surface. I'm taking my size 10 brush. I've got my Art Philosophy ivory black pigment here, it's not granulating. We need a lot of water in our mixture because we need our paper to stay wet. What I'll probably do is I will wet my paper because otherwise, the paint will dry out by the time I reach all the edges. Here I'm just wetting my paper using the same black pigment, using just water. Don't worry about the color that has flowed down into your surface area. Here I've added water to the whole of the ridges. I think my tape is loose here, so the paint is going to flow out. Anyways so here, now I'll take the black pigment and I'm going to add on the top. Adding the nice black pigment all around. I'm not going towards the edges right now because I want to bring in the corner at first. Now that I'm done with the corner, now I'll go round the edges, and start making the edge areas. You don't even need to follow along the pencil sketch, I'm just roughly going along the edges. Towards the light area, I think I'll keep it a little bit brighter, just like in the class project so that you do understand the concept. To keep that area lighter, I'll just run around with my brush and lighter paint. I would add the light effect there just a lighter pigment, that's it. Now I'm going to take more darker pigment and go around so that the color that we're adding in this lighter area is more evident. Here black pigment all around. All the areas around are going to be darker. This area here is where the light is falling on so that is the region where we start to see some details. For adding those details, I've probably taken a little bit of olive green. Details as in this is the lightest area, the other areas are darker because light is not reaching that place inside the cave. Now here towards this region, I'll probably add some greenish tones because now the light is there and it's shining in that region enabling us to see some of the surface of the cave. I'm taking a bit of olive green and adding to that region. You need to understand the concept of the painting first, that's very, very important. Why are we painting greenish tones here? It's mainly because the light is coming from the opposite side, falling onto this surface and enabling some of the details on the caves to be seen and the other areas completely darker. This area is obviously the region of the light, so it's a little bit more bright which we've added with the light black. Now I'll go around the edge of the other areas and I'm going to darken it up. Here I've added black I'll probably add a little bit black to the edge here as well. Just this region, a little bit of greenish tones are going to be seen. I think I have Ivory Black here as well, that's dark black color. These ridges away from the light needs to be dark pigment. We drop in some black ridges, cannot be fully greenish tones like doctrines pigment towards the edges always. Now we've added the paint, therefore creating some surface effects, what I'd like to do is I'll probably add in a little bit of salt, because we can't use the granulation method here for the techniques, for those of you who don't have gland leading pigments that I'm using, I'll probably go with a little bit of salt. This is just the regular salt that we use for cooking. You can use that or you can totally skip that and just leave it as that because you can see it's already looking really beautiful without the salt effect as well. But I'd like to add more effects into my watercolor painting. Very little amount. You don't need a lot, and we sprinkle that on a paper and this is probably even not going be visible. But I like to add it, nevertheless, just a little onto that surface of the kit. What the salt does to watercolor is it creates that effervescence effect where it absorbs the water, salt basically absorbs the water surrounding that area, and creates a bloom effect. You don't get that both a guide of boom without the salt. If you're adding just your arm with your brush. This is a fine salt that I'm using. I'm just dropping it in random cases. I think that's enough, I don't want to create too much. Now, with the salt effect, the only thing is that you have to wait for it to dry. You can't use the hairdryer, because you need time to let that salt stay there and absorb the water. You need to give it time to do its action. Now, while the salt is drying, you can also add in some effects with white. Instead of just adding completely white on top of it, I'm going to mix my white with a little bit of my tailor blue, so that I could get a lighter color. Basically, you can just use horizon blue if you have that. This is my horizon blue, this is the blue color. But I don't want to use that, because when you form an autonomous, I'm using the alternative method and I want to show you exactly how it would turn out. Use my pale blue, and mix that with my white paint mixing that. We have created almost a semi-opaque pigment here, and you can already see how the salt is doing its action. See it's starting to absorb. What I'll do is, I'll just crop this lighter blue tone in certain areas. You look at your paper and observe that is the salt. Don't add it on top of the salt region, so add it in the other areas away from the salt, and it's okay even if your brush accidentally touches some of the salt ridges, and when you're painting, make sure that you don't have a lot of water on your brush and put it back because in the salt will have to stay there, some more extra time to absorb all that water. Using the tip of my brush, and adding these smaller strokes, and dropping in the paint. These are the lightest areas, I'm not going to go all the way. I'm not picking up any more paint, but I'll use the paint on already on my brush and we'll mix up with the black to create a darker tone. I think that's enough. Now we'll wait for the salt to dry. So while the salt dries, probably will just go and add in the details and the water itself. For adding the details on the water., I'm going to take my pale blue. Using my pale blue, we'll add some effects on the water. So the water surface, I just want to add some ripples. With this method, we're going to use the wet on dry method. You can also go for wet-on-wet method itself. If we're using the wet-on-wet method, it would mean that you add these ripples at the beginning when you were painting. We do that in the class project, we do both the waste, the wet-on-wet, and the wet-on-dry to have to give it more effect. But this is at a small surface. I'd like to go with the wet-on-dry itself. The wet-on-dry, basically, you're using your teal blue and adding these lines. Just use your smaller and go in a specific direction, mostly away from the facing light, this light here, and so the opposite direction, the arc would be like that. So I'm using that. You see just some effects. This is going to dry out and not be as dark as it is now. But it'll be more beautiful when it dries out. Another thing is, as you go away from the light, makes sure to make your color slightly darker. Here I had diluted my paint at first, so now I am not using a diluted version, I'm going with more darker tones because I'm reaching towards the bottom. Mold a canal, this is basically adding these lines. With the tip of my brush, and pressing at certain ridges, darker tones towards the bottom, that's it. Now when this whole thing dries out, we can actually stop. So all we need to do now is wait for this whole thing to dry out. Let me show you too more closely what is happening. You can already see the effects of the salt and the other color that we've applied. The salt is there acting on the paper, and pulling up the pigment. Can you see that? These areas here, I had applied a very darker pigment and it's already started to dry out, so it's not that blooming out. That is the salt is not taking much. But that's absolutely fine as well because you don't want a lot of these on the top ridges, because it'll turn your paper into white, and like here, we just got to wait. Here is the salt effect after it has dried. Can you see how beautiful these alters created these lines blue, so these blues will never be able to get wet by splattering method with our brushes. After your painting is dried, you probably can just run your brush, run your hand over, and remove the salt. Here, I added only very little amount of salt to this area, you can see it's just little details, and here are other larger amount of details, because I added more to this region, and you can also see the little amount of tale blue plus white color that we've applied. Instead of that, you can also use lavender. Since we're done with this, let us remove the tape. It's not bad. I thought it's going to seep out a lot. Here is the exercise painting. Now, let's have a look at the colors that we need for today's class. The colors we need today for the class project are tale blue or bright blue, BB-15, and then rose shade. I'll be mixing these two to create a darker color like we've always used. I don't want to use indanthrene blue, or indigo today I thought I'd try and mix these two together to create darker colors so you can see how I do it. The queen rose color, is there on my palette and I'll be using that. So this is quinacridone rose, it is PB-19 that I'm using. Those are the colors for the water area. Then for the cave, what I have used is lunar black and green apatite genuine colors from Daniel Smith. As I said before, these are granulating pigment, so they could granulate a lot and create these nice effects on paper. But if you don't have it, obviously we've already discussed the alternative method to use a salt. So here is the lunar black. Can you see the granulation on duplicate, and this one is green apatite genuine. This is again, you can see the granulation effect that it creates. This is the reason why I've used these two pigments, but you don't need the same. You can use the salt method. I actually like the salt method very well as well. Then for the details on top of the cave, you can either use lavender or horizon blue and if you don't have any of these two or you don't want to use this, you can go for the pillow blue plus white method as well. You already seen how the class exercises turned out. It's very beautiful, isn't it? Maybe if you have a granulating pigment, you can act in this painting with both the ways that is by using the salt as well as by using a granulating pigment and test for yourself how it turns out. You can see the effects that it's created, salt. One of the materials that you would need for this class project if you're not using granulating method is salt, it is regular table salt or the cooking salt that we use. I have this in fine powder, even if yours is slightly bigger, that's absolutely fine. You can use that. Now for the brushes, you need a larger size brush for applying the water area, which is quite large if you're painting on the largest size paper. Either a size 12 or size 10. Then for the details on the cave, you need a smaller size such as a medium-size. So you can either use a size six or eight brush. Those are the only brushes that you need. But if you want to lift off paint from the water region for creating that light effect, you can use a synthetic brush. Here if you are happy with the techniques, the exercise, the colors, and brushes, let us go ahead and paint our class project. 24. Day 9 - Underwater Cave: Let us start. We'll just quickly trace out the shape of the cave. Just go around creating these bulging shapes, it doesn't need to be even. Maybe I'll have some flora here. I'm going to erase some part here because I think I'd like to go towards this edge rather than making it [inaudible] here, and I'll possibly come down a bit here. That's too straight, I think that's enough. This is our sketch. We'll get to painting. Quickly apply water all over the paper. Make sure to apply an even consistency, that is, even coat of water on the whole area of your paper. Don't bother about the cave shape now, we just need to apply it to the whole area. Obviously, I'll keep an angle on my paper so that any extra water that's forming on the area of the paper can flow down. Now, I've applied the water. We will start with a bright blue. Taking bright blue or [inaudible] blue, remember that, when I say bright blue, I'm referring to the manufacturer name from the brand White Nights, they've named it as bright blue so that's why I tend to use that name because that's the brand I use, so it's [inaudible] blue. We are going to paint starting from this region of the water. There's a lot of water on my brush, I'm going to keep an angle so that it flows down. I don't mind the water getting into the cave regions now, I just want it to flow down. That is removing extra water from my paper. There I'm using the bright blue. I'll start painting. Now, what I'm going to do is towards this region which is going to be the light, I am going to create these streaks. Can you see that? So streaks towards that region. That region stays light and the rest of the region I'll apply my paint. Here, I have applied the paint in the areas surrounding that region, now I need to make sure that the light that I have applied is more visible, so I'm going to do some lifting. I'm just going to use my brush and lift off paint and any excess water to create a light effect. Wash your brush each time because this is [inaudible] blue and it's very highly staining pigment, so we need to be careful. I'm washing my brush each time. That's enough. Now, I'll pick up more bright blue and start to give a nice tone for the areas away from the light. That's the light source. Here this area is away from the light source, so I'll give it a more darker tone and get it to blend towards the bottom. Here, I've applied a darker tone. Now, I need to get in the wavy shapes. For that, I'm going to take my bright blue, and probably, I'll mix in a little bit of pink so that my shade turns a tad darker. Bright blue and a very little amount of pink and you can see how dark my pigment is now, and apply I'll that in the area here towards the bottom. I'm going to be adding lines like these to watch the bottom. Actually, let's make it more consistent. Then we start adding these lines, and adding the lines. Now, as we go towards the middle and towards the light source, our lines need to get lighter, so I'll just go with bright blue now, no mixture of the red. Using that bright blue now, I'll start to add my lines. You can see the lines that I'm adding here, they're very light because they are near to the light source. That's it. I feel that I need to lift off some area of the light source. Like here, this ray is not looking great, so let me just lift it off. That's much better. Now, we've got a beautiful shade. Don't bother about the cave region now, the key thing is to get these wave shapes correctly, that is, mostly the tone is what do we need to understand. Getting darker tone towards the edges and lighter tone near to the light source. Now, once we have added these waves, I need to wait for this to dry out a bit so that I can go and start adding the caves. I'm not going to dry it out completely, it just needs to dry out a little bit, that's it. It's somewhat dry, now I'll go ahead and start with my bright blue again, and will paint along the cave region where we have added our pencil sketch. Make sure to use a lot of water because your paper can get dry quickly. Here, I'm using a lot of water and I'm painting along the edge. This is the light area as I have already explained, and that area needs to be in the lighter tone. There. Adding that color, then we'll go with the dark tone now, so I'm taking my lunar black and applying around the edges. You can see the beautiful granulation texture that it's creating. Going further away from the light source, and there it's getting darker and darker. Now before we continue I want to give that light source more light effect. This is the core point of that light source, so we're going to lift off color from that region, ensure to lift off from the very edge. We can't even afford to have our line seen. Lift-off from that very edge of that light source because it's the yellow blue, it's not going to lift off completely, but that's absolutely fine because we just wanted to have that lighter tone as opposed to the other areas. Then use the pointed tip of your brush to lift off in the same starting direction to create the effect of light. Can you see that? Wash your brush each time. Otherwise, you'll be picking up dirt. Introducing it to the other areas which we obviously do not want. I'm wiping my brush each time to make sure that I don't have any water. There we have the light source acting. I think that's enough. Now for these black regions, we don't want any light or those lines that was formed, so I'll just go around and get rid of those lines. This thing can have a lot of texture. This is the underground cave that we're talking about. Let it be the way it wants, I mean, it's fine if it doesn't match, if it's got hard edges is absolutely fine. Let's get around to painting the rest of the regions. We're going to use a mix of a lot of colors for this cave region. Here now, again going with my lunar black and as you can see, I'm letting it blend and create whatever shapes. I know that you may not have this color and I've already suggested the alternatives, what you can use, so don't worry. I'm using a lot of water because granulation effect is best seen when it's a great wash, so that's why I'm using a lot of water. Now, I want to use some green, so this is green apatite genuine from Daniel Smith and I'll mix that as well, some greenish, for showing the moss or the plants in the ocean floor. We're going to take more of that green apatite genuine and give a beautiful wash of that towards this region. I need more water in the mixture, so that's why I've added more water. That is what is going on in this region. As you can see I'm roughly drawing along with my brush because we don't need it to be perfect. The pencil sketch was just for us to get the shape roughly correctly, and this here, we're seeing that color as it is mainly because of the light reflecting here. You can see that. I've seen that blue flight blue has flown back from what I created. Let me just go and lift some more. So this is the thing you might have to work multiple times on the same place. You have to keep an eye out on your painting to see what is happening. This area is lighter. Now going back to it with the lunar black. You see see the pigment separating. That's the beauty of granulation. I should stop saying more about this granulation thing. In case you're not using this granulating things. I'm so sorry. I feel guilty now for keeping going on saying about granulation. Getting back now and add this in this corner. I'm going to drop the paint at random places, using the tip of my brush. I've mixed my black with the green sheet and I've add that here. Now completing the rest of cave region. Now we fill up the rest of the region with black. So I'm going to blend this out but it's absolutely fine if you don't. You can't have dark edges and unmatched areas. So we've created the beautiful cave shape. Now, let's fill up more dark spaces and concentrate on the tone. So the tone here at the edge should be dark. So I'm going for dark dense pigment towards this end. Then it has soften out into this region where it can be light. We can see how clearly it's forming into shape. We just need to create more darker tones. Here for example, I can see some of the blue underneath. The cave floor is not transparent inside of the cave. It shouldn't be transparent. We should be able to cover it up. So pick up a nice dark quantity of the black, so that it granted only at certain point. If you are using the lunar black, of course otherwise it's fine. The dark tones towards the edge so creating some random shapes. It can be even hard edge that's absolutely fine. But we need dark color towards the edges which is the furthest point from the light source. So pick up more of my green now, and then add it just giving it another layer, because I want my paint to be dense. So because I can see a lot of green color there and it's not supposed to be this green. It should be more darker [inaudible] that's why I'm blending it. And adding more green dots. Obviously we'll have to add multiple layers while working on some things like these. It is not sometimes possible to keep it at a single layer. Whatever we worked on in the first layer might be completely gone by the time you work on that second layer and that's absolutely fine. It's called, what do you say? Working depending upon the conditions that you see on your paper, trying to get the perfect consistency and all of that. There now I think it's that's much better. So taking my black again. And this time now, I'm going to drop it more carefully towards the bottom regions. Make sure that it's there. Looking along the edge now and taking the dark pigment and dropping to this region. So this is the region opposite to the light. So that's why we need to consider this. This is the area that you need to focus on. So maybe I'll darken a bit on this side because it's not directly the region under the influence of light. You can see, I know I've darkened it a lot, but the granulation effect is mostly seen. Through these areas in-between. There are several areas where the correlation effect is seen. If you're using the salt method obviously make sure to add the salt. When you are reapplying the paint, possibly you'd have to add into areas where you have the salt already. But then adding the color on the top would ensure that the salt is just seen through a random basis. Now we're not done yet. Let's go ahead and pick up some lavender and probably mix it up with a dark paint. But let me first see how the lavender turns out especially in these regions. That's good. This is just some light effects that I want. I'm just using lavender. As you can see, the lavender obviously mixes up with the wet paint to create some lighter tones. But it's better than using white because it's not white that we want, but rather a different tone. Another color that you can use is for example, horizon blue. Let me try the horizon blue as well. That might work. Using horizon blue. You can see it also mixes up with the black to create varying shades. That's absolutely fine. I think my horizon blue actually, you can either use lavender or the horizon blue. I believe most will have lavender in your palette. If not, you know how to mix them. Lavender is very easy to mix. Even horizon blue is somewhat easy to mix up. It is what I've added the horizon blue now I'm going to blend it up so that I just end up with a very gradual lightness in that area. You can see it's mixed up with the green and the black to create a beautiful texture. I'll take a bit of the horizon blue and add in at some of the places here in between. Not all. It just shows how ready light is hitting some areas. I think that's fine. I'm not going to go anywhere near that area again. Because that region is dry and I actually wanted to mix up with my black sheets, but if it's dry, then it's just going to come on the top which I don't want. That's much better. Now another thing is I was applying the water and I got a hard line there. I hope you can see that. Let me try getting rid of it. I'm just running my brush over like that on the top. That would probably get rid of that hard line. Yeah, it did. That's all I needed to do. I just apply water on the top. You can see this is what is called as improvising depending upon your painting. It is very much important when you're painting with watercolors, rather than blindly following some technique. You will need to improvise and make sure that you know. You work according to what is on your paper and how the paper is reacting. We can see the shapes that we've shaped. Now, let's get in some darker wave shapes. For that, I will take my bright blue, there is my bright blue, my pillow blue. Using my pillow blue, I am going to go over on the top and create some of these lines along the edge, following along the edge. Add lines like this. Make sure to add these shapes in between the baby shapes that we made in those lighter regions. That's why we're adding these lines mostly. I think that is enough. It's not ring in that side. Maybe some very light tone. In order to make it light, I am dilating my paint and removing the excess water. You can see there, that's very light compared to the strokes that I've made here. Because we need to look at the tone. That's why we're making it lighter here. Because it's closer to the light source. I think we're good to go now all we have to do is to wait for this whole thing to dry so that we can sign and remove the masking tape. It's dried up now. Let's sign our painting. Let me show you the granulation effects more closely. You can see how it turned out and see these areas. That's what granulation does. Obviously if you've use the salt method, I'm sure it's beautiful because you've already seen what salt can do to your paintings. Lets now remove the tape. Here is the final painting. I hope you like it. Thank you for joining me today. 25. Day 10 - Techniques and Exercises: Welcome to day 10. This here is the painting that we are going to do today. It is the swan in water. This region here is the water and there are some underwater stones here with some reflections and ripples obviously. This here is one of my favorite paintings till date in the class projects. We are going to deal with our techniques now. I'm going to show you two different methods to paint these underwater stones. I'm not going to go into a very detailed version of the painting. For painting these underwater stones there are several methods. I'm going to show you two easy ones, the method that I have followed here in this class project. But there are other ways such as you can go and paint these stones in a very detailed manner, implementing all the light shadow, the reflection, the surface of the water waves and everything in that. But that is a very, very advanced version. I don't want to deal with it right now, but don't worry we have two simple methods that we can paint these underwater stones. Let us go ahead and apply water to the paper. Here I'm applying water to the left side. Apply the water evenly. There isn't a large surface area to cover, so two or three washers should be enough. I'm going to start with my size 6 brush. We're going to start with tailor blue. Here's my tailor blue or the bright blue from my paints. I'm going to use that. We start at the top and at the top we want it to be a very lighter tone. I'll just apply a lighter tone, you can see that the tone I'm using and we go with such a nice lighter tone and we're going to create such lines with some break in-between so that it will serve as waves in the water. Just adding as I move down I'll probably increase the tone of my color. Adding more towards the base now towards the base I'll start to add a little bit more darker tone there and I've made my strokes. I'm not going towards the right side. Observe that. Just smoothening it out. Towards the right side what I'm going to do is I'm going to paint with sap green, or you can also use olive green. I'll take sap green and I'll mix a little bit of olive green into my sap green. This is what I'm going to do towards the right side. Towards the right side, I'm painting with my sap green. We're just trying to give it a mix of color, so here sap green and pulling my strokes towards this side and the same on the right side. Here when you reach this point, you can have your colors, the bright blue or the tailor blue that you applied and your sap green to mix together. There, let it mix. Taking more sap green now and just let it blend together. Now, I have applied a nice coat of my sap green. I'll apply a bit more towards the side. Just leave the right side to be with the sap green and the left side we have those strokes that we made with our tailor blue. There I'll go with my tailor blue a bit more here. Nice wavy shapes. I don't need such a large amount of white so I'll just try to blend it in between. I think that's great. Now we need to add the underwater stones. For adding the underwater stones what we're going to do is we're going to pick up a nice color like cobalt blue. I think cobalt blue is a great blue color. Let me take that cobalt blue. Here's my cobalt blue. Using the cobalt blue we're going to draw top. We're going to add it on the top, such as to make our different shapes in water. We'll start the left side here. I'm going to make different shapes like that. A little bit there. Then maybe I'll make another shape here. Then I'll make another shape here. You'll see that you paint spreads and it's creating a different tone on top of the sap green and it's absolutely fine. Keep taking your cobalt blue or ultramarine blue, whichever you are using and add another here. This is a first method that we're trying to understand. Just trying to make the shape of underwater stones, some stones, it can be in any shape. Maybe I'd have another stone shape here, another one here. They needn't be perfectly round, so try and change their shape as well. Another here. You can see that your blue is mixing up with the underlying color that you have and creating such gorgeous patterns. Just only some, the blue to be visible on the top. Keep adding different shapes, not too much visible to us at top it needs to be lighter as well. Now I'll take my cobalt blue again. We're going to add some more strokes. I need to dry my brush because I don't want a lot of water. I'll probably add some lines like that. It will be like the waviness of the water. The rocks will have that waviness because the water on the top is moving. It's basically just rocks itself, but it has that movement depicted so that is why we need to add some strokes like that. Some of your cobalt blue can be a darker blue, some dark see, some edge of the rock can be darker, not all the areas. When I say darker, I mean the bright color and not as light as the one that we've already added. Just taking my color, dropping it in places. Maybe I'll add another stroke here, some lines here. It's basically adding different lines and some strokes there. Some stroke like that. Maybe a little bit here, some darker strokes there. We add different colors of these strokes because we want to depict the underwater light or the shadow. The surface of the rock is not going to have an even color. That is fine. Here I've painted just a little part of that, this rock, and I paint just this surface, this large rock as well. But I've painted only this right side. We are creating some lines as well. Let's clear these lines at the top as well, I'll drop in some colors, some lines, and those lines that you add make them in different directions also. I think that's good enough. Now, this already has become the surface of the water, but now to make it look like it is the underlying surface we need to add in the ripples. Well, let's wait for this to completely dry first. Here, it's completely dried now. We have added the rocks but it doesn't look like it's underwater. What can you add to the top of it that makes these rocks go underwater? Those would be the water ripples. As soon as you add the water ripples on the top, that becomes on the surface and your eyes would perceive these rocks to be at the bottom. Let's do that now. What we're going to do is we're going to add nice ripples. What I'm going to do is I'm going to take my olive green. This is my olive green and I'm going to mix a darker green, so this is my green from my paints. Using the darker green mix and olive green, I need more olive green in my mixture. We're adding these olive green ripples because the rocks underneath are in a similar range of color so that is why. Using that now I've made enough mixture, I believe. Let me check. Made an enough amount of mixture of my paint here. Now using this, I'll create the ripples. For creating the ripples, I'm going to start with a lighter tone here so you can see how diluted the paint is. We start adding the ripples on the top. These are the reflection lines. We just basically add these random lines onto the water. Basically I'm using the pointed tip of my brush. Then somewhere I'm pressing my brush and then moving in different directions. At the top, I want to have a larger amount and somewhere I'll make circles like that. [MUSIC] There. I need to have a continuity that's why I'm going around from the top at the same time. I move downwards and bringing more colors, more tone, we need to have a darker tone towards the bottom. In some areas, you can add a slight darker tone so I'll pick up my green and add to this corner here of my mix and add it at certain places. Some places, the water ripples can be darker, like that. Back to the other mixture. This is the same way where we did the paperboard and we added a lot of reflections in water. This is the same strokes now with olive green, that's it. As we come towards the bottom, I'm going to break down the ripples. You can see as soon as I added the ripples on the top, the rocks have gone underwater. Towards these regions, I'll add some more ripples and some here. When you add these ripples on the top, can you see the rocks are now looking as though it's under the water. So these are the ripples make sure that the eyes, that is our eyes, perceive these objects as underwater. Some places just had smaller ones. I think that's enough. I have this tendency to keep working on something, anyways. This is the first technique of painting the underwater rocks. Now let us have a look at painting the next one, the next technique. The next technique is obviously different. We'll start with applying an even coat of water onto the paper for creating the background wash of the water surface. There I've applied an even coat of water. I'll take my Size 6 brush itself. I'm going to go with my bright blue paint. First, I'm going to apply to the whole of my paper. I will need a little bit of angle because I want my top region to be like that. There I've applied the nice tone. Now I'll take sap green and I will add that to the bottom. The bottom part is where we're going to add the rocks and I'll blend it to the blue area. I added more color towards the bottom because the bottom region is the darker spot in our painting, area perspective. We need the bottom to be more darker, and towards the top, we can go with a lighter tone. So here towards the top and I'm also adding my ripples with the same brush. As you can see those ripples that I added has a green tone towards the top, as I add it. Probably add a little bit more ripples so I'm going to take my bright blue. But I need to remove extra water and using that, I'll add some nice strokes. [MUSIC] Added some nice wave shapes. Now, I'll add some wave shapes for the bottom part as well. For that, I'll take phthalo green. First, we need to depict that waviness first before we can move on to adding the rocks. Now, we've depicted the movement of the water. Now, comes the rocks, if we're adding the rocks what I'm going to do is I'm going to pick my phthalo green itself. Here is my phthalo green and I'm going to mix it up with a little bit of indigo, so that'll give me a dark turquoise color. You can see it's a nice dark turquoise color. Using that turquoise color, I'm going to create rocks in the water. How do we create that? What are we going to do is we're going to add shapes like that. This one, we'll be painting the rocks. For this one, we're adding the shadow around the rocks, that is the dark areas. Here, painting the shapes, that's two methods. Using the color that you've picked up. How do I explain this in more detail? This one, we were painting the rocks. The rocks were darker and the areas of the water, these are water areas which is areas between the rocks itself. Here, we're painting around the rocks and painting the shadowed regions inside the rocks. These rocks are more like clustered together and leaves a lot of shadow under the surface. This circle here, the inside part is the rock and the outside region where I'm adding these paint is the shadow of it. That's what we do. We'll keep adding the shapes and they needed to be round also, you can go for either shapes. Don't make up or fix or good or complete it as well. Just go and apply the color randomly. Somewhere, I'm pressing my brush, somewhere, I'm just leaving strokes. Also as you go towards the top make sure that you start to make your strokes lighter as well. I'm not making much paint anymore, I'm going to use whatever is there in my brush to create these strokes. Towards the top here, I think, let's start adding some wavy lines depicting the waviness. Using the same color again, we'll start to add some waviness on top of the rocks as well. You use the tip of your brush and just add these lines on the top. This is wet on wet. Remember the paper is still wet but not so wet as for the whole thing to spread. Just enough to add in the strokes. Somewhere I'm adding the shapes. Somewhere I'm adding wavy shapes on the rocks. There, it already looked like rocks in border. These are two different techniques. This is the method that I have used for the class project. Now, we'll wait for this to dry. In order to make it look underwater, we'll add in some droplets as well. Here it's now completely dried. So let's go ahead and make the color for the ripples. I think I'll take my dark green. I need to convert it into an olive green color but for the darker version, probably I'll add a little bit of burnt sienna to it that will make it a little bit olive greenish type. Yes. I think that's much better. Using this is what I'm going to add my ripples. For adding in the ripples, I'll create wavy shapes. How about we create a shape opposite to this site as we already have some ripples here. I'm going to cover up the left side here for this one, I'm adding more water into the mixture because it's a lot of paint and have to be lighter. I'm just adding it for the sake of fun like that. It doesn't need to be mirror image. I'm not going to make it mirror image, also. I just like to keep the fun element and make it look as though it's the mirror image. [MUSIC] Now, adding more darker tones towards the bottom. Now, towards the rocks, I won't add a lot because I'd like to show the rocks. Just a little amount. [MUSIC] I think the edges are dry because we painted this quite some time ago. Yes. This method is what I have used for the class project, that is, using the rounder method. I love both of these techniques and these underwater rocks are what makes this one painting my favorite actually. I was just sorting out the colors for the class project we're showing you when I thought of sharing the third technique for painting underwater stones. I don't want to leave that out as well, so I thought I might as well share that. I know I said just two techniques, sorry about that. I just thought of the third one, so I'm going to include that as well in the class. The third one is basically a combination of these two. Here we painted the stones and here we painted the shadow around the stones. How about we combine them and we create a more sophisticated way of showing around the underwater stones. I share that now but for this one, how about let us make the shape of the stones in the water. Just mark circles or oval shapes like this. Some smaller, some bigger, and then needing to be in a same shape, change the shape on the direction as well. Some of the storms can be like in the front of another one, for example, this is a larger one and I've added another one in the front, and some smaller. Now you can see clearly see the gaps in between the stones. [MUSIC] Let's just draw until they're only. Let us learn how to do this. What I'm going to do is I'm going to apply water to the whole of my papers as usual. We'll paint the water surface first after which we'll add the rocks. Here, I've added the water. I'm going to take my Size 10 brush to quickly add in the background. I'll probably add phthalo blue towards the top. But I want lighter color towards the extreme top so I'm bringing the colors downwards and lighter strokes towards the top. Then towards the bottom, I'll probably add no sap green and make it blend with my blue. There's a sap green and adding. [MUSIC] You need darker color towards the bottom, don't forget that. These underwater stones they don't always need to be in blue and green combinations. You can have other color waters too. I'm just showing you this because this is much easier for me. [MUSIC] I'll create a little much more darker blue towards left side and here I'll add waves like we did for the first one. Then I'll go ahead and add in some waves at the bottom area as well. Remember the pencil sketch or fewer stones it's there, so there just using that and just adding some baby shapes. I know that we'll be adding the stones, these colors won't be seen, but this will just bring in that extra color on your painting that's what it's going to do. These waves won't be seen when you add in the rocks, so for adding the rocks let's start. I'll start with my cobalt blue. Here what we're going to do is we're going to paint the inside of the rocks. Paint the rocks in the shapes that you've marked. I can see my pencil sketch here. Look at your pencil sketch and add in the rocks. I can see one here, there's another one here. This is why I said, we need a pencil sketch because now we're going to use both the first and the two techniques and we're combining them into another one. There, another rock here. Some of the smaller ones leave it. I'm going to leave smaller one here. Just some of them leave it, another smaller one, I'm just going to leave that. Taking my cobalt blue adding onto my rock surfaces. Some of the smaller ones are there, which I've left. There's another one bigger here. This is cobalt blue, you can also use ultramarine blue for this purpose. There I've added the rocks. Now what we're going to do is we're going to add in more colors to our rocks and give it more shape. For that, I'm going to pick up burnt sienna and I'm going to mix it in my palette first. Never pick up paint directly from your pan or your palette without running it through the mixing area first. This will break down the pigments and will be easier for us to use. This color, I'm going to apply on some of the rocks and also on some of the shadow areas of the rocks. Here, taking my burnt sienna and I probably applied to the bottom side of the rocks. Already the rocks that we've already painted, we apply that to the bottom side. You can already see how we're creating a dual-tone for our rocks. Just going around and painting on the bottom side, not just the bottom, I'll show you. Let's say this rock, for example, I'm choosing the bottom side and then maybe one side of it, so the top area. Remember the buoy that we painted when we did the shadow? I went around and then added a darker tone towards the bottom below the shadow lines. We've added two colors now. I want to add another color as well. This is neutral tint, and the neutral tint I have is from Schmincke. In order to create that color, you can mix your paints grave with a little amount of red or burnt sienna, you'll get this neutral tint. This neutral tin shade I'm going to add to some of the rocks. Here, there's another rock here that I didn't paint so I'll add my neutral tint there, another here. Just bringing more colors into the water area. We're adding multiple stones now, not just one stone, another stone here, another here, there's another one here, smaller ones. There's is a larger stone here, and another large one here. Some large stones here. All of this on wet method itself. Now we've added a lot of these stones. Now, these were just a stone still. Now I want to bring in the shadow element. So adding the shadow element, what we'll do is we'll go with a darker tone. For the darker tone, I'll probably take indanthrene blue or indigo, it's there on my palette, so whatever is there on my palette I'm just going to use it up. I'm going to add that to the bottom area, the remaining green areas. Also, you can look at your pencil sketch. Look closely at your pencil sketch and add it into the areas surrounding your rocks. There's a rock, so I'm creating a round shape. There's a rock, so going around then, what else here? There is the other rock that I painted. There's another rock and surrounding area of that rock. There's another rock. There's another rock. We are creating the area around the rock, just like we did for this one. But now we already have those rocks here and we have dual tones and different colored rocks as well. This is a completely different technique than the first two. Not completely different, it's just a blend of the two, isn't it? Just keep doing that and adding the darker color on the top. These are the shadow areas so all the areas outside of the rocks will add this. There, another rock. As you go towards the top, make sure that your color is lighter don't apply a dark color. I'm going with lighter tones now [MUSIC]. Just picking very little amount of paint again from my palette. Now, we've added more rocks in the water. [NOISE] I want to add some ink to the top, probably add some VB shapes as well. So we can actually add more VB ships so I'll take more and blue. I'm going to go over the top. Remember the line strokes that we used to do. We can do that and that. I have added some strokes. Now we can wait for this to dry and add in the strokes on the top. So I just used a very random amount of colors. But imagine if you were to use [NOISE] a green edge tool like this one and add more colors, this would look really beautiful. I already love it and you can see the movement of the water, the waves, etc. [NOISE] So let's dry this up so that we can add in the reports. So it's dried now and for the reports, I am going to use indigo paint here. Just sticking off the indigo paint, I'll drop in and add some goods. The reflection. I'm just adding [inaudible] reflection reports. So if that is any of the rocks in European different that doesn't look good, you can go ahead and fill it up with a boost like I always say, there are ways to cover it up, mistakes in your painting. There it is. So I have another method as well in which you use a lot of lifting method. You create the light and shadow in a more detailed way. But I think that's really a very advanced method. So I'm not showing you that. This itself can be tough if you're just a beginner, so I don't want to overwhelm you with a lot of information. You already know three methods to paint underwater rocks. So let's remove the tape. [NOISE] Here it is. Let us all have a look at the colors that we need for today's class project. We need cobalt [NOISE] blue PB 28. Instead of that, you can also use ultramarine blue PB 29, [NOISE] [NOISE] and we also need cobalt turquoise, which is vg 15. But you can skip using the cobalt turquoise because you've already seen the exercise for what are the colors that we used. So you don't need to use the exact same color that I am using. You can mix and match your colors. For the class project, I'm just seeing that I've used cobalt blue color. So watch the project first, understand where are the colors that I have used and you now implement your own colors in them. Then you also need some olive green color for the water area with rocks, and some dark green or sap green color. So mostly olive green and sap green would do. You don't need the stock beam, which is PDH from White Nights. The olive green can be using various pigments. If you don't have olive green, there is an easy way to mix an olive green. All you need is a green colors, such as sap green. And if you mix it with brown, like burnt umber, burnt sienna, you'll get a nice olive green color. So you saw the mixed that I made with this dark green and burnt sienna together to create a dark olive green color. So that is why I said, we just need a green and brown, and you'll be able to create olive green. Then you need indenting blue. So indenting blue PV 60, you already know how to make it. [NOISE] We dealt with indenting blue in so many of the class projects already. So you don't need the exact same blue, all you need is a dark blue color. Then, of course, burnt sienna or transparent brown, [NOISE] basically dark brown color. So that's for the beak of the bird. [NOISE] Then we need beans gray. That's also for the beak. It's for the dark area of the beak. I´ll show you here. So for the beak area here, I've used a little bit of burnt sienna and then a little bit of Payne's gray, and for the shadow on the bird also we are going to use Payne's gray. So these are the colors that [NOISE] we need instead of flopping's gray, you can also use neutral tint. Brushes that I've used for the class project are, largest size pros such as a sized 12 or a size 10. Then we also need a medium-sized brush suggests a size six or a size eight. Then for the detailing, we need a smaller size brush such as a size two, and for painting some of their posts and you know what the details are in the water, you can use a synthetic brush size six or size eight. Another important thing I'd like to discuss about this painting is that I've used a masking fluid to cover up the bird that I can paint the water freely. So I know that many of you may not have masking fluid, so the alternative methods are, there are two ways. One of them is to paint around the subjects and the subject here is a swan. So you want to make the pencil sketching, you're applying the water and you're painting the whole painting. You'd have to go around it, which is quite difficult I know. The second method is obviously to use our deep. So using a masking tape, you can create a mask around the bird. I know that it's going to be quite difficult to trace out the shape of the bird on the masking tape, and then to cut it around. You'll have to cut it in multiple shapes if you're not having a thicker tape also. So that is the obviously the difficult task that you have to take if you want to paint this without the masking fluid. So if you are happy with three techniques, the colors and the brushes, then let us go ahead and paint our beautiful class project. 26. Day 10 - Swan in Water Part I: Let us add the pencil sketch of the swan first. That's going to be around in the center. That is the body of the swan. Again, I'm just going to go with the rough sketch for now, and then I'll adjust the shape if it has any mistakes. That's the head. That's a bit thick there. Let me thin it up. That's the beak and that's the body. Our water is going to be from there. At the end here is going to be the tail part. That looks like a weird leg or something. Take your time to do it. Don't rush in the process. As you can see, I'm having a difficult time getting the exact sketch. You know what? It's all right even if it takes 100 attempts to get the perfect pencil sketch. Don't hesitate and don't worry. There, I think I've got the sketch and it looks fine, although I feel that the head is a bit smaller. I'm going to have to rub this and extend it a bit upwards. Maybe that'll do. Let me check the position. That looks fine. There, I think that's much better. No. I think that the head is too small now. Like I said, if it takes a lot of time for you to get that perfect pencil sketch, it's absolutely fine. Don't blame yourself. Take your time to do it. There, that's the sketch of the swan. Now, we'll just mark some of the water ripples to help us get the reflection and the ripple line correctly. We need to have some lines there. Then obviously, we will have the reflection of the swan in water. That part is going to be the reflection. We're going to have the head reflection there and some drops of water there. Now, for the ripples, you can sketch it out with your pencil or not. It's completely up to you. I'm just going to add some random lines. I think it's absolutely optional. We don't have to do it, and these are the ripples. That's the pencil sketch. Now, we need to add in the masking fluid for these white areas. Here's my masking fluid. I'm going to apply my masking fluid on the reflection of the swan. I've applied the masking fluid. Now I'm just going to drop in some water lines for the form surrounding this one. Just some tiny specks and dots. Here I've applied the masking fluid in the reflection. Now let's go ahead and add it on to the swan area. That's a large surface area. You definitely going to need a lot of masking fluid. If you're actually using a masking fluid pen, then I know that this is going to be a little bit tough, but it's just that the best way to paint this would be to freely paint the background rather than going around the swan. But if you would rather go around the swan and paint it, then you are welcome to do so. It's absolutely fine. There we've applied the masking fluid on the entire surface of our swan. Now let's wait for this to dry so that we can start painting the background. Here the masking fluid has now completely dried, so let's go ahead and start painting the background. For that, we are going to apply water to the whole of the paper. Again, I'm going to put a tape underneath so that all my water will flow down and gravity would help to spread the water evenly across the surface of the paper. Applying the water onto my paper. Make sure to apply the water multiple times. I cannot stress enough about it, that is, applying the water on your paper is the most important part because once your paper starts to dry, you won't be able to paint with the wet-on-wet technique at all. If that's really important that you need to get your strokes in wet-on-wet method, then you need to make sure that the water that you're applying is enough to withstand those strokes. Sometimes you just have to take around 10 minutes to just apply the water on your paper. That's just how it is. So just make sure that you do, especially if you're not using a 100 percent cotton paper. There are lots of other factors as well that affect the drying time of your paper, such as environmental conditions, such as if you're having a fan turned on or a window open, there's a cold air blowing in or a hot air blowing in, all of these can contribute to the drying of your paper. You just have to be careful. You have to look at the surface of your paper and judge on the basis of that yourself. That is something that you have to make a judgment on by yourself. Now I've applied the water. Let's go ahead and start painting. We're going to have to apply the background first. I'm going to start with my cobalt blue, and I need it in a very lighter consistency because we're starting at the top and all the details are going to be towards the bottom. Here I'm taking my cobalt blue and also remember, I have an angle on my paper, so that is also going to help all the water to flow down and create an even tone. This is my cobalt blue. Remember, watercolor tends to go one shade lighter after it's dried, so it's okay to go with a medium tone, especially if you want it to show that there's a color at the top. Observe the color that I'm adding here with the cobalt blue. Now, I'm going to take a bit of cobalt turquoise and add it right below that. So add my cobalt turquoise here and adding that right below my cobalt blue. We're just blending in those colors. I did my cobalt turquoise. The next color that we're going to add is we're going to take a bit of olive green. Let's mix a bit of sap green to that, a bit of olive green, mix a bit of sap green, and possibly a bit of the cobalt blue. We get a greenish tone like that. I think we need more sap green in my mixture. I'm just going to add that to the base here and then a bit of emerald green on the top. As you can see, it's just a mixture of colors that we are adding. Now, I'm going to go with my colors once more. Here I'm taking my cobalt blue and I'm going to add it at the top. This is because my watercolors will go lighter if I don't add another layer on the top and also I need to make sure that my paper stays wet for me to work on. That's my cobalt blue layer. Now about my turquoise blue going with a darker shade, you can see. At first when you're applying, we apply a lighter shade so that we're just placing the colors and after that we go with darker shades. Here now I've got enough darker shades so I'm going to take medium tone of my cobalt turquoise and apply onto the paper, then we're going to mix my viridian with the olive green and a bit of blue. I think I need more cobalt blue, and going to apply that on the paper. Now that we've done that, let's start adding the ripples in water starting from the top. I'm going to switch to my synthetic brush because obviously it doesn't hold a lot of water, and I'll be able to make perfect strokes with it. Now, I'm going to lay down my paper flat because I don't want my waves to flow down. Taking cobalt blue, but obviously, we need it in a lighter consistency at first so I'm going to use a lot of water at first. So there we need it to be lighter and I'm going to add wave shapes. You see I'm adding nice wavy shapes. Make sure that the waves that you're adding is visible. That was too dark. Let me lighten that up. Added some waves on the top. Can you see how I've added those waves? We keep adding these waves towards the bottom. Now we have to work quick. This is the reason why I say that you need your paper to stay wet. While you're doing this your paper can start to dry and you can't afford that so we need to work quickly. Now I'm going to mix a little bit of viridian into my blue and start adding. On top of that cobalt turquoise, our waves are going to be with a mixture of the cobalt blue and the viridian. Also it can get bigger. That is, the waves, they can get nice and big. Here towards the swan I'm adding them in this direction. Before I add in the waves, this region here towards the left is starting to dry, so I'm just going to wet that region again. Maybe we can use our larger size brush and re-wet that region. When you're re-wetting that region, I obviously need to lift my paper so that I don't ruin the top regions that I've already painted but rather just the bottom, that is, I'm adding color only to the bottom region. Now going back with my viridian. Like I said, now we'll have larger strokes. It's the viridian and cobalt blue mixture. Added these nice waves. Now, towards the bottom here we're going to add some rocks in the water. For adding in the rocks, I want to take my cobalt blue and mix it again with the viridian. Mix a dark version of the cobalt blue and maybe mix a little bit of olive green as well so that we get a darker blue color. What we're going to do is we're going to just add it on to our water region and going to create the effect of rocks. Just create these shapes. Don't worry, it'll make sense when we add the top layer. For now, we're just going to imitate and make some rock shapes. Just create these rounded shapes for now. Smaller ones towards the top, larger ones at the base. In some areas you can add these wavy shapes. It's going to be a mixture of the wave and the rocky bottom. Just adding these rocks. As you can see, all my strokes are still wet-on-wet. This is why I said that you need your paper to stay wet when we're doing this. The top regions have almost dried and we've already added the waves there, so I'm not going to go back there. We're working only at the bottom side now where we actually want it to stay wet. Now I'm adding more blue to my mixture. There. Now we've added a more blue to our mixture, so it's more bluish than it's green. We're going to add it at certain places just to give depth to some of the rocks. That will be outside of the rocks, not the inside part. Those are rounded edges, they are going to be the rock surfaces. Surrounding those rock surfaces we'll add this darker blue color at certain places. You see? We've added in the form and shape of these rocks. That is just towards the bottom. Towards the top I'm making these lines and also right next to the swan, I'm going to add these lines. There will be the reflection lines, not reflection but the wave lines where the swan is going. Just use the tip of your brush and add these lines. As you can see, now you need to have a lot of water control. You cannot afford to introduce any more extra water in your paper. You need to control the amount of water that is there in your brush while you're doing this. Going to apply water to the swan region. Now apply my paint. Now we've created these underwater rocks surfaces. That is actually going to be our whole background layer. Let's now wait for this whole thing to dry, that is, let's dry this up so that we can add in the ripples and the swan. 27. Day 10 - Swan in Water Part II: Here our background is now completely dry so that we can add in the top layer. For that, we are going to have to mix nice dark color for the ripples in water. Let's do that. I'm going to be mixing it using my sap green. Taking my sap green, a bit of olive green in that and a little bit of brown. You can either use transparent brown or burnt sienna, whichever is accessible to you, and that gives it a nice dark olive greenish color. I'm just trying to mix the same color using the existing colors in my palette. If you actually have a grayish tone in your palette, you can use that. I think this is better. I'm going to mix my blue with it. I think that is the color that I'm looking for, there. I mix the sap green, olive green, my burnt sienna and my blue together. Basically I think possibly, if you mix your olive green with brown and a bit of gray, you will be able to get this color. I like this color mixture because I'm going to be using the varying tones by mixing the same colors again. But if you actually mix this up using different set of tones, you won't be able to replicate that, so this is the reason why I go for such color mixes. Taking that, and here I have my brush and we're going to randomly add ripples in water. Make sure that your paint is diluted, so sieve the diluted paint here. There's a lot of water here. We're going to use the diluted paint to add the ripples in water, and it's going to be totally random. There is no strict rule as to how you should place those ripples, just go with your instincts and do whatever. I'm going to add in the ripples now. I think I need it to be a bit more darker, so here I'm adding a bit of brown to that. You'll know it as soon as you apply it onto your paper, the color that you exactly need. Just using different sides of my brush and creating these strokes. Can you see? I think I need it to be a bit more darker, so I'm going to mix my dark blue, which is indanthrene blue to that mixture. I think this is probably better. Let me see. I will go over the top. I think that's good. Just not going to recolor on all the areas, just the most important areas. Can you see, just adding these ripple lines? As you can see, I'm just roughly adding them, there's no specific shape that I'm following. Back to the top region because I just want to fill in the top regions first. Adding a bit more olive green to my mixture now here on the right side. Of course, I need it to be diluted. This is why I said it's better to mix our paints because then you can just vary the different colors by adding all of the same colors again, but if you're just using a one single color, if you're just used green then you won't be able to give this variation and the tone, as in the color. This is one of the reason why I have applied the masking fluid because I want to continue this ripple towards the left. You can see so it's easy to just go over the top of the swan and not to be worried as to how to go around. But if you didn't apply the masking fluid and you're doing this by going around, then just try to continue towards the left side of that swan. Now, I'll add more olive green to my mixture because I want it to be like olive green. With that, I'll add a bit of burnt sienna so that it's more olive green and obviously, we need a lot of water in the mixture. As I get more towards the bottom, I'm adding it more olive greenish. I've added a ripple here which is more olive green, but I'm going to give it a bit more color by adding a bit of the other color towards one side of it. Did you see that? I added the olive green at first, and then towards one side, I applied the darker colors. This is why I said mix that mixture. Let's see. You remember the pencils get you from the home one we did here. I am going to try and add color to that one. For that, I'm going to add it with olive green at first. Then I'm going to take a little bit of this darker tone and add it to not just some edges maybe, so that gives it like a dual tone color. Back to my olive green and adding next to the swan. Now we'll add the reflection of the swan, so that is going to be with olive green. There, that's the head part. You can add certain dark color at certain areas. There, go back to the olive green and I'm just going to add some strokes mixing it with dark or alternate and randomly. Now taking my olive green again, and adding towards this side. I need to give it a darker color at certain places because right above that we have that old other colors. Just below that it cannot be a perfect olive green so just add it in a mixture. Now, adding more of the olive green, I think I'm going to mix a little bit of sap green to that mixture, a bit of my burnt sienna. Just adding in the form of remember, those ripples that we added like that, so that's what we're doing. But let's get some darker tones on top of it. Because it cannot be perfectly with the olive green itself. Now, adding some more ripples. Now these ripples, let's add it such that they're going towards the swan. Now here on the top, now these are going to be with olive green itself. Some more here. When we add these ripples on the top, these stone that we painted earlier on by the wet-on-wet technique, it goes underwater. These ripples makes it have that effect. As you can see, I'm using the tip of my brush to add in various strokes. I've added these nice ripples. Now, we're going to add some darker ripples as well, so for that, I am going to take my blue. That's indanthrene blue. Make sure that you are able to add using pointed tip or actually let's shift to a smaller size brush so that we can use a more pointed tip. I'm going to shift to my size two now and taking my dark indanthrene blue. You can also take Prussian blue or whichever blue that you have. Going to add some lines. You can see the lines. They'll be like double lines, so just some lines right beneath the white lines that you've added like that. Let me show you up close. See those white lines. The masking fluid lines below that is what we're going to add. Here now surrounding our swan. They'll be just lines around the top as well. As you can see, I've added a nice blue paint around the top. Now, I'm going to quickly soften the edge of that because I don't want it to be dominant. It just needs to look like a part of a wave. Now, that looks as though it's continuing around the swan. I think we're good to go. Before we finish off, let's add in a dark area right beneath the swan. That would be the shadow underneath the tail. So for that, I'm going to use Payne's gray. Here is Payne's gray and I'm going to take that nice gray color and right underneath the bird here is where I'm adding that dark tone and will do it in the form of a slight tailed shade. This is going to be like the reflection and the shadow in water. As quick as you paint it, we wanted to soften the edge because we don't want a dark edge. Make sure that you quickly go round with your brush and soften your stroke. As you can see I'm quickly softening my stroke and pulling out my paint. So you can see the darkest part is like right underneath and towards the outside it's softened. Make sure that underneath the area it's freely dark. Then once you've added that, I'd like to add a little bit more details into some of the ripples so I'm going to take the Payne's gray now and just do some of the ripples. I'm going to add in like edge of black. Just giving an edge of black. Let me show it to you clearly. So here like for example, this one, I've added an edge of black, just going around with my brush towards the edge of it. That's all. We'll do it with many of them, but not all of them, just some of them. You can totally skip this step if you want, but I just think that it makes it look more original and real. Maybe I'll add a few ripples with my Payne's gray as well. Remember, I said that we wanted it to have different colors. I think we're good to go. Maybe a little bit of dark colors here on the top because I feel that these are all too olive greenish. I just want to darken it up at certain places. I think that's much better. Now, let's go ahead and remove our masking fluid. Make sure that your paper is completely dry when you're removing your masking fluid. I'm going to remove it now. Here's the satisfying masking fluid view. There, our swan is revealed. Let's now paint our swan. Lets start. Going to take a nice darker consistency of my Payne's gray, almost as dark as black, just to add in the colors on the beak and the eyes of the swan. That's where I want to start with. Now, I need some burnt sienna for the beak area here to just soften the edge using water. But make sure that you leave that top region white itself. Now, once you've added that, let's go ahead and start painting the body. There is not much to paint on the body. It's just a little bit of Payne's gray or you could actually mix a little bit of violet. But I think I'll go with Payne's gray for now, because I don't want to create any unnecessary mixtures. Here on the top, we'll apply water, because we need the body to have nice blend of color. I've applied the water, now I will take Payne's gray, and I'm going to apply. Can you see? We are just applying, and creating that darker tone, the scene. Apply towards the left side, the right side we need it to be lighter to give the effect of light there. Now I need to flatten it out and blend it properly. You see, applied a nice darker tone. This top region, that is the head region is going to stay white, and so is this right side. You'll just apply water to the entire surface, although we're not going to paint it, but applying water makes it get rid of the whiteness of the paper because your water will still be contaminated with a little amount of pigment even if you're taking freshwater. Here, I'm not even taking freshwater, I'm actually taking this contaminated water from this jar here. Then taking a bit of Payne's gray, I need to add it to this bottom, and I'm going to just go around and soften, remove any harsh or any flower effects. Just added a stroke there. It's wet on wet, so that's why it's soft. Then we'll apply water into that reflection as well, because we don't want it to be purely white. Now we'll apply water on this reflection area as well, because we don't want it to be purely white. We need to show some color. I'm going to take the Payne's gray again. I don't want a lot of water, just going to add that. But I'm going to add in the form of lines like that, so that it's not pure, it's not white, but it has got those slight lines that makes it have the reflection. Same thing, that's too much color. So let me get rid of the color. The same, this region, it shouldn't be this white. We just go and add a little amount of Payne's gray to it so that it's not purely white. That's exactly what we want to try and depict. Once you've done that, now, we'll take a darker tone of Payne's gray, or you could also take indanthrene blue, or Prussian blue, or whichever blue you use to mix that and add those lines. Now we'll pick up that dark blue once more. We need lighter tone, not as dark. We need to add in those lines, so those lines, let's make sure that it goes on top of our reflection. Just very lightly add in those lines. Those lines are here as well. It's just some light lines where the swan is making in the water as it's flowing. Add that as it flow. That's what it's done. Here at the back, we're going to make these smaller dotted lines. I'm going to immediately absorb that with my cloth, so that it'll be like a little trill of stroke. I think that's enough. Let's now go ahead and sign our painting. Let us now remove the tape. Here is the finished painting for today, I hope you like it. Thank you for joining me today. 28. Day 11 - Techniques and Exercises: Welcome to Day 11. This here is the painting that we are going to do. This one is a lot easier than the ones that we're going to do in the future because this one I've tried to do mostly using the white quash paint whereas in the future, we're going to implement more advanced techniques to paint these white lines in water. We're also using masking fluid to mask out this area so let us see in the techniques, what is the alternative method to paint this without using the masking fluid? Here is the right side of last day's painting. What we're going to do is we're going to trace out a wave so I'm not going to have it similar to the class project. I'll do a different one for this one. Let's see the wave is going to be somewhere here, the splash. That is going to be the line and that's going to be splashing water here and some white foam in that region and some other amounts of white for here as well, the splash, and then we just splash. It is going to be here. Now the water needs to have movement so let's see the movement of water is like that and there are a lot of white areas here and then the splash can be all the way up to here. Then this horizon line in our painting is going to be there around one by third of the paper. I know it's not probability here, so let me show it to you closely, the pencil sketch I have made. This here is the sketch for our painting. Let's get to painting the sky first. For that, I am going to start with my size six brush so here's my size six. What we're going to do is we will first apply an even coat of water onto our paper. I am not worried about splitting my paper into the sky and on the ocean area. It's perfectly fine. Now, let me pick up a little bit of cobalt blue and I'll go in the sky region or maybe ultramarine blue as well. Taking ultramarine blue or you can also use cobalt blue and make some strokes but what I'm going to do is as I reach towards this region that I've made, I'll go around. I don't want a lot of color in that center area where I'll have to apply a lot of white paint. The darker strokes I'll apply towards the top and towards the bottom, I'll keep it lighter and just skipping this region but also careful when skipping. I'll try to apply some color right outside of the wave region so that when we apply the white paint, it gives a nice contrast to that region. Even if you paint close down into the ocean part, that's absolutely fine. Now we paint the ocean part. If we're painting the ocean part, towards the top, I'm going to switch to a synthetic brush because a synthetic brush basically holds very less amount of water so my paint won't flow up. Also, I'm going to use gravity. I'm going to hold my paper up like this and paint the top, so I will take my turquoise green color. This is Taylor turquoise color and using that Taylor turquoise, I am going to over the top from that horizon line that we made and on the right side as well. That's the line of the ocean. As you can see because I've got my angle and because I'm using very concentrated amount of paint and because I'm using a synthetic brush, my paint doesn't flow too much towards the top, so don't allow it to spread towards the sky region. We need to create the wave effect, so here, I'll use my brush to create my strokes towards the center. There up toward the center I've added. Now, what I'm going to do is I'm going to quickly take my brush and soften the top part where it's spreading. I know I said that it won't spread much, but I want to create that softer edge for the edge of the ocean, which is why I did not go for a flat line. We create a softer edge, mainly because of the effect of aerial perspective. When you implement aerial perspective, this point, that is the horizon point on the ocean, it's very far away so if you soften that, it gives a more beautiful look to your painting because you are implementing the aerial perspective. Can you already see? There is that soft look for the horizon and it's looking beautiful, isn't it? Now I'll probably take a little bit of indigo so that I can add a little bit of darker accents. We need to add the waves before these dry out so I'm taking my dark indigo and I'm going to go and add small lines on that region there. I've added a lot of lines, but I think I need a little bit more dark paint, I'm going to take my Taylor turquoise and add it at the top, and blending with the indigo. Now that's much better, isn't it? To create that darker tone, I've just gone over with my Taylor turquoise and the indigo paint that I applied, it spread and it created a beautiful effect. Here, taking my Taylor turquoise itself and I add. Let me splash this until here, that's the splash region. Now I probably go with my Taylor turquoise mix it up with a little bit of teal green maybe so that it's a little bit more greenish. Using that, I am going to start creating the baby motion of my water area here so my water is flowing in this direction, so this is the reason why I'm adding that way. Following the direction of the movement of the water is really important so water is this way. Like that. Where else? This area of the water is flowing this way. Soften out the edges, because I want that region to have nice foamy effect. Wherever my paint has stopped, I'll go ahead and soften the edges of it so that we create a nice foamy effect. See, I've just softened that region, the whole of it. I'll need to soften this area as well. It's lighter, I know, but when we add in the white paint will make more sense. This is what we do in the class project. Adding my paint there as well. Here we need the light paint. I soften this region as well. There I am going to have some teal green stroke, where my water is creating a splash towards the top, like that. Now we create some darker strokes with the blue turquoise here depicting the movement of water, and the same towards the side. From the top of the teal green, that's what we add. We had wet this region, so I'm going to add some strokes on the top. It'll look like it's on the top of the foaming water. I'll create some other strokes here for foamy effect. Now I'll probably take darker indigo paint to create some darker strokes and wavy shapes here. Like wavy shapes, here as well. We need to look at the tone right underneath wave area, it's going to be having a little bit of shadow. I'll take my indigo, I'll mix up with teal turquoise that I'm using. Here is our turquoise. I mix indigo to that mixture to create a darker tone. That is basically what's going to connect onto the underside of the wave, because we need to depict the shadow right underneath the wave. Now, for the foam it here, it cannot be purely white, so we need to add in some shadow again. For that, I want to take up my Payne's gray. You can mix up a gray if you want. I would rather take my Payne's gray. Let's do that. We need a very lighter color here. Using that lighter color and applying my gray in certain areas. That's enough for now. Now what we do is you dry this up so that we can add in more foam in the water and the splashes. Let me get this just properly because you can see that it's forming blooms because I did not have the right consistency of water. I'm going to just blend it and we'll be fine. There you go. Now I'm going to apply my white paint on the foamy region. I'll switch to my size full brush for this and taking my paint. We first need to create some dry brush strokes. Here I'll dry my brush completely and I'm going to create some dry brush strokes to create some foam in the further regions there, and in some regions there, maybe that longer waves. Now let's go ahead and try and add in more foam. We need to again follow the movement of the water. Here the water moves this way. Somewhere your strokes are dry, somewhere your strokes are lighter. Lighter as in it's not dry but a mixture of dry and wet on dry strokes. That's what we do. Like I said, this area was a large foamy region so you need to apply more color there. We can create the splash region there, so it's splashing and maybe some dry brush strokes next to it there. There. Another splash here. This is another splash region. I'm not going to apply paint all over it because the dark color already that's there on it will act as the shadow. See, I just applied a little on the top. I'm just applying some dry brush strokes here again. Here on the top of this one as well, we'll apply. Make sure you follow the movement of the water. That's very important. Here the movement is this way again and here at the bottom it follows like that. Go around some of the strokes that we've done. You can see now already the wave shape coming into its shape. Now, some more stroke. When you add these white strokes on top of the color ones that is for example these yellow turquoise color, you might have to add it multiple times in order to make it be visible because your white paint is going to blend with the background and create a lighter stroke in order to make it become dark, you'd have to apply multiple strokes. Lots of strokes. Remember we said here, we need to have that splashy element. Here, my water is going to splash out like that. Observe my stroke here, holding my brush like that at an angle, and add these strokes towards the top. That's creating both blend of drying and wet strokes. That's how it's splashing that is what we're trying to create also I going to create some shapes here. Creating that splash towards the top and we add it up and sketch all the way there. My splash, it's going to be larger. That's the way it is splashing making these upward strokes ensures that it looks as a splash doing downward. Make it upward. Now we've added a lot of the splash reaching probably at another splashing part here. We take our paint and just do these upward strokes. The last thing I'm going to do is I'm going to take a toothbrush and I am going to add in some splatters. I'll take my toothbrush and dip it in my white paint and we're going to add the platters. Move your brush with your hand to create the splatters in the direction that you want. For example, I want my splatters to be here, so let me cover off this painting. Otherwise, we end up with splatters here. Hold your brush like that, and then release the bristles that would create the splatters. there you see nice small splatters. You would have to dip your brush first in a little amount of water in order to create these tiny splatters. But these tiny splatters are worth it because otherwise, you'll never get these tinny splatters even with a splattering method by using the brush. As you can see those tiny splatters in the sky region and towards the edge of your splattering regions. Go ahead and apply. I think I need to dip a little bit of water Move your brush to create those splatters. That's looking amazing. There you go. It gets your hand dirty, but also it's much more controlled than the other one because you don't end up splatters on your table. Just a little bit of dirt on your hand, that's it. But remember to wash your brush thoroughly if you want to save it up. That is basically it, we've done it. Here we're done with that mid-ocean splash exercise so let through the tape There you go. Now let us have a look at the colors that we need for today's class project. For the sky region, I have used cobalt blue PB28 or you can also use ultramarine blue PB29. Then for creating some grays and violet tones in the sky, we can use alizarin crimson PR83 or any red sheet and burnt sienna. This burnt sienna is PBR7. These are the colors that we have used for painting the sky region. Then, for the water area. I have used turquoise blue. Turquoise blue is PB15 and PB7. Obviously, it's just a mixture of turquoise blue and turquoise green. Then I have used Prussian blue, so we just need a nice dark blue color. Prussian blue here is PB27 this is from Sennelier. Then I have used indigo, which is obviously PB16, BP15, and PBK7. Indigo, like we have discussed in many other lessons, can be made with a wide variety of colors. The only main thing that we need, is a dark blue color, then a dark blue color, then a father dark blue color for adding the darker details. Then the brushes that I have used, our size 12 brush for the larger waves, then a size six for the smaller details, and the synthetic size eight for adding the baby strokes. You just need a larger size brush and basically a medium-size brush to join the class project. Other important materials that we have used for the class project is basically drawing gum or masking fluid, which is obviously very important for adding the splatters and the white regions. We also use the white gouache a lot to depict the areas that are white or the splatter. We'll be adding a lot of these splatters with the toothbrush as well so the toothbrush is also very important. Keep these three things also in mind while you are getting ready to watch the class project. If you are happy with the exercise, the colors, and the techniques for today's class project. Then let's go ahead and paint this mid-ocean splash painting. 29. Day 11 - Ocean Splash Part I: Let us start. We will just quickly outline the line of the ocean. That's going to be around the top. The rest of the area is going to be the ocean, so around one third of our painting following the rule of composition. That would be somewhere around there. I'm going to draw very lightly so that my pencil line is not seen at the end, like that. Here it's going to be the splash of my wave. That's basically it. That's the pencil sketch. Let me show too to you closely, so here. I hope you can see now clearly. Before we move on to the painting, obviously we have to mask out certain areas which we want to keep white. So I'm going to take my masking fluid again and mask out certain areas of the painting. I'm going to use my ruling pen to apply the masking fluid. Here Here picked up the masking fluid and I'm going to apply to this area here where I want it to be white. Just some areas. It'll be right around this area where the wave is, that's where we want to mask out at the moment. It's splashing towards the top. Let's add the splash. The splashed area is going to be not really white. We'll add color later on, but for now it needs to stay white while we paint with the other colors. I'll start adding some more towards the base of that ocean region, to the base of that wave. The rest of the areas we'll just paint it with our brush itself, so let's not add any masking fluids there. It's just these areas here that I want to mask out because it's very critical in the painting. The other is not. We are good to go with that. Now what we need to do is we need to add in some splashes. For that I am going to take my masking fluid on my tooth brush that I use for my painting, but we have to be very careful. We don't want to damage the bristles of the tooth brush if you want to use it again for adding other white spots. I'm just going to dip my toothbrush in the masking fluid and I'm going to use my hand and add these flashes. Can you see? It drops onto the paper and creates these tiny splashes, which is exactly what we want. Because otherwise, there's no way for us to get these tiny splashes on the paper. It contributes to the amazing wave shape and gives these tiny splashes on the paper. What I'm going to do is I'm just now going to drop these tiny splashes on other places of my paper as well. It's just around the whole of my paper, that's it. Now one one I need to do quick is I'm going to wash my brush. I have a cup of water here ready just to immediately wash my toothbrush because I want to save my brush and reuse it. You've already seen how masking fluid can damage toping brush and the toothbrush. Now that we have masked out the area of the crushing width, we need to wait for this to completely dry. Here my paper is now completely dry. Let's go ahead and water up our paper. I'm going to start at the top. We apply water onto our paper surface. I'm not going to create any split between the ocean and the sky for now. Let's not bother about that. Just apply your water like you normally would apply onto the whole of your paper. Now I'm going to keep an angle for my paper so that the water would flow down when I'm painting the skies and give me a more natural look. I'm going to start with cobalt blue. I'm going to take a nice diluted version of the cobalt blue and start on my skies. Start with a nice diluted color and I'll apply it onto my sky region. You can see I am applying the cobalt blue, but now I want to give it a bit more natural look to the sky. I'm going to go and add some more colors. We don't have to bother about this region obviously, because we have applied the masking fluid. Hopefully it takes a natural color. What I'm going to do is I am going to take ultramarine blue and mix it with a little bit of alizarin, so that'll give me a nice nice purple shade. See that little muted purple sheet. We'll add that to our sky as well. Because it's ultramarine, it's likely to disperse status granulate and give us a nice extra for the sky. Mix your paint nicely. Apply on the paper. What I'm going to do is I'm going to mix it with a little bit of burnt sienna. That'll give me a gray tone. Here I've mixed to the same mixture with burnt sienna. That'll give me little gray tone. I'll add that as well to my skies. What I'm going to do is I'm going to add that gray tone here, right where the wave is. What it does is it gives the maximum contrast to the white area that we have added here. It gives the best and the maximum contrast, so that's why I'm adding that gray tone in that region. That is simply a mix of ultramarine, alizarin or any red shade. Ultramarine, any red shade, and a bit of burnt sienna. Burnt sienna will make this mixture into a gray mixture. We'll apply that towards that background. You can add that for any clouds that you'd like to add. If you've taken my class on painting skies, then you'll be a pro by now. You know how to paint nice beautiful clouds in the sky already. Just adding on the top and giving all these beautiful mixture of colors. Just taking my leftover paints and adding to the top now. All of those darker tones I have applied here just so that it gives them maximum contrast to my wave. You can take a bit more blue. But my sky is starting to dry, so I need to dry up my brush before I apply any tone and before I ruin anything. I think we are good to go. Now that we're done with the sky region, we can go ahead and start painting our ocean. For painting the ocean, for the top region, I'm switching to my synthetic brush because this region is already wet and even though I have an angle, if I use a natural hair brush which holds a lot of water, my paint will flow up towards the sky, which I do not want. This is the reason I'm going to use synthetic brush, which will make sure that there is very less water on my brush. Also, this angle on the paper that I have will make sure that my paints flow down instead of going towards the top. The reason why I'm not going for a hard edge is because that's like the further end of the painting and further end of the wave, that's the ocean horizon and I want it to be in a more softer version. It's not going to be hard and it's not going to be too soft either. We'll make it a little bit harder. Here, we start with turquoise blue. I'll mix a little bit of Prussian blue to it that I get like a nice dark blue shade. Then I'll mix a little bit of indigo as well because I want that region to be dark. So a bit of indigo into my turquoise blue, and a bit of Prussian blue, that's what I've added. Now let's get to adding. I think it's not spreading too much and that's exactly how I want. Let's look at the pencil sketch and try adding that. That was the sketch that we did, and on this side as well. Now that you've added the line, you can clearly see the bottom area, where my water region is supposed to be. It started to dry. I'm going to water that region now. But the thing to note is we're going to water down that region, especially by keeping that angle on our paper which will ensure that our paint never flows towards the top. Here I'm watering down my paper all the way up to the bottom. You can see I've already touched the existing paint as well. But you can't see it because of the angle, it only flows down. It doesn't go towards the top. That's exactly what we want. Let the paint flow down, but not towards the top. We need to soften that edge there. Here I've dried my brush completely and we're going to go over that region. If at tall there is any hairs formed, this will soften it up. Can you see that? Just run your brush over. There. That's perfect. Wash your brush off any paint. Now let's continue going with the color. Go reapply on the region at the top, just so that you know your paper doesn't dry out. There. Now let's keep going. I'm taking more indigo and mixing with my turquoise blue shade. Keep adding. Towards these regions, you can see I'm adding the paint, but also I will try to leave white spaces naturally on its own. You can see some white spaces apart from the already existing white that we've added, we leave some white. That's what we've done. Let's keep going and adding the darker tone towards the right side. We'll keep going with our paints. Like I said, you can keep adding the paint, but you can also leave some white gaps in between. It's just going to be the white areas of the ocean. I'm still going with the darker tone. Still adding the darker tone with my brush. As you can see, I'm coming down from the top with my paint. We're mixing indigo and turquoise blue, keep mixing. As I come towards the bottom here, now I'm going to leave a lot of white spaces. This is the region where there's going to be a lot of foam. Foam as in the foam in the ocean. We're going to leave a lot of white spaces. Here, I'm taking the paint and I'm going all the way towards the side. Now, as I towards this side, what I'm going to do is I'm going to take more of my turquoise blue shade rather than the indigo mixture. Now here, I'll go with my turquoise blue shade. There, mixed it with my turquoise blue. Let me just have off excess water from the bottom. Because of the angle, any water that you apply will always flow down and accumulate at the end, which you can always wipe off with a tissue or the clothes that you're using. Now, let me add some darker tones on the top, just at the edge here, or indigo to my mixture of turquoise blue and indigo. Here, let's keep adding. As you can see, I'm leaving a lot whitespaces. Especially on this side I leave a lot of whitespaces. Now, before my top region dries, I need to add in the waves. Here, I'm making that mixture again, but in a concentrated amount. More indigo to your mixture and we're going to add the waves. You lose the tip of your brush and draw the wavy motion, wavy movement and some triangular shapes as well to depict the waves. Remember diluted paint for this. Sorry, did I say diluted, I meant concentrated paint for this. You can see added nice wavy shapes. Keep adding them. Add some towards the top as well. Towards the top here make some nice ones. I'm going to add some darker paint mixture here. I'm going to let it blend with the background, the light turquoise color that we added. I think now I'll get rid of the angle on my paper because when I'm adding the waves I don't want it to spread all the way down, because I want the waves to stay in one place. More darker paint and applying. Here, at the base, I'm just applying to certain areas. Remember, you don't have to follow the exact steps I'm using. Because this is the form in the ocean, it can take whatever shape it wants. Just go with your instincts and apply the color at random places and make sure that you know follow along the principles of tone and light and shadow. That's it. Here, obviously, the light is coming from the top, as in the sky is there, and that's where the light is. We just need to get in colors on the painting. I'm going to add more tones towards the top now. Because I'm painting at the top, I'm going to be adding in the form of lines because it's at the top and my detail needs to be lesser and my waves smaller. That's why in form of lines. Now, I need to add some more turquoise shade. What I'm going to do is, I'm going to take a very lighter tone of turquoise. Here, I'm taking this diluted form of turquoise and adding to my sky region. Not sky but that water region, just to show some light. Also I want to drop my water here, some water, and pull off some paint from inside this region. The inside of that wave, we don't want any paint. Just apply water and dub off with your brush. Not the outside, the outside regions are fine. What you're going to do is just drop water because water moves the pigments away. That's what we're trying to do here. Apply the water and then dab it off with your brush, so you can see that it has turned lighter. This is a technique to give the maximum contrast to the outside as well as to move the pigments inside of the wave. There, I think that's good now. Now, we are done adding a lot of these details. Now, let's go ahead and add some shadows for the form. Because the form is not going to be really white. Again, I'll take my ultramarine blue, mix a little bit of alizarin and a little bit of burnt sienna and create a beautiful gray shade. Here's a gray shade. Dilute my gray shade. I'm going to add that. You can see just adding that to the water region, the areas that I've left white. We can make it join some of our blue strokes because it's not going to be perfect always so it's just the shadow that I'm trying to add. Because it's not going to be purely white. If there's anywhere that your paint has spread, you can do go ahead and reapply. I'm reapplying my paints in those regions. 30. Day 11 - Ocean Splash Part II: Now that we've added that, let's go ahead and add in some white onto our paper and add in some form again. This time it's still going to be with the wet on wet technique. As you can see [inaudible] it is my paper is still wet. I'm going to go ahead and apply white gouache. Here is my white gouache. I'm going to be switching to my liner and my size 2 small brush. This is my liner brush and this is my size 2 brush. Let's go ahead and start adding. [inaudible] my white paint. We'll start with these areas first. As you can see those areas are still wet. The thing with adding your white paint now is, some of the regions on our paper has dried and some haven't. Those regions where it's dried, you're going to get dry brush strokes and where it's wet, you'll get wet strokes. That's what we want. As you can see, this top region towards the right, it's dried and I'm getting dry brush strokes and that's absolutely fine because it's going to just make it look like the dry form. Here I'm just going to add those formy shapes and I'm going to add right next to the ones that we already have as well and maybe in some of the areas inside. Now, since the top region is almost dry, lets go and start painting the other regions and add more form. The thing with watercolors, and gouache is that even if you added on top of wet paint, it's going to turn lighter in the end. It doesn't matter what you add, it's going to turn lighter anyways. Mix it with the existing form that we painted. There are various ways to paint such ocean scapes. This is just one of them. I'll show more in the coming lessons. This one, we do not apply masking fluid for all of the formy regions. This is just one way we'll be going to use the white. But there are ways in which you can apply more masking fluid to your paper and paint. It all depends upon the way or know which method you want to follow after you've learned all of this. You know different steps and you can choose for your own when you're attempting to paint ocean scapes sorry, on your own. As you can see, I'm applying the color on the top, but because the background is really dark, I get this gray color, which also gives the effect where we added the gray shadows. Just keep adding more white. Some of the areas you can soften your white as well. For example, this region was already white, and the white paint that I applied, I softened it. Seeing with other white region you can just soften the blue, giving the effect of more formy shapes. Like here you can see this one, that area I have softened it. If it does create up dark edge when you soften it, just go ahead and apply some more white paint right next to it so that would just float inwards. Now I'll get back to adding towards the top. Apply dry brush. You can we see, adding some dry strokes now. It's absolutely fine to have some dry strokes and don't bother even if it's not dry, and it comes out as a line, that's fine. More dry strokes there. This painting obviously involves a lot of white paint. We hope you have a large [inaudible] or watercolor whichever you're using. Now adding towards the edge again? If you ruined up your topmost region there, you can cover it up with white paint. Keep adding. Now I'm going to switch to my liner brush to add in lines. Let's get to adding lines. These are going to be thin forming lines. You know the foam that forms in water, these lines, and you can have with your dry brush technique as well. I'm adding thick a layer of foam towards this left side. The reason I added on top of the existing color after it dries, it'll build really light and will be like there is a lot of shadow within the foam. In some areas you can add shapes like these. I want to take more diluted white paint now. This is almost very much diluted and creating these shapes. Because that's diluted, when it dries up, it'll be lighter, and this is the reason why I diluted it. I'm just using my liner brush. So diluted paint and somewhere I press my brush, somewhere I do not and use the tip, so that's why I'm creating these random shapes. I'm going to go over some of the form areas that I've already painted. Another way to do it would be to press your brush along and you can see how I get these half-dry, half-wet strokes. That is also really helpful to create some dry strokes. Like that, so it's my liner brush, but running across and creating these shapes. It's almost like the shapes that we created. I'm just showing you different ways. You can actually create that shape with your size 2 or size 1 brushes as well. Let me show it to you how. Here I have my diluted paint, and just a little bit just try it outside. That's fine. You don't have too much water on your brush, so try outside of the paper first and then start on some area that you've already applied. Once your brush is starting to get not completely dry, then you can go ahead and apply using a side on movement like that. It's basically pressing the brush down and pulling and over so that creates different shapes. You see just creating different shapes. Towards the edges of these white strokes that I've added, just adding these broken dry strokes so that our white strokes don't look alone and not belonging in the picture. Getting back to the liner brush, let's keep adding white. Just adding so many lines. Just a lot of foamy ocean. I think we're good to go now, we've added a lot of foam and you can stop whenever you're happy. Obviously, because this is a painting where you're using your white paint and adding, you can never stop. It's like you could just go on adding the details forever and ever. It's something to know when to stop, and honestly, I don't know. I just keep on adding details, that's my thing. I think I'm going to stop now because otherwise I just keep going on. Now I'm going to dry this up. As in, I have to wait for this to dry so that I can remove all the masking fluid strokes and then we can paint our white areas. Here it's now completely dry. Let's go ahead and remove the masking fluid from all of the places. I'm just using my eraser and rubbing along. We added a lot of splatters in these places. Just have to go and use my eraser along. This is a masking fluid eraser. You can just use a normal eraser as well. This is just hard, that's it. When you have done your hand along, you'll be able to feel the places where there is masking fluid. You can see how this flash has turned out, so now let's just add a little bit of shadow. For that, I'm going to use water and first take down this hard edge in these areas so just using water and wrapping my brush along, and I will just double. You can see now I've taken the cache line from that region. Let's just repeat the process, and remove any hard lines from there and softening it. It's just using a brush an water to soften that region. We can absorb with our brush. What we're going to do is now we're going to take a little bit of torque's paint and apply in that region. Just a little and we are going to leave some white gaps as well. So what I'm going to do is, I'm going to water that region in the center where there is an order form. Just applied a little bit of water and sticking my torques in a very light tone, and adding that, and a little bit of indigo. Not a lot you can clearly see just a little in that center region, that's where we want. The outside of it is going to be the region and slider. I'm taking some darker indigo paint and adding on the top here, making that area look uniform and some towards this region. So it's like this wave going up and meeting, and creating that white form region. That's why we need a bit of indigo going upward, so have your stroke in a curved line like that towards that region and just some paint in that inside region, that's where the water is splashing. Can you see we just added some lines of splashes. Now, don't let it form any hairs. If it's forming any hairs, get rid of it. Apply indigo again to the top. [inaudible] but as you can see it's a lot so just spread it out with my brush. This is septum [inaudible] that's what we want and we're good to go. We've done what we've got, we've added a lot. Now to strengthen your stroke if you want, you can add some more splashes. The last splash would be with the dual brush again, but this time using the white paint. Here is my toothbrush and I'm now going to dip it in white paint and use your finger again to add in slashes. So this time now thing I'll do it a bit towards the outside. Caches, that's it. Before we remove our paint let's sign our painting. So I'm going to use cadmium red then sign my painting be painting. This time I think I'm going to do it on the left side because those areas here is the best region of my form and I want to keep it that way. I'm going to sign on my left side. I have signed my painting. Now let's remove the tape. So here is the finished painting. I hope you like it. There are a lot of ways in which you can fill in this. For example, you can use the masking fluids method where you're going to mask the entire white form and then adding the shadows in later, or you can use the water method that is to move your pigments, which would be to create the cauliflower effect on the big board. So we'll explore these later on. For now, I hope you enjoyed painting this one. 31. Day 12 - Techniques and Exercises: Welcome to Day 12. Here this here is the painting that we are going to do today for the class project. As you can see, it consists of four poles in water and its reflection, and also, we have various shapes for the water starting from the lighter tone towards the darker side at the bottom considering the aerial perspective. Here, you can see we have lighter tones and so are the waves, they're lighter, and as we come towards the bottom, that is closer towards the viewer, the tone sketch darker and we have darker waves at the bottom and then on top of that, we have reflections. We're also implementing the ripples we learned. There are a lot of things that we have already learned in the previous class projects. First of all is the waves, of course, and then the reflection. This is pretty easy if you consider it as a combination of all the techniques that we've already learned. Let us do a quick exercise to depict a single pole in water and understand how we can make these ripples. Here, I've got my sheet ready and we'll start without the first one. To make it easier, you can add up and so sketch, but if you don't want to, you can just go ahead and do that with your brush as well. Because this is an exercise I'm just going to quickly show you. Let's say we have a pole here and it's slightly slanted. That is the pole up until they're in the water and then we'll have the reflection under that. If you want, you can add another one, maybe a small one. I'll probably add that I know I said single one. But I just feel that maybe I can add another small one there at the backside. This here is the pencil sketch and now let's get to painting. I'm going to apply water to the whole of my paper. Because we're going to paint the background water and the waves first. I'll use my flat brush and I will apply water. We apply an even coat of water to the whole of the paper. I've applied an even coat of water. Now, let's get to painting. I'm using my size eight silver Kolinsky brush. It's just a normal brush itself. It's just not a thin airbrush and now using that we'll start adding in the waves. I'm going to start with pale blue. You can see the paint that I'm taking and any darker color. I'll start at the bottom because I wanted to go lighter towards the top and also I'm holding my paper at an angle. I think I'll keep it taped underneath for the angle that's much better than holding. I will take my bright blue and I will start adding from the bottom. Here I'm adding from the bottom and as I go towards the top, I'll start to lighten my tone as well as I'm going to leave white gaps. In this one, I am going to leave white gaps rather than paint in our background then apply the waves, I'm just going to directly apply the waves here. You can see I'm leaving a lot of gaps and creating these wave shapes. We do the same. We create a lot of wave shapes you can see. Don't bother about the pencil sketch, for now, we'll just go ahead and just apply and we'll see how it turns out. We need it to be lighter so I'm going to go lighter towards the top. So we're just picking up a very light tone and applying. That's a very lighter tone you can see that. Even if I accidentally apply some darker shade, I try to blend it and create a lighter tone. Now I think I need to go slightly more darker towards the bottom, as you can see, it looks as though it's almost one single shade. Now, I'll apply on the toe of my previous stroke and go over the top, and also while I'm applying, I will try to create some more wavy shapes. Like here at the bottom, I'll create bigger ones. So there we have more wavy shapes. I think that's much better. Now I'll just blend the whole thing to get rid of any airs that are forming so you can see it's forming airs. I'll just run my brush over to get rid of that. Now, there we've created an amazing background. All we need to do now is go ahead and paint the pole and its reflection. First, before that, we obviously have to dry this up. I think I'm going to apply a little pale blue towards the bottom because I feel it's too light. I'll take my pale blue and add more. Needed to be slightly more darker so I'm mixing a little bit of Indian green-blue. You can mix a little bit of indigo or any dark blue like Prussian blue maybe for the extreme bottom part which needs to be darker. I think that's much better. We always need to adjust the tone. Look at how ETL perspective is working in a picture, and just go about painting what you see on your paper, how the pigment moves on your paper? All these things are important, so always make sure to have that tone lightest to darkest from the top towards the bottom. Now let's dry this up so that we can add in the pool and its reflection. It's dried. Now, let's go ahead and add in the pool. For adding the pool, I am going to take my transparent brown. You can take burnt umber or any dark brown like sepia or Van **** brown. I think sepia might be a little bit too darker because we have to add in darker tone. When we are adding the darker tones, using sepia would be great. But for now, let's resort to just using brown color. Transparent brown or burnt umber would be a great color to use. We are going to add that onto our pool region. Applied paint onto the whole of the pool. As you can see, I've started from the bottom and because it's a darker tone, the waves that we've made, it won't interfere with our stroke. I'm applying the color. We'll apply it to the other pool as well. There is my other pool. Now we've added the pool, now we need to add in darker tones. For adding the darker tones, I'll probably take a dark color like oxide black copying scrape. This is just a black color. I think this is oxide black here on my pallet. Now we'll add in the darker tones. I'm going to assume that the light is from the left side. I'm going to assume that the light is from the right side. That means my shadows are going to be towards the left side. What I'll do is I'll take my color and apply to just one side on the top. That will give the appearance of shadow, but we have to make it darker towards the bottom. I'm just taking my paint adding towards the bottom, just joining towards the top, like that. Can you see is that water part is now darker and so is the left side. We do the same for this one. The left is darker, and so is the bottom. Now we've just added some nice stones. Now, all that is left to do is adding the reflections, of course. Let's go ahead and add in some nice reflections. For adding my reflections, I'm switching to my size four brush. I am going to take yellow turquoise. It's quite dark mix of turquoise blue or screen. You can mix this up by senior zero blue and yellow, green and possibly a darker blue. You'll get it as such as a dark tone like this one. Now, the important thing about these holes in water is the connection. You need to connect the reflection and the object together. Here, this is the object, what we're going to add now instead of flexion, so I'm just going to add to my color on the top of that black and brown paint again, so that there is no break in the connection. Then we just go ahead and make some regular shapes for the reflection. There is no particular shape, there is no rule as to adding the reflection. This is mainly because water, as you know, is very not stagnant subject, and it just keeps on moving. This reflection in the water. They're also moving. You would just need to capture it the way you think it best. You can just add it in whatever shapes that you want. The only things to worry, or to note, are the connection. You see that it shouldn't be a break, and also right below the object, the shadow and the reflections are darker. I'm adding a darker tone there. Then as I go further away, I'll start adding lighter colors. Here, now I'm filling up. I'll start adding darker colors. I'll start drawing so, I'm probably going in line, make some curves, breaks like that. Then it doesn't have to follow a single line as well. You can go and just make any shape. Maybe now I'll create another joint here or something. Keep adding. Then, another thing to note is we can create bricks. We can create some dotted stuff. Just some dots, maybe some circles. Just random strokes in water. That's what we are adding for the books. Maybe, because it's a single file, I'll add something that'll do it. You can see that for creating this reflection, sometimes I'm pressing my brush, sometimes not. Sometimes I'm just creating some random shapes. I think, and create another shape here. What important thing to note is that all of the shapes may not be the reflection of the pole itself. It must be some other object in water. Let's do the reflection for this one, for example, here I'm adding my clean to the underside of that pole to create the connection. I'm connecting it there. I think maybe I'll make this part as a reflection of this pole. It's got a longer reflection because we can't see the top part of this pool here. It must be very long. Then that means that it's going to have a longer reflection, isn't it? Maybe I'll connect it, some here. Going to create some lines like that. You need to connect, remember that and also, darker tone right below that reflection. That is the reflection boards we've added. Now, we're not done yet because as you can see, this painting looks empty. Obviously, maybe the water doesn't end like that. You can create more reflections of other objects in water, which is obviously not seen in the picture. Maybe there is a boat that's parked here. That is going to cast the reflection towards the bottom. Let's add that. That makes the painting more interesting. You can leave it as just this, if you would prefer. This is absolutely fine as well because this is just two poles in water. There is nothing else. It's just clear water with two poles. But I would like to add some more reflection and some more objects in water. I'm going to do that. Let's say I create some strokes. Maybe I'll create some here. Honestly, there is no specific rule. Just pick up your dark paint. Taking darker tone and I also need to observe the tone. As I go towards the top, I'm going to slightly make it lighter. Just adding. You can create gaps in-between as well. It doesn't have to be completely filled all the time. But remember the other poles that we use to add, it doesn't have to have a single color, so create these darker shades, at random areas. These darker, I'll give you the explanation of why that happens, because it's very important that you understand the things that you put on the paper. When you're adding these reflections, like for example, I'm going to create a shape here. I've created a shape, but why do we add a darker tone to one area of it? That's mainly because there are waves in water. Then the reflection is cast on the top. The reflection is actually a reflection of the object that is there in vicinity of the water surface. The darker areas and lighter areas are mainly because of those waves in water. You see here we've added those waves. Ideally, when you are adding those waves, the waves also appear on the reflection as well. That is, when you see it on the reflection, it's got that VB surface. In order to create that VB surface, that's why we add that darker tone to certain areas. Just keep adding my colors too dark, so I'm just going to lighten it up. Maybe I'll add more continuous strokes here. Like I said, I'm going to add some darker tones. Maybe here at the top, I'll add some darker stuff. Maybe this is the reflection of a boat or some other object in the water, so it's continuous. I got a darker reflection. This is it. I'm going to assume that there is a boat here, which is casting this darker reflection. Oops, I accidentally touched my finger there, so to get it right, I'm just going to add more reflection. Here, I'll just add these wavy shapes. I think that's enough. I'm not going to add it anymore to ruin the thing. It's perfect. Let's make another connection there. This is just me just adding random stuff like that. It makes it look more original when there are these random connections and random lines like that. See? That's it. We're done. I think this region here is wet and this is wet, so I'm just going to dry it up so that I can remove the tape. It's dried now. Let's remove the tape. There you go. That is the pole in water for the class exercise. Now let us have a look at the colors and the brushes for today's class project. The colors that I have used for the water area are phthalo blue, phthalo green, and phthalo turquoise. The phthalo blue, EB15, which we've been using all this while. The phthalo green, PG7, also known as emerald or viridian in various brands. Then we have phthalocyanine turquoise, which is from Sennelier. That's what I'm using. It's PB15 is to three and PG7, so it's obviously a combination of these two, but I believe it's a little bit darker turquoise-greenish type. In order to create such a darker tone, what you can do is you can mix your blue and green together. That is your phthalo blue and phthalo green together and possibly add in a little bit of darker color, such as dark blue, or you can add a little bit of pink shade, and you will be able to get it darker. Actually, I'm doing that. I am mixing this phthalo turquoise with my rose rose to create a more darker shade. You can mix it with a pink or a red shade. That is your combination of your phthalo blue and pale green. Mix it with pink or a dark blue, such as indigo, and you'll create a nice phthalo turquoise color like this one. Those are the colors that I have used for the water. Now for the poles in water. For the poles, I've used transparent brown. This transparent one is from Schmincke. It's PR101 and PBk7. You can either use burnt amber or any brown that you have for the poles. Then for the darker shadows of the pole area, you can either use Payne's gray, oxide black, or neutral tint. Payne's gray, you already know this color. Payne's gray is PBk7, PB15, and PB23, or you can use neutral paint, PR122, PB60, PBk7. You can clearly see how all these pigments are made. For example, this neutral paint is a red shade, PR122; PB60 is Indanthrone Blue, and PBk7 is a black color. It's just a mixture of these: a red, a blue, and a black, and you get a neutral tint shade. You can either use this. I think this is a neutral tint from Winsor & Newton, and it's possibly different. Yes, it is PB15, PBk6 and PB19. PB19 is queen rose, PB15 is phthalo blue, and PBk6 is a black colors. You see, if you look at the pigment information, it's very, very useful to know how these colors are made. So even if you don't have a neutral tint color, you can easily make it if you have a phthalo blue, a rose, and a black. That's how you can create the darker shades for the ripples in water. That's basically the colors that we've used for the class project. Now the brushes. I've used the Velvet series size 10 brush. That is a larger size brush for the larger areas, a size 6 brush for the smaller areas, and also a synthetic size brush for the waves. Then for the ripples in water, you can just use any brush that has a pointed tip, pointed enough to create smaller circle, smaller dots, smaller lines, or if you want your ripples to be larger, you can use a larger size brush as well. It's totally up to you. Like I said, the ripples are completely random, so it's very, very convenient to use any kind of brush that you want. This painting does not have any other materials that we're using such as masking fluid or any ruling pen or even toothbrush. It's just a very simple painting. All we need to take care are creating the nice ripples and the reflection and the waves, which we've already done. The waves, we practiced in a lot of the lessons. Now we've seen how the reflection was. All we need is to create the connection between the object and its reflection. That's basically it. Let's get to painting the class project. 32. Day 12 - Poles in Water Part I: Let us start by applying an even coat of water onto our paper. We need to water the paper multiple times because we want the paper to stay wet for a very long duration. Apply the water evenly. I am going to keep an angle for my paper so that the water can flow down and ensure an even coat of water on all the areas. We're going to keep that angle for my paper while working. We'll start from the top. I'm going to start with my bright blue. This is pale blue, so we'll start at the top and as you can see front line very lighter tone. The water will ensure that it's a lighter tone. We need to be moving downwards using strokes and that's bright blue. Now as you can see, I'm increasing my tone. Now I'm going to take pale green and I'm going to add that. Starting from around here, I'll add my pale green and we will go downwards using the pale green. More darker as you move downward. Now I'm going to take yellow turquoise which is even darker and I'll start applying that towards the bottom. Somewhere around there is where my yellow turquoise turquoise is going to be. Now, I'll go for a very darker tone towards the bottom. At the bottom, we needed to be extremely dark. At the bottom, making it darker. Extra water that's coming off at the bottom and absorb that with my clothes. Now the darker tones towards the bottom. We want to go upwards, pick up some more of my pale green and go towards the top because it's getting lighter as the paper is flowing down, that is, the water is flowing down so because it's getting lighter and go towards the top again. Then I'll take my pale blue. Use it in a diluted mixture. Again, as you can see the top part has started to dry out so I'm going to reapply the paint. That'll make sure that my paint on my paper stays wet. All the paint would flow down, but this re-applying the water it would make sure that my paper stays wet, so pale green. Nice darker tone towards the bottom. So picking up the [inaudible] turquoise, again and applying at the bottom. Now we've created a beautiful gradient of the three colors. Let us get to adding the waves. Because we have an angle on our paper the top part is already going to dry out so we'll start with our waves at the top. I'm going to remove that angle now because we don't want the vase to be floating downwards. At the top let's start adding waves with the blue. Make sure to dilute that bright blue and not use it in a very dark consistency. As you can see, you can nice wavy shapes. These are going to get lighter after it dries up. Just keep padding. Make sure to add smaller lines. Mostly straight we don't need to get that perfect shape. Try making some smaller ones as well. As we come towards the bottom, you can increase that tone. Now I'm going to take pale green and start making the pale green waves, okay? Starting with the pale green and you can see the wavy shapes that I'm making. Larger ones too, I'll start making more larger ones and also begin to create the shapes and some random triangular shapes. Keep going over the top of some of the waves if they are starting to dry out, they're starting to get lighter. We don't want it to be too light, but we want the wavy shapes to be visible also because our paper is too wet it can lead to the spreading and we don't want it to spread too much. Now I get to the bottom. I'm going to add some strokes to give the wave some direction, like that, and they break off like that. Now let's go with the yellow turquoise and get darker color. We need to keep working at it. Now we're getting that color teal turquoise and adding wavy shapes. They need to be bigger as well, remember that. I'm using the full length of my brush to create these wavy shapes. Creating wavy shapes. We've created some nice wavy shapes, but as you can see, the tone of these ones and these ones are almost the same, so we need to darken the ones at the bottom. I'm taking my teal turquoise and I'll mix it with some pink shade and that'll will darken it. You can see that. Here is my teal turquoise and mixing it with little amount of pink and that darkens up my mixture. I'm going to start applying those strokes on the top. I think I'm going to shift to my synthetic brush so that I can make the waves easily because my other brush is holding a lot of water. Here I'll take my size 6 synthetic brush and taking the teal turquoise again, mixing it with red so that I'll create a darker shade and this darker shade I'll apply. I need to darken it some more. Feel that the background is still too light so I'm going to blend some more using my brush and create a nice dark tone. Now you can see it's getting darker and darker towards the bottom. It's really dark now towards the bottom. I need to darken it up some more so I take my teal turquoise and mix it up with red to create a darker tone. Now, in order to create it more darker I'll mix it up with more red. You can see the mixture here. It doesn't have a lot of water because my paper is to starting to dry and can't introduce a lot of water in my brush onto the paper so I'm having very little water. We take the teal turquoise again, mixing it with red. The base wave, I'll trying to make it bigger. Now there are some dry areas here. Let me try and soften them up with my brush. Softening up the areas. Now we'll wait for this to completely dry to add in the foreground elements. Our paper has now completely dried. Let's go ahead and add in the foreground details. I am going to start with transparent brown. There is my brown shade. Going to take the transparent brown, and I'm going to add in the poles in water. Let us add one here on the right side. I'm just going to use the length of my brush to draw the vertical lines around somewhere there, under there. It needn't to be straight. It can be bent. Then, you can adjust the shape, but I believe it's going to be completely fine in whatever way you add the shape because it's just poles. It can have those depressions and bends and everything, it needn't be perfect. We've added the pole. Let's add some more. Taking my brown again. I think this time I'll add one here, somewhere around there and there. This one I definitely need to adjust the shape because you can see at the bottom part it's slightly thinner. There I've adjusted the shape. Let's see. Let's make another one here towards the left. I'd start somewhere around here and I'll go towards the top. Let me make it a little bit thicker. I will have another one here. I'll have it close to this one, but obviously it's going to be behind. There. Now that we've added the pole in water, we need to create some wavy ripples next to these poles so that it reflects more of the wavy shape when that pole is in water. I'm going to apply some water to the area surrounding the pole. Can you see? Just applying some water. Don't apply too much such that it pulls the underlying paint. Just a little bit around. See, the water that I've applied just around the pole region. If it's extending too much outward, you can go ahead and just wash it off with your towel. Now that I've made enough water in that region, what I'm going to do is I'm going to take up the color. That area is supposed to be phthalo green. I'll take up phthalo green. I'll mix it up slightly with this existing color in my palette so that it's a slight darker phthalo green. Here is the dark phthalo green. We need it to be dark. I'm going to absorb extra water from the brush, absorbing all the extra water, and then I'll create some wavy shapes. That's a triangular shape that I'm adding. As you can see, we get it softer because of the water that we applied, and then I'll try to create a ripple shape. I'll go around and create a circular shape. Just a small circular shape. I think we need more water towards the outside region because I want to make a bigger circular shape as well. I'll apply some more water towards the outside region. Make sure that it doesn't form any harsh edges. There. Now I take my brush again and try to go around. You can also go with the softening technique where we apply the water and we soften the edges. Whichever is suitable for you, you can do that. Here we've created a wavy shape at the bottom of the pole. You can go ahead and make it more darker by applying more pigment. Now let's do the same for some of the other poles. Here, again, I'll apply water to the base of it. I'll apply the water such that I don't create any harsh edge anywhere, extending my water area. Now, that region is supposed to be a little bit of bright blue. I'll pick up my bright blue. There is my bright blue. Let me absorb the extra water, or you could use a synthetic brush. Just going to create a nice wavy shape. Just leave it at that for now. When we add the reflections will make more sense. I think I'll take a bit of the phthalo turquoise and mix it with the blue to create a nice wavy shape. Now, there's just two more. Around this one. That one I'll go with the phthalo green again. Taking the phthalo green and let's make some nice wavy shapes. This one I'll soften the edge and absorb any extra water. I'm not making it a [inaudible] on this but just darkened up the stroke. I'll do something similar to this bottom area. Now we'll go with phthalo turquoise. I'll take a little bit of red and darken up the phthalo turquoise. Let's create a wavy shape below that. That's a nice wavy shape. Let's soften out the edges. Let us now dry all these ripples that we've made so that we can add in the reflection. 33. Day 12 - Poles in Water Part II: It's all completely dry now. I'm going to add in the reflection. We need to make a very dark tone to create the reflection. Let us see. We'll make the reflection with oxide black. You can also use Payne's gray. Here is my oxide black or neutral tint or any dark color that you have and l'll mix it up with a little bit of teal turquoise. Here taking a teal turquoise. You can see how we have a dark bluish mixture, but more of the black. More of the black. At one end I'll value the mixture and this end will have the concentrated version. There, that's the diluted mixture. Picking up the diluted mixture we'll start to add in the ripples. First, we'll have some ripples towards the top region. It is not entirely the deflection of these poles. It's the reflection of some other object that's actually behind. It might be the reflection of a boat that's not seen in this painting. We start at the top. This one, it's supposed to be diluted because we're painting at the back side. Using your brush and creating some nice ripple shapes. We'll have to go around the pole region. Some nice ripple shapes. Create gaps and smaller ripples like that as well. l need it to be a little bit more darker so I'm going over at the top and some random circles as well like this. Remember when I'm adding these ripples, I'm trying to add them in-between the baby shapes mostly. l'll add some more to the right side. Remember to add in-between the baby shapes that we have added. We've added nice ripples. Now let's come all the way to the bottom and start adding more. Now, as we come towards the bottom, we're going to darken the strokes. Take more of the oxide black or the black color and let's get to the concentrated section now. Moving to the concentrated color section, l'll take some the teal turquoise. Now let's get to adding the reflection. I think we'll start from the left side. I haven't and I indeed start on the right side always. Let's not do that. Let's try from the left side itself. Starting with this one, I'm going to create some rounded ripples around this at first like that. It goes outside like that. But it'll be more believable if we have some ripples outside of the vicinity of that pool, behind it. Just adding some ripples just like the ones we added at the top. The ripples are what is the most time-consuming so we have to give it the time and do it. Now we start making some smaller ships. Let us paint and make the reflection. Reflection, again, it doesn't have to follow any strict shape. Just go with your instinct and give random brushstrokes. You can see what I'm doing. I'm adding some heavy brushstrokes. You can have it broken at certain places as you come towards the bottom and also you can have some connections from those ripples going towards other places. You can have some lines and dots, some circles, some rounded shapes and different things basically that you can add. You see that, now that looks more interesting. Let's keep adding. I'm going to add some to the left here. Somewhere I'm adding dots, somewhere I'm making these random shapes. Now once you've made that reflection, I think the bottom part of that reflection should match where the end of the pool is. Here I've connected that whole path. Now we need to give the effect of some light on the pool. I think let's have the light towards the left side because you can just go for whichever side you choose. We haven't given any sunlight to this picture so just choose whichever side. I'm going for the left side. For the left side, I'll darken up the pool using the same mixture. Because it's brown, it's just going to be dark on the top. Can you see? I've got a line of dark edge to this pool. Basically we're just trying to connect that reflection and the pool. At the bottom obviously needs to be full. Towards the top you can have some lines. Just leave that right side to be lighter. You can see that right side is a bit lighter. I'm going to add more ripples Now we'll go and add the reflection for this one. Again for that the reflection. Just drawing random lines and creating connections and breaks. Most of these rippled lines that I'm creating, I'm trying to create in-between the baby shapes, but not all of them need to be. Now let's add the shadow for this one as well connecting the bottom parts together and then obviously just the left side and at the top just creating these lines. Now, let's get to adding for these ones. Now, wait, for this one I haven't added the part where it's joining [inaudible] I think that's better. Now let's go ahead and do for this one. For this one, we're going to use the pointed tip of my brush to create a more natural effect so giving that ripples, let's make a lot of ripples some small lines surrounding. Now I'm going to add these ripples. The height of these ripples actually depends upon the height of these pools, which we don't know obviously because it's going out of the paper. You can do in whatever size you want actually. Painting these smaller drops and shapes. Now let's connect. Now let's do for this one. For this one again, I'll have a lot of these ripple lines surrounding, four. That's going to be ripples in between that rounded wave that we did, the rounded wave we shaped. Now I am going to make the bottom part of this one using the full length of my brush. Now let's use the full length of the brush again. Now we've made these ripples. Let's go ahead and cover up the base part and connect the pole. We've connected the pole, now I'm going to to add more ripples. So mind you, adding these are ripples it can be a never ending process because you know you can just go ahead and add so much and never stop. It's up to you when you stop adding these ripples. Sometimes in some of these areas I feel it's too empty and I go and add more ripples, that's what I'm trying to do. I felt here this large part had a huge gap, so that's why I added some ripples. Whoops. Look what that did. What? I like the way it has turned out. It's actually looking nice on my paper. I've never made a pretty shape like this one on the paper and this is actually very interesting. I'm not going to cut it. I like it. I'm going to draw some more right next to it. Actually, it's very nice. It was an accident, I dropped my brush. You saw what happened. What I was going to say before my brush dropped was actually, those places where you've messed up or you forgot some harsh edges and you can see the hard edges, go ahead and apply your ripples on top of that. Because this is a dark paint, this is the time to mask out any errors that you've made. I'm actually loving this one. Oh, my God, it looks so cute. I cannot make that with the brush. Happy accidents, that's what I would call that one. There's a huge gap here, but I don't want to completely add a lot of periods as well. I'll probably just go around some of the areas and try making maybe some random shapes here. I think this is nice. Maybe we can stop right now. This is looking good now, isn't it? I like the way it has turned out, all the ripples and everything. I hope I haven't forgotten anything. This looks good to me now. We have achieved the tone, we have looked at the shadow, we've made the ripples randomly, we've got the wave shapes. I think this is good. Let's sign our painting. Here I use my cadmium red and I'll sign my painting and the one that I type today. We'll be finished because we didn't paint anything on the edges for a long time. Let's us remove the tape. Here you go. Here is our finished picture for today. I hope you like it. You know what? In this whole picture I actually like this little part here which was a happy accident. Anyways, there you go. Thank you for joining me today. 34. Day 13 - Techniques and Exercises: Welcome to day 13. This here is the painting that we are going to do today. As you can see, it is the top view of an ocean. This here is the ocean part, here is the sand area, and here we have some forest area overlooking the ocean, so it's a top view. It is again, like the boat picture we painted. No aerial perspective in play here because it's all a flat surface when you're overlapping from the top. It's like a drone shot. This is what we're going to paint today, but there is something different if you notice about this painting, there are no borders. I've used a completely different technique to paint this one, that is to apply water on both sides of the paper. When you apply water on both sides of the paper and paint, you get a much different effect than when you're applying this on the top. This is mainly because your paper is now stretched a bit and there is more time for you to paint. The wet-on-wet strokes gives you more control. There is a lot of things to learn here when we are painting in such a similar manner. Now, let us go through the details of that. For applying water on both sides of the paper, we need to be using a board that is non-absorbant. A non-absorbant board would mean any plastic board would come in handy. I'll be using an acrylic sheet like this one, which is the best for this purpose. But you can use any plastic board for that. You can even use your table. For example, my table here has got a wallpaper on it, which is this wooden wallpaper, but it's got a plastic wooding on it, so even this table will be sufficient. But I rather advise against using tables because then you won't be able to lift your board for moving the water, moving your pigments and such activities, which is why I recommend using a board. Then the next thing is when you're using a board, if you use a wooden board, then the wood absorbs the water a little. When you apply water to the backside of your paper, it is going to absorb the water little by little, but you can still use a wooden board because it's still going to be wet longer than when you apply with your masking tape and only on the front side. If you only have a wooden board, you can still go ahead and use it. Don't worry, it's not going to hinder your process, especially if you're going to paint on a smaller piece of paper, you will see. Now, I talked about stretching. What is paper stretching? These watercolor paper, they're made of different fibers, so I'm using 100 percent cotton paper here, so it's cotton fiber that this is made of. The way this is made. This is cold-pressed paper, even if it's a rough surface or hot pressed, it is almost the same. Layers of the fiber material have been pressed together to form a paper. This has got various layers in-between, that is the paper that's what causes this thickness. The 300 DSM that we talked about is the thickness of the paper, so it's really thick and it's got these layers in between. When you apply the water, the water actually sinks into the paper. That's why it gets dry faster. This is why I have been advising you to apply the water multiple times so that it sinks so much into the fibers of the paper such that they reaches a point where you overload it with a lot of water and hence it stays wet longer. Obviously, the environment conditions are going to affect the way it dries, but it just gives a little bit more time for you to paint with the wet-on-wet method. But this technique here, when you apply water to the back side, you're giving it even more power. As in you're giving it more water, so you apply water to the backside, then you stick it onto your board, and then you apply on the front side so the water is acting on both ways from the backside as well as the front side giving the paper a more soggy effect or giving it more stretched effect. But as stretch, what happens is water gets into the fibers that is it goes in-between each of the particles of the paper and it stays wet so then that paper stretches a little bit. It's not visible to the eyes obviously. It's called paper stretching. It stretches a little bit, it stays wet for a longer duration of time. You paint things look different as well. If I were to paint this painting with a masking tape method, you will see that you will never get these same look or appearance to it. This is cold-pressed paper. Can you see the effects and the look of these devices on the paper? This is more visible when you're using the water method that is applying water to both the sides. It is completely different the way paper behaves when stretched and when not stretched. I've got two sheets here and I'm going to show you what is the difference between both the methods. Here I'm using a smaller size board for the smaller piece of paper, for the class project, I have a bigger one. Let us clearly see the difference. You already know what is the difference when you apply water just on to the top region. We compare both the effects and see what is going on. I'll probably keep it like that. We have space for both. This one I'll stick it to the table itself. For now, I don't want to lift or anything and I just don't want to use any other board for now, so I'll just stick it to my table itself. Obviously, you can also paint without the masking tape and just apply water on the top and paint as many of you may have been painting like when your paper is attached to the paper block itself. But applying water to the backside is a completely different method and it has a lot of advantages. I've stuck my paper here, and this one is free. But what we're going to do is we're going to apply water to the backside of it. Let's get down to business. What we're going to do is this is the backside and, wait, this is the backside, so I'm just going to apply water to the backside of my paper. You'll see that the board aids in keeping it laying flat because I'm going almost all the way outside of my paper surface. What we have done now is we've let the fibers of the back side of the paper to get soaked in water. How does it stick and how does it not bend? It does not warp and bend like it does when you're painting with the masking tape method. Also, in this method make sure that you do not have any brush heads sticking at the back because this can create a large, slight bump or a gap at the backside of your paper. If your brush you're using is shedding hairs, be very careful. Like this one, it sometimes sheds a little amount of hair, and I have to be very careful to note that there is nothing at the backside of the paper. I will apply some more and give it a nice coat. Now what I'll do is I'll take my paper and stick it front on like that, so there. It's stuck so it gives us water underneath, it sticks to the board evenly, and we do not need any masking tape for it to stick. Now we'll apply water. Obviously, for this painting, we need the paper to have thickness minimum 300 DSM because what otherwise will happen is your paper's going to tear off because it cannot withstand all this water that you're applying. Very careful when you're using because if it's not really thick, if it's a standard paper like printer paper, probably it's going to tear off, it's not going to take all this water in. This is the best thing about using cotton paper. Watercolor painting is best with cotton paper obviously. I have applied the water. Now, we have to wait for the water to sink in a little bit and you'll see the magical effects. Sinking, as in, allow the water to go into each of the particles and fibers of the paper so that you give it enough time to stretch and behave the way that we want it to. One important thing about this technique is that you have to make sure that you absorb the extra water surrounding the board because while painting, this extra water can come back to your paper and create bloom or cauliflower effects at the end. Cauliflower effects, as in, what happens when you add more water. What happens is the water spreads the pigments. When this spot starts to dry, this here, because it's just water there and it's got nothing to absorb, this water here is going to come back to the paper surface and it's going to spread the pigment right at the end, creating cauliflower effects or blooms. This is why you just have to be careful, wipe off the excess water from the edge. Here, just wipe off the excess water from the edge and you're good to go. I'll just now apply water to this one so that this sits here and the water gets absorbed into the fibers. I will now apply water to this one. You will see the amount of time that it takes for both of the paper to dry. I'm not going to compromise on applying water to this one. Just to show you guys, I will apply as many times I do for my other paintings as well so that you clearly understand it's not the number of times that you apply the water, it's really the effect of applying water to both sides of the paper. Here I am applying water, not going to compromise. I just keep applying. I have applied the water nicely. I believe that is enough. What I'll just do is I will absorb the extra water from the edges of the tape here as well. Because this tape got a plastic coating on it, so the water might flow back. I'll absorb that as well. Let us get to painting. I will probably start with my phthalo blue. I'm going to create an ocean. I'm going to start on this one first because this is just water on the top surface and it might dry out quickly. I'm going to go. As you can see, it's already not spreading too much because there is a lot of water that I applied, but it's starting to dry out. I need to be more quick and paint. Now I'll take my phthalo green. I will add that to my ocean area. Just going to create an ocean. You can understand the difference between both the process and decide for yourself. I'll go over the top. I'm painting this one first. Let me get now to the sand region. For that I'll take my raw sienna, or you can take yellow ocher, a bit of cadmium orange, a bit of burnt sienna, maybe. Towards this right side, I'll add some plants, forest area. I'll take my green, and I'll add to this edge. Go right next to the ocean. Now I'll add some darker accents on the top and I'll go with my dark green. I know that you can't see my palette, but the colors don't matter as long as you put in your strokes right. I'm just randomly adding my strokes. That's enough. Now I'll take a little bit of indigo and add to the water region to give some darker effects in the ocean. There. See? This region has already started to dry, so if I add a lot of water, it might create blooms. I have to be careful. I'll add some darker indigo effects on this region here as well for creating the darker, dense forest area. This process, I know, it's for you to observe. This is what you're more concerned about, I know, but I just clearly wanted to show you the difference of what's going to happen. Let's leave it at that. I painted this whole painting. How much time has it been? Five minutes? I don't remember. But we applied the water and kept this, and this is still wet. You'll just see the magic. I am going to take my paint. Can you see how that spreads? I'll show you. I did not reapply my paint or anything. You just saw me. See? I just dropped in my phthalo blue. See how that spreads? Because this paper is wet. It is still wet because of the magical way in which we applied water to both sides of the paper. Let's go ahead and do the same painting. This will give us more control and give us more time to work on several details when you're doing the wet on wet method. If you were to paint using this method on a larger sheet of paper, it is more easier. I'm showing this on a smaller piece of paper because I don't want to waste time to repeat the process and show this. But if you're painting a very large painting such as an A3 or A4 size, then this definitely is of very high importance because you will understand the way you want to do your strokes, how much time you're going to take for creating those strokes and all such things. I'll take my raw sienna, yellow ocher. You can see these areas are already starting to dry. Raw sienna, yellow ocher, possibly a little bit of cadmium orange, burnt sienna and the green area on the right side. It's still wet. Obviously by now you must know that it's not the paint on the brush that allows the water to flow, it's actually what's paint on the paper. You can see here how it's spreading which means it's really wet. It is really amazing. It stays wet for about around half an hour to one hour maybe, and gives you a lot of time, much enough for you to paint a larger piece of paper. I'm just repeating the same strokes that we did for the right side, creating the forest area. The only thing with this painting, with this method is that you have to be careful because when we're painting the edge, you are introducing water to that edge region. It is better if you could wipe out the edges because you don't want that water to flow back in and create any blooms or cauliflower effect that I just explained. Just be ready, just be careful of that. I will add the darker accents on the top with my darker green. We'll see how wet this whole thing is. It's got nothing to do with the thing on my brush. It spreads more, it creates a more watery effect rather than when using the other method. From today onwards, all our painting are going to be on this method because it's very important when we're painting certain elements and things that your paper is still wet and it gives a lot of control actually. There are some artists that prefer to use this method itself to paint all of their paintings because it is so convenient. The indigo drops in the ocean those regions are still wet. Here are some dots, some here at the edge. I'm just trying to repeat exactly what I did so you can see the difference of how it looks. Now the last bits with indigo on this side. There you go. We've applied the same strokes and this paper, by the time I've painted it's already dry. I know I just painted this, so the strokes that I applied are still wet possibly so that is why it's still wet. But you will see how long this stays wet. You can clearly observe. You can see how all of these strokes are in fact more softer. Obviously this method creates a lot of hairs if there's a lot of water. What I'm going to do now is I'm going to dry both of these together. I'm going to use my hairdryer and I'm going to try both of these. I've dried both the paper. This one is completely dry obviously. This one is possibly still wet because the underside is watery. There you can see it's got a lot of water. What are there? It's got a lot of water, the accumulation here in that corner. With this method obviously we just need to be a little bit careful. We need to wipe off the water. Here I'm going to wipe off all the water from my paper. Very careful because I'm going to paste my paper facing the backside now. You don't want any water to come on the front side of our painting part. I'll just clearly wipe off everything. Really carefully and then I'll place my paper facing the back side, facing the front side, one side down. Obviously it's got a lot of water towards the edges. I'll clean it up and then drive the backside as well if you're going to be drawing it out. Like I said, this method takes a lot of time and if you're someone who does not have a hairdryer and uses time to dry your paper. Obviously, this has got to take a lot of time. But trust me, the outcome of the painting is much better than what you expect on the other method. Obviously you get these colors at the backside but obviously who cares about the backside. I've dried it up. Let me turn towards the front and I'll show you the cauliflower effect that I was talking about. I deliberately did not wipe off some of the edges because I wanted you to bleed and show you the cauliflower effect that I was talking about. To see this edge here where the paint has flown inwards. This is because at the edge here, there must have been some extra water outside of the paper surface or even like fright underneath towards the edge here, which when drying flows back inside and ships the pigments and create these edges. If you look at the class project, I had been very careful and there are no cauliflower effects. With this method obviously, it's just hard to keep a tissue paper or the glue that you're using in hand and always just wipe out extra paint or water right outside. When you're painting and you put your brush strokes towards the outside of the paper. As soon as you do that, just take your paper and keep wiping off the water from the surrounding areas. That's it. Now for the painting part, let me show you closely and we're going to remove the tape of this one. There are advantages to both obviously because here this one has a very clean border. Note that this doesn't have, it just does not have white boarder that's it. It's still complete as a whole. Also you can always just cut off the edge where its formed the cauliflower effect. It's completely fine as well. You don't have to worry too much. Now let us have a look at both of these paintings and see the difference. If you look closely at both the paintings, you will see, this one is more softer, that is our green strokes, ignore this for now. This region here are green strokes are more softer. You can see how the last indigo strokes that I have applied just stayed on the top and it's visible. Sometimes it is useful, when you really want it to show up like that and end up having this such beautiful effects on the paper. Sometimes this is more advantages. Here we can see how all of it spread. These dark spots are like pure pigment spots which I added. It's like visible on the top. But otherwise, everything else on this painting is most softer and the texture that I was talking about. Now observe both the paper closely and you will clearly see the difference. I'm going to hide out that cauliflower thing so that you can ignore that and look at both the paintings. Now look at both the painting. Yes, you can see the texture on both because it's cold pressed. But can you not see, this has more of a texture even though it's exactly the same paper. This is what I was talking about. The method that we used brings out the texture of the paper be it rough or cold pressed. Obviously hot pressed paper won't have any texture, so it brings out the texture. What do you say? It accentuates it more. It brings it out and is more evident on the paper. It gives up completely, totally different effect than when you're just applying water on the top. Obviously the backside is going to have a lot of paint when you're adding, but that's absolutely fine and remember to clean up both the sides. There is a lot to learn about water control when we're painting with this method. Obviously, if you're new to this and have never painted this way before, but you will see that your strokes remain there for a very long duration of time. Now I want to show you the water control part on this painting process. I'll just quickly apply water to a piece of paper and I'll show you. Here I am applying water to the backside of that paper. That have applied water. Now I'll turn it towards the front and stick it somewhere. In order to make it stick, we just press our brush and ensure that we run our brush along all the four edges and along all the areas of the paper. Then it just sticks onto that board. Let it go multiple times. Make sure that you run it along and pull off any extra air gaps in between. I think that should be sufficient. Now all we have to do is obviously to absorb all the extra water from the edges and outside region. You can also tilt your board and if at all there is any extra water hiding between underneath the paper, it'll all flew down, accumulate at the bottom where you can easily just hold your cloth at the very tip and all that water will be absorbed. I wish I could show you how the water is getting absorbed by this cloth. It's not visible it's just I can feel it in my hands. This cloth is all wet. That is one way. Now this paper is wet. Let us understand the wetness of it. Let us play with the pigments. Now what color should I take? I want to go with a completely different color that I've been using all this while. Maybe I'll take a little bit of Indian yellow. I haven't used my Indian yellow for a very long time ever since I started painting with these ocean paintings. It hasn't come of use because it's a transparent yellow and it's not that ideal. But obviously you can use in some other cases. There, now, it's a wet stroke. Can see how much it's spread. Let's see. That's how much the paint has spread. Now, I'm probably going to wait like around five minutes. You don't have to, I'll edit the five minutes out and let's see how much wet the paper is. Five minutes later. The paper is still super wet so I will add my stroke. Let's see how much does it spread. It doesn't spread as much as this one, but it is still wet. You can see the edges it's got those hairs. It's still wet. Now I'll wait five more minutes and let's see. Five minutes later. The paper is still wet. You can see how it close. It's not a harsh line. Got some hair here. That flat brush sheds a lot of hair. When I drop it's not even spreading as much as the other ones did. Smaller dots now, but the paper is still wet. How long has it been? It's been 15 minutes now. Let's wait another five minutes. Let's see. Now we're starting to see some harsh edge here, but it is still not attach. It's got some softness. It's not that harsh yet. I drop in, it's not that harsh. It's not completely soft either. It's like in between stages. Let's see when this dries up completely. It's painted on 15 minutes and I believe the top part is now dry. I will tell you how to look for the dryness of your paper. Simply use the backside of your hand and place it. This is actually the best place for checking the temperature of water for milk or anything. This here tells you the exact temperature. If you touch the back side of your hand on the paper, you will be able to feel whether it's hot, if you can feel some coolness, it means that it's still not completely dry. I can feel that it is dry because it's not at all wet. There, now is a harsh edge because now the paper is dry, but how long has it been? It's been around 35 minutes. There goes the harsh edges. But I would like to show you something else. I haven't dried the paper using a hairdryer. This was not general process. Now what happens is, if I want to apply my paint, so here I'm taking my paint, I'm applying all up to the edge. Applying to the edge and applied some wet strokes. Now again, your paper is not going to dry off quickly as does with the masking tape method. This is because the underside of your paper is still wet. Can you see? I know you can't see. I can see a lot of water droplets. How do I show this to you? Maybe if I had been this at an angle. Yes. There can you see? It's still wet. All that water, is still there. If you were to reapply some of the pigment on the top is still going to get that kind of wetness for a very long duration of time. Just imagine how much of art play you can do with the wet on wet method when you do with this method. Remember I used to say with the other paintings, that the stroke that you apply on your paper also contributes to the wetness of the paper. The same way here as well. The stroke that you apply contributes to the wetness because you're underside is wet. Now let me take some of the pigment. See it's soft. This softness is going to stay for a longer duration of time just like these little strokes that we did. It's going to stay wet for a very long, long time. This method is indeed very effective to paint paintings where you want your paper to stay wet for a longer duration of time and you have a lot of pattern strokes to do. This is what we will do in all the paintings in the future. I just wanted to bring out this method and not just to show you that I'm applying water at both the sides, I wanted you to understand why the sense, why do we apply water to both the sides of the paper? What are the effects that it creates? What are the advantages that it creates? I hope you've had fun and understood the science behind it. Maybe I'll just go and try and soften the edges and seeing. This is still wet, been talking, see, it's still wet, it's around in this stage now. Your paper will stay wet for a longer duration of time. For those of you using a hairdryer method, if you want to dry this up, you'd have to dry the front part. Then lift your paper, hold it, use a cloth or tissue to wipe off the water from the backside, turn it around, wipe from the backside as well. Then use your hairdryer to dry the backside as well. That's how you completely dry the paper. Obviously, after you've completely dried the paper, your paper is possibly going to have some little amount of bends. I got to show you this. This paper is still wet. It feels lose in my hands and because it's still wet, it's got a lot of water inside each of these five layers and filaments that I was talking about. That is why if you want to try it, you've got to try it on both the sides completely. Naturally, I think this might take half a day to completely dry on its own if you're not using a hairdryer. I apologize for those of you who are not using the hairdryer. I know this is a lengthy process, but the end painting is completely worth it. Let us now have a look at the colors that we need for the class project. We'll need yellow color, most probably lemon yellow or Aureolin. Lemon yellow is PY3, which I have used for this dense forest area. I have added some lemon yellow strokes. Then you will need olive green. Olive green I've already explained. You can easily mix it up by mixing a green and a brown together and possibly a little bit of yellow as well. What is this? This is PG17. It's PY1 and PBk7. You can also do that. That is you can mix a green, a yellow, and black together. But I prefer mostly to make olive greens by mixing green and browns together. In case if you don't have an olive green, then I'm using my green from white lines, which is PG8 pigment. That creates the darker tones. But again, if you do not have a dark pigment such as these, what you can do is you can mix your indigo with your sap green and you'll get a very dark green. Then burnt sienna for some of the areas of the sand region. This is PBr7, then ultramarine blue, again, so ultramarine blue, PB29, I've used here to create some granulation effects here on the paper. Here you can see some of the granulation that has happened because of the ultramarine blue. Don't worry if you don't have ultramarine blue because this foundation that I've created here is absolutely optional and not at all necessary. You can either use ultramarine blue PB29 or cobalt blue PB28. Then Alizarin crimson, so this Alizarin crimson SPR83, I've used it again for some of the effects in some areas like you can see here at this end, some [inaudible] and also to create a gray shade. You can create a gray shades by mixing your Alizarin crimson, your ultramarine blue, and lemon yellow to create a gray shade then cobalt turquoise for the water region, cobalt turquoise PG50. But like I said, you don't need to use cobalt turquoise, you can use your pthalo blue just like I did in the exercise lesson. Then pthalo green PG7. I've mixed my cobalt turquoise with my pthalo green to create a nice combination here, so you can use your pthalo blue and pthalo green, which is BP15 and PG7 to create a nice scramble and make the turquoise green yourself. Then indenting blue, PB60 for some darker effects plus indigo as well. Basically, all you need is a dark blue shade, which you can easily mix by mixing your blue with black and a little bit of pink. We've already learned that in the color theory exercise of this class, why we mix so to create darker blues. Then for the rocks area, I have used gray paint as well as a little bit of brown. Brown I've used is transparent brown. You can also use burnt umber. You can also use a mixture of brown and violet together. When you mix brown and violet together, it creates a more darker brown color and is very good for painting rocks, so these rocks here, I've mixed both of those colors together. Lastly, we obviously need white gouache as well for painting the foam in water. For this painting, I actually used a little bit of masking fluid, although in the end I realized that it maybe was not necessary to use the masking fluid method because you could actually at the end just use the gouache paint itself to create these foam in the water. But for those of you, if you want to use the masking fluid and mask out the areas and then add foam later on, you can choose either of methods, you don't have to use exactly the same way as mine. I'm telling beforehand itself that I added the masking fluid on this painting, but realized later on that it's completely unnecessary because in the end you can just simply use the white gouache because it's such a small surface area. For those of you who are continuing on to the class project, you can totally skip the masking fluid part and go ahead. Just to warn you from me, now it's solved. That's it for the colors and I've also explained for the masking fluid. Also, I forgot to mention for the exercise I did not add my white strokes here. For those of you who are just painting the exercise lesson, make sure to add some foam just like we do in the class project for the exercise, what I did is I just left some white space here so that it naturally looks like the white areas in the ocean. But to give it a more natural effect, you can give it a nice foamy look with some dry brush strokes, just like we do in the class project. Now let's have a look at the brushes that we need for today's lesson. The brushes we need today are; Size 10 brush to apply the larger regions. Size 6 for the smaller details. I've also used a fan brush actually to do some splattering because I've observed that flat brush splatters paint in more efficient manner than when you're using the other brushes. But it's completely optional because you can just do the splattering with the normal method that you do as well. There is no rule that you should do it with the flat brush itself. But for those of you who have a flat brush, you can use the same. The last thing I want to say is that you can use some salt to create some nice effects on your forest area here if you would prefer. Lastly, if you are happy with the exercise, the colors, the techniques, then let us go ahead and paint our beautiful class project. 35. Day 13 - Ocean Drone Shot: Before we apply water to both sides of the paper, we're going to mask out the waves in this painting. Here, I am going to use my smaller brush and my masking fluid to draw some lines with the masking fluid. Here, just going to draw the wave shapes using the masking fluid. Going to run my brush along the bristles like a dry brushstroke, but with the masking fluid. The masking fluid is just going to get applied in some areas just like we do when we do the driver's stroke with a brush. Another wave here. Some dry strokes. Now, I'm just going to use my brush to draw some smaller lines as well, tiny lines with my brush. We'll do the same in some places here. Can be really thin lines. I think that's enough. I applied a very thin layer of the masking fluid. I'm going to apply water on both sides of the paper now. Let's turn our paper and apply the water on the backside. Make sure that you touch every surface of the paper when you are applying the water. One pass of your brush wouldn't be enough because there are certain pores that wouldn't get water on it. Because if you're using a cold-pressed or rough surfaced paper, pass multiple times with your brush, especially if you're using a smaller brush. I know that this can take a longer time. Now, I'm going to turn my paper and apply water on this side, on the front side. You can see that as soon as you apply the water, your paper starts to stick onto the board that you're using. Now it's stuck formally. Now, I'm just going to apply the water multiple times just to let all that water soak into the fibers, so that we can do the techniques and the perfect blends that we want. Once you have applied the water, make sure to wipe off the extra water from the sides because this water can sink back into your paper and create blooms along the edges which we do not want. Make sure to wipe along the edges very carefully. Let's now get to painting. I'm going to start with a bit of lemon yellow. Taking lemon yellow and I'm going to start applying in this corner. This is where the grasslands are. The green area right next to the ocean. Just applying my lemon yellow, and creating some shapes. Now we move on to the next color. I'm going to take olive green. Remember if you don't have olive green, you can mix it up by mixing your green with brown, and now taking the olive green and applying next to the lemon yellow along the edges using the sides of my brush to create strokes. Anytime the paint goes out, make sure to wipe off the extra water because even the water on your brush can contribute to what's blooms at the end. You wouldn't even notice you might be working on some place else and then later on when you come back to this area, you can see that the edge has blooms, taking olive green and applying towards the end. Now, I'm going to go with green. This is green from white and I'm going to just mix it up with the same olive green mixture. Will apply that. I'm going to give it mostly at the ends as well to show the deck. Use various strokes of your brush to apply that green on random areas. Even on top of some of the lemon yellow areas that we applied. Eventually, we just want that lemon yellow region to be lighter. That's why we applied the lemon yellow at first. Let's go back to taking some olive green. I'm mixing it up with the same green mixture So you can see some lighter areas. That's why I added the olive green. Now, I'm taking my green again now in darker amounts because we now want to create depth, especially at the edges. I want to desaturate this green. I'm going to mix a little bit of red to that. Here is my red. I'm going to mix that to my green so you can see I desaturated it. I take it a bit more. Now, that's a definitely darker green. I would apply that in some of the places. The desaturated green just mixing up with red, because it's the complementary color and it's perfect for creating a desaturated value. Let's leave that portion as it is, and let's move on to painting the ocean and the sand area. For painting that I'm going to take my burnt sienna. Here is my burnt sienna and I am going to apply it. We'll apply it right next to the green area, burnt sienna and going to apply it in an angle and blending along with the green. Because we applied water on both sides of the paper, you can see how even this region is still wet, even though I have not applied any paint on that region yet. Burnt sienna. Now, I'll take a bit of cadmium orange and I'm going to mix it up with my burnt sienna. I'm going to add that. Let's now make a gray tone, and I'd like to have some granulation here. I'm going to use ultramarine to make my gray tone. Taking up ultramarine blue, mix it up with red and some yellow. So let's take a lemon yellow. I need it to be more blueish. There's my gray tone and this gray tone I am going to apply here at the top. I'm applying it only in a very lighter tone. Just until here let's take a bit more of the burnt sienna and orange mixture. Some of that gray. I want it more ultramarine and mix it along this side. That is done. Now, I'm going to go and use my cobalt turquoise. In my cobalt turquoise, I'll mix my bright blue. There mixing my bright blue. Also maybe let's mix some yellow-green as well. That's great. Let's apply the cobalt turquoise on this end. Let's take that orange mixture and apply it here because we need that gradual movement into the sea. Cobalt turquoise, yellow-green mixed in that. So now I think towards this end and start mixing more of my yellow-green. We absorb the extra water from the side. Always remember to keep doing that, to absorb extra water that you can see on the sides of your painting. Keep doing that. Obviously, you don't have to bother about edges or anything in this painting, as in the masking tape. I love painting like this without borders. I don't know, I just love it. Now, taking more darker green. I'll take more of my yellow-green, and I'm applying it. More yellow-green and blending that into the edges. We're going to take a bit more burnt sienna and apply on the top region here because I can see that the ultramarine and the rose mixture, the rose is coming out and it's giving it a rose shade. We don't want that rose shade, so in order to get rid of that, we can apply some burnt sienna on the top. Burnt sienna and ultramarine mixed together will also give a gray you don't have to mix with the three primaries. I'm going over the edge. Now that we've gone over the edge, let's go ahead and start adding more details. I'm going to switch to my size six brush which is a smaller size brush. I'm going to take the green that we mixed and desaturate it with my red so I get a darker value. This darker value now I'm going apply on the top but I'm going to use my smaller strokes. I'm going to create smaller strokes like this just using the tip of my brush. Let's do the same on the other areas. I'm going to go back to taking a bit of lemon yellow, and I'll add that. Some of these areas spread, it's very light because it was lemon yellow initially but now it's spread so I am going to apply the lemon yellow on the top of that region once more. I'm going to go back to olive green now. I'm mixing it with the same mixture of the green. Again, dropping it in random places just using the tip of my brush to create that depth effect and the effect of trees and grassy, it's not grassy but the effective, dense forest texture. Now I'm just going to use a fan brush to drop some water drops. There are some splatters, so here is my fan brush. I've dipped it in water and I'm going to use that to tap, so the thing is we get tiny drops of water, and we use the splatter with the fan brush. You can see the tiny splatters. You can also use a small brush you don't need a fan brush itself. Now let's splatter some blues into our water. For that I'm going to take Indian green blue, I'm going to mix it up with indigo. I'm going to add those splatters and mostly towards this end here, and some here this side. You can also touch your flat brush. I'm going to touch the ends here just to get that darker indigo and Indian green blue mixture towards the end. There's the blue. I'm going to go with the splatters. As you can see, the splatters are different because the other splatters that I've added, they've sunk into the paper and these are now fresh. It's fine, it's going to apply. Make sure that my strokes sink in. I think that's enough. I don't want to ruin this. All I'm going to do is, I'm going to give it a darker edge. That is for my water, the form. So I'm going to take my indigo mixture and then I'm going to paint right next to the form area, again. I need it to be darker. Nearer to the form, that is this side of the form, we need it to have that depth effect. I'm creating some darker tones. I'm going to take my green again. Some more tones. Taking my green would be saturated with red, so getting a darker shade then I'll apply on the top again, in some of these areas. Can you see it spreading? That's why I said it's still wet. Still wet, I can't believe this, this is just unbelievable. Just some strokes. Now, I am going to add some rocks. For adding the rocks, I am going to take my transparent brown, and I'm going to mix it a little bit of flying lead to it so that my brown becomes darker. As you can see, it becomes more like a neutral tint shade. If you have neutral tint, then you can take that as well. Let me absorb all the extra water from my brush. I'm going to make rocks. What I'm going to do is I'm going to create some rocky shapes. As you can see, my paper is still wet so I'm getting softer shapes. We create these rocky shapes next to the green region. Some places, we might need to add shadow, so I'm taking Payne's gray. You can also take black or neutral tint itself, but Payne's gray is such a dark color. I'm going to give that Payne's gray to one edge of my rocks. Now I'm going to mix black shade. What I'm going to do is I'm going to take my burnt sienna. Your burnt sienna. I'll mix it with ultramarine blue so that I get a gray shade. But make sure that it is in a concentrated form. So I might need to add more paint. That's why I'm taking more ultramarine now. More ultramarine, I need it in a darker consistency, so that's why, more ultramarine. I know it's looking more bluish, but I'll add more burnt sienna to make it brown. Now, I take more burnt sienna. You can also add any other brown, for example, transparent brown. The more brown you add to that, it's just going to make it darker. Brownish, or ultramarine blue. I think that's a nice gray and I'm going to use that. I'm going to add that gray tone here and create some rocky shapes. Just random. I'll do the same on the sand region as well. On a sandy texture, I need some rocky shapes. This is just due to random with my brush. Taking the color in a darker consistency, remember that. Now that I have applied the darker tones, I need to darken this region next to the rocks because it's not supposed to be light when there is the forest area touching those rocks. Let's take up our green, mix it slightly with that ultramarine mixture, desaturating it with red. It's just basically using all the colors in your palette as well. You don't have to have it as clean, so touching around the end of that architecture that we added, and creating darker strokes. Can you see that? Darker strokes towards the forest region. Now, notice that this is looking very dark and out of tune with the other ones. Again, we need to correct the tone, that is make some of the other regions dark and match with the ones that we've just painted. Because it's a forest area, it's not going to be this light here, some of the other areas needs to be darker, like the areas next to those rocks. Pick up your green and black mixture, green mixture and apply it towards the inside. Like I'm doing now. Just using the pointed tip of my brush and applying the strokes. Some of the areas are very light, because the paint has sunk into the paper. That's the area that I go and reapply my paint. These are green, desaturating it with red. Now, that's looking much better and wise color. I take a bit more of lemon yellow now. There is a lot of green residue in my brush, which is my lemon yellow is looking like a greenish torque but that's absolutely fine. Just reapplying some lemon yellow into those areas in-between. Remember when you touch your brush actually in those areas that you've already painted, you're going to pick up some of those dark green and your lemon yellow is going to mix with it to create a darker green shade. That's absolutely fine. That's what gives it this texture, like the dense forest that we're looking for. Obviously, this is the forest area and not part of the ocean, but it's part of a painting. Getting all the areas correctly goes with it. I think that's enough. Now let's get back to adding the rock so I'll take my brown and go over at the top, brown and gray. They shouldn't be in a single tone, so you apply some gray on the top. I think that's good now. We have a nice shape, and the ocean is looking amazing. We can see how the ultramarine blue has created a nice granulation effect here. You can apply more gray at some places and it just create more granulation effect. This is the gray, again, using the burnt sienna and the ultramarine mixture. I'm just using a dry brush to create some strokes. My brush is dry but my paper is wet so it blends in. Here I'm just blending it into my background using my brush, you can see it's blended in. Now, in reality, we have to wait for this whole thing to dry so that we can paint the details. Here I've completely dried my paper, I used a hairdryer. If I'm using a hairdryer obviously, you can see it's got some bendy shapes. This is because it dried unevenly, but if you let it off to dry naturally you might be able to avoid getting your paper bend. But obviously, it's going to take a lot of time because you have water on both sides of your paper, and also these paintings the paint will bleed off to the backside. But it's the backside and even if you're going to frame it, it's never going to be seen so it's absolutely fine. But you get perfect paintings on the front side, that's what matters. Here I've dried up the whole thing. Now let us remove the masking fluid that we applied. I'm going to use my eraser and there's all the masking fluid. There it is, I have removed the masking fluid, but now do you see what the problem is? It's too white, so in reality, the ocean wave has a lot of colors to it as in the shadow. It's not going to be purely white, so we need to add that. I'm going to take that gray mixture that I mixed in a very light quantity so I'm going to add a lot of water to it so that it's really light, and I am going to apply that on the top to make that color appear on the top so that my wave is not as light as white. Another thing that you can do is you can go and just scrub along so that some of the paint will displace off and come on the top so that it's not purely white. We don't want it to be purely white. I'm taking some more. Now, that's much better but now we need to add more foam, so more foam which cannot be obviously obtained using the masking fluid technique we need white paint of course. Let's try these strokes now. Now I'm going to take my white paint. We're going to do the dry brush strokes with our white color. This is gouache. Here I have my white paint. I'm going to try it out on a different paper first to make sure that it's dry stroke that I have on my brush. Yeah, it's dry, I know you can't see it, but it's dry. Now, those dry stroke I'll try to transfer it onto my paper, right along the edges of the waves that we've added and I'll try to create these shapes towards the job. We'll create another wave shape here. Again, make sure that your strokes are dry. Can you see those strokes are dry? I'm just going to add another foamy area here, just on the edge. Just a little, and maybe another here. I think that's enough. Here you go, here's the final painting. With these paintings, it can be facing any side because it's the top view, it's the drone shot, so the painting can be like this, the painting can be like this. But anyway, I'm going to hold it like this, and I'm going to sign my name here on this left corner. Taking cadmium red I'm going to sign my name, there. There is no tape filling, so here is the final picture. I hope you like it. Thank you for joining me today. 36. Day 14 - Techniques and Exercises: Welcome to Day 14. This here is the painting that we're going to do today. As you can see, it's a beautiful crashing wave. There are various concepts that I'd like to introduce in this painting, for example, the structure of a wave so that when you are trying to paint it on your own, then you'll be able to do that. Here, let us understand how a wave is structured. Let us assume that we are going to have a wave. We have the foamy region in the front. This is how this painting is structured. I'm just showing it in the mirror image. That is the water here, then there is the foamy region here. There is a lot of water region, then there is the foamy region. Then we have the wave splashing there. That's the splashing wave, and here is the foam of the splash. That is the wave. All of the strokes are going to be like that. That's the wave. Now let us understand the very steps. This here is the seawater area before where the wave is crashing, is possibly crashing at an earlier stage than when reaching the sand. This is why this region is blue in our painting. If you look closely, this region is blue. It's possibly because it's crashing before it reaches the sand area. Then we have the white water here. The white water or also known as the foam region. Foam is basically all those bubbles and white foam that foams because of the crash. That is this region. This region here is also known as the foam and then right where the wave is curling. The wave is curling means simply the wave shape like this. The top portion is known as crest and the bottom part is known as trough. The trough is the part where the wave starts to go upward or downward. The crest is the topmost part of a wave. Here at this bottom part is known as the trough and obviously, the top portion here will be crest. But let's break down this some more. This here is the curl of the wave. Wave curl, the wave is curling, wave curl. This region here, where the wave has curled but it's not entirely turned its position. How do you look at the wave? It goes like this and then it reaches a point where it crashes, so then it bends like that. Before it bends, it reaches a flattened position. It's known as the face of the wave, so it's wave face here. Then you can call this area either the crest or even the lip of the wave. Anything, crest, lip, all of these. I think these are the basic terms that we need to understand. Then obviously, here we have the foam and the place where it's going to impact at the bottom here is known as the impact zone. You can call it the impact zone. It's going to impact on that region. This is basically the structure of a wave. For the class project, I have used a lot of masking fluid and we paint with a lot of white gouache as well. For the exercise, I will show you the same without the masking fluid so that you can paint using both the options. For those of you who don't have masking fluid, it would be highly helpful as well. We're going to do a simple wave shape, which will enable you to practice your strokes as well for the class project. Obviously, like I said from now on, all the paintings are going to be using applying the water on both sides of the paper. I know that once you discover this method, you can actually never go back because you see how much your paper stays wet and how much if you are able to work on your paper. Don't curse me for never showing this before. I'll apply water on both sides of the paper. This indeed here is the backside of my paper. I will apply water on both sides. I'm not going for any pencil sketch, I think I'll just do it directly with my brush itself. Let me apply water to the backside. I see my thin strokes are spreading. It's fine. I don't mind. For those of you who are learning this, you can note all of these down in your journal. I already have this noted down and I was just showing to you again, repeat. That's why I just did at the backside of this paper. I have applied the water. Now let me turn it towards the front, there. I will apply water now towards the front region to make sure my paper sticks. I have stuck my paper now, just going over multiple times. It's just a small sheet of paper, so it's going to be sufficient, it's not a larger sheet. This is just for the sake of the exercise and to practice our strokes. Obviously, the first step is going to be to absorb all the extra water. Let me do that. Let me tilt my board slightly so that any excess water will just flow down and I can absorb it. I think we're cool. I think we're good now, let's go ahead and start adding. I will start with my Phthalo green first. Taking my Phthalo green in my palette. I think that makes a little bit of Phthalo turquoise. That's a darker Phthalo green color. Taking the Phthalo turquoise color, I will start with the wave. I'm going to show the side view of how the wave crashes so that we can understand the shadows and the lighter areas better. That is going to be my wave. Like that. Now, let me add in my strokes. All of our strokes in the wave need to go in a direction so as to follow that curve. The first curve that I added. That is the curved line of the wave. Then after that, all of our stroke need to follow in that direction. Follow along the directions. As you reach always the direction when I say, don't follow a parallel line, it needs to follow this curve. But as you go further away, it's still following that curve rather than going in a parallel manner. I think like a parabola, maybe if you would define it in the mathematical form. I'm not going into too much details of that, anyways. This is where the wave is crashing. Let me take that. See, that is the point where it's crashing. Now, let us understand about the shadows. The shadows on our wave, you remember, like I said, it bends and it goes to crash. The point where it bends, the inside part, is going to be slightly darker, but it can also be darker with the light reflecting through. It will be darker because that region is inside part of something, and less light reaches that part. But if there is a very vibrant sunny day or some object, then it can reflect that as well. If you look at the class project, this here, you can see I've actually made it lighter, but you must understand what the light here is about. The light colors here do not depict that there is no shadow there, but rather it depicts the transparency of the water. Those are two different things. When the wave is crashing down, all of this area needs to be darker. Actually, I've made the bottom part of it darker because it's the place where less light reaches there. You can see here, this is the line of the wave. But here this portion of the wave, it's gone a little overboard and the water has gone a little bit more in a higher way. That height means that there is less water there. The water there is more transparent. That transparency is what I have depicted using these lighter colors. But here in this case, we are going to add the wave and make sure that we depict the darker colors. For depicting the darker colors, I'll possibly take a little bit of indigo and I will add it. That mean inside part of our wave is what needs to be darker. You can see the wave inside part darker. I've used the masking fluid for the class project, but we don't want to use any masking fluid for the exercise so I'll show you how to create the splash region. Let me just soften these hairs at the end. Now let's create the splash region. For creating the splash, let's first add some more yellow green and the yellow turquoise strokes. That is the point where it's splashing, there is a lot of splash there and I'll depict the bottom part of the wave as well. Let's keep the bottom part like that so it's like there is some form. Remember what I said, you can use your water to move your pigments so I'm just using my water here and applying to that's lighter tone there. The same, I will do this side. There is a wave. This bottom part is now just lighter. Now let's add in the wave. For adding the form region what you can do is you can use water, so just dropping water to the tip edges and you'll see that it moves the pigments. Can you see here the pigment is being moved? That is one way that you can create nice bleed. This here we're creating the bleed on purpose and creating some white areas. When you add in those bleeds your pigment moves and it creates a spread and also in the end you can add details with white. Let's add more. I'm creating all around the edges of my wave, I am creating bleeds so that my paint spreads, my pigments move away to create space for my white paint. Can you see that it is already looking like a bloomy area and creating some nice splits. This here, we're using the deliberate method to create the blooms so we'll just drop in water to the tip. I believe here we go in a line because this is the topmost region of the wave. Now I'm placing in the blooms there. Doing all these blooms method is also effective in such a way that it creates a nice shadow effect as well because some of these green pigment close to that region and creates a shadow. I think I've dropped some water there so I'll just reapply. I don't want to create any blue inside the wave part. That we've created a nice area. Now, in order to make this seem more effective, let us go ahead and paint the rest of the ocean area, that is the area behind the ocean. I think for that I'll use my tallow blue. The area behind the ocean. The area behind means it's the rest of the ocean area. In our painting it's not visible because the wave is so big and the picture is taken from a bottom angle. Actually behind this wave, you still have the ocean area, but here we have made it the sky but let's focus on seeing the back side of the ocean, the sea area. Just adding my strokes. As you can see, as I reach the area where I had applied the water, I'll stop and then I'll keep adding. Just using my water to create that bloom effect. This method contributes to both the shadow in the form as well as the light because some of your pigments will flow and if it flows too much you can adjust it always. This is the reason I say that applying water to both sides of your paper is very efficient technique to master watercolors in the most advanced way. But don't think that this is an advanced stage. Even if you're a beginner, this is a highly effective technique and knowing this from the start of your journey is very good in fact. Here I've closed down the loop there so now let's depict the under side of that wave. It's still got to be the water region so I take my paint and I will apply. Taking my yellow green and applying so this is like I said, the inside part of the wave. This here is the wave. Don't confuse as to which one it is. Don't worry, it make more sense when we add the white pigment here, we're just trying to create blooms. Here is the inside part of the ocean that we're seeing. In fact, in order to create some depth to the ocean, you can actually add in a little bit of lavender strokes. The lavender will make sure that it looks like the darker areas in the ocean. Not too much just that. You can also add in your white paint. I'm taking my yellow green and I'm going on adding, I'll possibly add in a little bit of indigo for the depth. Now I'll take my white paint and I will add that as well. I will drop my white paint into the top regions so as soon as you add it, drop it in using your pointed tip of your brush so that it flows. You will see that as soon as you start dropping it, the end of the wave now it makes more sense, isn't it? Now it looks like it's got that bended crushy part. We'll also add dry brush strokes, then make it more beautiful. For now just I'm adding the white. This is the wet on wet for white , added some white. Let me to refine the shape of waves some more. I want to depict that this is the original shape of the wave. That is the original shape of the wave. I need to add in more white at the end to depict the form. Now we can add also some white strokes in between. We've added the shape of the wave so now you can see how it's looking so good, isn't it? With that splash region and the top part could either be the ocean or it could be the sky as well. Maybe this looks like the sky more flatter than the ocean and it's fine. Just painting the under side. Remember the part where it crashes, it needs to be darker in tone because it's the area under shadow but if your wave is extending outward like this region here, I've added white there so that it depicts the transparency of the water. With the class project, we'll be adding more colors to depict that transparency but here I believe this is sufficient. I'll add Some more lavender strokes just to depict the shadow. As you can see, I'm adding a lot of lavender, but don't leave it like that. Lighten your stroke so that it's a very subtle amount of lavender, but then it still access the shadow within the form region. You can also use Payne's gray instead of lavender. I just believe that lavender poses a very wonderful color to depict the shadow. I think that's good now. Let us wait wait for this to dry out so that we can add in some splatters and finish off. Here, I've dried this region completely. Let's go ahead and add in some lines and splatters. I'll take my white paint and I'll use my liner brush to add in the lines. Using my liner brush to get thin lines. You can use a smaller detailed brush. You can use that and it would do right. Now, that's much better, the thin lines. These are thin lines that you can add. You can add them both in wet on wet and wet on dry. I'm just going for the dry method right now. Let us do white. Maybe I'll add some more to mas out the weirdness of that white. That's much better. It's just basically creating these lines. The thinner it is, the much better. Remember, it's good to follow along your wavy curve when you're adding these lines. It gives more dimension to your view. I think that's enough. Now let's go ahead and add in some more splatters and for that, we're going to use a toothbrush. Deep your toothbrush in paint nicely and use the end of your hand to splatter it. The best thing about this is that you get so tiny splatters and you never get that with the other method when you're using your brush. Only thing it gets your hand dirty, that's it, but then it's all part of the beautiful painting process. More here at the tip where it's being crashing, the impact zone here. The end form here we'll have more of the form. There that's looking much better. Here is the exercise. I actually didn't dry out the backside because I wanted to add the white in quick, but it's fine. Here is the exercise. I hope you understand the thumbs, the structure of the wave, and everything. Let's now see the colors that we need for today's class project. We need teal blue and teal green. I think I should stop saying teal blue and teal green in every class predict because I think most of the paintings, including the sea, ocean, and water involves any of these two colors. Always remember these are two very important pigments when we're painting seascapes; teal blue and teal green. Then we need cobalt blue. That is for the sky region. Then we can mix a green using ultramarine and burnt sienna together or like I showed you in the exercise, you can use your lavender pigment, but it is good to create a gray using the ultramarine and burnt sienna because ultramarine granulates create a beautiful effect on the wave structure. Then we would also be using indigo and indenting blue, which are dark blues that we need. I've already explained a lot of times how we can create indigo and indenting blue, so I'm not going to repeat myself. Then we also need a little bit of lemon yellow for adding into that way for depicting the transparency of the water. These are all the colors that I have used for the class project. Next, the brushes that I have used, we need large-sized brush for depicting the larger regions, then a smaller-sized. I've used my silver velvet size 10 and size 6. Then I have also used a synthetic brush, which is a silver silk ADA size 6 brush for adding in my wet on dry strokes and also wet on wet strokes, but I don't want to add in a lot of water onto the paper because the natural brushes holds a lot of water. Then for the tiny lines on my painting, I have used the liner brush size 1. I know that many of you may not have this liner brush, so all you need is a very small brush, as in a detailer brush such as a size 0 or a size 1 with a pointed tip so that you can create those tiny lines, just like the one that we did with the class exercise. Remember, I have used a masking fluid for the class project. If you want to totally avoid that and paint using the method that I showed in the exercise, that is absolutely fine as well. That is to use water to move pigments, using white to add in more depth to the form region, and then slattering at the end. If you're happy with the exercise, the colors, and the materials that I have used for the class project, let us go ahead and paint this beauty. 37. Day 14 - Large Crashing Wave Part I: Let us make the rough pencil sketch first. Going to have a line like this then there is probably wave that we can add here. The edges of that wave is going to be like that. Then this is the line of the main wave and the breaking part of the wave is going to be here so that it's going to create a shape like that. Then that is the part of the wave. Then it comes crashing down towards the bottom here and goes towards the end. That is the shape. Now let's define it some more. This part of the wave is already crashed here and then it'll be less here. Just adding the structure, adding the white. There is a lot of these white spots here towards the edge of it. So this is the edge of the white spots there. Let me show it too closely. I know it's not clear at all because I'm drawing it very lightly. Now you can see that. Let us go ahead and apply our masking fluid on the areas that are important. Here's my masking fluid. I take my masking fluid nicely on my brush and start applying. For this wave here, I have a lot of white areas that I need to preserve. You can observe I only paint in the center portion of the sketch that I've made and towards this right side I'll add towards the top. Adding towards the top. The same here adding towards the top. Not the same for this wave. We're going to start adding, but I'll first add towards the top. Because that area needs to stay white. I'm applying the masking fluid towards the top region of the sketch that I've made. A longer line there and here again now towards the left side, not towards the top essentially, but just not random places. Then here, again, I will apply such as the wave is falling down. Can you see? I've made the strokes using the angle of my brush. The same we can do some of the strokes here and here towards the bottom as well. I think that's good. We've applied the masking fluid nicely. Now let us add the splatters. So I'm going to use my tooth brush, dip it in the masking fluid. I don't want knot so I just need enough for the splatters, just getting rid of extra and I'll start at this point here. So there is a splatters for this tiny waves that we added. Then picking up some more and I'll start at this end here. I need tiny drops. Now towards the top we'll add a lot of splatters towards the top and on this region here. A lot of splatters from that region same here. It gets your hand dirty, I know, so you have to wash both your hands and do it with brush as soon as you've done this. But there's no other way to get these tiny dots, which is really amazing to create these splatters with white. Because it would stay white. Let's just add some last bits. We're good to go. I went to wash my brush and hands and the masking fluid dried by that time. So now we can go ahead and start applying the water on both sides. We'll start at the backside first. It is always better to have an angle for your board if you're going to apply the water because then the excess water can just flow out both from the backside and frontside. Now on front side. Careful while applying. Don't push your brush too much on the paper because that can take out those tiny drops off masking fluid that we applied, so just very carefully on the top. You can press along the edges to make it stick firmly onto the board, but towards the center be careful. Wipe off the excess water from the sides on the board. Once you've applied the water, wait for the water to sink into the paper. Once it's sunk into the paper, then we can start painting. I'm going to start with my cobalt blue. Taking nice amount of cobalt blue on my brush. I can start in the top left corner and start applying the cobalt blue for the sky. Taking nice amount of cobalt blue and also it's going to be darker color towards the top. Come closer towards the way where we made the pencil sketch. I'll go around that shape and start adding my cobalt blue. The same along towards the right side. But as I reach towards the right side, I'm going to create some gaps for the clouds. But the tips, I'm going to cover up the tips anyway because I'd like to have color on the tip rather than it being white in those regions. Towards this region is what I said I'll try to leave gaps and create cloudy forms. I'm going to create rounded edges like that, and gaps. Going back on the top. Like I said, we need to make sure that we wipe off the excess paint and water outside of the paper at all the time. We have to keep doing this in order to ensure that this paint doesn't seep back into our paper. Always have a tissue or the clothes that you're using in hand and keep wiping it off. Otherwise, before you know it, it can seep back into the paper. We especially don't want to do that. We've now created some nice shapes. Now let's go back to the bottom part. For painting the bottom part, I am going to take my Indian green blue. In a nice, dark tone, dark consistency. Pick up the paint and take a concentrated amount and beautiful amount and we'll start with it at the base. First we will apply a nice wash of it. Applying the blue in a nice wash. What I'm going to do is I am going to give an angle for my board because you can see all these paint seeping upwards. If I have that angle, then none of it which we see done seep up. I'll keep my tape underneath my board so that I have that angle. I'm taking a concentrated amount of paint and we paint along the edge, like that. The wetness of the paper is really important when we're trying to paint these. I have applied a wash of the Indian green blue on my paper. But now we need to add the waves on the top. I'm switching to my synthetic brush. Also using my synthetic brush, I'm just going to go over the top and get rid of those hairs. Just run over the top and you can absorb all those hairs. See, I've absorbed all those hairs. Do it multiple times if you feel that there's still hairs left or if it's still forming hairs. Now we've softened the edge because it's pulled out all the paint from those hair-forming edges. Now, let's go ahead and start adding some wavy shapes. For that, I'm taking my Indian green blue and you can see I'm taking it very dry consistency in my brush. Using that, we're going to add the waves. You can see adding wavy shapes, mostly the triangular shapes that we practiced earlier in the first lesson. As you can see, I'm still taking very dry paint. There is literally no water on my brush and also the paint the paint. If it's too dry, you can dip in water, but otherwise do not introduce a lot of water. This is because your paper is wet and all the paints that you applied is also wet, making the whole thing a lot of wetness. Let's keep adding. Keep adding darker shapes and I'm creating several lines. Again we need to look at the tone. Make sure that all the waves at the bottom part are larger as well as bigger. That's why I'm covering up the bottom region. A lot of lines. I've added a lot of waves. Now what I need to do is, I need to work on that. Hairs some more, so I'm just going to lift off the hairs that formed again. I'm using my brush, running over those hairs, and using my towel to wipe them off. Now, I've run my towel over the edge again and absorbed any excess paint and water. Going back to the dark tone and I need to add this darker tone towards the edges, because I'm creating VV shapes towards those edge, okay? Because this is actually a white wave, so it needs to have shadow, and that shadow is what is making this wave here at the end, okay? So painting these waves and all of these paintings, it's not about just simply copying the reference image or trying to place the shapes exactly as it is. You can change it in a lot of ways, but the important thing is to understand why and how those colors are formed. Why is it dark in those places? Why is it light in those places? So like I said, this edge here is darker because it is the shadow of this wave that's plaguing out there, okay? So that's why that region is darker. That is why we have a lot of things to account for. When we're painting waves and water, it's pretty important to understand each and every one of them, okay? Now we've added those waves, let us move to the top region. Let's start painting towards the middle now. I'm going to start with this wave here. For that wave, I'm going to use the same Indian green blue and start right below it, okay? Right below it is, a darker tone because it's the shadow of the wave, okay? The wave's crashing down, and it's the shadow of the wave in that region. You can see the pain spreading, so we need to keep both brushes in hand. That is, keep another brush in hand if you're using your synthetic one. So I'm going to keep my synthetic brush in my hand and use it to absorb the hairs that's forming and get rid of the hairs. Taking my darker paint, I'll apply towards the bottom region of the masking fluid that we applied, okay? You can see how dark that is. Now I'll go back to my Indian blue again, and drop it off in random places on this region. You can see it spreads and creates beautiful lines, but mostly we want to keep it white. But before we keep it white, I think I'd like to add a shadowed wet, so I am going to mix my cobalt blue and mix it up with [inaudible] that'll give me a gray shade. I'm using cobalt blue and not ultramarine blue because ultramarine blue is granulating and I don't want any granulation here. So that is why we need to take care of that. Okay, so there's the gray and I'm going to use a light tone, light gray. You can see I'm applying that gray tone, but using a very lighter tone on my brush and it's just because we don't want it to be purely white, otherwise it would be purely white. It's a very, very light tone. Can you see? There's some lines with the gray and obviously, when you touch these areas, some of the paint is going to spread and that's fine, it just adds beauty. So I've added a nice gray tone, now I'll go back to adding the indenting blue on the top up at random places. I'm picking up a dry tone, remember dry tone because otherwise it'll spread out a lot, which we do not want. Because your paper is already too wet, so there's a high chance that it'll spread out a lot, which we can't afford, and we don't want it to be spreading a lot. Just a little. You can see creating these small lines. Some Some of them can be darker, so I'll mix a little bit of Payne's gray to my mixture, and add those darker lines. Now let's get to painting the wave itself. For painting the wave it's self I'm going to take my [inaudible] blue again and going to apply here. Notice how I'm applying. I'm applying in a downward action like that. That's very important when you apply using this downward strokes because this wave here, it's already broken, as in its crashed so that's why. You use that downward stroke because the stroke that you apply matters a lot. Again, we need to show the tone, which is the shadow of this broken part. For adding the shadow we'll make the underside of that dark. Use a very darker tone of the blue that you're using. If you don't have it as dark as this, go ahead and mix it with black, like I said. Now let's get to adding the wave. I am going to use my teal green. I'm going to apply my teal green in this region and going to follow this line for the wave. I'm going to start with a bit of lemon yellow, mix it up with my teal green so that I get a nice lighter green, very bright green. This bright green, I'm going to apply. Then I need more yellow. This bright green. I will apply in this region towards the top. Notice how I'm doing my strokes. Very important that you do these downward strokes and that too in a curved manner following the direction of the wave. That's very important. Up until here, we need those green strokes. Then we'll get back to our teal green and add the teal green starting from there. Blend that teal green into the yellowish region that you applied. Will blend smoothly because of the extra water that we have on our paper. This region as well, go ahead and apply. Taking my teal green and applying all the way. Here it's supposed to be in this direction. This is what it curving too and then here it loses its curve and starts to extend in this direction. This is the base layer that I'm adding like that. You can see I'm getting some dry strokes there because those edges have tried, but it's absolutely fine because your paper underneath is wet still. When you add on the top, it's just going to re-wet that area again. Now let's go back to adding the wave shapes here. I'm going to go with darker tones. I'm going to take my [inaudible] blue now and I'm going to start at the edge here. At the edge, my strokes are going inwards like that. As you can see it creates a beautiful mixture of the green and the [inaudible] blue. Right Right underneath the wave, drop in colors. As you can see, I've created gaps of the teal green. At the top, I want it to be darker because it's the part of the wave breaking, and needs to be darker. Remember the direction. It's all supposed to be all the way up here. Green with a darker tone of my [inaudible] blue towards this side because I'd like to have a dark wave shape there. Now I'll take my [inaudible] blue and I'll add to this region. As you can see, I pressed my brush at random directions to get those wavy shapes. The same, keep doing that. Now let's start creating the planes because I've reached to this point where it needs to get into the wavy bend. Then I'm using the tip of my brush to create some lines. From here towards the top, I'll just create some lines. Let's have the paint in a darker consistency. Remember to remove excess water always especially if you're using a natural hair brush or a brush that holds a lot of water like the one I'm using. Start adding lines. I'm going to add some more lines here because it's turned lighter and I'd like to darken them up. They all need to be facing towards this corner here. It's like from here to here. You can see how it's working out. I'm adding some darker strokes. Now let's start adding lines using the tip of my brush and adding lines towards the top. You can also use a liner brush if you want. Any darker paint that I'm picking up I'm applying them at the bottom. Then as I go towards the top I start to decrease my paint in my brush because I want them to be lighter. Add more vivid shapes here as well because it still needs to get into that bent. You can see I'm not bothered about my paper drying out because as you can see it's all wet because we apply water on both sides. Even my sky is still a bit wet. Applying darker paint towards the bottom side of the waves and making it in this direction. Whenever you feel that your color has lightened up, we can go ahead and start adding darker tones. Like here, I need the bottom side of my wave to be in a very dark tone, so I'm applying on the top again. Now there is another region that we need to apply some darker tone, so I'm taking my Eden green blue and I'm going to apply in this region. I need that region to be darker. Just here alone is where the wave is breaking out. Observe my strokes, it's such that it's falling down. Just the part of the wave is falling down. That's how I make the strokes. I've added Eden green blue there. I'm going to go ahead and add some gray tones. Let me mix that gray again. Cobalt blue and brown mixed together. I can apply it at the base along the edge here. Even on the top of this, I think we already applied Eden green blue on the top of that one, so I'll just go over with my gray tone. That's good. Now I'm going to take white paint. I know you can't see, but it's on the right side of my palette here. I'm going to take my white paint. Actually, let me show you, it's here. I'm taking my white paint, take it in a nice consistency, nice concentrated amount on your brush. The paper has to be still wet, remember that. This is because we applied water on both sides. That's very important. Now we go ahead and start adding these lines again from the top applying the paint and follow along the wave shape. I know we applied the lemon yellow and yellow green mixture, but now we're trying to lighten it up and that too in wet-on-wet. Create a nice blend. I have applied the white. Now I'll wash off the white from my brush because I'm going to blend it. I'm just taking my brush, and now I'll go over the top and blend that whole thing. Then the tone gets lighter. Let's see how that blend is looking. Now it seems more believable, the color, because it was yellow at first and it wasn't making any sense. This is how the magic of blending comes into the picture. I'm going to pick up some blue now and add it. I didn't wash my brush while I'm taking that blue, so there's still some white tones in my brush. That's why it's giving this lighter blue tone here. 38. Day 14 - Large Crashing Wave Part II: Now I'm going to switch to my liner brush and pick up the white again in a nice concentrated amount. Now we're going to add lines. That's why I'm taking my liner brush. You can go and use your size 1 or the smallest brush you have for creating these lines. We'll start on the right side. I'm going to add these tiny lines. My paper is still wet, so it's going to slightly blend out, and perfectly turn out. I'm creating broken lines. I don't need it to be consistent. Remember to have those lines coming from the crashing part of the wave. They're totally random. Let's create more on this side as well. This side is still wet, so it's going to spread out a bit more, and that's absolutely fine. In fact, these white lines are going to contribute towards the shape of the wave. If you draw those correctly, then you'll be able to see the shape of the wave coming into picture. You can see towards the end of this wave, I start adding some dry strokes using the side of my brush, so it seems like the wave is breaking out. I think we need a lot more towards this side here, because I just need to create that shape of my wave. The shape is what contributes. Now I'm just going to create some more darker strokes. I'm just using my liner brush itself, and I'm taking my dark Indian green blue, and I'll add in certain places. Now it's dark, because my paper started to dry nicely. Applying my dark paint. New areas that I wanted to be really dark , just some areas. I think I'm going to blend it with my size 6 brush. That's good. I'm going to add some more darker strokes. You can see my brush is having very little paint now while I'm adding these strokes. That's good. I think I'm happy with the way it has turned out. Now I'm going to wait for this whole thing to dry, so that I can remove the masking fluid. It's dry now, so let's remove the masking fluid that we applied. Here it is. After removing the masking fluid, we're going to take my size 6 brush again, and now trying to blend out some of these. I'm just going to use my brush, and run my brush along. You can see that woves the paints and then soften out the edges, and creates a dark tone effect. Remember to soften out the edges. That's very very important, don't have any dark edges towards the wave region. Now we've soften those regions. Now let's add our gray tone just to some of the regions of the wave. The right part of the wave needs to be lighter, so I'm applying my gray tone in the areas at the bottom. What I'm going to do is I'm going to wet this region. I'm going to wet the region of my wave just using water, and wetting the white region. Then I'll take the gray and start applying, but make sure that you apply it towards the bottom. Can you see that? Towards the bottom side. You can see how we have created a nice shadow for the waves and it's actually looking really nice plait because of that shadow that we've added, so just at the bottom side. Once again, we'll wait for this whole thing to dry. Now the last step is to obviously add in white splatters. I'm going to take my white paint on my brush, and now we'll add the splatters. Here I'm going to add the splatters, and starting at this end. Then here on the top. Now when you add these splatters on the top of that dark tone that you've added, it'll look much better. It'll have that shadow and it'll have those drops also. Obviously here at the top you can add as much as you want. We forgot about adding the shadow to that part, so let me water that region, and then we'll take the gray tone and apply it at the bottom. Again, only at the bottom, you give the illusion of the shadow. Keep the top parts lighter. That's much better. I'll take my white paint again and start splatters, adding splatters at the top. That's a broken wave. Some nice splatters towards the end, some at the top here. We're almost done. We'll just go ahead and start adding the final details. I'm just going to take my white paint, make sure it's dried and we'll make sure it's dry on my palette. Using my dry paint, I'm just going to paint towards the edges here because I was able to see the gap or the line of the masking fluid and that's very, very harsh. I'm just trying to soften that line using my white paint. Just a tad, like for example here this side as well. It's very harsh, so I just try to soften it. As well as if there's any other lines that you feel is harsh and needs softening, you can use some dry brush strokes and go over those region. Here, these regions I'm trying to soften out the hard line. The thing with white color is that it dries out and it lightens up after it dries. It's perfect to use. We're almost done. The last thing I want to do is add some more lines, very small ones using the tip of your brush. Can you see? It's very, very tiny and small. I'm going to add some dry brush strokes towards this one here on this side, just to show. I think that's enough, that's good. Now let's finish off by signing our name. I'm going to use my small brush and I'm going to sign my name with my garnet red. There you go, that's the final painting. I hope you like it. It's the finished picture for today. Thank you for joining me. 39. Day 15 - Techniques and Exercises: [MUSIC] Welcome to Day 15. This here is the painting that we are going to do today. It's basically the top view of the ocean again, but this time we have some rocks in the ocean and a beautiful turquoise blue color with some form in the ocean. Again, this is top view, so no hill perspective in play because everything is flattened out from the top. Let us see how we can paint this because I have used some specific techniques to paint this one, which I will show you in a moment. I'm going to show you a rocky surface in the center of the ocean perhaps. We'll just quickly trace out the sketch of a rocky area. No specific shape. I'm just giving it a random shape and maybe add some rocks outside also. That is the sketch. Let us turn the paper to apply water onto both the sides. In fact, this is such a small sheet, I don't need to do it, but because the class project is using that technique, which is why I am doing that, I won't apply too much. I'll just do it quickly. Done the back side and place it down and now we do the front side. [MUSIC] Here, I've added the front side. Now obviously, I need wipe out the excess water. [MUSIC] Also let me tilt my paper so that any excess water may flow down then I can take that as well. [MUSIC] I'm going to start. What I'll do is I'll take my teal green and I'm going to apply my teal green all around. I actually had to leave my paper and go and check on something at home. It's dried out. It's not dry. The underside is still wet, so it's fine actually. For the technique that I need to show, it's completely fine because once I reapply the water it will be fine and re-wet the paper. I'm not bothered that it's having these edges. There, I have applied all along the outside. I'm careful and painting along the outside because towards the center I want to soften out and add some formy regions. What I'm going to do is I will just run my brush along and I'll soften it. Your paper might not be dry. You do not need to soften it because then your paper might be still wet. Just stay away from the center region. That's it. I have to soften because obviously, I had to go and when I came back, it's somewhat dried up. I am softening, so this is the reason. Otherwise you don't need to. Just taking my teal green again and adding towards the outside. [MUSIC] I'll also probably add some wiggly shapes and maybe drop some there, but know that region is not wet, so it's going to form harsh edge. Maybe I'll wet that region first. [NOISE] to give me a nice formy area. Now, I've wet that region and like I said, your paper may be wet so you don't need to do it. Just drop in some paint. [MUSIC] [inaudible] will be like the ocean seen through the white formy region. Then I don't want such a large area form so maybe I'll reduce the formy region, but also I'll bring out some more of the color. Here, I don't want my strokes to be seen so we have to use a lot of water when we are adding. [MUSIC] Here, I've softened out and added. Now let's add in some darker details. For that, I'll take my teal turquoise. Using my teal turquoise, I'll drop it in the ocean. Remember we painted the ocean top view and we added some darker accents. This is just exactly the same technique and the best things comes for the rocks actually. Let's now just add in the ocean area first. I'll just drop in some of these darker accents and maybe some more here. [MUSIC] Basically around the formy region, I want to have more darker accents so that is why I'm adding. [MUSIC] It's the teal turquoise. Then maybe I'll soften out and add teal turquoise to the outside, but in a very lighter tone such that it blends along with my teal green and it just looks darker in this corner. [MUSIC] I think that's much better. [MUSIC] Maybe some more darker shades and I'll take indigo for that. Just adding indigo on the top. [MUSIC] I believe this is enough. Now let us paint the rock in the center. For that, I will first paint the rock region using a lighter tone. I'm adding yellow ocher to depict some light areas and the shadows we'll add later. In the class project, I believe I'm starting with burnt sienna for adding my shadows. In this one, I think in the center, I want to depict light so I've started with yellow ocher. Then we go with burnt sienna. Here, I've taken burnt sienna and I don't mind the paint spreading because I can correct it up with white later on. The paint spreading is itself the beauty of watercolor, isn't it? Just covering up with burnt sienna. [MUSIC] I've added burnt sienna to this one as well and this one. Now, we need to add in the darker details. For the darker details, I'll go with my transparent brown and I'll add on the top. Again, for the darker details. I will be loose with my strokes because it's the rocky surface. I just want to depict some randomness. I dropped some water there. [MUSIC] Be loose with your stroke. [MUSIC] The technique I actually want to show you is with a palette knife. You can use a palette knife, ruler or something that's got a flat edge. Maybe not a knife because it's too sharp but maybe the back edge of a knife if it's not sharp or the butter knife, the back edge, not the groove end. I'm just saying in case you don't have a palette knife. What you can do is you can use your palette knife, hold it in an angle like that and then scrape off some region. This scraping off will act like darker lines on your rocky region. I'll show that in a while. When you scrape off, you're actually scraping off paint. You can do that in various directions so maybe I'll do something like that. You can see I'm scraping off paint and it forms these lines on the paper. But obviously, because your paper is wet, it's going to flow back into those regions and the color is going to come back but you will be able to add some darker accents and I'll show you what happens. Let me just add some more details. I think that's enough. Now we added some palette knife strokes. Now what I'll do is I'll go and add some more details on the top using my darker tone. You can also use burnt sienna. I'll add some more burnt sienna. You can see what happens when you add in your burnt sienna. Those lines, do you see? The paint gets into those lines. It appears as lines and creates a 3D texture for your rocky region. That is something really beautiful, isn't it? [MUSIC] In video, it might look flattened out. Maybe let me see if I can show you more closely. See, it has a little bit of texture to it. It's not flattened out. When somebody looks at your painting in real, it will be there, so that's one thing. Then I will add some more darker details, so I'm taking my dark brown and adding on the top, and the same for this one, the smaller ones, adding details. I did not add any lines to the smaller ones because obviously it's too small. You can also add details and lines with your brush as well. It's a lot of details on this rock, so it's much better than adding a random set of colors and leaving it like that, so it's got a lot of these strokes, a lot of detailing on it. It somehow looks different. [NOISE] That is the major thing that I want to depict. Now, we have to wait for this to dry so that we can add in darker details. I think my hand touched and I pulled off paint from this area, so let me get it back. Let's now completely dry this up and we'll add in the foam. It's dried. I'm going to take my white paint. We need to create dry strokes, so make sure that your brush is dry, use your cloth or tissue, absorb all the extra water. I possibly need to try it out on a rough sheet first and ensure that it's completely dry. Let me see, yeah, I'm getting dry strokes. What we'll do is, we'll go around and create these dry strokes all around. Not just dry stroke, you can create smaller lines as well. In the class project, I'm using masking fluid to create some white areas first and then also using my liner brush to create these lines. Those of you who do not want to use a masking fluid, you can use this method. Also let me tell you for this one, you can refrain from using the masking fluid totally because you can add the details in the end later on. It's absolutely fine if you use masking fluid or not. You can see my dry brush strokes, I'm applying on top of my green regions as well. You can see, when we add in that white strokes here, it looks as though some of the ocean part is there, and then we'll also extend outward. Obviously, here we need to add on top of the rock. They'll look as though it's going on top of the rock, there's a splash. The splash is going over the rocks as well, so this one will look as though there are some underground part of the rock, that's why I said it's absolutely fine if it spreads. You can use a liner brush to add in those lines. It's got a large tip, so it's not enough. But let me go around and add in the foam now. As you can see, as I add the foam I make sure that I go over some of the regions of the rock as well, so it will look as though the water is splashing onto the rocks from the top view. See some of the water splashing out. Here we create the foam. Now, I'll use my liner brush to add in some lines. I take my white paint again and add these thin lines, so I'm using a liner brush so that I'll get my line as thin as possible. Add these random thin lines and into the outside of the ocean, the center part. Make sure that it's very thin. You can use your liner brush as well to create any lines, any dry brush strokes. I think that's enough. I've conveyed the idea of the whole thing, and that's what's important. Here you go. This is the final outcome, and the class project is very much similar, just the exception that I do use a masking fluid, so be wary of that. If you do not want to use masking fluid, you can add your whole of the white at the end as well. Let us have a look at the colors we need for today's class project. The major parts of the ocean area I have painted with turquoise blue. The turquoise blue is BB15 and BD7, so you already know it's terra blue and terra green. If you don't have the turquoise blue, you can mix up your terra blue and terra green, and you'll get a nice turquoise blue, or you can use turquoise blue from various different brands. I've got this from Rembrandt and I've got from White Nights. Then for some of the darker regions on the ocean, I have used [inaudible] turquoise, which is from Sennelier. This is again BB15 and BD7, but the only difference is that this is slightly darker. I believe that if you add more dark blue to your turquoise blue mixture, you'll be able to get your dark [inaudible] turquoise color, or like I said, you can mix up your indigo as well. I've used some indigo spots as well. A little bit of [inaudible] green itself at the bottom region here. Then for the rocks, we'll follow the exact same method we learned in the exercise. For the lighter areas, we add in burnt sienna, after which on the top we add transparent brown as well as some lines and darker details using either Payne's gray or neutral tint. I've used neutral tint, so you can also use Payne's gray, and mix it with your brown, that you're using, for example, you can also use sepia. We just need the darker versions of each color. The lighter tone we're using burnt sienna, then for the darker tone, we need dark brown such as burnt umber. Then for the further darker tones, you can use a darker color or you can mix up your brown with black and you'll get a darker shade. I also use a large amount of white paint for creating the foam in the ocean, and also, this is the reason why actually I used masking fluid initially because without the masking fluid, I would have to add the white strokes a lot more as well as add multiple times in order to retain the whiteness because [inaudible] pigments are very staining pigment, which means that it is very hard to create the whiteness of the paperback when you apply and use [inaudible] pigments. That is how the masking fluid helps. You can see some of the areas are very white and some are lighter. My masking fluid helps to retain that whiteness of the paper, and then when I add the white on the top, it gives that shadow effect for the foam directly, rather than me going to have to add in shadows later on. If I had added the whole thing with masking fluid, then I would have had to do add in the shadows, although I should say, I was impatient which is why I did not have the whole thing with masking fluid, but I believe that the combination of the two, the masking fluid and the white gouache, has given it that light and shadow effect for my foam region, and now the brushes. For the whole of the class project, I have just used two brushes, which is my silver silk 88 medium-sized brush. You can either use a size 6 or a size 8 and my liner brush to create those small lines on our ocean. If you are happy with the exercise, the colors, and the brushes, let us go ahead and paint this beautiful ocean top view. 40. Day 15 - Rocks in the Ocean Drone Shot Part I: [MUSIC] Let us start. We'll first start sketching out the rocks so starting from this corner here. That's all, and so many lines on the rocks, and another set of rocks here. Let us set here. Let me show you closely, this is the pencil sketch. Now we need to mark out the white areas in our painting. Let us quickly do that as well. We can add in some darker rocks also onto the paper but we can add that later on with our brush as well but if you'd rather, you can go ahead and start adding that. Just adding some rocks here, and probably add more with my brush later on. Now we need to apply the masking fluid in the areas that we need to leave white, so that's a very important process. Here is my masking fluid and I'm going to use my old liner brush. You can use a toothpick or something if you wanted to get darker, you can use a toothpick or something with a pointed tip in order to get those thin lines. I'm going to start. I'll apply my masking fluid and create lines similar to the ocean. This is probably another time-consuming process where we're applying the masking fluid because if you're going to use a white paint method, then you don't have to time waste right now applying the masking fluid. But then I believe that when you apply the masking fluid it turns out much better because sometimes the white paint is not exactly how we want it to be. Although we'll be adding both as well, we'll be adding some white paint as well but the areas which you leave with the masking fluid turns more white because you get the whiteness of the paper. That is the reason why I go with that method but obviously, you don't have to. There is no pressure to use masking fluid itself like I've already mentioned. Somewhere I'm pressing my brush, somewhere I'm just letting it flow and creating these thin strokes. Most difficult part is we have to do this all the areas wherever we want to get white. [MUSIC] Just sit back, relax and add a masking fluid if you're going with the masking fluid method, of course. Otherwise, you don't have to worry. You can pass forward to the part where we start painting. [MUSIC] Mostly, I want to apply this darker tone towards the areas next to the rocky areas. It's very hard to apply a dark tone along with the color of the rock as well, so it's better to mask those areas. [MUSIC] Somewhere I'm running my brush along just like I'm painting, so I do that with my masking fluid as well. See some strokes just like I'm painting with my masking fluid. [MUSIC] I think that's enough the other areas I'll leave white and last I'll add with the white pain also. Now we have to wait for the masking fluid to dry out so that we can start painting. It's completely dried now. I'll start by applying water to the backside of my paper, taking my large flat turkey brush, and applying water to the backside. Apply the water to both the sides multiple times in order to ensure that our paper will stay wet for a longer duration of time and also that it gets into each of the layer fibers of the paper. Your paper is made up of players. I think I've already explained all of this. I sometimes repeat myself so that if there's anyone who's joining in on like this specific project, they can understand as well. We apply the water. Now, I've applied to all the areas of the backside, but I'm just going to run my brush a few more times to make sure that my water soaks into the paper. That's very, very important. Because otherwise, it will dry out quickly before we can even finish the painting. Take your brush along in both the directions. It's good to have a larger flat brush, but for those of you who don't have a larger flat brush, I can understand how difficult it must be to apply water onto the whole surface multiple times using a smaller brush. But it's all worth it for the final project painting. [MUSIC] I think that's enough for the backside. Now I turn my paper, place it directly on the board that I'm using. I think that's good. Then I'll go ahead and apply water to the front side. When you apply water to the front side, you'll see that it starts to stick the paper flatly. We also need to press it firmly so that it doesn't have any air gaps in-between, so press your brush along all the edges of the paper, all the areas of the paper so that it does any air gap at all it will go out. Not just air gap, water gaps as well so we can form water. Water I can get it here at the backside and that can create a bulge in the paper, so press your brush, just like I'm doing right now along all the sides. Press it nicely so that your paper sticks to the board. [MUSIC] I can see something's happened my paper has turned upside down this has gone down here. Let me just turn my paper so that I can keep it that way. I just want this region to be at the top. There you go I've corrected it up. Now I'll just keep applying the water. I think that should do. What I'm going to do is I'm going to absorb all this water from the outside of the paper, that this the extra water that is on the board. [MUSIC] This is a very important part of the process because we don't want this water to flow back into the paper creating any blues. If you don't do this process, then you start to create blues at the edge here which we do not want. I've removed all the excess water, now what I'm going to do is I'm going to wait for a few minutes for the water to sink in. Can you see the light marks here, which means that there is still a lot of water, which we do not want, so I wanted to just settle into the fibers of the paper? I think it's good now. Let us start painting. I'm going to use my synthetic brush and I'm going to start with turquoise blue color. Taking my turquoise blue in my palette nicely. I'm going to start with this color. Let's start in this corner here. I can see that it's still spending a lot, which means that there's a lot of water on my paper. What I'm going to do is I'll probably create some gaps in between. Using my turquoise blue itself I'll keep adding my strokes and as you can see, I'm leaving a lot of gaps of white which I won't fill. Here, next to these regions, I can paint freely because of that masking fluid there. I'm going towards inside, that edge could've probably add more white color later on. Since where I said where is masking fluid, I can actually paint very freely, whereas in these other areas I'm having to leave white spaces. [MUSIC] Now, towards this region here I want a large amount of white space. So what I'm going to do is, first let's go near the rock and finish off the rocky edges and finish off the region where we have applied the masking fluid. That is region after where I've applied the masking fluid. Now, I want to create a huge gap of white. What I'm going to do is I will go around with my brush, see and creating that gap of white and I'll just probably streaks of paint. I'm going to just drop paint in the edge area there then another large amount of white spaces I'm going to leave there. Picking up more paint. Lots of white spaces, basically. [MUSIC] It's alright to use darker color at certain areas and mix up your colors. There is no tone remember because this is the top view, so just apply darker colors at some places like the colors at some places. Just go with the flow and move your brush along. [MUSIC] Applying somewhat darker colors to this. [MUSIC] Because we have a lot of white paint that we have applied. Imagine how it would have turned out if you had really applied a lot of masking fluid. I actually was impatient and did not want to keep applying the masking fluid, which is why I decided to stop but in reality, this painting would be much more beautiful if we apply the masking fluid for all the white areas. Keep going. I've got a nice consistency of the turquoise blue, you can see how dark it is on my paper. I'm applying that towards the edge here because I want it to be darker at the edge of our painting. I just want it to be darker because I would like to depict the dark areas of the ocean here. Probably add more dark later on. I'll add some dark areas towards that region as well. I think that's enough. Now we've applied the nice turquoise blue color, now let's go ahead and start refining some of our white areas as well as add more dark into the ocean area. I'm going to absorb and lift off paint here where it has gone on top of the box. Then some paste here I think a bit of that and then I just add it at the top. I have my cloth in hand here and I'm using that to absorb extra water on my brush. I do the lifting and then I touch my cloth and remove that water or the paint I have just lifted. That is the process that I am doing. At some point, I wash my brush. Let me get around adding and refining some more of this bright areas. Now let's go ahead and add darker details. I'm going to take a little bit of turquoise. That's teal green and I'll add a little bit of teal green to it to make it a little bit more greenish. That's good. I will add that to some of the areas here, but again, I'm just touching my brush and you can see where I'm holding my brush it gives me such loose strokes. I'll still try to preserve the white areas that I already have on the paper. Add more turquoise and green and do that to this region as well some green that I would like to add. Now I'd like to add some dark, and for adding dark I'll take indigo or you can use Prussian blue or Indian green blue. I will go with indigo and that I'll add to the edge of this blocks. To some areas here I'll just drop it you can see the darker tone and you can see through some of the regions at the top. I know that the light must be a little bit bothering but I have to shoot at the time that it's possible for me so I hope you will all forgive me. But you can clearly see the strokes. I know the colors are not really visible but you will see it. I know the colors are really that evident but I hope that's all right. I'll apply to the edge of the rope here and somewhere among these darker area you can apply the dark tone. Let's go ahead and add in to some of the region here as well, but I don't want it to be that dark so I'll lighten it up a bit. Probably I'll mix it with my turquoise blue a little. Here is my turquoise blue, here I'm taking a little bit of indigo mixing it with my turquoise blue because I don't want it to be too dark around this region. I think that's perfect. Oops, it's too dark. Now I'll take the mixture of turquoise blue and indigo and keep adding. Somewhere I'll add dark marks. Somewhere I'll go with the mixture. It's just totally random. It's very important that you understand that this is a complete random process and you don't really know the specific stroke that I'm trying to do. I think that's good enough. Now we can probably stop with the ocean part and go and add in our rocky areas before that dries up. Because we've applied water onto our paper and I don't want it to dry up. I think it's already probably drying some of these areas. That's because I did not apply a lot as I should. But that's absolutely fine. Which color? I think I'll start with burnt sienna. Burnt sienna for some of the light areas. I'll apply the burnt sienna. Now, when we reach towards the edges, we need to refine the shape, it's not like the ocean. We go with the pencil sketch that we have made. [MUSIC] I didn't realize you couldn't see the well where I'm picking up the burnt sienna from, this one. I've applied burnt sienna on that one. Since we've already applied wet paint onto that one, that will remain a bit for some time. Let's go ahead and add into the other areas before we add on to the details of that one. [MUSIC] Applying, you can see how the burnt sienna is creating some green edges when it mixes with the dark color. That's fine we refine it later with the darker colors later off. Now we're just bringing in dark color, initial color. Now, we've added in the burnt sienna. Let's go ahead and add in darker details. Adding the details, I'll go with my transparent brown. This transparent clown, I'll add on the top. You can see my brushstroke, I'm pressing my brush over and doing these strokes such that the burnt sienna shines through it and is visible in some of the edges when I create gap. This dark brown color will ensure that our edges don't have that greenish touch. You can add some random strokes. You can see how randomly I've added my dark brown color. We do the same. If we hadn't added the burnt sienna then we will not have some of these light areas shining through. This is the reason why we apply the burnt sienna at first. I know that the process makes it a little bit lengthier, but it's worth it. That is the end result that we see after doing all of these strokes, is worth it. Just running my brush on it like that. [MUSIC] Now, we do the same to the last one here. [MUSIC] Now we've applied the darker strokes, what we need to do now is to do some lifting that add in the finer details. 41. Day 15 - Rocks in the Ocean Drone Shot Part II: [MUSIC] Here I'll take my knife and start the lifting. You can see some lines. We are just trying to move the paint and create some of these gaps. When it dries up it'll make more sense. Some more here, adding it in the form of lines, and some here. Now I'll go ahead and add some more rocks in the water area as well, so here so I'm taking my brown and adding into the water area. Maybe we'll add some extended rocks there as well. You can clearly see the difference between this color and this one because of the burnt sienna that we applied. This is the reason but since these are in water I believe we can just go ahead and start adding it with just the burnt umber but it clearly shows the difference. I've added some darker strokes. Now I'll take my neutral [inaudible] and add further darker tones on the top. Using the neutral [inaudible] I am going to create lines, the initial lines, they're wet on wet lines after which we'll add darker lines on the top later on. Going over these palette strokes will ensure that that area gets darker because as you can see, it creates a depression in the paper so when you apply this darker tone, it gets into that depression and creates a darker ridge-like stroke. See here, for example, I applied on top of my palette knife stroke and it creates a ridge in the water. I'm taking my dark paint and adding them in the form of lines. Let me add some darker strokes on these rocks as well. We're done with the background layer. Now all we have to do is wait for this whole thing to dry so that we can remove the masking fluid and add the final details that is the form in the water and the detail on the rocks. This thing is now completely dry so we go and add in the details on the rocks first before we remove the masking fluid and add in the white details. Using my Size 8 synthetic brush itself, now I'm going to add in the dark details so before that I'll pick up my neutral paint, this is a nice dark neutral color, like a dark brown color. You can even use paint spray or you can also use a sapphire color. We just need a darker color to be added on top of this. I'm going to start applying and I'll do some of them as dry strokes, some of them as wet on dry strokes. This is the reason why I'm using a synthetic brush so that some of my strokes will be dry and some will be wet. Just go freely and add in on the top. You can see our scrub marks from the palette knife here. It is also looking beautiful. How I mix and dry strokes. As you can see my strokes are dry and we do the same to the other rocks now. Sometimes I'm using the pointed tip, sometimes I'm pressing my brush. Let's keep adding, so you can see the burnt sienna strokes. They provide the texture of the rocks enough, like the lightest areas that is why we added the burnt sienna on the top at first. So these lines that we're adding now will form the ridges in between the rocks. I'm using my pointed tip of the brush. I'll dry the strokes. Now only one more rocky area to be added. [MUSIC] Here I'm adding some strokes in this direction as well, so it would be like the ridges on the rocks or some dry strokes. There we've added the dry strokes, now the only thing that is just to add in the white. Before that let us remove the masking fluid. Now we have to remove the masking fluid, let's go ahead and apply a white paint for the foaming area. Here, I've got my white paint. We'll also need to apply the shadow for the white areas like for example here this is a large white area that we depicted, but then we need to add in some shadow areas. Maybe let's add the shadow area first, so here I'm going to pick up very lighter tone of turquoise; the color that we have been using and I will add that on the top. You can see adding that on the top of it so that there is a lighter area there, then now when we add in more foam it'll make more sense. Let's go ahead and keep adding. Which area do we start with? How about we start with the extreme left side. Here we go, and start adding our dry brush strokes. Start with your dry brush stroke itself. Near to the rocks, we'll add dry brush strokes and closer to the areas that we have left white. For those of you that didn't use masking fluid, now you can go ahead and just follow along the same process. The only thing is that wherever I have the masking fluid lines, you can add those with your white paint. I just want to tell you I should have added the whole lines with the masking fluid itself, but I just wanted to show you the other way. Also I was impatient because this takes a long time to keep applying so that's the reason I didn't complete it. We apply next to rocky areas. See, next to the rocky areas as well apply the dry brush strokes and some onto the rocks as well so it will look like it's splash. Then I'm using a liner brush, so using that liner brush will be lines; the lines that are there in the ocean form just like the ones that we did here. Some of the areas are dry brush strokes, so here I'm adding some dry brush strokes. See my dry brush strokes. You remember the gaps that we left; the white gaps, we go in those areas as well and add in the foam. Next to the rocks as well add in the foam. You can see my dry brush stroke. The already existing white stroke just helps us when we are adding the white stroke because then we don't have to add a lot. For example here I just did only a little amount of these dry brush strokes but then there is a combination of both of the masking fluid and the other white as well which makes it look more interesting. The same towards this side, so just adding dry brush strokes. Keep adding them. You can see here the already existing white area is helping me for adding the white dry brush strokes again. When I'm adding dry brush strokes on top of this along with the lines it'll give it a more natural look for the forming area, so this is the reason why I applied a line of masking fluid there because the white paint that we're using will never give as white as the paperwhite. This is the reason why I prefer masking fluid, but obviously there is nothing in adding the whole thing with white as well. [MUSIC] You can see here now, it's already lightened up. It's not as bright as the existing white here. When this dry out, you will understand. [MUSIC] Now, I'll create more lines here using my liner brush. [MUSIC] Draw more lines here. [MUSIC] Now, onto our white area here, we'll start to add the foamy lines. [MUSIC] You can keep [LAUGHTER] adding this for a long time. There is never a point where we can stop because this is just so much fun to do. I would end up just going more and doing it. I think I've said this before, I have a tendency to go on adding the details, I can never stop. You can see me still, I'm talking but I'm still [LAUGHTER] adding details and trying to stop but somewhere, I feel that there isn't enough lines and I end up adding more. But it's just your wish when you want to stop. I think I'll probably stop now before I go on to add any more. I've stopped. Let's see the condition on the other side. It's dried, it's just a little bit of paint that's leaked, that's absolutely fine. But here you go. Now, all we need to do is sign our name. I'm going to use my size 2 brush and cadmium red, and I'm going to sign my name. [MUSIC] There you go. Here is the finished painting. I hope you like it. 42. Day 16 - Techniques and Exercises: Welcome to Day 16. This here is the painting that we are going to do today. You can see it's an underwater scene. That's the underwater. That's the light reflecting from the surface of the water towards the underside of the ocean, and here is the flora and fauna under the ocean. We paint all of these details. Like always, we will be using the wet on both sides of the paper method. As you can see, we have used a lot of different colors to get that beautiful underside picture of the ocean and depicting these details. You can see a lot of these smaller details and then obviously some fishes in the water. This is what we are going to paint today. Before we proceed onto the techniques, I'd like to explain this image first. Like I said, the top region here is the surface of the water from which the light is being reflected. You can see the light tones here. Instead of leaving it white, we have added some raw sienna and cadmium orange like tones. Because that provides the maximum contrast with the cool tones, such as the teal blue and the teal green sheets that we will apply, that is, mainly if you leave the paper as white, then it does not give the maximum contrast. If you introduced some warm tones in your painting, then it gives the maximum contrast. In order to bring that one contrast, that is why we have added some light yellow tones at the top. Then we have the light reflecting. You can add more rays if you want. I have used a flat synthetic brush for creating these sun's rays. You can use any brush to lift off. But from my experience, I have observed that synthetic brushes are best for the lifting technique. Mainly because you lift off paint from the paper, and then when you wash off the paint from that brush and you come back to your paper after drying it, it does don't have a lot of water. Natural hair brushes holds a lot of water. Even if you were to wipe it in your tissue or cloth, you would still have some amount of water which can move the pigment out of your paper again. This is why synthetic brushes are the best for the lifting technique. Then you will see some lines here. These lines here are actually the ripples on the water surface, the waves and the ripple surface on the water surface, which is why they are not there towards the bottom side. Then here we have the underside of the ocean starting. Then you can see we move on to some different color, which is obviously the teal green. Then you can see some details here in the background. This is actually the ocean floor. What we're seeing here is the ocean flow with the plants and the fish underwater. But then what we've painted here is also the ocean floor. Let me explain that to you. That ocean floor is the far-off area behind in the ocean. Imagine you're standing on the ocean bed and looking straight ahead. You see a little bit of the top side, which is this, and then you see further ahead into the ocean bed with all the flora and fauna and then further away where you can't see much details, but a little amount of the floor area, ocean floor. That is what we have depicted using some of olive green and brownish stones at the background here. Obviously, the closest point to where we're standing is where we see all of these plants and fishes closer to us. This is the basic idea of this picture. It is very important that we understand what we are painting. That's that. Now, let us have a look at the techniques to paint this one. Here's my paper. I'm going to paint it this way today. Just to make a slight difference to the class project and Exercise 1. Let us apply water evenly to the backside as usual. That's the back side and apply water evenly. On my paper and apply at the front side, and that should stick might be brown to the board Let's now wipe the excess water out. Of course, I'll tilt my board to absorb any extra water that will accumulate at the bottom I'll start with a nice raw sienna sheet. This is what I said. We will depict some light using the raw sienna. We're just going to add a little amount of raw sienna strokes towards the dark like that. This will give the maximum contrast. Now let's go back to taking our teal blue sheet, which is blight blue of course, and we would start adding that. Here I'm adding my teal blue at the top Adding my teal blue at the top, and paint it all the way down. Then I will show you how we add in more details. That's teal blue. Let me fill that up for the entire region of the ocean I will just apply Because this is the smallest surface area, I believe that it's okay that we paint the whole thing. For the class project, we will stop somewhere in the middle and we'll go about adding the plants under the ocean. There, now I have added the nice teal blue strokes. blue go on top of the raw sienna and add some nice strokes as well. This will be again, like the reverse, so just using the tip of my brush, and adding some strokes Now let's add more details. I want to bring in some depth into the ocean. That is this is where the light is and the farthest place is here at the bottom where the light is not going to reach. I'm going to take my blue, mix it with bright blue, the teal blue, and I will add that at the base. That will give a nice depth. We can just use a darker green version of the bright blue, and add that. I'm adding that to the base of my ocean area there, all the way at the base. You can see I've added darker tones towards the bottom. Now I want to create some light. Like I said, this is a natural hair brush and I don't want to do my lifting with that, because it holds a lot of water, so I'll use my synthetic brush for the same. Here, I've removed all the water from my brush and then I'll go about softening the hairs and absorbing, and to create the light effect. I'll create the light. You can see just lifting off and using my brush to pull down paint. You have to do it multiple times. Remember, each time you do it, you have to wash the brush, and dry it as well. Only that way, you will be able to bring in that nice white back. Even then you won't be able to bring the white back, we just want to create these nice light lines. That's it. Because it's impossible to remove the yellow pigments, because they are highly staining. I believe that is now good. Now let us go back to adding the details. For adding the details, first of all, we'll start with the ocean bed. I'm going to use my synthetic brush itself. For adding the ocean bed, what I mean is, you're standing there and you're looking, so you will see a lot of the underside of the ocean. Now when you add olive green on top of the yellow green, it's going to mix up and form a nice sap green color. In order to get back the olive green color, we actually need to mix it with a little bit of brown. If you add your olive green along with brown, you'll see that it comes back as olive green on the paper. Just some details. I take my brown, adding it as olive green, and that gives the effect of the ocean bed, I suppose. Just tiny detailing, to depict that further off point. Now let's get to business and start adding the underwater flora. For adding the underwater flora, now we have to note some important points. As you can see, I'm covering up all the areas so that no blue is seen through in these regions, and this left side as well I'm going to add my flora. We are going to take a very thin amount of pigment to depict the flora. You can see I'm taking a dense amount of pigment in here. You can see, it's concentrated. For those of you who are using your painting pans, it may not be easy to get this dense pigments, such as those obtained from a tube of neat. I have a tip for you. If you're using a pan of water color, you first have to activate that watercolor pan, so that you get more pigment out of it. One way to do that would be to introduce a little bit of water into your pan before you start working, so that it activates that paint. Maybe what I'll do is, I'll actually paint with my pans today and show you, so that any one of you who are not using your watercolors in tubes can be of help. For those of you who are not using your watercolors in tubes, this may be helpful. Here is my olive green. That's my brown. Actually this is my dark brown. This is rosy enough. That's one dambach. As you can see, what I'll do is probably award all of these paints. I'll drop some water on it and make it ready. There's my orange. What else do I need? I think I'll probably take a little bit of pink, but that's a transparent one, and a little bit of green, maybe a little bit of violet, indigo. I'll just drop a drop of water to all of these paints, so it'll help me to activate them. Either you drop it in the brown, and then dig my paint. My olive green, and I'll mix it with a little amount of dark green, and I will use that on the top. My dark green paint and I'll add them on the top, the underside of the ocean. As you can see I'm using my pans itself. For those of you who have painting tubes, you can use that. But if you don't have, you can see how I do this with my pans as well. You just need to drop your water in and let your watercolors activate first. I've added a lot of green, now that looks like a greenish area. Now I want to add some depth to it. I'm probably take my olive green, add it on the top, gives some depth. Basically, the whole point of this is to add various colors while adding a little bit of violet on the top and it's coming as black. Fine, that will show the depth. We just need to add in a lot of plant details. We'll use dense pigment and create various shapes. I don't have an opaque color here in this pan section. Maybe this red. Let me see that. I'm not going to add any fish here in this painting, so maybe my that red would work. Yes, that's working. Then maybe I'll add my red, because it's opaque. It's depicting the underwater plant, so just create various shapes. I actually wanted to add a little bit of yellow, to give it depths. Clearly the idea of plants, but we can add with red as well. Just adding various shapes and creating, then maybe I'll go back to my violet and dropping some darker regions, and gives them depth. This will act like the regions between the plants. Can you see as soon as I added that violet, it shows an effect where it looks as though it's the shape of the plant and you're seeing the shadow in-between. That is why these kinds of strokes and increases the depth of our paintings. As you can see, I made some plant strokes. I'll probably do that with a red again at the top. Just creating some strokes using the tip of my brush, and doing so. How can I introduce a yellow tone to this one? I have a bit of gold here. I have yellow here, but that's transparent. Transparent yellow is not going to come on top of our red color. I need it to be opaque. I don't have opaque here in my palette, maybe I'll try this coal sheet. Let's see. Not bad. I think I'll take that. It needed to be activated a bit more, so I'm just dropping some water onto it. Maybe we're not so good in shapes. It doesn't look like gold on the papers, it's fine. You can just add the flora underneath, the plant. Oh, not bad. I'm loving the way this is coming out. If you have an opaque yellow, use that. If you don't have an opaque yellow, you can mix your yellow with white. I'll explain all that in the color section. Let me pick up more. I'm just creating some random strokes. It's easily mixing up with the violet, because violet is such a dense color, less than silver here. I know that these pink and all of these are transparent, it's going to come out. The pink might just appear as pink on the paper, but I wanted some lighter tones. Let me get back to my olive green. Actually, maybe we can mix your olive green with a little bit of that silver, and that might be lighter. That's lighter. Just dropping in paint, you can see that. Gives the effect of the dense coral under the ocean. It's really hard to [inaudible]. These painted pans might be just exactly why I wanted to show you that because I wanted to show you that it can be done even with the pans. I got some orange here. How about that. Maybe a little orange stroke. Why am I going and grading like a mountain? Maybe I'll break that mountain structure. I pick some more red. I want to break that random structure so I'm going to take a little bit of my olive green again, mix it up with the brown, and I will add that towards the outside. This will again be like the flora behind. That's much better. I'll clear the water. Let me just soften out my ray strokes. This is what happens if you don't wash the brush properly because I've pulled out the paints then I went back on my paper, but [inaudible] just absorb it back again. That's enough. I just wanted to show you the techniques and the point of painting this. I wanted to simplify for those of you who are using [inaudible] pans. We basically added a lot of different colors to the underside of the ocean. In the class project, we'll be using a lot more methods as in we'll be using the toothbrush to do some splatters. We'll do some splatters with a brush as well, but the main point of it was to take the dense pigment, which is very tough if you're using tans, which is what I really wanted to show you all. Because I know that many of you maybe using a paint in pans and I didn't want to disappoint any of you who are using that. I hope you're happy. If you're happy, you can stop at that or you can go ahead and add some fish. For the fish, I have added it with a dense red in the class project. In this one, I don't have a cadmium yellow. That is the main pain I'm facing with the pans one, and I don't want to mix. If I had to mix it, I have to take my white. After taking my white paint and then a bit of yellow. I have just created it. [inaudible] That's my white. You can use that instead of the cadmium yellow for those of you who don't have it. Not bad. I got some yellow strokes. You can also use lemon yellow. Lemon yellow is also a beautiful color that you can use, not just cadmium yellow. Is it possible to add on the top here? The paint here is still wet so I just mix this with my violet. Also violet that I added is a very dense pigment, but I still managed to get some strokes there. I love the plant that I have added right there. This is what I said, you will be able to mix all the colors if you have white gouache, that is all you need, or you can use your gouache paint on the top. I will explain all of this in the comment section once more, don't worry. I'm just taking a bit of yellow and maybe I'll add a little fish. They looks like tadpoles. That's because my paper is still wet. We're supposed to do it after it dries so let us not ruin it. I'll just covered it up. Don't want to ruin that. We're supposed to bend the fishes after it dries so we'll not do the fish. Let's just leave it open. That's the basics of the techniques I believe. Let me absorb the water from the sides. Let me try this one. You can see how beautiful it has turned out. I'm not going to add in the ripples in this one because the main focus for me was the underside of the ocean here. My God, I just love how all of these little textures has turned out. I want to show you something else as well. See the backside of this paper. The paint has spread at the backside and I'm loving it because it looks as though the underside of the ocean here has continued on to the back side. I just feel like that. It's so beautiful. This here is the exercise for today. Let us have a look at the colors and I will explain in detail. Here are the colors. It's a lot, isn't it? Let me explain. For the top region here to bring out the contrast between the water and the light area, I have used some lighter shades such as raw sienna and cadmium orange. You can also use yellow ocher. Some good shades that you can use for the top region are raw sienna. This one is PBr 7. Raw sienna is obviously is there in most of the basic palettes. Cadmium orange is a very opaque orange. It is PO 20 pigment. I know that many of you may not have these cadmium pigments, but one thing you can do is if you're using a painting tubes or pans, refer to the pigment information and find out if the paints that you're having is opaque or transparent or not. Opaque pigments are depicted by a filled square, and transparent pigments are depicted by an empty square. Let me find out if I can show you on this one. I can't see on that one. Maybe on the [inaudible] one. This is cadmium yellow pigment. In the cadmium yellow pigment, you can see it says a filled square, which means it's opaque. It's also written O there showing that it's opaque. Transparent pigments will not have that field squared. For example, this is transparent brown and you can see it's an empty square depicting that it is transparent. They also put a T there to show that. Most manufacturers use this method, T square, or it could be a circle or triangle as well. Let me see this Winsor & Newton. This one is half-filled, which means it's semi-transparent. Any of these three colors, you can use that. Yellow ocher pigments are usually PY 43, any of these three colors. Then we come into the water area, of course, where the two most important things comes into picture, which is that pthalo blue and pthalo green. PB 15 and PB 7, I think I have mentioned this hundreds of times and you can never get rid of these two when we're painting the C-scapes. Those two pigments. Then as we come to the bottom of the ocean floor, we start with a lot more advanced colors, advanced as in more number of colors just like we did for the class exercise. That would be olive green. Olive green here is BD 17, BY 1, and BBA 7. But I have mentioned several times before it is very easy to create an olive green shade. You can create an olive green shade if you have a green and a brown. If you mix green and a brown together, you will get a nice olive green shade. Or you can also mix a little bit amount of yellow. You can adjust your olive green by mixing all of these shades. You can observe here this one has BD 17 is a green color, then a yellow and a black. Green, yellow, and black would also make olive green, but the best is to actually mix your green with burnt sienna. I love the olive green that mix creates, or with that burnt umber. Then we of course need darker colors like indanthrone blue and indigo. indanthrone blue is PB 60. We've discussed this a lot of times, but I'll say again, this indigo is PB 60, PB15, and PBK7. That's indanthrone blue, pthalo-blue, and PVK7. Is a black pigment, but there are other ways to create indigo. You can create indigo by mixing your bright blue with black and maybe add a little amount of pink to it. I've explained this with the color theory as well. In the color theory lesson, you can refer to that why we mix the pink shade, because we're trying to create that nice complimentary effect. To get that little pinkish touch in our Indigo, you will see the difference when you add a little touch of pink to your black and blue mixture. You'll get a beautiful indigo. That's indigo, then we have a lot of brown tones here. For that I have used my transparent brown. You can go for [inaudible] any brown that you have, my transparent brown is from Sennelier, it is PR101 and PBk7. PR101 is actually a red shade, mostly used as burnt sienna as well in some brands. It is actually a nice, beautiful red shade and it's mixed up with PBk7, which is a black pigment, and that is how we have got this transparent brown from Sennelier. But you can use any burnt amber shade. Like I said, we need tense pigment so remember to activate your paint first. Then cadmium yellow or you can use lemon yellow or Aurelien. Lemon yellow from white knights is actually transparent. But cadmium yellow are usually opaque. Cadmium pigments are opaque so this is the reason why I actually use them. Cadmium yellow is very good to use because you can see here under the ocean floor on top of the dark tools I have added lighter tones. This is mainly because of the cadmium pigment. Any of that you can use. On top of the Phthalo blue I have added such as dense pigment of red to make the fishes and it's all possible because of the cadmium red. I just put these two pigments in here extra because I used a violet for the exercise and also I love this teal green light from Sennelier. It says it is transparent here, but I have always use this paint on top of black color, and simply appears amazingly, maybe it's a mistake. I'm not sure of why this is so bright. I'm not sure whether this is transparent or not, but I have used it as an opaque color in fact. Just these two colors I just wanted to show you. There is no set number of colors that you can use for the underside of the ocean, so this painting is where you use your imagination, you use your own set of colors and just go and add in as many strokes as you want. Different techniques implement. You can even add salt if you want. I do not add any salt here, but you can add salt. Maybe if you added some salt here it would spread out and create some blooms and that would look beautiful as well. This is one painting where you can just go with your flow and create magic. Another thing that I want to say is, I used my full pans from White Nights to show you in the exercise thinking that many of you may not have your tubes, so I wanted to show you with the pans. Also, there may be some of you who are using pans from a basic watercolor set and it may not be as dense pigmented as this one, either. One suggestion to get your colors as brightest this under the ocean would be to use other mediums of paint. If you have a gouache set of paint and you can use your gouache paint in the vector wet method to paint all of these strokes. Trust me, it will look beautiful. I'm not sure what about acrylic with wet-on-wet, but you could try that as well. I've never tried. But literally you could try that. Actually, you have some gouache set of paint, you can use your gouache. For example, a gouache yellow would work exactly the same way as a cadmium yellow would, because gouache is opaque and that is the most important thing that we need to understand. You can use your gouache paint instead if you do not have opaque watercolors. Another way to use is if you don't have gouache, if you don't have acrylics, all you have is a watercolor and you have a white paint. If you have a tube of white gouache like the one I'm using, or you have a white watercolor which is opaque. There, that's the field squared depicting that this is opaque. If you have that, you can create some opaque colors as well. I've explained this many times, even in my color theory class. Opaque watercolor plus a transparent watercolor will give an opaque watercolor. It'll be somewhat semi-opaque, but still, it will be opaque. That opaqueness in that opaque pigment will show up on your paper. If you need some yellow, mix your white with your yellow paint, be it transparent yellow like Indian yellow, mix it with white. Like you stop with the exercise, it would turn lighter because you're adding a white shade to it. But to bring back the yellow, mix it with a little bit amount of orange or burnt sienna and it'll come back to its yellow shade, and if you add more white, you'll get it to be more opaque and that you can use on your paper. You just use your imagination and try and see how you can create all of these colors. I've explained how to paint this with all the basic colors because like I said, the only different colors that I have used here are olive green and the cadmium pigments, which are not there in the basic palette. But olive green is very easy to mix and so are the opaque colors, which I have just explained. I forgot to mention about this neutral tint paints gray. These are two other colors that I had used. Payne's gray is one of my favorite colors I always use it. It's PBk7, PB15, and PB23. Again, it's just the same as indigo. You can mix it using your Taylor blue a black pigment and a little bit of rose. This one has more of the black pigment. The indigo has more of the blue. That's the major difference. Neutral tint is PR122, PB60, and PBk7. It's again a mixture of Indian green, blue, black, and PR122 is a red shade. Neutral tint mixing. This is basically trying to create a neutral tint, neutral color PR122 is a red shade and as you know red is almost a closer version of orange, isn't it? Blues' complimentary color is orange, so that is why when you mix that red with the blue you get a neutralized color and then a little bit more black shade into it. That's how you get the new [inaudible]. But you don't need to create the same colors that I am using. I'm just explaining to you so you understand all about these pigments, but you're free to paint this painting on your own using the colors that you have, go according to your free will. Now the brushes, I have used a large size 10 brush for painting the water region. Then my half-inch flat silver silk 88 synthetic brush for lifting off the sun's rays. Then a size six synthetic brush for adding the details under the water. I used a synthetic brush because it holds less water and I'll be able to take that tense pigment, which is the reason why I used my synthetic brush. Then I've also used some liner details that's why I've used a liner brush to create some tiny strokes for creating the shapes of the plants. Then my size six for adding the fishes. Basically, all you need is a large brush, medium-sized brush be it synthetic or natural. The liner brush is absolutely optional. You can use a detailer brush. You just need a pointed tip. I wanted to create the small lines for this one here. This is using the liner brush, that's why I used it. Then I've used a flat brush to create the sun's rays. You can also use a large round-size brush. It doesn't matter. If you're happy with the exercise, the colors, and the brushes. Let us go ahead and paint this magical picture. 43. Day 16 - Underwater Flora: We'll start by applying an even hold a quarter on both sides of the paper. I'm just going to apply the backside now. This is the backside of my paper. I'm going to apply at the backside. Apply evenly. You need to make sure that our paper is wet enough, so apply to all the areas. This is very very important. You already know by now how we apply the water on both sides so make sure to apply it evenly and persistently. Take your time to do it. We don't need to rush the process at all. Now I'm going to turn my paper and apply my water to the front side. There I place my paper and I'll make sure that my paper sticks to the surface. I'll apply a stroke such that I'm pressing my brush onto the surface, and we'll do that in all the directions. We need the paper to be soaking wet, but obviously not such our paints flows too much, you will understand me what a consistency once we stop painting and you factor up a few paintings. I've applied the water evenly I'm just going to clean up the edges Let me just lift the board, and make sure that there are no extra water bubbles. When I lift the board, if there is extra water, they're hiding, limiting surface and just move down and allow me to clean it up. All the extra water will accumulate at the bottom ready for us to clean it up. Let us start. I think that's enough. My water is soaked in nicely on my paper. You believe that there is a lot if water flowing on your paper, then you need to wait because we don't want any flowing water. I think the consistency on my paper is not really enough. If not like I said, you could always deal with your paper. Let the water flow down. Use upload or tissue, whichever you're using to absorb all of that extra water. Here I'm doing the same. I can see that it is some more water which is flowing down and absorbing the same at the bottom region. I'm going to start at the top. What we're going to do is we're going to depict the light. At first for depicting the light, I think a little bit of raw sienna. The reason why I think raw sienna is because our painting is completely used with dull colors is because of the water region. In order to avoid that and to bring it up, nice contrast. We add a color such as raw sienna. When we add that to the top, you can also either use orange if you want. That's another color that you can add to the top. If you add this orange, and then you paint your blue colors. In the end, there'll be a bright contrast. Rather than leaving your paper white in those regions. I'll mix up nicely and take my Cadmium orange and applied it at the top. Let's go ahead and start painting the water earlier. Basically I'll start with my pillow blue. That is my pillow blue and I'm going to apply it on my paper. Light blue color I am going to be adding little bit off blue as well so its dark blue. You already seen in a lot of class projects they identifying blue and you know how to make it, to make it blue and add that as well. What I'm going to do is, I'm going to lift my board, hold it at an angle so that all my paint would slow down and create that natural effect of the light. Let me show that thing, here, you are applying the blue paint. Watery paint, make sure the paint is watery and you let it flow down. When you let it flow down, you are allowing it to create hair like that. Those heading movements having the light shining through. I'm applying my indenting glue. I know this angle is really bad angle for you to see. I need to keep something large underneath so that I can get this huge angle. Maybe I'll keep, this is the cup of my storage box where I keep my paints. You can see the paints nicely flowing down, see all the paints flowing down. Pick up a nice dark consistency and just apply and allow your paints to flow down. I think I'll use a use for to build on as well. I take my yellow green and I'll add that at the top. Possibly a little bit of quiz, I already explained the colors , so you know. I go back for my bright blue and apply. Apart from the already existing effect, let us create a light effect as well. For that, I'll possibly use maybe a nice synthetic flat brush. Using that flat brush, I am going to create the light effect. Make sure that your brush is dry because we're going to do the lifting technique from the center and pull off paint. But we obviously need to it multiple times because as we put it's so wet that it's not going to allow us to do all the lifting, so just in the center. Wash your brush thoroughly if you feel that you're putting back the color on your paper rather than lifting. Add some lifting there. I'll go back to the sides as well and then I'll do to the sides. I think that's possibly enough. I'll do both in the center. You see, that's what happens if you do wash the brush. I put back the color, and I have to look tidier again. Much better. Now we've created that light effect. Let's go ahead and paint the bottom part of the ocean. I can see my paint spreading nicely so I just apply more. Now I'll go to the bottom of the ocean. For painting the bottom part, we're going to do a mix of colors. I'll possibly pick a little bit of raw sienna. My brush has blue that's why it's mixed with raw sienna. Let's take the raw sienna nicely. It still has blue. Why isn't my brush cleaning up? But it's fine, you can have that green color as well. Also, the raw sienna that I have is from Winsor and Newton and it takes a while to activate so possibly, I'll just spray some water onto my paints to enable it to release the colors quickly. Just to reactivate the paint. I didn't go that far. I'm stopping and then you can see what happens. Now I take the raw sienna, let me see if it's colored now. Yeah, that's much better. You can see raw sienna, you can see it's mixing over the blue color and that's absolutely fine. Just go and keep adding. I'll possibly pick a bit of neutral paint or sepia, or you can take a little bit of three. We are just adding a lot of colors. We're just picking other colors. This is the brown on my palette and I'm going to add that, and you can see it mixes up with the blue color and creates its own magic. There is no specific rule. This is just what you do according to your free will. Just dropping colors. I'm taking olive green, I'm adding that. Maybe a little of lemon yellow, why not? It's under the ocean so it got all of these colors that you can not even predict. Just go ahead and play with your free will, apply all of these beautiful colors. You here, I'm thinking a bit of lavender, I applied that as well. Some lavender, and you can see it mixes up with the existing colors as well. Now we've added that, let's go ahead now and start adding the details. For adding the details, now we need to take very thick paint. Using my synthetic brush I'll start adding. We need to take think paint, remember that. Here I am taking my thick paint of the brown. At this point, we will use and we'll start to make these shades. The objects underwater, they are burred mainly because it's underwater. We are trying to create these painting effects to show the underwater plants. You can do these shapes and add some plants. This is transparent brown, you can use brown amber. I'm using these upward strokes to depict some plants under the water, and I used thick paint. I wanted to go ahead and maybe we add some maybe yellow. Here I'm taking my yellow, this is lemon yellow and I have added. You can use the tip of your brush to create these shapes, so here I'm just creating some random shapes. This is not lemon yellow, this is tangerine yellow. I just created many shapes Then how about a little bit amount of red? I won't use red much because I want to use it later on for the fishes, so I'll go and take cream maybe. Sometimes I'm just dropping my paint. I think possibly now I'll keep it flat because I don't want it to stretch towards the bottom. I'll keep it flat now because I don't want it to be spreading like before. Before this region dries, let's actually paint the further ocean bed. The ocean bed is seen at the back of this flora and fauna, the ocean bed, or the backside. That's what we're going to paint, and for that, I'm taking olive green. You can take olive green and use that olive green to add to the top. You can see when I'm adding the olive green, it just mixes with the blue to create a dark color and it's fine. I'm just adding these lines and they'll go all the way towards the backside. Don't add it in too much detail. This ensures that you are making the ocean flow at the backside. I think that's enough, not too much. That's enough to the top side. Now let's go and get this side. Going back and adding olive green. You can also possibly add a little bit of brown. It's just a mixture of all the colors. We've added the ocean bed. I need to add some here because I can see a lot of blue there. That is good. Now let's go ahead and keep adding the flora and fauna, taking the green. This is the dark cream from [inaudible] and I'm taking it in a very dark intensity. As you can see, I'm not even mixing it up in pallet. I'm just keeping that on my pen and applying it directly on the paper. When I do that, it makes dark spots because the pigment didn't get any chance to mix up. To make it further dark, I'll possibly add a little bit of indigo. Here is my indigo, I'll take my indigo and mix that as well. Now it's really dark paint. Taking indigo and creating the shapes. How about we add some beautiful splashes? We can add the splashes with various colors, so I'll possibly add best with brown. But obviously when we're adding the splash we need to make sure that it doesn't fall to the top region, so I might need another paper to mask that region. Here I'll cover up the top region and I will do the splattering. There, that's nice splatters. We are doing the splatters with brown and you can see how they spread, some of them you can even drop the paint. [inaudible] this feels like the finger painting of paper thing, so it's like a trash paper. I do not like how it turned up so that's why I'm using that. Make sure to mask out the area. This is what happens if you are not careful, so it's fallen on those regions, I know what I'll do, I accidentally dropped it there, I'll later on cover it with fish. I need to be careful, I was actually looking somewhere else, I was looking at the baby monitor here and my paper moved and I didn't realize that. Let's go back to adding green and indigo, and I'll be careful. Added a lot of these splashes so I'll possibly add some more with a toothbrush. Here is my toothbrush and I'll add some detail to that as well. I paint my toothbrush into transparent brown. I'll make sure that I've covered my paper enough and I'm going add the splatters. That's too watery, so I dry it up just like we dry up the brush. Again, I've dried it up, now I'm picking up the paint again and I'll add that paint, that's much better. You can see the splatters clustered together because I'm adding at one point, and I want it to be clustered at one point like that. I'm going to dip it again in my brown paint. It gets your hand dirty but then in the end the result is just awesome, so you definitely have to try it out. Maybe a little bit of black paint, so I'm taking a neutral tint here. But like I said, we need it in a very dark consistency so rub your brush. My fingers are really dirty now, I will clean it up after the painting process, I just feel that this is all part of the painting process. We go back to adding, so I'm taking my neutral tint and I will drop it again, add some more flora, some more brown. Maybe some lemon yellow, so this time I'm taking lemon yellow itself, so here is my lemon yellow and I'll add that. This whole thing is just going to mix up and bring beautiful effects. Like I said, there is no specific rule, this is just the underwater and you can depict it any way that you want. I'll add something to the left here, I feel that it's empty, mix it up with my green and add. I'm dropping my beautiful paint and just scratching using the [inaudible] brush, this also creates a nice effect and [inaudible]. Somewhere I need others to be darker so I'll take my indigo blue blue and go and add the dark tones. It's under the ocean, it doesn't mean that there is no blue-colored details or plants so you can add that as well. I'll take the indigo right on the top. You can add more splatters. Here I'll cover it up carefully and I'll add some small splatters here on my paper. We add a little bit more with green. Now, we want to take a little bit of yellow. I think I'll switch brush, and I'll switch it to a smaller liner brush. Here, I've switched my brush to a liner brush. Using the liner brush, I'll dip in my denim yellow, and I'll add some thin lines. Just adding a fern or something, any shape that you want. As you can see, some areas are wet and some areas are not, and I'm not bothered by that because it can be both dry, both wet any way it wants. Just let it flow. I wanted to pick some depth in between the stroke that I just added, so I take some brown, and I'm going to drop it in between. Drop it in between my land area using my liner brush itself. Then add to my yellow, and adding on the top. You can see, I'm adding those yellow on top of the brown. The whole thing is just going to mix and create something a bit [inaudible] I am not bothered what it does on the paper. What other color can I add on the top? It needs to be visible. But maybe I'll take a little bit of lavender because it's opaque. I think that would look good. Lavender, and adding that as part of the fauna, flora. I think that's enough. We've added enough details. It's looking really nice, isn't it? Let's now wait for this whole ting to dry so that we can add in the fishes and the water strokes. Here, I've dried this up. Let's go ahead and start adding the details on the top. We'll start from the top area and I'm switching to my size 6 brush here. We go start with the paler blue. Using the paler blue, we're going add details on the top to depict the movement of water. This area here is the top of the water region. I've already explained this. What we will do is we're going to add the strokes, but needs to be watery, it needs to be light. This is the reason I'm using a lot of water here in my mixture. Observe. That will add in these strokes. Somewhere, you can mix a little bit of brown so that it creates a darker shade as well. As you can see, that's a darker shade. Create some strokes in a similar manner. Some brown, like I said. Somewhere, just water and light strokes. Somewhere, we go with the blue water. When this dries up, it will make more sense. You remember, the underwater cliff that we did, these are the same kind of strokes. When it dries up, it will make more sense. I add this one tone which is the brown. The area mostly towards the center where it is the light because I don't want it to be that blue. Can you see now? We've added a nice contrast as well, and it's looking beautiful because you can clearly see the light shining through. Let's do that. These strokes are basically, I'm pressing my brush and moving along. Now, we have reached the water region, that's why I've been switch color. That one supposed to be very light brown color and apply that to the middle here where is the light. That is enough. Now we're going to start to decrease our strokes as we come down. Less your number of strokes as we move down and start reducing it to just dots. Very small, just dots and lines. I think that's enough. While that dries and turn out beautiful, let's now go ahead and add in the fish. For adding the fish, I will switch to my synthetic brush because I want to take a dense pigment. Here, I will take my red paint, this is cadmium red. I'm going to add in the fish with the cadmium red. Like I said, I'll possibly add in on top of these accents or splashes that I've done. Tiny is what you want and tail. They don't have to be all facing the same direction, remember that. Twist and turn your brushes and add them. There are some smaller fishes. Some are there. Now, we need to add among these as well. This is the reason why I said that I didn't want to actually add red paints here. If I had added red as well then I wouldn't be able to add red fish, it would just look all jumbled up. In order to avoid that, I did not use any red paint for the plants. The shape is basically easy. I'm just touching my brush in some angle, and then I draw two things like that. That's what I'm basically doing. I have covered my mistakes there, there's one here, and where else? Another one here. I've added two fish gills there, another one here. More [inaudible] red. Make sure that the fish is like surrounding, going in different directions. It just makes it interesting. Some can be tiny as well. For some, we just need to add in the tail, and the fin part. Here, I've split one up, can you see that? I put be tail on the right side, and the head on the front so it's like it's behind that plant there. It's just funny things that we can implement to make this look like a real thing. I can see some more splashes here, let me cover that up. This is so ugly. You notice we have lot's of fishes. Should we add another kind of fish? I'm not sure how these fish survive in the ocean, maybe they form a group and they stay in the group itself and other kinds are not. I don't know how this works. But we can still add some. We can possibly try and add one with yellow. Everything how we have done practically it's not good and I will continue it. That's one yellow fish. That's not actually bad, and maybe I'll add the yellow fish in this corner. That's enough. There's one thing I'd like to do in order to make this look a little bit more interesting and original. Because I feel that the fishes are too much because we need to add in the shadow. Remember light, shadow always important. This looks like a cartoon I'm just taking my neutral paint. It's about color. You can also use maybe black. That's my neutral paint and drop of the extra water. I'm just going to try and add to the bottom of one of these. That's our bird, that's got a shadow. Add to the same, the light is here, so the top part is brighter, so the bottom part needs to be slightly darker. Add that to most of the fishes just in one side, like maybe the most important side. Try and add in a little dark area just to the bottom of each. I think that's enough. I don't want to add to all of them either. I guess this dark spot can even act as the eyes of the fish. Since we are not painting it in too much detail, it's absolutely fine. I'll add little bit for the yellow fish as well. Let me take brown paint and add part of that to my yellow fish. You can still add at the bottom. Let me see. Now this fish earlier, it didn't have any details on it but now because of that little brown color this does look like something. We're done. I just need to wait for all of these strokes to dry, this is too wet. Even our fish is still wet. Let's dry it up and we're done. Here is the final painting. I've dried everything up so we can see clearly what is at the top. You can see now that, because we've added that orange and [inaudible] it has that shining effect, we have the light shining through, we have the water droplets and the water boats at the top, and the flora and fauna at the bottom. I love how these are. A two brush stroke has turned out and also this plant here. It's just basically all of three different strokes that you want to try out. There is no specific rule, just dropping your pigments, do splatters, do any stroke that you want, it will be absolutely fine. There you go. I hope you liked it, and thank you for joining me today. 44. Day 17 - Techniques and Exercises Part I: Welcome to Day 17. This here is the painting that we are going to do today. This one, we're going to learn how to do from an image. I wanted to bring in everything to this class literally. I thought now I'll share how we can break up a seascape image and how we can put that onto paper. This here is the image that we are going to paint today. You can see here, it's open to your own interpretations, and this is how I have interpreted the same. Let us understand the image first. We can see a nice wave crashing down here, and behind that is the ocean area. In front of it is a lot of the foamy regions. We also have that foam around the region where it's breaking off from the wave region. Let's see how I have painted it so that you can compare. I will upload this image in the resource section so that you can refer to it. All you need is to look at how I approach this painting. Just watch the class project how I do it and then I would love if you can do it in your own. I'm sorry that there's a lot of glare on this top page, but there's nothing I can do about it because I didn't want to print this and waste paper. You can see, we've got a nice background ocean park there. That one, I have added it with a darker shade, I've added it with indenting blue, and the waves I've added further with a greenish tone, indigo, and halo turquoise mixture. Then the wave region, we can see where it's crashing. I've applied masking fluid and then also used some water to depict the crashing part of the wave, especially here on the right side, can you see where I've moved the pigments using the water? Then as we come towards the bottom, there is that foamy region in the front, and you only see just some parts of the dirty areas under the ocean. You see that black spots there. That's what we have tried to add here. I tried to change the colors because I didn't want it to look exactly like the image itself. That's something that I love to do because I don't want to copy exactly as in the picture. I try to imagine it as something on my own and try to paint that. Now, let us understand the shadows in this picture. You can see here, this wave is breaking down like that. Here in these regions, there is these darker areas and has the shadow. Those shadow regions are because of the wave is crashing down so little light reaches there, that there is no light reaches there. It's got to have those shadow and hence darker tones. You can see here. I'm just noticing on my paper itself. I've missed out the shadows on this part, but then I also have moved my waviness a little upward. It's not turned as much as this is. When I don't add the shadow, this is looking like it's not crashed yet, so then that's why it's bright. Here, it has that dark area, which means that it's already turned and you can actually see it here. This portion here, can you see it's already turned, and that's why there's a dark region there. It's actually, I forgot to do it. Because of there is no shadow on mine, this means that my wave hasn't turned in this side. There is shadow in the image, which means that it's already turned and the light has started to not reach that region. Remember to depict light and shadow always. It's something that's very important in any painting, and obviously some waves in the background. This is how we can break down this image. Now, I have used masking fluid to depict these areas here because I believe adding all these small splashes and everything, if I do it with masking fluid, it becomes much better. But I know that many of you may not have masking fluid hence you can just use your white pigment at the end. I think that's all to explain about the image. But let us look at some color combinations and some techniques to paint this one. I'm not going to show this one, but I'll paint something else, another image. I'll show you this one instead. Because I want the class exercise and the class project to be different because I don't want to be painting the same thing twice again. This is what I will be showing, so here again, you can observe, I'll skip this sky region because I don't want that. My whole of the paper is going to be the ocean area itself. I can see it's got a darker blue shade at the very end. Then it comes and turns into turquoise shade, and becomes more brighter here. Here, the whole of the wave has already turned. We have the splashing part here, a lot of splashing the part. This is very difficult if you don't use a masking fluid. But since I'm not going to be using the masking fluid to depict this one because I want to show the other way. It's not going to look the exact like this. If you use masking fluid, then you'll have these little curves and turns and you'll be able to depict them well, but without the masking fluid, it's not going to be possible. But it's all right. Then you can see right underneath there is that shadow region. Here there is no shadow because it shows the transparency of the water. The water is transparent there as it turns. But already the wave is turned towards the front, and this region here has the darkness and showing the depth. That is the lackness of light reaching there, so it's more darker. Here is the foamy region in the front. This is what we're going to try and do in the techniques today. I will upload both of these images in the resources section for today. Here I've got my paper and pallet ready. Let us do it. Like I said, there is no sky region, so I'm just going to sketch out that wave in the middle. We'll simply draw and mark the position of the wave. That wave is going to be there, then here is where it's started to crash. Below that is going to be the foamy region. You can refer to the image, and you'll see, so there. This region is where it's crashed. Now the foamy region, I'm going to do it very lightly, because if I'm to leave it white, and I'm not using masking fluid and just the white gouache, then we definitely need to be very light as we are trying to draw this. Here, it's splashing. There's splashing, and it's got a big splashy region here. Then the foamy region is in the front, at an angle like that. We've got some splash here as well. I know it's not at all visible, but here you go, close up and you can see what I've sketched on the paper. It's very light that I do. Obviously, we are approaching all our paintings with a method where we apply water on both sides of the paper. Let's turn our paper and apply the water. Here using my large flat brush, I will apply water to the backside. I've applied water to the backside. Now, let us turn it and apply it to the front side. Applying to the front side now. Now I'll use my cloth and absorb all the extra water from the outside. Also, I tilt my board so that any extra water can flow down. Always tilt your board and make sure that any extra water can flow down. Here, I can see all the water has accumulated at the bottom. I'm going to absorb it. Now, we will start with a form at the base region here. I'm going to do straight with a nice paint gray shade. Probably will take a lighter paints gray shade. We'll start with the base, the foamy region. Remember the underwater painting were we did and we added some light region there. Let's do that. Adding the maximum contrast, if we add in some warm tones, it brings in the maximum contrast. I'm taking a little bit of my raw sienna. That's a lot. I just need it to be very light. Taking a very little amount of raw sienna will apply that onto the paper. Just very lightly. Can you see it's not even seeing. That's very light. We have added and now we'll add into this , the darker region. It's for that, I am going to take my paints gray. Here's my paints gray and we'd start adding in, just some smaller lines. Can you see? Here there are some more darker regions. More depth and darker region there. Maybe I'll mix in a little bit of brown to my mixture to bring out a little brownie texture. Just a very little. I didn't want it to be purely paints gray, so there and various lines. Always be wary of water control. That's why I'm absorbing. You can notice and observe when are the areas that I am absorbing water with my brush because I took a lot of paint here. I feared that it might be too wet, so that's why I just absorbed a little extra water. Added some nice regions there. Now, we'll move slowly upward. Here, we need to add in some turquoise shade so I'll take my pale green. This is the pale blue on my palette. I'm going to mix it up with my pale blue. Here, mixing it up with pale blue, that will give me a nice turquoise shade. But I need it to be more bluish, so I'll add more blue, or maybe greenish. I just need it to be turquoise shade, so here. I believe that's good. Towards the base here, and add with more water, and leave a lot of white spaces. You can both leave your white space or you can apply masking fluid, or you can add using white at the end. I will show all the methods. As you can see, I'm leaving a lot of white space. Here is the wave region that we added. I'm going to go around, and leave a huge gap there. We obviously need to add in white later on, but for now let's just add. We're approaching the wave region. Now let's make our color darker, pale blue and pale green mixed together. Our color is getting darker. Just blend it nicely together because we applied water on our paper and the underside is wet, the blending will be really smooth. Here's the wave region again, and dark up to this point. Then towards the top. I believe we need it to be lighter and bluish so I'll add more blue. To make it lighter, we add more water so that the mixture is soft. I'm being lighter. Make sure to blend it nicely. Mark along the wave region that we have done. Using my pencil sketch that. I believe we can make it more lighter, just using water to lighten up our mixture. Can you see, it's lighter now because I've used some extra water and I'm taking wet light paint here on my palette. Now I know that these edges have a harsh look, which we don't want. Let's go ahead and just use our water to soften out each of these edges so that the water edges would be softer. Just using my brush running along. Some edges can be hard and some softer, so don't do it for all the regions, just in some of the places. You can see I'm just randomly running over, and making some of them softer and some of them harsh. It doesn't have to be perfect, and that's what we need to understand. I believe that's good. This region here is the wave. This is the wave. Now, we can add in more tones for our wave. We need to give the shadow for the wave also. But before that, let's go upward and paint the ocean first and then we'll do the full. Now we need to do that ocean part. For that, we need to take in our turquoise color again. I need to take a little bit of a thicker paint for the left side. Here, I'll make my Dakota quiz paint, and here it's loose. We need to make it in a wavy shape, so add it in a downward stroke like that. The stroke marks will be seen when the paper dries, so we need to make sure that the stroke marks are seen. Now, I will go lighter as I go towards the right side, so going lighter means making my consistency loose. Maybe I need more blue. Here then do along the edge. I think because we are using lose water we can't see the stroke marks yet, so first let's fill up that region. You can also see I am leaving lots of gaps, the gaps are because when my brush runs out of paint I end up with some dry brush strokes. I am not filling it up, I let those dry brush strokes be. See some of those dry brush strokes, so it just adds to the whiteness of the paper that we want to contribute for the formed region. There filled it up. Now is the time to create the strokes, so how do I do that? I need more intense paint there. I think towards the left side it needs to be more greenish, and also I want it to be a nice dark green, so I mix in a little bit of my cadmium orange to that mixture, so that will give me a nice dark green. I will explain all the color mixes to everybody. Now adding lines and use the tip of your brush to depict the lines. See, now we can see the lines and go somewhere under here and then we'll stop and we'll take in more of my yellow blue possibly. But again, I need it to be very light because this region we managed to make it light and then we can make it darker, so just taking my little amount of yellow blue and adding to the wave. Just use the tip of your brush and add it and as we move towards the right side, make sure that we are now facing this way, so it's like the wave is crashing, so here it's angled this way and here it's angled this way. Now you can see that crashing part of the wave. I believe that's enough. I'm just softening here a little bit because I felt that it was not too tall. That's good. Now we need to soften the top part as well, the region where we just applied. Like I said, it's fine to have some dark edges, so don't soften the whole thing. Just run your brush alone casually and let whatever that flows in to flow. I love how it stand out already. We'll add with more white and it'll make more sense. Now I want to paint the top part but if I paint the top part then the paint is going to spread out. I did this mistake in the class project, I remember that. I'm shooting this after the class project so I know how to correct that and I'm warning you now itself. I just want you all to understand the mistakes I do and then how I correct them, how I learn from it, so you can observe that in the class project and I do adjust that in the end, but I'm warning you now with that. I'll paint that later on when this is a little bit dry. For now I'll go ahead and paint my form region. For painting my form I'll dig in a little bit of lavender. Lavender gives a beautiful shade for creating shadows. We can add in the lavender, it's a beautiful shade for adding shadows. Again, you see it's very light but then as soon as I've added that you can see the difference between the pure white and the lavender white, so just a little at random places. Also there's another trick, the lavender mixes with raw sienna to create a beautiful gray color. We've already added some raw sienna there for the light region and when you add lavender on the top it automatically creates a gray shade. It contributes to both the light and the shadow, that's it. Lavender strokes here to create the shadow. You can see that we've crashing and creating a nice shadow effect. Just dropping more lavender and I believe I'm happy with that bottom part. Now, let's see. Let's paint this one as well and add in the shadows. Take more lavender, the lavender I'm mixing up here on the right side of my palette because there's no space here. It's dark but I will lighten up with my brush and you'll see it makes sense. I drop my paint at first and then I'll just use my brush to soften out these edges of that paint and I'm not softening it out properly also. I just added a chunk of water to this region and it spread, so let me just correct that. I'll just add more paint on the top and blend it out. Lavender here, here, and there, will take my brush and soften out. Do I need to soften it out perfectly. Some dark edges of the lavender is fine but you can already see how it's turning out to be a nice wavy shape, isn't it? Drop-in lavender at the top, so once you soften out and then you add more lavender at the top it just comes here. Can you see that beautiful violet shade? Lavender is a very light shade. I believe I'm happy. I don't know if this is dry yet but let's start from the top and then we'll see. Because it's a larger region I'm switching to my Size 8 brush and I'm going to start with my infantry blue. You can go with a further darker shade. Maybe I'll take a little bit of indigo because I want it to be dark at the top. Mix up infantry and indigo and then I will go over at the top. Remember dry brush strokes, you can create gaps in-between. It's absolutely fine, it'll just act as the waviness, the form in the ocean again. When you're painting and if you come across creating such little white gaps, it's perfectly fine. See, I'm not going to fill it up completely, I will leave some white gaps. Wherever it's automatically creating white gaps I will let it do that. That's one way to do it rather than adding more white on the top, or you could do it with more white on the top at the end. Any way is fine so long as you depict all of these in the picture, that's what we need. I have reached on top way point, so now I will change my color. I'll go with my teal turquoise, so here is my teal turquoise. I will blend out with my teal turquoise at the same time and whatever gaps it's creating I let it be. There we have made it create a large wave. I know that the large wave in the picture is actually on the left side, maybe I'll convert it to the right side because I love the way this has turned out. It was just my brush finished with the paint. Now I'm getting closer to my wave, I'll probably shift my brush back to my Size 4 one. Getting my Size 4 back and I will add my teal turquoise to it. Now, at the top region I am going to leave a tiny gap. I won't join the region where it's meeting my wave, just a tiny gap. In the class project I added with white later on but here I want to leave it out by itself because I'm trying to minimize the usage of my white in the end. It's a very tiny line, can you see that? Whoops, I touched it. You will see probably it looks broad paint, luckily it does not. You got to be very careful. Some regions, I think I'm accidentally touching it, but maybe that's for good. It doesn't matter, it's actually looking much beautiful. Let me blend this region out, because I see like a clear separation between the Othello turquoise and my indigo, which I don't want, so I'll just try to blend it out here in this region and it can also act like the waves. I'm just taking my Othello turquoise and adding it on top of my indigo, some in the form of lines and blending out the region where it's joining. Now let's add waves. For adding in the waves, I take my Othello turquoise, mix it up with indigo so that I get a dark Othello turquoise. That's what we would add. Just some nice bouquet, I don't need the angle now, because if I add the angle the weight would flow down. Right underneath this foamy region and make it darker. That's on the left side in the image, I have changed it to the right side, I told you. We have added a lot of baby shapes, actually, I like the way this turned out. Then stock paint, that's what we're using. I believe maybe we can make this region a bit toward darker, because I feel it's too light. But the thing is, I think it's dried now, and I might have to add to the whole of it, but I'll do that so that you can understand the process. It's supposed to be the darker Othello turquoise color, blue, Othello green, and a bit of orange to make it darker. More green, and I will add that. The area under the wave region, that's where I want it to be darker, so there it's darker, adding the darker tones. It's dark, now I need to blend it out. I'll take my remaining color and blend it out. I'm not going all the way towards the edge where we did it before, because that will help me to blend it out now. The same at the bottom also. I'll just go over and blend. I'm trying to preserve the white regions that we left out also. Creating that nice dark green. Now before it dries out, let's soften out the very edge of what we just added, use water, and since I'm using a larger brush it's easy to soften it out. I made it exactly the way it was before, and we've added a little bit more darker tone, because I felt that it was too light in the beginning. That's why I did that. I'm quite happy with the way it has turned out. Now I have to wait for this thing to completely dry so as we can add in the white strokes. It is completely dried now, I'm going to use my white paint to create a lot of foamy regions. We have a lot of dry brush strokes to create, and liner brush, and picking up the paint, we'll add some of the lines first. Here, there's supposed to be a lot of thin lines, wavy lines within the ocean. That's what we will add first. Using my dense paint, and somewhere it'll make thicker strokes, somewhere it will make smaller strokes. This one will go towards the inside, and I will add loose paint there, so I'm mixing my white paint with a little bit of extra water. I will add that. Maybe we can do that with our large brush itself , just a lot. Back to my liner and I start to create these smaller strokes. We've created some nice white lines. Now we need to create the splash white line. Here I am going to take dense paint in my liner brush. I want to use it to create splash impedance. You need to make sure that it doesn't have a lot of water. We need our strokes to be somewhat dry as well. That's much [inaudible]. It's dry so I'm just going to run my brush along in very strokes like that. Can you see? It's not any specific stroke. Just make sure that your brush is dry. That's important. Dense pigment will help to do that. Then I noticed I'm doing that on the top. That'll create some random strokes. Let it go outside and do what's the splashing regions. Big splash. There. I think that's good now. I have to do the same to the top where it's splashing. The combination of the lavender, the white, everything gives that wave the nice, beautiful color. In some regions, you can also add a little bit of the Taylor turquoise color so that you know it's like there is a reflection of the water inside. Actually, that's much. Let us do it with the other brush, size 4. Here I'm taking my Taylor turquoise color and that in a very diluted consistency because we want it to be light. You can drop that in some cases. Just randomly, I have dropped it off. But we can't leave it like that so I'm just going to soften them and blend them. As soon as you blend them, it looks as though it's the water shining through. We have to do it quickly. I like how it stand out. We now take more of the white and start adding. The combination of the lavender, the white, everything adds to the waviness. Now some lines at the top it's crashing out. So it's crashing out in this direction. Maybe some lines will show the direction that the wave is crashing down. Not a lot of paint. Remember, very lighter tool. Here we paint [inaudible] towards the right side. Some splashes here and we have to do it with this one as well like there's some splashes here. Now let's finish off with some splatters with our toothbrush. Here is my toothbrush. I'm going to dip it in nice dense white. We need to make sure that we make the splashes exactly where we want them. It's all around these white regions. Concentrate your hand next to that wave and put a splash there. Remember to take ink pigment. Possibly little there next to this wave. There, I like the way it stand out. Now I got to go and wash my hands and my brush. Here is the final outcome of the class exercise. Do you like it? I showed you how to defeat to the wave, the transparency of the wave, the depth in the ocean, the form, the shadow of the forms. All of these things are very important. Also remember the structure of the wave that I explained a few days ago. Here, now let us have a look at the colors and I want to show you some color combinations. 45. Day 17 - Techniques and Exercises Part II: [MUSIC] All right. Here are the colors that we need for today's class project. There are different color combinations that I'd like to introduce to you. Basically, using the color theory information itself. First of all, obviously, you know that we need tailor turquoise, tailor blue, tailor green. The first color, tailor blue, and tailor green, then a bit of tailor turquoise or turquoise blue. This is turquoise blue, and this is tailor turquoise. But I've already explained it many times that these are just combinations of the tailor blue and the tailor green. Then indent in blue and indigo. The colors that I want to show you are, first of all, you know that bright blue or tailor blue is a beautiful PD15 pigment. This is my swatch journal, I keep it for all my swatches, color studies, and everything. Let me show this to you. This is my bright blue or tailor blue. This is my tailor green pigment. The one we discussed, it's bright blue. This is from White Nights. This is the same as a tailor blue from other brands. You can check the pigment number PB15. Don't ever forget that. Then the tailor turquoise that I use is from Sennelier. It's a darker, greenish, turquoise blue color. It contains PB15 and PD7, which means it's basically a combination of these. But I think I haven't shown you this before but I've told it many times. Even if you were to mix your tailor green and tailor blue together, you almost get it, but not as dark as this. In order to make it slightly darker, you can mix your indigo paint to that. Indigo and tailor green. If I mix, I'll get it darker. Can you see? This is how you can make that color. I think I've explained it before, but today, since I was showing the other mixes, I thought I'll show you. The mixes I want to show you is the combination with the tailor blue and the tailor green. This is why it's very important. Here's my tailor green. Let's see. That's my tailor green shade. But in order to make your tailor green darker, what have we been adding? If we add in a little bit of pink to our tailor green, it turns into a blue shade. That is when you mix pink together, it turns into a bluish shade. We've already discussed that. This is because of if you understand the color wheel, the positioning of the green and the pink shade, combining them would give you a slightly purplish or bluish shade. Now, let's get back to the tailor green. Here's my tailor green. What if I were to add red to it? Adding red to it darkens it up. There, as you can see it's darker green now. In order to make it properly more darker, if you add in a pigment like orange or cadmium orange here. I'm taking my cadmium orange and I will add that to my green, so you get a nice darker green. Let me take my tailor green again, mix it up nicely. Can you see? It's a very nice dark green color. These colors are very good to depict the depth of the wave in our picture. You see here this dark green, this color is perfect for that. The reason why we do not use ready-made pigments, but rather mix it out is because if you look at the other regions, you've got tailor green here and you've got that turquoise blue shade. All of these are variations of the tailor blue and tailor green. Using them would create the perfect mix on the paper. Now, another mix I want to show you is my tailor green. If I were to mix it up with a little bit of brown, can you guess what the color would be? It will be darker again, another version of the dark green. All of these colors are possibilities to create a darker version. The reason why we get these shades is because the tailor green is tailor pigment. It's a cold green. It's more cold. It's not a warm green, it's a cold green. Those cool colors mix with the warm colors and gives a bit more darker, muddy type of green. That's what we get. Now let us see one last combination, the tailor turquoise plus red shade. The tailor turquoise plus red shade is giving us a bluish tone, which I have explained. You can use it as indigo. That's because it's tailor blue and tailor green mixed together, but it's got more of a darker blue shade. When you add that darker blue to red or a pink shade, you are making it more darker and muddier, so we get a color like indigo. Remember these mixes. Then in the class project we also use lavender because it's very good to depict the wave. One last mixture that I want to show is lavender and raw sienna together. Here's my raw sienna. If I add it to my lavender, lavender and raw sienna creates a nice gray tone. If you were to paint with raw sienna and then add lavender on the top, at random places, you can see the lavender will contribute to the coolness or the shadow, the raw sienna will contribute to the light. But a combination of this will again contribute towards the shadow regions. It's a very good color combination that you can use. Let me state it out again. The colors that we need is tailor blue, tailor green, tailor turquoise, turquoise blue, indent in blue, indigo, cadmium orange, or any kind of orange, raw sienna, so instead of raw sienna, you can also use yellow ocher. Then you can also use Payne's gray if you don't want to create the lavender and the raw sienna mixture , so Payne's gray. Then Queen Rose, red shade and a permanent alizarin crimson, transparent brown for mixing dark greens. The cadmium orange is also for mixing dark greens. You can also use neutral tint if you want. Various shades, I'm just showing you the options that you have. Now, the brushes. I have used my Kolinsky Sable size eight brush, size 4 brush, and my Renaissance series and liners size 0 brush. Basically, all you need is a nice natural hair or synthetic, whatever you prefer, a medium-size brush such as a size 6 or a size 8, another smaller size brush, such as a size 4, and a liner brush. Remember if you don't have the liner brush, you can use a small detailer brush. All it needs is a pointed tip to create the smaller lines. Lastly, I've used masking fluid for the class project, but I painted the class exercise completely without the masking fluid to show you how you can attend the class project without the masking fluid itself. If you're happy with the exercise and the techniques, the colors, and the brushes, then let us go ahead and paint our wave. You will find the image in the resources section. 46. Day 17 - Ocean Wave and Foam Part I: Let us quickly add the pencil sketch. So for this one, you'll have the wave somewhere in the middle here because it's a wave and we're going to go for a uniform uniformity. Because if you add the wave at the top, I don't think it'll be nice because the whole point of the picture at the bottom would be the foam area. So hence, I'm ignoring the rule of composition and I'm going to put that wave in the middle. So that's the wave and it's going to probably break off in this region. So that's where it breaks off like that. Then it's going to create slashes here. There it goes. We have some nice foamy region there. So that's the right region where it breaks and we have nice, foamy region there and the splash there and here we need to depict the wave movement. At the top it's obviously the ocean area. So I will show you the sketch closely because I know it's possibly not visible. So here. This is the sketch. So now let's get to adding the masking fluid in the areas that we want to keep white. The brightest part of the foamed region that splash, so here is my masking fluid. I'm going to use my masking fluid applicator, which is the ruling pen and using that I'll apply. So just the area where it creates the splash, it's creating a nice splash in that region. It's a nice splash towards this region as well. Let's keep going towards the bottom part of the wave now, the base part and that is the splash region here as well. A lot of small splashes here where the wave is splashing out. I think that's enough for that splash region. The other foamy areas we'll probably add with our brush itself. These are the main ones. Now I want to add some splatters. So let us add the splatters now. So for adding the splatters, I'll take my toothbrush and I'm going to dip it in the masking fluid. Very careful. We don't want our brushes to be damaged, so we have to be really quick to wash the brush as well and I'm going to splatter here. So you can see the tiny splatters that we are creating. It's very, very important in this lesson to have the tiny splash around the masking fluid area. So let me absorb that and we create some slash in these regions as well right next to where the wave is crashing. The most ones in this region and this left area. I think that's enough. So quickly wash your brush now before it gets damaged, otherwise the bristles are going to stick together with the masking fluid. Now that we've added the masking fluid, we need to wait for this to completely dry so that we can start painting. There you go. It's completely dry now, I believe. Yes, it is dry. So we can go ahead and start applying the water. We're going to first water the back region. So we've turned the paper around and we'll apply the water nicely on all the regions. The masking fluid is a little bit sticky so it might stick to the board. So just be careful not to press your paper too much. We just need to apply multiple times. So my papers got a little bit bend and I'm not pressing it too much onto the plastic board because otherwise I fear that my masking fluid will stick to that because it's got a sticky surface even though it's dry your masking fluid can sometimes be sticky. The plastic surface is probably a very good surface where it just stick on. So just being careful about that and applying the water. I believe that's enough. So now I'll turn my paper and place it nicely. Let's see, I think this is all right. So now I've placed the paper and I'm going to water the front region. So let's apply the water evenly. Now, you can press your brush because the masking fluid is in the front and we don't want to create any air gaps in-between underneath the paper and the board. So we just go about and press our brush. Let the water flow on all the regions. Make sure that our paper is stuck to the board properly. Let's keep going. So what I'm going to do now is wipe out the edges and remove the extra water. I probably have to tilt my board and move it as well because there might be a lot on the surface. First, let's wipe out the edges. Now what I'm going to tilt the board, so if there's any extra water, it'll just flow down and accumulate at the bottom where I can absorb it easily. This ensures that my paper stays flat. So I'm just running my finger along this masking fluid edges because when there's masking fluid, your water can accumulate here at the very top part of the masking fluid, so just move it down and allow it to flow down. I believe that's much better. All the water is accumulated at the bottom here you can see it flowing. So let's absorb that from the bottom. That seems to be much better. So now, I'm just going to wait for the water to sink into the paper a little bit not too much. There's water on the top of the masking fluid again, because the water always keeps flowing from the top towards the bottom so long as you keep your angle on the paper, you'll see that it flows down. Going down. I don't see anymore now. So I'll go ahead and absorb. So even if you're absorbing from the tip here, it's absolutely fine because we've applied water at the backside, your paper will be completely fine. It won't dry out quickly and plus it's just the underside where we can paint with our brush and add more water strokes when we're painting. So I think this is good enough now. There you go, I believe we can start painting. You've already seen the colors that we're going to use. I'm going to switch to my Size 8 brush now and let's start. I will possibly take viridian and dark green or Phthalo green now and I'll start. Let's actually paint the bottom part of the wave. I'm just going to place my paint and add some strokes. Here I am going to create gaps. These gaps in the water is going to act like the foam. I think that's good for this region, but now I'm thinking let's add in the shadows first. For adding the shadows, so I'll probably go with raw sienna and a little bit of ultramarine blue mixed together. It's a very lighter tone that I am going to use. Using that I'm going to add in my shadows, giving it lighter tone. That's raw sienna that we're using. You can also add a little bit of brown to the mixture. This is exactly like the underwater scene where we added, remember, the light. Adding light with a lighter color, such as raw sienna, brings forward the contrast in your picture. This is the reason. Let's go ahead and start adding some nice raw sienna tone. You can see my paper is not too wet and it's not flowing, but it's not going to dry out any quickly. It'll stay wet long enough for us to apply our strokes. Just added my raw sienna strokes, I think we add some more here and here along that area. I'll probably add a little bit more ultramarine, mix it with a little bit of burnt sienna that'll create a nice brown shade for the shadow region and I'll add that to some of the areas. Creating nice, foamy region, so nice foams there. Now let's get back to adding our Phthalo green. We're going to start here at this region of the wave, going to add the Phthalo green right towards the bottom of the wave. You can see how my strokes are. Then to the Phthalo green, I'll mix in a little bit of cadmium orange so that my Phthalo green gets a little darker. You can see how the mixture is turning into a slightly darker tone and that darker tone, I will apply here. It's going to be a blend. We'll create a nice blend with our paint. I want more darker tones this side. Maybe I'll add a little bit of red and I'll make it more darker or I can add even brown. Now I've made it too dark, so I'll probably need to add a little bit more green to it. That's much better. You can see how dark that is and that dark paint I'll go over the top and right at the underside of the wave. The underside of the wave, it needs to be darker because it's the shadow. Let's go ahead and add that, really dark area for the shadow region. I must tell you I applied the water and then I had to go away just to check my son. My paper is getting dry because I actually waited for a long time to come back. I'm just going to run my brush along one single stroke so that I get the water on my paper. I think that's good. I'll do the same for the top region as well. I think I took almost half an hour to come back. If your paper dries out, you can do the same, like I've just done. Apply some of the water, but obviously, you need to be careful and absorb the extra water from the sides. Don't let it flow back into the paper and ruin your painting. I think that's much better. Now I can paint and get the dark tones underneath. I will probably add a little bit of Indanthrene blue to that mixture. Taking my Indanthrene blue and adding to one corner of the mixture and adding it. Again, you can see me adding, it's right below the wave region where it's crashing. That is the most shadow region. Let's get back to taking our green and start creating and I'll create gaps of white. It's going to be the foam again. That's the foamy region. Then now let's get back to adding here. There I think I will add turquoise blue. There is my turquoise blue. Make sure to dry your brush to get you tones correctly. Adding my turquoise blue there. You can see I did not reapply water there, so it's a bit try so I'll take a little bit of wet mixture, which will enable me to paint free and here also. You can see. Let me wash my brush and run my wet brush along, which will wet to that region once more. That has wet the region. Now I'll go back to taking my viridian and mixing along. Now let's create and I'm going to create gaps in my strokes. I want some darker tones here. Somewhere we'll mix up darker tones, somewhere we'll add lighter tones. There is more shadow region there. What we're going to do now is we're going to drop in water to some areas so that it moves the pigments. Let's add a little bit of foam. The foam, we'll add it with various colors. Here we're going to use a little bit of light lavender. Don't use too dark. Here, again, I'll use water to move my pigment. Just drop in water and you can see how that region turned white. We are just basically using water because water moves pigment. That's already dark tone of lavender, so I'll spread it out. That's much better. Then what? Let's go back to taking the turquoise blue and I'll add it along with the green and add it and create a mixture of strokes. I think I'm going to switch to a smaller brush because I'd like to get a smaller number of strokes. I'm switching to my Size 4 now and we'll apply. Again, here make sure that you're applying some random strokes. You can see how my strokes are. I'm leaving a lot of white spaces. Here I'll mix together. I'm just getting rid of the hairs now, running along and getting rid of any hair setup forming. Let's add in a little bit of shadow region. I'm taking my violet again, that is my lavender, and we'll add it in the foamy region. You can use water to move pigment if you've not managed to creating any white region. Here I'm just dropping water. I'm allowing my paint to move. Then we'll take lavender. Add in stroke. The combination of the lavender, the raw sienna, and darker shadows that we've added will give this a little bit more brighter appearance. Now, let's go ahead and add in some darker strokes towards the bottom. For adding those darker strokes, I am going to take my viridian. There is my viridian. I mix more cadmium orange to it, that should make it more darker. More of my cadmium orange. Now, that's a darker shade, need to absorb extra water. I think I need more cadmium orange, possibly a little bit brown as well. That'll give me a darker shade of the green, more [inaudible] green. Not bad. I want to make it even darker, so I'm going to mix in a little bit of Payne's gray. That will create my mixture a nice darker tone. Now, I need to take a medium tone of the mixture that I've taken, reduce and remove all extra water and spread it around there, some strokes here. This part here is a larger amount of fog, so we'll only add the ocean strokes now. That region is going to have a very less number of ocean stroke. I'm just running my brush along the edges to remove the hairy structures. Once painted, you can just go around the edge and remove any hairs that's forming. Let's keep adding. Some areas can be really darker, don't go with a single color. They form nicely. Now, let me go ahead and soften the dark edges of some of these strokes. All of these techniques, softening the edge, creating these wet strokes and removing any hairs, those are all very important. It's very important that we understand the basic structure of how we are creating these strokes. Obviously, water control, another very important factor. We can't afford to have our paper dry. It's just a matter of looking at the way your paper is behaving, your pigment is behaving, not repeating these strokes that I do because that is not going to work on the paper that you are working on. That part is good. Let's go ahead and add in some shadows. Here I've taken my lavender again and I'll add in some shadows. Now, I'm just dropping in the color at the moment. I will soften them because you can see how harsh this area here is, for example. I'll go ahead and I'll soften that so that it blends into the background and creates a subtle violet tone. The same to all of the lavender areas that I have applied. I believe that bottom part, it's good enough. No, that's cool, and keep going. Here I want to add in some darker shadow region. I'm taking my turquoise blue and going over the top. As you can see, it's starting to dry out. Now, I'm blending it under the masking fluid area. I'm going to soften out the edges. The yellow-green mixture. Lets add some darker tones towards this side. As you can see, that is lighter as well. I'd like to add in more tones there. I think now I'll switch to my larger size brush because I'm moving to the upper region. The larger size brush will cover larger area for me and make it easier to reapply the stroke. We need to consider always where the wave regions are, so this here is the underside of the wave. That means it needs a slightly darker tone, so here I'll go ahead and apply a darker tone. Then that dark tone can blend into a lighter tone here. But obviously, again, we need an extremely darker tone towards the base part, which is, again, the wave region. Now, let's soften out the stroke. 47. Day 17 - Ocean Wave and Foam Part II: We need to add our stroke on that region. I think it's really dry now, I think I waited too much. We can go ahead and reapply water. Because the underside is wet when you reapply the water, it will be enough for the top region. Also, this masking fluid is a real blessing because we can apply the water and it will not disturb the underlying layers, which is really good, isn't it? I now get to adding the region here. For adding that region, I'm going to mix my tacos blue with a little bit of tale green and go here and apply at the top. Here, like I said, we need to look at our stroke, the movement of stroke is very important. I take my tale green and I want to add my stroke in this downward direction because that's how the wave is breaking down and it's really important that we capture that. The downward direction. Can you see how it's really appearing in the direction that we are adding? Some areas you can add a darker tone. Just picked up a little amount of this mixture that we need and add that on the top and make these lines. You can leave some areas white because you don't want to paint until the very end. We'll add some lighter strokes with lavender, so that is going to form the shadow region. Mix a bit of lavender and mix of a little bit of green, so this wave splash region is going to have a mix of lavender, a mix of green, and all of that. I think that's good enough. Now let's go ahead and paint the top region, and will almost be done. For painting the top region, I am going to take my indenting blue. I think that makes it here. Here is my indenting blue. We need a nice dark pigment, and I'm just going to go over the top. Because I just applied the water, it's wet. You can leave gaps if you want. I believe I'm just going to go and apply. Will apply the flat stroke first and then worry about adding waves. As I reach towards the wave, I am being very careful because I want to leave some white spaces. Here, it's fine. I just go ahead and trace along the sheet and so is in this region because it's right at the top part of the wave. This I've accidentally dropped pigment there, so I'm just going to drop my water and move my pigment. I've dropped water and moved my pigment. Let's get more darker tones because I need this region to be darker. Taking my darker paint and applying at the top. It's really important to create the darker tones and like I said, go and apply it at the top region of the wave right where you added the stroke and then just mend along. Then we're almost done. Just some center areas left that it's light. Now, let's just give some darker shades. For that I'll probably take a nice amount of tale green and I mix red with it. You can also mix a little bit of indigo, that'll give some nice darker shade, and this darker shade we'll apply on the top. We're just going to create some wavy shapes, you remember the wave shapes that we used to create. Just in the same way, we'll create the nice wavy shapes. Some triangular shapes and nice wavy shapes. Take more indigo, mix it into that, some nice wavy shapes I'm creating. As I go towards the top I'll start to make smaller lines. Let me just cover up this region here right at the top as well , and same here. We go, we have the same mixture once more and go over that top and create that wavy direction because that's very important that we capture the direction of the wave. I think that is enough. This is enough. Let's just add some shadow regions in it. Here taking the lavender, and adding you just drop water here so that it moves the pigment. We wanted to have softer edges so here I'm dropping my water, and you can see it's moving my pigment and creating a nice water area. I will take lavender and add in-between the wave regions. I believe that's good. Maybe we can finish off by adding some strokes with white paint as well wherever your deem fit, probably add in some white strokes, white paint. Again, you can see it's spreading and creating such gorgeous shapes. We'll spread the edge region so that it doesn't create a huge bloom. I believe that's enough. Now, all we have to do is wait for this whole thing to dry so that we can start adding more details. l'm just adding that wave, it needs to have that nice split. I think that's enough. Now let's wait for this whole thing to dry. Here, our painting has now completely dried. As you can see, the lights changed because I waited overnight for my paper to dry out. I didn't use a handout this time. It's morning time now and as you can see, it's all dried up. Now let us remove the masking fluid to reveal the white areas in our painting. There it is, it's looking amazing. It's neat, the splash. Now let's make this look more original. Now what I'm going to do is we're going to add a lot of these white strokes. I'm going to take a little bit of my white paint and I'm going to start at this top region of my wave. That is that wave there. I need to provide a little bit more dimension. Here I'm taking my white paint and I run along the edge to add a little bit more waviness and also to add some form in that region. Because where the wave crashes, when it crashes on that top portion also will have some foamy regions. I'm adding that, and also I feel my blue paint has gone all the way down here, which we will correct. Don't worry. As you can see, don't need to fill up with all the regions. Just you know, just lightly, even some dotted lines should be enough. After that, let's get to adding. Taking my phthalo green. But before that I think I'll possibly wet this region a little bit so that my paint flows with the wet-on-wet itself. Otherwise, we're going to get wet on dry stroke, isn't it? Let me go ahead and just wet that region. Now it's completely dried up. But now I want to bring in more effects onto the edge where we've added the white strokes. Now I will take my phthalo green and add. I see that it's still not wet because it's completely dried out overnight. I'm not going to risk it and ruin it, let me wet that nicely. l'll use my larger brush to do so. It's much better if I want my water to flow nicely. That's better. Now l'll take my phthalo green and add in the flowing lines. As you can see, I'll add from the top region itself, here at the top where my color was not visible earlier, and where my blue flowed in. Now when I'm adding, it gives a nice shape to the wave. Obviously, I need some darker color so here is the dark green that we mixed and I'll add that. I possibly add that from the top again. I think that is good now. Now let's go ahead and start adding smaller details. For that, l'll take my phthalo green in a very diluted consistency, that's really diluted and we're going to add it in between the water strokes just to give it the effect of water in-between those regions. You can see it was all white, but as soon as I added some of those clean strokes, it's having that watery region in-between. This is why we need to be very light, not a dark paint at all. The same here. For this region here, I believe we'll go for the dark blue that we were using but again, but in a diluted consistency. Here l've diluted my paint. Not a lot, just a few strokes so that it is the stroke that's inside of the wave part in-between the foamy regions. That's what we're trying to do. Just some dotted lines, some random strokes. I'll take a little bit of green for this side. I'm really happy with how that area has turned out. Now,let us add more shadow regions. For that, l'll take my green mixture, which is basically ultimate green and burnt sienna together. We can add that as well, or you can add lavender. But again, remember to use a diluted consistency. We can't leave it as completely white. We need to add in the shadow. It needs to have some darker edges. Let's take lavender. Or can also use the gray tone and l'm adding that in specific regions. You can see how the lavender strokes have turned out. Use the same, make sure that it's diluted. Add in the diluted strokes same towards this side. Do the lavender. If you want, you can mix a little amount of pink, it's still going to make it look beautiful itself. Don't worry that you're mixing the wrong colors. It's just going to turn out perfect. We've added some nice shadows now. Let's go ahead and add in more details. For that, I'm switching to my liner brush. This is T-silver [inaudible] series liner brush. I know I've already discussed the materials that I'm using, but I still like to say it. Here's where l'm using my liner brush. Now using the liner or a small detail brush, we're going to add in some details and lines. l'll probably start in this corner. It's just basically the small lines in the ocean area. We need to add that. We've left a lot of whites-paces, but now we need to add in smaller detail lines. It is just random and make lines like this. Can you see that? It's completely random. I am just moving my brush in random movements like that to create these strokes. I'll join it to any of the white areas, so we add some more then joining it to the white areas in our painting. You can see I added some nice strokes. This is why the liner brush is really good for adding such strokes, but I know that many of you may not have it. You can use a smaller very detailed brush like a Size 1 also for this purpose. You just need to have a pointed tip, that's the main thing that you need for creating such strokes, because the strokes that I'm adding, you can see they're very tiny and tininess requires just a small brush maybe. Now the same do the right side as well. I will join many of my strokes to the edges of my masking blue region. Some more, so now towards the edge here and add some more just to get rid of any harsh lines at the end there, but any harsh line at all, it's actually absolutely fine. It's fine to have any harsh edges. Towards the edge here where we added those softer strokes with white, you see how that has turned out. Just adding some strokes with my white. I'm going to add some more foam in this region. I think that's enough, I don't want to ruin it. I'm going to switch back to my Size 4 brush. We're going to add some dry white strokes, so lets stick the white nicely. I'm not sure that my strokes are going to be dry because it's probably still wet, so let me dry my brush. Absorb all extra water, and still I'll try in some of the white areas already and I will look at my brush and see if it's wet. If I see that it's wet, then I can go ahead and start adding. Now we can see it started to dry so I'll pick up more paint, which means now it's going to end up dry. I'm starting to get dry strokes now. Now these dry strokes I want to add in some wave shapes in these edges in the back region as well. You see just added some lines, I'm going to add another one possibly there. You see it's like a wave crashing on and I'll add that in multiple places. You remember these triangular shapes that we added, so those are these actually, so go ahead and add in more strokes on them as well because it's the wave crashing down. It's a wave, remember that. I'm happy with that one. Now we'll finish off with some dry strokes here. Not too much because I'm already happy with the way that our masking fluid has ended up. I am just going at the edge of my strokes just either out any no harsh edges, which I believe they aren't many and I'm really happy with the way it has turned out, but I'm just simply going over some of the areas. Now, next another thing that I need to add is where this wave region is. Now, I want to add in the wave shape, so I'll possibly start from the bottom and go upwards because I don't like the way the downward strokes has turned out but the upward strokes are better. See the upward stroke, this side, but I don't like the way this has turned out. These are dry strokes, really observe my paper. Strokes are dry. Now I like it, it's much better, isn't it? I love how all of these areas are really soft. Obviously there is no big feeling, but we all at least have to sign our painting, so here I am taking my red paint, my cadmium red, and I'm going to sign my painting. Make sure you sign yours as well. Here is the finished painting. I hope you like it and thank you all for joining me today. 48. Day 18 - Techniques and Exercises: Welcome to Day 18. This here is the painting that we are going to do today. It's jellyfish underwater with some plant under the water as well. This one also we are going to refer to images and see how we can approach that painting. Let me show it to you quickly. I have taken this reference image. You can see the underwater plants, and then the water area where the light is here. I've changed the colors obviously because I'd like to have the thalo blue on my paper. The jellyfish, I did not like the jellyfish or I thought that maybe it's too difficult to obtain the transparency of the jellyfish. We are going to paint this jellyfish in this image. That's what I have done. Basically, this is the jellyfish on the paper and I added three of them. This one obviously I changed the position, and these ones are exactly the same. This jellyfish, I have added it onto this reference image. This is what we are going to paint today. Don't worry, I will upload the image to the resources section. You'll be able to refer to that. We have the light here in this right corner, and as we go further away from the light, we have the depth under the ocean. We have the details. If you look carefully at the plants, it looks like some tree-like structure going upwards. That is what I have tried to capture here in my painting. It looks like olive green to me, so that is why I have painted it with olive greenish tone. But the only thing I've changed is the water because I'd like to depict the water with the common thalo blue color. Obviously that makes up painting look more attractive. That is why this is something that I wanted to show in the class. That is how you can change the reference image, change the colors to suit your style. You can actually go a little bit overboard and paint the underwater flora that we added in the 16 to this scene here. It's all up to you. I didn't want to make this lesson so huge so I thought to simplify it. I applied masking fluid for these three jellyfishes. I'll show you the method without the masking fluid for the exercise and you can adopt that too. But for the class project, I used masking fluid because I wanted the jellyfish to be perfect. Also because I'm adding this jellyfish over here, which is among the underwater flora. This region here it is hard to achieve without the masking fluid. Let us see how we can sketch out the jellyfish and also paint it without the masking fluid. I'm going to probably show you a different scene right now. Let us see. The light is still going to be here, but I'll probably add one single jellyfish. Let's quickly add the shape. It's like a dome shape. You can actually google the images of jellyfish and change that if you want. I am going with this one. That's my shape. This one, I want to have two legs. Basically, that's it for the sketch. I'll show it too closely, don't worry. Here, this is the sketch of the jellyfish that we're going to add. It's going to have those tentacles as well. But we don't need to add that with our pencil. Let's get to painting this one. Obviously, we'll start by applying water to the backside. Apply the water evenly to the backside. I'm happy with that. Now I've done my paper, and will apply water to the frontside. Obviously, I'll go over the top of my jellyfish as well because we are not using the masking fluids method. We're trying to not use it. Let us go ahead and absorb all the extra water, which is always an important step. Because we can't afford to have the paint to flow back, that is why we absorb the extra water from the surrounding areas. Ever since I've started painting with this method, I keep a cloth so that it's easy for me to use rather than before tissues. I have to keep washing these clothes, that's it. Let's say I believe it saves the environment as [inaudible] to not use paper. Although it's irony because we have been too more paper, but at least I can do something to save the environment. Let us start. I am going to start with my thalo blue. I'll take my thalo blue, but we'll start with a lighter tone. We're going to paint the light first. I'll probably make a bigger circle at first, because my paint will flow inwards and I want it to be lighter around the light region. Here I'm taking diluted paint and creating a round light area. Now we'll go towards the outside gradually. As we go outside, we'll start adding more of our thalo blue. Remember this the method without the masking fluid. Those of you who don't want to use masking fluid, keep a note. But obviously, the strokes on your jellyfish may not be perfect. But it's all right, we leave a lot of gap so that we see the jellyfish. What we're going to do is, we're going to go around the jellyfish. Some of few paint might flow into the jellyfish region, but there's nothing we can do about it. That's fine. Like I said, you won't be able to add your jellyfish on top of the flora region also. That's also fine. Here, I'm going to stop there, just closer to the jellyfish around. More of my thalo blue and I will add all the areas outside. You can see dense pigment as I am further away from the light. You can see how some of it has gone into the jellyfish region and it's fine because this is wet-on-wet and the jellyfish will be painting with the wet-on-dry method. It should be fine on the top. We've added a nice background. Now we need to add more underwater stuff. We'll start with adding the details. I'm going to go and take my dark thalo blue. I need it to be more dark, so I'll probably mix it a little bit my Indian green blue, you can mix with any dark blue like Prussian blue. Or if you won't have Prussian blue itself, you can take that. We stopped. We're going to create these strokes. Remember how we painted the underwater scene , it's almost similar. We're creating these strokes to depict the current under the ocean. As I come towards the bottom, you can see I'm increasing my color tone because it's further away from the light. Now we need to add the underwater flora for that, we will go with olive green. Here's my olive green. But remember what I said. If you apply olive green onto your blue, it's going to turn into a more bright green. If you mix it with a little bit of brown, like burnt umber or transparent brown sepia, dark and brown, any kind of brown, you'll get back olive green. Here, [inaudible], and here it's come as olive green itself. Now we're going to add the underwater flora here. I'm creating some random shapes and I'll be careful not to go over the jellyfish region. Because we're trying to do it without the masking fluid. You can create some nice shapes, some plants. Like I said, you can add your own stuff and make it more underwaterly. Let's see. Will add some more dark green to give some dark effects. So taking my dark green, and I'm adding that on the top. I think I need it to be more dark, so I'll mix it with indigo, maybe Payne's gray. I don't mind the colors that I'm using because it's underwater scene. Like I've explained before, it doesn't really matter what colors you're using. It's the ocean floor and it can have a lot of details. It's not bad. Maybe to this one we'll give some bright colors as well. I'm going to switch to my smallest size brush so that we can add in a little bit of bright colors. I am just showing you because for this one I have time. It doesn't take a lot of time to paint on a smaller sheet of paper. This is why I thought I'll show you. I'm going to take my cadmium yellow here. Here's my cadmium yellow. I'll probably add just some small details because this is like I said, the underwater flora. You can use your brush and create various shapes. Obviously, this part takes time, and that is why I didn't do it for the class project. I just made it simpler. Here, just adding some plant-like structures. Anyways, let's maybe add a little bit of red as well some region. Then, what else? I think I want to go a bit darker color some more so I'm going to take my Payne's gray, and we'll add maybe a bit too off lavender, just mixing different colors, basically, you might have understood that by now. I think it's good enough. Now I see that the paint has flown a lot into my jellyfish. So I'm just going to use my brush to absorb some of the extra paint inside the jellyfish region. Don't put water, don't try to move the pigment away because it's going to create blooms. You've got to do the lifting for this part. Because it is not the wave's effects that we're trying to create, but rather we're trying to paint something without the masking fluid. So don't use the blues or moving the pigment method, okay? I believe now we'll just wait for the whole thing to dry. Now we'll wait for the whole thing to try so that we can add in the jellyfish on the top. Our paper has now completely dried. We're going to be in the jellyfish now. So for that, let us start with an orange. So I'm going to make a jellyfish a slightly different color than the class project. We're doing pink for the class projects. So for now, let's do orange. I'm going to paint inside the jellyfish region with my orange. As you can see, it's a little bit contaminated and shows up some colors. But that's all right. For those of you who don't have masking fluid, it will just not be seen much. It will just be like the shadow region, depths in the ocean. Now I've got to show something. I'm painting my orange, I paint until there, around halfway. Then towards the top, I'll just use water to blend it up. The reason for this is we need to depict the light that is the lighter region at the top because it's reflecting the light. Mostly jellyfishes are transparent and deflect a lot of light or are see-through. So it's better if we can not leave that space wide. As you can see, my bright blue has spread a lot in the picture. What I'm going to use is a little bit of white on top of that so that we can get rid of the blue there. Here's my white, I'll take my white and I'm going to apply to the top. That'll get rid of the blue slightly. I'll blend my white with the orange. I have added white. Now let's blend it along with the orange. Taking my orange, you can see it's blending, I'll create a nice, gorgeous color like that. Right now I feel it's too white, so I'm just going to lighten it up by blending some of that orange in. I think that's good now. Now let's paint to the bottom. So for that I think I will go with a nice spreadsheet, so I'm going to take my Alizarin crimson , and I'm going to add that. Again, creating some nice shapes, we follow along the pencil sketch. I can see my pencil sketch. I know that it may not be visible for you. But look at the pencil sketch that you have done and try to go above. I'm trying to make these wriggly shapes. There. I'm trying to do this as quick as possible to show you the simplest way to do this. Because in the class project, the lengthier part is applying the masking fluid and then painting the water is quite easy, and painting the jellyfish obviously takes a lot of time and you can see my paint spreading here. I'm fine with it. In fact, I believe we can create some magical effect if we just go and add a bit of red onto that top region. Now let's add some depth to the pentacles. I'm just taking my Payne's gray or my darker color, and I'll just add some dark effects here. We have to blend it together. We blend it nicely. Probably a little amount of white in several random places to show the spiraling shape. As you can see, the white just spreads with the black and the red. It doesn't have to be any detailed. This is a very rough one that I'm doing, so try to do the exercise in a rough manner as well. Because watercolors, if you paint loose, it creates beautiful paintings. I'm actually trying to learn both ways. I try to practice rough as well as detailed versions of my painting. Maybe if your just trying to learn the techniques on a smaller piece of people try to do as rough as possible. There, I believe I like that. Now let us add the tentacles. For adding the tentacles, we need a liner brush, a very small detailed brush which has got a long pointed tip like that. I will use my red paint to create some nice lines. Using the liner, we're going to start from the edge here. Basically just some curved shapes like that. You can go on top of the spiral shapes. Obviously it has to go over the spiral shapes. It's not as though there is no tentacles. The tentacles are all around the shape. If this is the head of the jellyfish and the tentacles are all around, and that spirally thing is in the middle, maybe look for pictures of jellyfish and you can refer to that. Like I said, you don't have to do the same jellyfish that I'm doing. Try for a different one if you like. Just adding so many. I'd like to add some different ones as well. In the class project, we use masking fluid, we use some white, we use some lifting, and we use a lot of colors to depict these regions. That's because I want to show you so many different methods as to how to create these tentacles. Taking white paint. Now I'm adding tentacles with white and obviously if you add the white tentacles on top of the spiral region, it'll be more better. See because the red ones just masks out on the background, red color itself. I believe we can finish off with some red or pink lines on the jellyfish. Draw some small lines, and maybe I mark out the edge of the cup shape using my darker beat, something like that. See. They can be of any shape, any kind, it doesn't matter. We're done. This here is the exercise. The class project is very much similar as you can see but we put in a lot more effort to paint these jellyfishes. A lot of light, a lot of small detailing, that's it. But you can also paint it loose and simple like this one. Let us have a look at the colors that we need for our painting this class project. For the water region, we have painted with bright blue in the background, light blue or pale blue, and also mixed it with indenting loop, just like the class exercise to paint these strokes at the background region. The two colors for water are basically light blue and indenting loop, then we paint the underwater flora. I believe I have been to the underwater flower first and then added these underground strokes. You can do either ways. For the underwater flora, I've used olive green and transparent brown or basically, you know why I mixed my olive green with transparent brown. I just showed you in the exercise because when you mix olive green with the pale blue, it turns into a very bright green, which will not be suitable to paint the underwater flora. If you want to get back your olive green, you need to mix it with a little bit of brown. Any kind of brown with suffice and if you mix it, you get back your olive green. Then you can also add some down strokes, and on top of that, you can add some paints gray to get some darker effects. I've used salt for my class project as well. You can see some salt effects here, the nice small tiny blooms because of the salt here. Can you see that? Let's paint gray. Then now once we finished the background, we move on to painting the jellyfish after they're completely drying the paper. For painting the jellyfish, I have used my Queen Rose and my Indian yellow. I'll mix these together to create some red sheets and also mixed it with a little amount of violet to create these gorgeous purple sheets. The three colors are basically Queen Rose, which is BB19, violet which is BB3. Any violet or anything would suffice. Indian yellow is PB150. But like I said, these colors, the pigment numbers do not matter because it's the jellyfish you can paint with any color and you paint the jelly fish in any way. Then for the tentacles, I have used some lavender, I have used white paint, I have used masking fluid. You can see the areas here. The thicker areas are the areas where I've used masking fluid. Then you can see some tentacles here at the background which are very light, that was made using lifting. Then we have some lavender strokes on the top, and then we also have some using white paint. Those are the colors that we need. Let me remind you one important thing when we're painting the class project. This jellyfish here, if you're going to paint it near the underwater flora, then you won't be able to add the plants in detail like this because you'd have to go around and it would look weird. You can move this jellyfish into the water region somewhere outside. Maybe all the three jellyfishes are moving towards the light region, something of that sort, then you can paint the flora freely without the masking fluid. I've used masking fluids, so I was free to paint the underwater flora easily. Now let us have a look at the brushes. I have used my Kolinsky sable Size 8 brush, my Size 4 brush, and my Size 0 liner. This is that in essence it is brush. You can go for any natural hair Size eight or a Size 6 brush. Basically, we just need a medium-sized brush enough to cover the whole background area of the paper. Depends upon the paper size that you're using obviously. If you're painting on a large size paper, you need a larger brush and if you're painting on a size smaller such as A5, you need a smaller size brush such as the Size 4. I used the Size 4 for painting the details on the jelly fish and obviously the liner brush to draw the tentacles and the small detailing. Also, I use a liner brush for the lifting as well. If you lift off using the liner brush, then you'll be able to get very thin lines. Just as you get the bigger lifting areas with the larger brush, you lift off with the liner brush. Try with the different brushes that you have. I know that many of you may not have liner brush. You can use a smaller Size 0 or a Size 3/0 brush, a very small brush to get this pointed tip for our brush. I actually painted this one several times to make sure that we can actually paint this without the masking fluid. This one was without the masking fluid method. I moved my jellyfish towards the outside of the underwater flower. Here I did not add much details for the underwater. I just did like the class project. But I wanted to show you the possibilities. That's why I had more stuff for the underwater flora here. If you're happy with the exercise, the colors, the techniques, and the brushes, let us go ahead and paint this beautiful jellyfish under the water. 49. Day 18 - Jellyfish Under Water Part I: [MUSIC] Let us start with the pencil sketch. We will trace out the large jellyfish at first. It's going to be somewhere around here. Let's create the shape of the jellyfish. Then at the bottom, it's going to have like a cup size shape. I'll show you how to make the pencil sketch. Let's create like an ellipse at the bottom part. Then we'll go about adding the shape, which is going to be adding these cup shapes towards the edge. Here at the bottom as well we have these cup size shapes. That ellipse at first is going to help you to guiding this shape. Make sure that you get the shape of the dome correctly, and even if it's not absolutely fine because you can add in the details later on. Let's create just some shapes. I want my jelly fish to be slanted like that towards the bottom. I'll try to create some shapes. Just try to create some natural shapes. You don't have to go in the exact same way as I'm doing as I already told you. These are the tentacles of the jellyfish. You can just do it as you please. No pressure to follow exactly the way I'm doing this. I added that jellyfish. I'm probably going to add a few more, so I'll add another one here. This one is going to be facing this side. [MUSIC] Again, because this is facing this side and it's almost done. This is not like in the direction that we're seeing this. We only see the cup size elements on this side. Let's create the different tentacle shapes. It can be twisted following any direction. It's like going out of the paper. I've added one there. Let's just add one more, possibly somewhere here. But this one, I want it to be like within the ocean floor, like very far away having depth. This one is going to be like a smaller one. Let's add that. It's going to be a smaller one. Even this one, I want it facing in a different direction such that we do not see the underside of it. Because we don't see the underside, it's going to be like that, and then the tentacles, of course. The entangled tentacles. I think that's enough for the pencil sketch. Now, obviously because I want to give this a very contrasting color than the water area, we have to mask out the jellyfish. But I know that this is a really hard task, and for those of you who are not using the masking fluid, I've already suggested the best ways to do it. But like I said, this method is indeed going to be applying the water on both the sides. If you're not using the masking fluid, what you have to do is first, do apply the water on both the sides completely all over the paper. Then use a tissue or cloth to wipe out all the water from the top region of these three jelly fishes, that's what you're going to do in order to keep it dry and for the paint to not flow on it. Because don't apply water at the backside and just apply all around the jellyfish. It can ruin the paper because it might turn bendy. But when you apply water all over it and then absorb the water, it'll be much better. Here is my masking fluid and I'm going to apply, obviously I know that this might be tedious and long process to just apply the masking fluid, but the end result is worth it. Haven't you seen it, the beautiful painting that we end up with? Just go and wait it. For those of you who are not using the masking fluid, obviously you can skip this process. Go straight ahead into the painting part. Remember the sweet time to apply the masking fluid because we want nice edges. Obviously, I think at the end when you peel off the masking fluid, these pencil marks are going to go away. That's mainly because masking fluid is a rubbery liquid and it acts as like rubber, like an eraser. When you pull it off, it's probably going to erase off these pencil sketch. I believe it's fine. We can just repeat it. I might probably not end up having the same strokes that I did, and this is why I said it's not necessary that you do it exactly the same way. Should have used a larger size brush for applying this. Maybe I can look at and use one of my older brushes for this purpose. Yes, I'm going to switch to a larger size brush because it can cover a larger surface area. I was using a liner brush, but I think we'll use the liner brush for the tentacles rather than these areas. See this covers a large surface area and it's easy for me to use. If you have a larger size of brush, you can use that. I know that many of you may not have. Please don't curse me for doing this faster. [LAUGHTER] This is much faster. I would have taken a long time with that liner brush. Always remember to wash your brush off after applying the masking fluid if you want to see if the result is okay, it's not going to be saved so as to end up painting with it again. Be careful of that as well. You won't be able to use it for painting, but you'll be able to save it for future masking fluid uses. I always have a third jar ready to wash off my masking fluid. I know it's a lot like we're already using two jars of water and then using a third one is obviously a hindrance, especially if you're having a small table to pace all of this. But you don't have to keep that jotted. You can just immediately get up and go and wash your brush. That's it. I'm done with that one. Let me go ahead to the next one now. [MUSIC] Now the last, the smaller one. [MUSIC] We're done masking out the jellyfishes. I have washed my brush and as you can see, the bristles are saved much better, but there is a little bit of masking fluid that's sticking around. This brush is not good for painting now, but I'm fine. Now I'm going to take my liner brush to apply some tentacles. Don't worry if you don't have a liner brush for applying it, you can use a toothpick or a pointer object like a needle to apply these tropes. A needle or a toothpick would be sufficient, don't worry. I'm just using my liner brush and creating these tentacles. You can use your white paint in the end as well, you don't necessarily need this. We'd also be adding it using various other method, don't stress if you don't have a liner brush to spare for adding these tentacles. Don't worry, it's absolutely optional. For any of these large projects, I really don't want you to worry that you don't have the same materials that I'm using. You have a lot of avenues for painting it differently than I'm doing. Obviously, I'm suggesting you a lot of ways in which you can do it. I hope that it's really helpful to you, all of these different methods that I'm suggesting to you. Some nice tentacles and dangled ones. The same for these ones. [MUSIC] We've applied the masking fluid. Now obviously, we have to wait for this masking fluid layer to dry so that we can start painting, and we also need to apply water on the backside. Turning this paper and sticking onto the board would require the masking fluid to be completely dry because the masking fluid and the board mixed together, we just want to be very careful. The masking fluid is now completely dry, I'm going to water the backside of my paper. Using my flat brush, we will apply water. Apply the water evenly. Make sure that the water that you apply is consistent throughout. Will dry. Let's keep going. I have applied the backside, now I'm going to turn to the front side. Let's apply it front side. Let me place my paper correctly there. Now I'll apply water to the front side. As you can see, as soon as I apply the water, my paper sticks to the board. Like I said, because of the masking fluid, our jellyfish stays white for now. Let me remind you again, if you are not using the masking fluid method, then make sure that you apply the water on both sides, just like I'm doing right now. Apply to the whole of the paper. Don't worry about the pencil sketch at this moment because otherwise, your paper won't to stick to the board. You need to ensure that it sticks to the board. In order to make sure that it does stick, you need to have that water stroke all over on both the sides. Then once you start painting, what you can do is you can absorb the water from the surface of the jellyfish by using a tissue or a cloth and just leave that area to dry. For now, just drag along whichever brush you're using and make sure to stick your board with the paper. I believe it's stuck nicely now. Once it is stuck, then you can go ahead and use a cloth or tissue to absorb. I know that it's going to be a very tedious process because you got delicate areas and obviously you're not going to be able to absorb from the tentacles. For those of you who are not using the masking fluid, you can use the tentacles at the end. You can paint the tentacles at the end using a white paint. I've applied the water, now I'm going to absorb the water from the sides. Now, I'll just tilt my board as well so that if there's any extra water all of that will flow down and will accumulate at the bottom for me to absorb it. Also, I'll move my hand along the areas of the masking fluid because those are the regions where the water is likely to accumulate as well. By just touching it would release it down, will move the water downwards, and join the pool at the bottom. I believe that's good. Now, I'll use my cloth and absorb all that extra water here at the bottom of my paper. Like I said, even if you absorb a little extra at the bottom it's fine, because when you add in your brush stroke it's going to be perfectly fine. It'll stay wet, of course, because you've already applied water to the bottom side of the paper. Don't be overwhelmed or worried that you're actually drying out your paper, you're not. I going to hold it this for a few more minutes so that I can let my water soaking. I see there's extra water here, I'll move that. [MUSIC] In order to allow the water to flow down, you can just use your brush to wet that bottom side again, so that otherwise because I've wiped down that area of the paper, my water does not have the connection to flow down all the way to the bottom. Here I've made that connection with my brush. The water will now flow again and reach the very tip, which I can wipe off with my cloth. I believe that's enough. Now let's get to painting. I'm going to use my size 8 sable brush. This is the Kolinsky sable brush. I will start with my bright blue, which is my teal blue of course. [MUSIC] Using that, we are going to paint so taking my teal blue nicely, and I'll start. As you can see how wet my paper is. It's allowing all the water to flow. Now here, I'll start making my light area. You can see I'm leaving some gaps. Those gaps will be the lighter area. I'm going to soften out the edges. I believe that's much better. I've left a nice light source there. Now let's come to the bottom of the painting. Start adding a stroke. You can see here it's forming those blooms that I talked about. I'll have to wipe out that edge because I believe it's got extra water there in that edge. Now let's get back, and start adding. The whole of the paper, we have to be adding with bright blue or the teal blue. You know by now that when I say the bright blue, it's teal blue. You can see how that masking fluid is turning out beautifully. Like I said, for those of you who are not using the masking fluid, obviously what you have to do right now is very carefully paint along the edges. But if your paper is wet on both the sides, it'll flow quite nicely, and allow you to create your strokes. It won't stop and it won't create any harsh edges. The only harsh edge will be the region where you wiped off your paint. Here towards the bottom, I'll probably add lighter shades, because I want to add in the effects of underwater stuff there. For now. I am just giving my color to the whole of my paper, the whole of my painting. We finish that off. As you can see, all my strokes are in a circular movement like that, towards the light region. Also here towards the light region, I try to make my strokes in line manner so that I can have some white spaces. Just going around with my brush to soften out any edge here, at the light area. That light area needs to be softened. Now we've added the base layer. Let's go ahead and add in some under water stuff. For that, I'll take my olive green. Taking my olive green, and I'm probably mixing a little bit of brown as well so that I get a darker olive green with a brownish tint. That is what I'm going to add here. The reason why I add the brown is because we already have that teal blue here. Mixing your own olive green is only going to create like a more greenish shade. In order to avoid that, if you add in that brown shade along with your olive green, this is going to turn out a little bit more olive on the paper. This is because you already have the teal blue there. Just adding both olive green and brown strokes there at the base. Now, I'm seriously going to have to wipe out the edge carefully because I don't want my paint to flow back onto my paper, and ruin my painting. This is one process that we have to keep repeating. I know that you might have noted by now, this is very important. Just going to create like you remember the underwater flora painting that we did. This is going to be much similar. We have to not just add. I think I'll go with a longer plant here. Just using the tip of my brush, and creating such a stroke. Jellyfish. [MUSIC] You can go around the jellyfish if you're not using masking fluid. I want to take some nice dark tone paint now and place it on my detail region. Because I want that region to be a little darker, so I'll possibly take a little bit of Payne's gray as well. A little bit of Payne's gray and adding that at the bottom. Like I always say, keep an eye out for your paper always. I believe that I did not apply the water enough on my paper so I'm taking my dry tool and I'm going over this edge here because I can see that it's dry. Can you see that? Maybe when I wiped off from the surface, I have possibly absorbed the water from the edge, which is why that edge turned out dry. I observe that on my paper and now I'm working to rectify that. I believe that it's fine now. Let's keep adding, so I'll take my Payne's gray. I need to darken this edge here. This is like the extreme edge of the ocean floor area with some plants. It's going to have that shadow element, that's why I'll drop that. Use the tip of your brush to create some darker strokes. Now I'll take the olive-green brown mixture again, and you can see that this is done now lighter, so I'm just going to go over it again with my brush, here. With that, I think I'll probably add a little bit towards the right side. As you can see I'm painting the whole background with this larger brush. Is it looking like a pine tree or something? I want to adjust the shape because it's not a pine tree, so I'll just probably drop in some details to make it not look like a pine tree. I've mixed up the paint again and what I'm doing is just adding some strokes like that so it'll look as though some details are hanging out of that plant. Combined with the shape of that pine tree, look, I think this will look more interesting. I think that's much better. It is at least not looking so bad. I've taken up a little bit of the Payne's gray as well for applying here that'll give a nice combo color. For this one here, I don't want it to look like a pine tree so just dropping some downward strokes. I think that's much better. That now looks like an underwater plant. Now we go ahead and start adding the details, so I'll start taking my darker blue paint and mix it up with a little bit of Indanthrene blue. Mixing my Phthalo blue with Indanthrene blue, we'll start adding, going over the top. As you can see towards the bottom, we'll have more details, which is the farthest region away from the light. Then we start slowly on the top and start adding. Make sure to add in along the gaps of your plant region. Maybe we might have to solidify the plant later on. Once more on the top, add in your strokes. As you can see, its horizontal strokes, mixture of the bright blue and Indanthrene blue. Make sure that you mix your paint nicely on your palette. Very important. As I go towards the top, I want to narrow down my stroke so I'm using the tip of my brush there. Narrowing down my stroke using the tip of my brush, all of these are very important. Adding this nice stroke. Remember under the water we have been doing those strokes for many of the paintings now. This method of applying water on both the sides just helps a lot because your paper stays wet for a longer duration of time and is really helpful. Basically, we're just placing down our brush and creating these random strokes. Now I'm reaching towards the top, so I'll shift to smaller lines. [MUSIC] Now I'll increase the distance of my lines, and I'll make it slightly watery as well as decrease the tone, to absorb the extra water. I believe that region is starting out to dry because I haven't applied my stroke for a long time. I'll just possibly wet that region a little bit with my brush, but I'll make sure that I go over along with my other strokes so that it looks uniform. It's getting lighter. I'll apply water to that center region towards the outside and make sure that my white area remains. Now I think I can go over the top with lines stroke but smaller ones. You can see I'm making sure that it's not too visible, so I'll just spread out any unforeseen ones, that is any ones that are looking weird and also I don't want any loom structure, so I just absorb that. Probably take a little bit more. Now I'm going to create some nice random shapes at the top with the water strokes. Instead of doing this with the wet-on-dry method. I I'm now doing it with the wet-on-wet itself, to make the whole thing more interesting. [MUSIC] I believe that's enough. Now I'm going to have to increase my color towards the bottom. Because it's very important you understand the tone. I'm taking my Indian green blue, mixing it up nicely on my palette. Very important that you mix up the pigments and break down any hard strokes. This is what you'll add towards the base. All those regions far away from the light, this is what we have to do. Even if your color goes on top of the plant, it's fine, but don't create a break. [MUSIC] Here I'm darkening up my color at the base. Now I think I'm happy with the way it has turned out. Just going to go ahead and add in my olive green brown-stroke a little bit more. [MUSIC] Now that it's dry, when you add some more, it will be on the top of your blue. It'll come out nicely. You can mix the gray also for the bottom part. [MUSIC] I'm happy with the way it has turned out. Now, I want to make this more interesting. I think I might add a little bit of salt in this region. Before I add the salt, let me take my brown and I'm dropping some nice strokes here. Because I'd like to extend to this part. I think that's enough. Now, the salt can help move the pigment. Here is my salt. I'm just going to drop it random here. Let's see how it turns out. I think this region is already dry it up a little bit. The salt may not be too helpful. If it could hasn't dried out, you can attempt to move the pigment using the salt. Let's see how this stands out after it has dried up. That's enough. Now I believe all the edges are fine. Should I absorb.There are indeed some edges. [MUSIC] Now, before this whole thing dries out, there is one thing I want to do. I want to add in more tentacles, some lighter tentacles. What I'm going to do is, I I'm going to use my liner brush. This is not the liner that I used for mass masking fluid. This is another liner. Using my liner, I want to create some tentacles. What you're doing is if your liners are even in little bit wet and you run it across, it'll create these lighter strokes because it's moving the pigment around. Move the pigment and create some strokes. Same for all the units, but I believe it's too dry now. Maybe we can add in some wet -on- wet white strokes because our paper is still wet. Adding a little amount of wet -on -wet indigo strokes might be helpful. We'll add some dry strokes as well. But you know, a combination of all of these is really beautiful in a painting. I'll start with this one here because I believe that's the region that starting out to dry first. Taking my white paint and obviously you won't be able to go over the top region of the masking fluid. But you can create these tiny tentacles. Make sure your brush doesn't have a lot of water and also that your strokes are thin. That is good. See it's wet- on- wet, when it dries out, it will be lighter than the one that you add on the top using your white paint after you paint has dried. It will be completely different. I just noticed, see how the salt is taking action. Adding the salt was indeed a great idea. Now, I'm going to wait for this thing to dry out so that we can remove the masking fluid and paint the jelly fishes, which is the only thing remaining. 50. Day 18 - Jellyfish Under Water Part II: [MUSIC] I believe that this is now completely dry. Let us go ahead and remove all the masking fluid. Start from the left side. [MUSIC] Now the other jellyfish. [MUSIC] Like I said, it's taken all the pencil sketch away. I'm just going to add my pencil sketch on the top slightly which have to redefine the shape of the jellyfish. There. Now, the same for the other ones. [MUSIC] Now I've added the shape properly back again. Now let's go ahead and paint the jellyfish. I'll start with the left one. We will paint it with a mixture of a yellow, green, and a red shade. Pink shading inside not red. First of all, let's see, we'll add the yellow first or here I'm using my Indian yellow, which is my favorite color. I'll add that to the center portion of my jellyfish, adding that then I take my queen rose and I add it towards the edge. Now I know that my paint is going to flow when it joins the red. I'm not bothered by it. I don't want to even create a uniform shape. I'll allow it to flow and the same at the top, so I joined the top part of my jellyfish together. As we can see I leave some lighter areas at certain places as well. I know it's not even visible. Let me show it to you closely. See there are some white spots. Then we'll take the lighter colors again. Take light yellow and add it here at the base. Then go with my darker shade, the pink again, and fill up the outside region. First, let's go about filling up the base things, and then we'll start to add definition to these tentacle regions. It's just basically queen rose that I'm using. [MUSIC] Building it up with queen rose. [MUSIC] We've added up the tentacles now we need to add in darker strokes. For that, I am going to take a little bit of violet and mix that to some corner here with my pink so that I get a purple shade. This is what we're going to use. We're going to now define the shape. Remember, it's still wet on wet, it's absolutely fine and create these umbrella kind of shape. Then now towards the edge of these tentacles, we'll start to define the shape. Just some lines. Remember the pencil sketch that we did these rounded shapes so I'm going around with my brush that's all. The inside part is pink and the outside will be a little bit of this violet tone so I'm just going around with my brush. I'm just going to use my brush to spread out these violet because I feel that it's spreading out too much. Let me soften the violet, that's what I'm doing. [MUSIC] Here at the base and add these downward strokes. I've added it on top of the yellow as well. Not really dark, just light downward strokes such that it seems as though it's got that tentacles and some objects downward. Then I take my violet again. Now we're going to add on the top region so towards the center to give it that rounded shape. It's like when you paint pumpkins and you add these lines. You don't need to complete the lines just some random lines we move towards the top and cut can you see as soon as you add those lines you get the shape of the jellyfish to be rounded on the top. It's very simple. Now let's refine this in a much better way. So I'm taking my pink color and we're going to add it for the tentacles. Not all of them. Some of them can be white as well. Use the tip of your brush. It's very important that you use the tip of your brush and you had these tentacles. I believe that's much better. Now, let us go ahead and repeat the process for the next jellyfish. I'll take my Indian yellow again and add it towards the center region like that. Now observe closely. I've added it towards the center region, but as I move towards the right side, I wash my brush, and I'm just going to paint it with water because I want this region to be lighter. The reason I'm making it lighter is because we have light here so I want to move that region to a region of light. So it's going to be lighter. I applied water and blend it off that yellow into a lighter region. We'll do the same with our pink. Here is my pink and we'll add it at the bottom just like we did for the other one and you'll see that it blends into the yellow. I've reached towards the end, so I wash my brush now and I will just use water to blend that region. Can you see it's lighter towards that region? Can take a little bit of pink just at the tip and it's lighter. Now there is one thing I'd like to do. I want to soften the edge of this jellyfish. For that, use a flat brush or another different brush and just run your brush along the edge like that. That will get rid of the harsh line that your edge of your painting has. It'll make that a region softer. Seems at the top. [MUSIC] That's much better. Now for the top region as well, we'll start to add in the pink. But again, like I said, I want to bring in the effect of light to the whole of the top side. Here I'm just touching my pink shade, but towards the top I'll leave it in a lighter tone, so I'm just using water and I'm going to blend the top. Can you see? Now I've blend the top and it's just a lighter region. There. We have a lot of these lighter regions towards the top. Take my pink and add a little teeny tiny amount because it's not at all visible at the top. But I won't apply to the extreme top region. There. Now, let's get back to adding our pink. Before that I have to add the yellow in the center. I'll take my yellow and I stir it due to the amount of yellow, and I add it for the light region. Here in the center part is going to have some nice light region and it's going to extend downwards tentacle part. Then I'll take my pink and go towards the edges. Taking my pink and painting along the edges. Stick more now and finish off our tentacles. Because this one is a large one, I will bring in more effects on the tentacles. Here I have my pink shade which I am filling. This part here, I don't know what you call it, I know they're not tentacles because they're actually the center portion, the tentacles are these, so I don't know what to call it, and that's why I'm mentioning it as tentacles. Forgive me for not mentioning it correctly. Here is how I'm going to do it. I'm going to take some violet and I'll mix that along. Both the colors, both the pink and the red together at random places, that's how I'm going to do this. Towards the edge pink, some violet, [NOISE] then back to some pink. Basically, just a mixture of both of these colors, that's what we want to apply. We'll define the shape using the pencil sketch that we have later on. First, let's apply the color. That's violet going back to the pink. You can see the violet and the pink blends together to form light purple shade also. It's really advantageous. Let me mix up my colors some more. You can do this in many ways. You can actually paint the pink first and then add drops of violet on the top, like there adding some drops of violet, so we can do this either way. No specific rule, obviously. Keep adding your tone. Lastly, this edge here. Remember to paint some of the tentacles as well. Now I've painted the whole thing, now I'm going to add some nice violet strokes. Let me take up my violet and we'll start to define the shape maybe. I've defined the shape. Now let's add to the top region, remember, some darker strokes. There. Now I'll add in the lines towards the top. But remember towards that you can't draw up to the extreme top because we have added the light, and also towards this right region here, it needs to be lighter. Here I'm moving my brush to create a lighter tone. Then taking my violet and we'll add those downward strokes. All towards the center here, that's how I'm adding them. I think that is looking good. Now we have only one more left to paint. Let's add that. Here is my yellow again, going with my yellow in the center. Again, observe the light, it's towards the right side, so I'll leave that right side to be lighter so as the top as well. Here just using water to create that blend towards the right side. Then going with our pink shade, do the same. The bottom part here towards the left side is not facing the light, so it's absolutely fine. There. Now we've reached the right side, so now I'm just going to use water to blend my colors and create a lighter tone. The same thing now at the top, just right here. That's too watery, that's why it's spreading a lot. Adding our paint at the top. Now I've added the paint at the top, now what we need to do is obviously create the E blend just using water. When you're creating the blend with water, make sure that you do it from the top towards the bottom. Because if you move from the bottom towards the top side, then all your pink paint is going to blend into that edge itself. First, I have applied water all up to the very edge. Then I'm touching my water with the pigment so then it spreads. [MUSIC] There is the lighter area there. Now, let's get back, adding the yellow in the center, and then painting the rest of the regions with the pink. I'm going to mix a little bit of violet, perhaps. Now, let's go ahead and add in more details, so I'll take my violet, start filling in, and giving shapes, and shape for the edge here as well. The rounded lines. Then the [LAUGHTER] downward strokes on top of the yellow. There now, we've added our strokes nicely. Now, the only thing is to finish up with some nice tentacles. Obviously here, there are some huge white tentacles, which I'd like to turn it into a pink shade. So I'm taking my small brush, taking pink shade on my brush, and I'm going to go on the top of it. We have to be very careful. Some of the white color seen through these tentacles are absolutely fine. We don't want the whole thing to be perfect but also, this is the reason why I applied masking fluid. So if at this moment you are not using masking fluid, then just mix your paint with a little bit of white and you can add it. Obviously, the tentacles you have is going to look slightly different, but I hope that's absolutely fine, because your jellyfish is slightly going to be different, that's it. You don't have to copy exactly the way it's in mine and that's the best part about understanding the painting process rather than copying out the teacher's work and I love that you all are doing so well. See, we've already added some nice tentacles, let's do that for the right one as well. Need to add more because as you can see, the tentacles are already only at the side, which is not the case with jellyfish. So what we can do is, let's now wait for this to dry out. This is now dry. What I'll do is, now I'll try to add some more tentacles on the top. What we will do is, we will take some different tones. For example, let us take lavender or you can mix your violet with white in order to take a paint such as lavender, for those of you who don't have lavender. I'm using my liner brush, of course. Now we're going to add some nice tentacles. Here, taking my lavender paint nicely on my brush, and I'm going to use that to add my tentacles. I'll start with this one, and I'm going to add. You can see it's not that clearly visible, but when someone looks at your painting up close, they'll be able to see this lavender tentacles and will be like, it's not just those white tentacles but you've given a lot of thought into the painting process and you've put in a lot of smaller stuff into it. That's the beauty of such paintings. As you can see, it goes over the top of all of your yellow and pink regions. I've added some nice lavender tentacles on this one. Now, let's add for our big main one and the tentacles start at the center. Remember to make sure that the tentacles start at the bottom here because they come from underside of the jellyfish, they don't come from the top region. We need to keep a note of that and just use your liner brush or your detailer brush. I know that many of you may not have liner brush, so just use any small size brush. The only problem when you're using a size one or a size two brush is that you'd have to repeatedly take paint because it holds very less paint. Make some of the tentacles crossing these as well because we don't want it to be just in a straight and uniform manner. I've added some nice lavender once in that one. Let's do it for this one as well. [MUSIC]. We've added some nice tentacles so now we'll finish off with some white tentacles so that's the last step of the process. Let me take my white paint. It's all dried up. Have to use a lot more water or have to use fresh paint. Let me see if I can salvage this one. I'll start on the left side and add these smaller tentacles on the top as well and you can have tentacles going outward. I think with the white and have some tentacles flowing outward. I won't add too much for these smaller jellyfish because I want the center of attention to be this larger one so we'll make more for that. This one just random. I think that's enough for that one. You move on to the center one, which is going to be the focal point of our painting. The tentacles are going to come from inside. As you can see as we add the tentacles on top of the already existing region, it looks amazing in it. Also you can use this point to hide out any mistakes that you have on this region. I know it's very difficult when you're trying to add it with a liner brush or small detailer brush, but if you're lucky and if you're careful, you might be able to pull it off. That is these movements strokes, if you try to add it onto the region where you've made any mistake then it'll be much useful and helpful. I will add some more. Like I said, I'm going to add some more such that these are tentacles so they'll flow outside that won't have any specific direction so I'll add towards my water region as well. I don't want it to be flat out. We'll add smaller ones as well. They're very tiny and small tentacles. [MUSIC] Very tiny ones. Adding some more. This is again, another one of those things where I say that know when to stop and right now I'm in that zone where I am unable to stop adding. [LAUGHTER] I should stop. I'm stopping on that one. I don't want a lot of details on this one because like I said, this is the main focus so I'll try to keep this one limited. I think I'll stop. This one is looking really nice, isn't it? With now all of those tentacles facing outward. Here I go again. [LAUGHTER] It's just because when I look at this painting, I see some gaps and I feel, "Oh maybe I should add to that direction," and I just go about it. That's my problem. I'm stopping I promise. Here you go I believe it's absolutely fine now. I'm not going to ruin it anymore. Let us go ahead and sign our painting. I'll take my cadmium red and I'll sign my painting. Here is the finished picture that are no other bits on dry details for the top region and you can see the effects of the salt. It didn't turn out much as I expected. I think I should have added the salt a little bit more earlier then it would have probably created the effects. The paper was already drying out, so the salt only managed to pull out a little amount of paint. But I'm quite happy with it actually because I love the way it is holding a stand out, especially these tentacles of this one here. Here you go. Here is the finished painting of today. I hope you enjoyed painting this one. Thank you for joining me. 51. Day 19 - Techniques and Exercises: Welcome to Day 19, and this here is the image that we are going to paint today. Isn't this gorgeous? Let us first understand how it is. We've got the sky region here, which is just basically flat. Then we have the ocean or the sea, some sea waves. It's not a much disturbed ocean, the only part is the splash between the rocks here. We have two rock sitting together and it's splashing onto that, so creates a beautiful splash, and we have some here and here as well. This one is furthering towards the ocean, so it doesn't have much of the splash. The important part here is this, and then the form in the front. Let us quickly understand how we can paint this without the masking fluid, of course, because I've used masking fluid for the splashes, especially in the sky region, which you obviously have to add with white paint later on. Here I've got my paper, and let us apply water to the back side. Now let's turn our paper towards the front. Let us wipe out the excess water. Actually, in the excitement I forgot to add in the rocks. I'm just going to quickly add it on the paper just roughly. I'll have a rock there, and another in the water there. I know it's not at all visible, maybe can you see it now? No, you can't. I've added a rock here, and another rock there. It's not at all visible on the wet paper, but you'll see when we paint it. I've applied the water evenly on the paper. Now we get to painting. First, we need to paint the sky. Let's go ahead and paint the sky. For that, I am going to take cobalt blue and I'm going to apply my cobalt blue to the top. Just flat line, all right. I have applied cobalt blue to around one by third of my paper. Then I'm going to go for turquoise green. I've got my turquoise green here on my pallet. But now I need to hold my paper at an angle, so I'm going to probably place something underneath that can lift this. That's much better. Now, let's paint the ocean. Here I'm taking my turquoise blue, and I'm going to draw a straight line. There, painted a straight line. Here is one rock, and here is one rock. I've got to be careful about that, so now I'm just placing down my colors and I've reached the rock region. I want to split out, so this is the rock, that is the rock here. I would stop there. I need to put my lines some more. I think it's spreading out, I need it to be straight. Is that straight now? I hope so. I just need it to be flat and blended out, so that's why I'm adding. I've got a hair here, I don't know which of my brushes is shedding its hair. As you can see, I've ruined it, but let me get that hair off because that's very dangerous on my paper. As you can see, I'm doing the whole thing. Got the hair out, and you see my paint is spread. I'm just going to go over with a little bit of cobalt blue on the top and adjust it. I'm not going to put this away because I want to show you what happens and how you can correct all of these mistakes. More cobalt blue and as I come towards the bottom, it's lighter and also maybe we'll master that out with splash later on, and darker turquoise blue sheet. Now I'll remove my paint. I'm going to try and flatten out the top part of the ocean. Just using my flat brush and flattening out, so I'm just absorbing the paint. Can you see that? Absorbed the paint, and actually if you paint the top part using a synthetic brush, then you won't get to chart, so I'm just shifting to my synthetic brush so that I can add nice paint on the top. Can you see? Now it's not spreading, that's because I'm adding with a synthetic brush. It gives a beautiful flat line, yet it'll be softer. Because actually the paper is still wet, so it definitely gives a flat line. A flat softer line, that's what I meant. Now I'm happy, let's go ahead and just blend that thing out. Maybe some darker lines, so for that I'll take my indigo, and not just some light, but I think I'll mix that with my turquoise blue. Now let's paint the rocks. So for painting the rock, first I'm going to go with a nice lighter yellow color for depicting the light. I believe that top portion here can have a bit of light and here as well. So let us assume that most of the light is towards the right side, so assuming that the light is coming from this side, or not. I think this is the brighter side, the light is coming from this side. You need to absorb the color on your paper, and I'm seeing that my color tone is lighter here and cobalt blue is darker here, so that is why I'm going from the left side, and then we add darker tones on the top. I'm adding burnt sienna. Now what we're going to do is we're going to move the pigment out so that it can form splashes. So just dropping water, can you see? Just dropping water into those regions so that it moves my turquoise blue away and you create the effect of splash right above the rock region. That's what we need to do. Once the pigment is moved away, you can actually absorb the water, otherwise it'll be too much water on the paper. Right here and here, can you see how it's splashing out? Now I will paint my rock, or darker dawns and I like my brown on the top for depth. The same here for depth. I forgot to add splashes here, so let's do that. Always focus on the main one. You can see as soon as you add in the water, it spreads out and creates that beautiful splashy effect. Can you see that? Another thing is, what if you add a little bit of olive green or some other colors on the rock, it will be like the [inaudible] structure because the water is constantly touching your water. It will be having moss fitted in so you can add a little bit of green, a little bit of brown, and a lot of that. You can see, I've mixed in a lot of colors, especially to the base where it's constantly touching the water. You can also add white paint on the top that will give a beautiful effect. So I'm going to take my white gouache and I'm going to drop that onto my paper. So dropping that would also give the effect, because the paper is wet, it gives that beautiful effect. Can you see that? Let's see, we just made the whole of this to be softer, we'll add it darker later on. For now, let's add in the splash. First we move the pigment and then add the white. So if you don't move the pigment, what can happen is the colors will blend together and it will not be as pure white as it is now. The thing is, you can add your splash on the top like that. Don't worry, it will make sense at the end. Now let's add colors to the base. So I'm just going to spread this out, and we'll add the water regent at the base. I think there'll be more foamy regions and a little bit of darker areas. I don't want to go for the same picture, so I'm just going to add mixture of dry and wet strokes. So here are some of my strokes, a dry and some are wet. It will act like the foam in my water and I'm going to go with a little bit of lavender to depict the shadow of the form. I'm going to go with a darker shade of that because I feel that this is too light. There are some regions darker. If you want, you can add more white paint to certain region because I'd like to add some more foamy region here. I'm basically showing you the method to paint this without the masking fluid. That is the most difficult thing, painting this without the masking fluid. Now we'll dry this out so that we can add in more [inaudible] Here it is after it has completely dried. What we'll do now is we'll add some lighter strokes and refine the rocks a bit more. I'm going to start with my yellow ocher for the light region, and some burnt sienna towards the base, and some olive green at random places, then a little bit of the darker brown. Basically just adding different color tones. A bit of green as well at certain places just to depict the more sea structure. We've depicted the rock on that one. Let's do the next one as well. If you do with a wet on wet stroke at first and then wet on dry on the top, it actually looks really beautiful because it's got that blended look. It's got that smooth blended look, as well as a mixture of that wet on dry, wet on wet. So someone who looks at your painting will never be able to tell whether you painted this on the wet on wet or wet on dry. That's the beauty of it. Now, what we need is to add in the splash, of course. But first I have to try this out, and I'm going to use my white paint to create some dry brushstrokes all throughout the base. I need to dry my brush. You can see dry brush strokes so that we get rid of that separation between the harsh edge of where we just painted the rocks. Same here. Now, let's add some of that form onto the rock where maybe there are some crevices on the rocks and it's flowing, that's creating the form. Here, that's good. The same here. Lastly, all we need to do is add in the splash. So I'm going to go with my toothbrush, dip it in water, try it out a little bit on my clothes and then dip it in white paint, and we're going to add in the splatters. Right where the rock is at the top region is where I want the splashes to be. That's too dry, so I'll probably dip a little bit more here. That's good now. Now, if you splatter right where it's joining, can you see that? I'll splatter to this region as well to mask out the region where I had actually ruined it. Can you see how it's turned out? Let's do the same to this one. The good thing about splashing paints like this like this at the end after you've added the white is we don't need to add in the shadow. Because can you see, the light white that we added in the wet on wet is still there underneath. On the top when we add the white, those little white gaps are seen through, and it looks like the shadow. That is one cool technique that you can do. The problem with adding such splatters is that you'd have to add multiple times because it gets lighter in the end. You can see it's already light here. But it's just going to be so beautiful. There, can you see how it's turned out? Let's wash our brush. Here's the beautiful splash that we have created. The class project is going to be much similar, but with a masking fluid. I believe that using the masking fluid is much better if you have it, that's mainly because it prevents all of these messy parts that we have to do where we have to add the white with the wet on wet, then with a wet on dry, and it just keeps it white. Preserving the white of the paper is always the best thing to do rather than adding white paints. There you go. Now, let us have a look at the colors that we need for today's lesson. For the sky region, I have just used a flat stroke of cobalt blue. Cobalt blue or ultramarine blue, you can use both of them. It doesn't matter. Cobalt blue, PB28 is what I have used. Then for the water region, I mixed my phthalo blue and phthalo green together. Obviously my most favorite mixture to create a turquoise blue, turquoise green color. I have used a mix itself. I have not used my turquoise blue color directly, but if you have that, you can use that idea as well, turquoise blue or turquoise green directly. It's better to use and mix because you'll create these varying shapes. For the form region, I have used lavender and raw sienna together. So the lavender and raw sienna mixes together to form a beautiful gray, so it'll create beautiful effects for the foggy region. Then for the shadow also, I have used lavender, and a mix of cobalt blue. Then the only thing left on this painting is the rock, of course. For the rocks, I have used a number of colors to bring out that beautiful look on it, and those are yellow ocher, burnt sienna, transparent brown, olive green, and green or sap green. Basically the light is depicted using my lighter tone, which is yellow ocher, and then we add in more colors to bring in the effect of the surface texture on the rocks, the mossy texture. So you can use burnt sienna, transparent brown, olive green, sap green, or green. You've seen the exercise. It's basically just as simple as that. Lastly, of course, we need some white paint to add in the white details, but I have used it very less for my class project. Most of these are just using the masking fluid, which is why I suggest that if you do have masking fluid to go with that method. Obviously, one of the materials here in this class is masking fluid. If you have it to use it. The brushes that I have used are my Size eight, and my Size 4 brush. Basically just a medium or a larger size brush to cover up the larger chunks of the painting, and a smaller size brush for the smaller details. Those are just two brushes that I have used for this painting. If you're happy with the exercise, the colors, the techniques, and brushes, let us go ahead and paint this beautiful rock splash painting. 52. Day 19 - Twin Rocks Splash Part I: I'm going to add the horizon line to the top possibly around one by a third of the paper, which is somewhere around here. It might be slightly above the one by third limit but at least it's all down I want most of it to be the sea area, which is why I'm adding it towards the top. Then now we'll add in the rock. It's two rocks in the center but with the rules of composition, I'd like to place it a little bit displaced. I don't want it to be right in the center, so I'll just possibly move it around here, so I'll add in the rock. That is the rock. It's going to probably have a weird shape but it's two large rocks. Then the other one right next to it, that is the rock. Then obviously the water splash right next to it, and lots of water splashes on top of the rocks as well. Then where else? Maybe we'll have some wavey shapes here. I'm going to add another rock again but this time this one is far away. Another one behind maybe, and some rocky texture. Let me show you too closely. Here is the pencil sketch. Now we need to apply the masking fluid, so let's get to applying the masking fluid. We are going to create some random textures at first before we add in the splatters. Here I'm using my small minor brush, I'm going to just apply my masking fluid. No specific rule just running over my brush you can see the movement I'm making completely random and making sure that I'm able to capture the major essence of the splash area. I think that's enough there. Then some here towards the bottom. Again, I won't add too much because I'd like to add it with my brush itself, so another place again. Like I said the wave shape, a little crashing wave at the backside, and some this side as well. Just some lines and then next to these rocks as well. Now we're done with the masking fluid with the brush now we'll add in the splatters. Here is my toothbrush. I'm going to dip my brush in my masking fluid and we're going to add in huge splatters. Right where the rock area is that's where it's going to splatter, and as you can see now the initial part is large splatters. We'll have the splatters extend to the sky as well. I'm taking my paint adding those larger splatters. I think the major chunk here I'd like to have a lot of splatters. You can see how the paint is accumulated in those regions, so now towards the edge here you go for smaller ones but I want more towards the top and let it go all the way outside that's a really huge splash. Then just a little here and very little next to these rocks as well, so another here, then where else? This wave, whatever has crashed towards this rock has created a very large splash. Closer to this region is where I'm adding, so that region is fine. I think that's enough. Now let's wash our brush quickly. It has dried up now so let's go ahead and start applying the water towards the backside of the paper. I'll take my flat brush and apply the water to the whole of the backside. Like I said we have to be careful that there is no drops or hairs or anything that is covering the backside because it's just going to create a slight bulge or a gap in the part where it sticks to the board. Let us apply the water evenly. Here I've applied the water. Now let's turn it towards the front and let me stick it onto my board correctly. I believe that is correct. Now let's go ahead and start to apply water on the front side and stick the paper firmly onto the board. You need to run along multiple times in order to make sure that it does stick firmly. You can see the region to masking fluid where the water is accumulating. I'd have to turn my paper and remove all the excess water. I shall do that soon. I'm just covering up the entire surface now, after which we'll take a brush and absorb. I believe I've applied the water evenly. Now, I'm going to use my cloth to absorb all the extra water from the outside regions. Here's my cloth and I'm going to absorb it, see, even the outside, all around, done absorbing. Now, I'll tilt my board so that all the water will flow down and also, like I did before, will move my hand along the masking fluid region, which will enable the accumulated water to flow down. Any of these gaps here will have water accumulated, so we need it to flow down so that there is no pools of water on the paper. Just using my hand and running along so that all the water flows down. You can see that extra pool of water. This is extra water and the paper is already wet enough. Let's absorb that extra bit of water. I'm done for this painting, I believe. I have absorbed enough. Let us paint this for me region first. For that, I'm going to take my raw sienna. Just very little amount of raw sienna. You can see the lighter tone. Let me move this. There you go. You can see the lighter tone that I'm taking. Very lighter tone and huge lead diluted demand. This is what we will been. Just going to add it slightly to the bottom region. I will add the shadow region for the form. For that, I will take an indigo, so did as. Now, I will add the shadow region. For that, I will take in my lavender and I'm going to add that on the top. The lavender will mix in with the yellow to create a nice gray tone, giving both the effect of light as well as shadow. This is the beauty of this technique when you apply the raw sienna. Raw sienna and lavender mixed together to form a beautiful gray. The lavender tones that you apply will act as form area with some shadows but then it will further mix with the yellow to form a gray color. It will contribute to more of the shadowy texture. The rest of the areas that are lighter will give the great contrast for the light. You can see there are some regions there and taking my lavender, I'm applying on the top. I'm sorry if the light is changing, it's the sun outside. I've the window right here. It's afternoon time right now that I'm painting. The sun's coming and going, the clouds are playing. I didn't want to use the studio lights today. That is fine but I hope you can clearly see the painting. There just using my lavender. In some areas, maybe you can mix your lavender with your yellow itself. Here's my lavender. I've mixed a little bit of my yellow tone. Not yellow, the raw sienna, that's what I mean. You can use that as well, you can see how beautiful color it creates when you mix it together. It creates a nice gray color. I'm going to apply that towards the edge of these rocks as well. I'm taking a little bit of lavender and towards the edge of these rocks. These are the areas where you want it to have a nice splash region. The lavender and the gray texture will make sure that you depict the form. This is why I love this color, lavender. I use it for City scape paintings, I use it for my seascape. It's such a wonderful color that contributes to a lot of texture and a lot of details on various paintings. I'm taking my lavender again, I want to go and paint in the underside region of the rocks. Then it can also be used for shadows. Obviously we've been adding that. I'll mix my cobalt blue now with a little bit of lavender. We're going to add in some shadow. The shadow is of this rock here. It's going to form a nice shadow on to the water region. You can see I've added a shadow. I mixed cobalt blue with my lavender and added the shadow. The shadow needs to be darker here, drop some paint and some more here. The shadow a little bit here and there. We add more cobalt blue. I know that the paint spread onto the rock and that's absolutely fine. Just don't bother. We just need to paint freely. That is the most important part. I'll take more yellow. Why do I keep saying yellow? It's raw sienna. Anyways, raw sienna ad lavender mixture and you can see it's creating a nice gray tone. This gray tone, I will apply to the bottom areas here, maybe a little bit here at the bottom. I need to spread that around, I don't want it to create any hairs, the same way here I'll create a softer edge for that one. I don't want it to spread and create any harsh edges. Now, we're almost done with that. Now let's go ahead and start adding our water area. For painting the water, I believe I'll take a turquoise green. I guess I'm going to make my turquoise green. Using my teal blue and my teal green mixed together. That's how I make my teal blue and teal green mixed together. But I'll make it turquoise blue rather than turquoise green. That's perfect. I'll paint. There might be some white gaps in my painting which I'm going to leave it like that. But not at the top region. The top I'll go and follow along the horizon line. We'll paint the sky later on. It's absolutely fine to paint later on. The best thing about mixing your color is that you get these unique shapes each time you mix. It may not be the same each time. See, there is a slight difference and I'm absolutely fine with it. Also we've applied the water enough and also the masking fluid will help to keep these areas white as needed. I'll mix again here. Careful along the edge. l'll take my paint and start applying. Now, try it as you reach the edge. We have applied a lot of masking fluid, so you can freely go ahead and start painting those regions. Now, as soon as you reach towards the bottom, I'm switching to my size 4 brush and I'm going to add smaller strokes now. What I'm going to do, is I am going to create some break in my stroke. I know we've already added some masking fluid strokes there but I'm going to go ahead and create more breaks. Be wary of the rocky shapes that we've added, so just about there. Also, it's alright to go over the lavender strokes obviously. There and I'm coming towards the bottom and I'll start to make my strokes both lighter as well as to add strokes with gaps in between. Those gaps in-between they form as nice for me texture. Now here I'm going to drop in water and move my pigment. Just dropped in water. Adding the water will create like a layer of edge to our painting. The same here. Now coming towards the bottom and adding strokes. Keep adding just a tiny bit. Now I'm going to dilute this and take it in already diluted consistency. l'm going to add it in on like random places. Adding the green stroke just in random places. Not all the place random areas. That will give the effect of forming those regions as well. Now I'm going to drop water into the areas where I want my maybe texture to form. There next to these boxes as well. Drop water. Will form blue a blooms next to that region. It's absolutely fine for it to create these blooms. Even though it creates a harsh edge around that bloom, it's fine. There I'm just dropping my water to seem here. Any of these regions, I am just adding my water and creating some nice blooms. You can see how those blooms are working. Do some areas here, maybe a little here. It will act like the splash as well like contribute to the look and feel of the splash. There are various ways to paint this. I am just showing you multiple techniques in each of the painting, as in like, I choose a different technique for each painting. Maybe like in originally, I might not paint this way if l'm follow my style only. But my main aim with this class is to teach you as many tips and tricks, as many techniques as possible so that in the end, you can choose your own style and you can stick to one of the methods and paint. Just dropped in these little shapes at randomly places. I like how it's turned out. Now, definitely I need to add in darker strokes. We need to give the wavy structure right? Here l'll take and mix the dark with blue. I'm going to go over in some of these areas. Especially here, I'd like to add in the color because I want my white to shine through when I remove the masking fluid. You can take the dark paint and reapply on some of those regions, and l'll go and create some waves on the left side here as well. Maybe another one here. That is definitely a wave. I'm using my smaller size brush here. You can see that it's a size 4. I'm happy with the way this has turned out. Now, let's go ahead and paint the sky. Shall we just paint a single color for the sky? Possibly. l'm going to go and paint it with cobalt blue. Just using my water, and painting my sky. As you can see, my top region has dried. The reason why the top region dries out, it's because you remember I kept my board at an angle. All the water that was at the top flowed down, which is what made it to dry out. But remember what I said. Once I apply the water, it's going to retain its wetness for a very long time. This is mainly because the underside is still wet. It's very important to remember that. The underside of our painting is still wet, which will enable the paper to remain wet. Now I'm going to do something. I'm going to tilt my board and then paint. The main reason because I don't want my sea region to flow up as soon as I touch it with my cobalt blue. l'm just going to be very careful see, towards the edge. It's probably dried out, but I don't want to take the risk. That is why l'm just holding it at an angle. In case my paint flows down, l'm able to catch it. In case my paint disturbs, I'll be able to hold it downwards. Also note, each time I pick up fresh cobalt blue, I apply towards the top region. Remember the tone in a painting always. I'm very careful. Still applying next to the ocean area. Now my peak is definitely going to stay wet. This top region is going to be wet for a long time. You can see as soon as I'm applying, see none of these regions has dried out. This is because the underside is definitely wet. Now I will go and add more color because I feel it's too light and also watercolors dry out one shade lighter. Oh my God. I was just thinking of picking up a darker shade and then that's what came out of my mouth, that's why. I'll hold it at an angle so that you get that beautiful gradient at the top. Create a beautiful gradient of the paint. Now that is one thing that you have to be careful about because you are holding your paper at an angle or this water here would flow down and it would catch at the top and create blues. I now have to wipe off that extra water and pigment at the edge, which will prevent it from flowing back to my paper. Also, you can see the cobalt blue is flowing down. We prevented the paint from flowing up, but it's flowing down, so we need to add some more of these darker strokes on the top. Now I'll hold my paper again at an angle. I've got to be really careful along the horizon line. If your paper is too wet it can cause the penguins to move upwards, which we need to prevent of course. But adding this in a wet-on-wet method enables it to have a beautiful look because it's softer. Now I've got to work on edge of it, now I lay it flat and paint and along the edges. Getting rid of the bloomy edge. All we need is some nice dark pigment to create a nice softer edge. Can you see how soft the depth of the ocean is? This is the reason why I apply using the wet-on-wet itself. Always remember, the whole painting process is about adjusting depending upon what's there on your paper. Don't ever blindly copy me because that's not what I want you all to do, I want all you to learn the process. You can see, I see that my paint had bled down, that is my cobalt blue bled down. I took more of my turquoise blue and applied it at the top, softened it at the top such there is a beautiful effect now, and the whole thing is softer, isn't it? Let me apply this in lines now so to act as the waves. I'm done with that. Now let's go ahead and paint down the rocks before we can remove any of the masking fluid and we dry this up. For painting the rocks, I will first need to add in some light and shadow. Assuming that the light is from the top, obviously because the sun is at the top region. What I will do is I will apply some yellow ocher strokes then I'll take some burnt sienna. Remember, I think we painted the other rock lesson this way. The top view where we added some burnt sienna and then a darker color first. Here we're adding the yellow ocher now. Then toward the extreme bottom you can add in a dark brown color. For some of the strokes you can just directly go with burnt sienna as well. I'm probably adding a rock there and then a bit of dark brown and I'll add that. Go ahead and keep repeating. Here is my yellow ocher to dry my brush. Using my yellow ocher, I will apply it here at the top where the light is. Then I'll take my burnt sienna and add it towards the base, then going for a darker flow, the darker tone and add it. You can see my paint spreads to create a beautiful texture. I don't want it to spread too much, so I'll just run my brush along. I'll drop my water here are to spread the pigment outside. This region was a lot wet. This was wet mainly because you remember I applied my wet stroke there. That is, I applied a lot of water there to move my pigment, so what I'll probably do now is, I'll take my white paint. This is why I said how you can work around your painting to adjust your strokes. Now just taking a little bit of white paint, back to white paint so that region is wet to remember. I'm going to apply a little bit of my white paint onto that region. I think this will look cool because the whole thing is not going to act like a splash along with the white paint. I'm just masking out the yellow that had spread out. This is perfect. I like how it's turned out actually. It's looking like a splash. Again, this is why I said, look at your painting and always work around it. Thinking of it, I like the way the white has turned out, so I'm just going to improvise and add, maybe a little bit of white form regions. That is fine from the beginning of painting. Observe my painting, and then try to do it on your own in any way that you prefer, so you know about the exercise and as well as the class project. Once you've seen that, you'll be able to do all of these on your own in any way that you want. You don't have to follow the exact methods that I am following. That's the beauty of learning on your own, and trust me, if you do it in that process, if you do it that way, then you will definitely be able to turn into a pro in no time. Now here I observe that my paint has flown outward, which I want to adjust the sky region. Always keep a lookout for your painting, which is very important. I'll take my turquoise blue color and I'm going to add towards the top here again because you can see it's flown all the way out on top bottom and here also. See that? That's a little blue. That's because the water consistency on both those areas are different, that's why it flows. But if you create a flattened out stroke like that, it shouldn't be a problem. If it happens again, you just have to reapply, that's it. Like I'm doing right now. Just let me flatten out and remove. Now I like it. It's all flattened out and my strokes are softer. That's what I wanted, to have a softer edge for my ocean. I'm happy with the splash there, possibly add in a little bit more white. I add a nice splash. Because it's wet-on-wet the white acts beautifully. 53. Day 19 - Twin Rocks Splash Part II: Now we'll paint the larger rock. I'll take my yellow ocher, like we said, and add it to the top here and this is the top region. I think this here, this edge I want to keep it lighter. It's not going to be wholly light like that. It's just the effect of light that we're convening. I take my burnt sienna and add on the top. You can see as soon as you add in the burnt sienna, it creates a beautiful effect on the rock. This is why I said that even if your paint spreads at the bottom, it's completely fine. Now, I don't want it to be completely drown or any light like that. I'm going to take a little bit of my olive green because it needs to be having that mossy structure because it's having that water. Water all around. Taking my olive green, adding on top of my burnt sienna. It's a mixture of all of these colors. In fact, you can just mix your green on the top, and it'll just mix up with the burnt sienna to give a nice tone even with the yellow ocher. We will take my green and depict the mossy texture. The water is always splashing in that region, creating a nice mossy texture or dark tone like that. Now we'll get to adding the darker tones, so as the brown and I'll add the brown now. Here's the brown one. Adding the brown towards the edge. Again, now adding, but like you can see here, I'm adding with a half dry brush. It creates some gaps of white in-between and it's absolutely fine because it's still just act as the water splash itself. See I've left some gaps, I'm not going to go over it and paint it, but I'll drop my darker tone of brown the top. I'm going to drop it at the top somewhere too. It's just at the top region is lighter. But adding all of these colors together gives it that enhanced look, the beautiful look. You can see when you look at it, nobody can actually say what color it is. Because if you look at it in truth, you've used an olive green, you've used the green, you've used a brown, yellow ocher, burnt sienna. This is the beauty of it. There are some nice colors. You can take a little bit more green and add to certain areas. Maybe olive green. Go with any color just to add any mix of colors. It's absolutely funny. Now, next thing we'll do is we'll try and refine the shape of the rock. This rock is having a bend like that. I'm applying my brown tone a little bit there. Extra there. Can you see it's created a nice bend like that. I'll do the same for the top region. See, it's now created a shape for the rock. Do the same to the left one. Maybe we'll make a rocky surface here and give it movement. This edge where it's joining the two rocks, we need to take care of the tone there as well. Because that edge needs to be darker. Why? Because it is the joint between the two rocks and that area is under shadow. Here pick up a dark tone. Can you see as soon as I add all of these things, it's becoming more and more beautiful because you can now see the join between the two rocks and here is the shadow region. That is how you bring out the beautiful effects in your painting. Now that is the edge where it's for joining. Assuming this area is the light and dark region at the top. That's why it's lighter. We have all of the colors on the rocks. Well, this is brilliant, isn't it? Now, I like so much the way this has turned out that possibly I want to add in a little bit green to be the ones because I just love the way that these two has turned out. Just a little bit of green. It's not visible from far away. But if you look at it closely, it's there, which makes it beautiful. I love the way the this has turned out. There is another rock here which I forgot to add. Maybe we'll add that as well. How do we start? Yellow ocher slightly to the top, and sienna to the bottom. A little bit of olive green at random places. Now this is too dry, the suddenness compound. I'm going to have to do something to remove the excess light. Let me arrange the light. That's much better, isn't it? I really apologize for the inconvenience. Although I've edited out all the gaps in-between, but for a brief second it was really bad on the screen. I've added the rock there as well. Now, again, as I look onto my paper, I can see something wrong which I'm going to adjust. I think I need to switch to a synthetic brush, which will help me do adjust the data. Maybe I'll use a flat brush and I'll go over the edge there and absorb. My other brush has a lot of water and possibly that's why it's introducing extra water onto my paper again, as I try to do it. I think that's much better. Now, we possibly won't create any more hindrance. But I like the soft edge that this has. What else can I do? I feel I want to add in a little bit more detail, because I feel that this region here at the bottom looks a bit flat. I possibly taking a bit more of my lavender and start adding. The strokes are dry. I'll mix up by blending with water. We'll do the same in some of the regions. I'll try to create different wavy shapes. Maybe there's a wave there like that moving out. Now I'll soften out that one. There, I think that's how that's turned out. [inaudible] like that but I'll soften out the edges. Now, I love the way that it has turned out. Then what else should we add? I think I'll mix it with brown sienna and create some wavy shapes here. I've added there. Now, again, going to add the edge of it. Once I've softened it, you can go and add on the top of it again and it wouldn't affect your stroke. Here I'm actually creating these wavy strokes. I'll show that to you supposedly, I will soften out first. I will apply some water and try to soften out the edge, and then show you how to apply those wavy strokes. Softened out. Now I'll make the shade that's lavender and the raw sienna together will give a beautiful gray color. Then using my brush, I'm going to do like that as though as the wave splashing out there. Can you see that? Then we'll add more gray. There's a lot of white gap there, so maybe I'll add there as well. So just water down that [inaudible]. Then go with my paint, raw sienna and lavender together. It's dark, so I'm just going to have to lighten my stroke. There, I feel that's much better. It's given the wavy effect. Remember, we can apply some green strokes in between. Maybe you can also add some green strokes as part of the wave as well, so it looks more interesting. Like I said, when I look at my painting, I feel that some areas are missing something or maybe I can make it better so then I just go ahead and then add my strokes, that's what I usually do. I'm looking at my paper and I see that it's missing this, it's lacking some strokes in certain areas and that's how I go ahead and adjust it. You should do the same for your paintings. You should look at your painting and see what is missing and how can you make it better. I think I'll add a darker tone here at the base. Maybe some flat-out lighter regions. Some regions with gray. That looks good, actually. That's enough. I should stop. Like I said, I have a tendency to go on forever and ever. I think we are good to go. Now, we have to wait for all of this to dry so that we can remove the masking fluid. I've dried up for the front and the backside, now let us go ahead and remove all the tape from our paper. You need to be very careful because if your paper is still wet, it cannot come out properly. Removing the masking fluid. Here, it is after removing the masking fluid. I really love the way it has turned out. Now, we're going to add in the final details by using our white paint, and some shadow regions. Here's my white paint. Make sure to take up my nice white paint on my brush. I need to dry my brush as well in order to make sure that I have the dry brush stroke. I'll dry my brush. Only to these regions I will actually apply because I don't like the way that region looks. But the top, I am really happy with the area at the top. That's a lot of white paint not getting the dry brush, so I need to dry my brush and pick a paint. That's better. I'm applying on the top of that region. I had that splash and so we will apply in those regions. Let's create a nice splash. Actually, it's good because my paint here is a little bit contaminated with the little bit of gray shade. It appears gray. What I'll do is I'll take fresh white and then add on the top, so then this will contribute as the shadow area. Now, let's go ahead and add in some shadow. We're going to wet that region, not all the white areas, just here, right where we have that huge whiteness. Wet that region. Now, what I'm going to do is I'm going to take my violet paint and I will drop it into other places. It was huge. Anyway, so create gaps and add in the violet stroke. You can see, now, it doesn't look as though it's too white. I'll take my gray shade as well, so mixing my lavender and my raw sienna together, I've created a nice gray shade, and I will add this as well randomly on the top. I need a more better gray shade. If you want, you can go ahead and start using your normal gray shade itself like Payne's gray. But I prefer to have it in this method because in this way, some of them will be lavender strokes and some of them will contribute as the light as well. There. I really love the way it has turned out. Now, let's finish off by adding some beautiful white paint. Here, I've taken my white paint. Now, I'll add more and I'll make sure that my brushstrokes are dry. I'll dry my brush, and that's good. Now, when I apply on the top, you can see the underlying strokes will act as the shadow region. Just similar here as well. I'm happy with that one. Then just going to add some form to the bottom region. But there are the harsh lines of the masking fluid because that's what I'm trying to get rid of. I won't apply too much, just a little. I really love the way all of this has turned out. I'm really happy. I'm happy with the way this has turned out. Now, I'm just going to go ahead and soften the edge of some of these strokes, so that it's not that purely white. It's the form in the water. I'm just going to apply some water and move my pigment around, so not be purely white, that's it. I think that's enough. Here you go. How is this? I love the way this splash on the rock is. Let's finish off by signing our painting. I'm going to take my cadmium red and sign my painting. There you go. I just love the way the shadow and these splashes on the rock area. I hope you like it too. There you go. Here is the finished painting. I hope you like it. Thank you for joining me today. 54. Day 20 - Techniques and Exercises: [MUSIC] Welcome to Day 20. This here is the painting that we're going to do today. This is probably the simplest of painting since day one, because it's just basically a lot of colors and the waves that we practiced in day one. But just using different colors, I wanted to bring in a sunset ocean to this class, so that is why this is here. I should have probably added it in the first few days, but I wanted you all to get the concept of painting different oceanscapes and seascapes before we move on to the sunset ones. I'm not saying all of if it is going to be sunsets, no. This is just one of the few. It's very simple, so I'm not going to include any techniques for this one because there isn't any. There is no point in repeating the same process in the class exercise, and I haven't used any masking fluid as well so there is no point in showing you how to use without the masking fluid also. No techniques part for this, but just we'll have a look at the color combinations which are very important and understand the picture. Here is the light and as you can see the center pushing here is where the light is being reflected, and because the region where the light reflects needs to be lighter, we've added orange. And the rest of the areas, the rest of the waves are with a Doppler tool. I've used Payne's gray on top of my yellow, and as you can see, the Payne's gray has mixed with my yellow to create a slightly dark greenish tone, which is ideal because it depicts the green color of the ocean as well. But just in the subset version of it. All right? We'll have the sun and the sky, and the waves, that's it. The techniques are just the same. The same triangular strokes, the ways that we practiced and all of that. Let us see the colors and the color combinations, which are important. The main colors I have used for this class project is Indian yellow PY150, transparent orange, that is PO71, quin violet rose PV19, the violet which is PV3, and my Payne's gray, I'm not going to state out [inaudible] of Payne's gray mainly because it might be different in different brands. But mostly what we need to look for is to have a blue pigment in the Payne's gray. That is because, remember I just said that your Payne's gray is going to mix with that yellow to form a darkish green, and this dark green is mainly because of the blue pigment in the Payne's gray. My Payne's gray is from White Nights and it's PBQ7, PB15, and PV23. Do you see that? The PB15, which is obviously the pale of blue, that is what creates this Doc sheet. I know that many of you may not have Payne's gray, but don't worry, you can mix your black as well. Mostly black also has a greenish tone to it when you mix it with yellow. Unless it's a very pure pigments such as lunar black, but don't worry, it doesn't need to have that greenish tone. That's not absolutely necessary, it's just optional and just an add-on. Let us have a look at the colors more closely because I want to show you the color combinations that we're doing. We start with Indian yellow. That's Indian yellow. As you can see, it's a very beautiful bright yellow color. It can also be transparent yellow or any yellow color that you have, but it's better that the yellow is warmer rather than cold. When I say warm, it tends more towards orange and the red rather than blue or green, and when I say that, it's lemon yellow is the colder version of it. I'll just quickly show you the difference so that you understand. You see that's lemon yellow and as you can see, this is colder, it's a cool yellow and it tends more towards blue or green and slightly bluish. Don't use a cool yellow at all because we need to depict the sun which is warm and hence any warm yellow. I know that many of you may be using basic palette and may not have a warm yellow and a cool yellow versions, and possibly all you have is a lemon yellow, but maybe we can fixed that, let me see. Here's my lemon yellow. What happens if I mix a little bit of orange to it? A little bit of orange to lemon yellow. See, I've made it warmer. This is just one option that you can do to make it warmer, just like the Indian yellow, but if you have a warm yellow, that's what you should use. Even cadmium yellow should suffice, I guess, but it's still not as warm as the Indian yellow so even your cadmium yellow, if you were to mix it up with orange, I think that should be fine. That's too much. Yeah, see. I've made it warmer. This a one option that you can do. Unless you don't have a warmer version of the yellow, you can just go ahead and mix it with a slight amount of orange and you can see what happens. Then the next color we're going for is obviously the orange itself. The reason why I said that we need our yellow to be warmer is because we need that transition between the Indian yellow and the orange. Can you see? As soon as I add in my Indian yellow to my orange, we get a slightly golden color in-between, and we need that to depict the golden hour, the golden part of the sun or there is a direct color that you can use, which is basically Indian gold and you can see that's what is here, the Indian gold. But I would advise not using Indian gold itself, but rather use orange because you anyways get the mixture and you need to show the orange in certain places in the painting. Like here in these regions, you'd need it to be orange. Then another color that I'm using is my quin rose or PV19. With PV19 in White Nights is quinacridone violet rose, not quinacridone rose. I know I always say quin rose, but the quin violet rose is the exact one that I'm using. It's not quin rose because I guess quin rose is a different pigment and not quinacridone violet rose. I think quin rose this more vibrant and quinacridone violet rose is what we need. This rose shade. The beauty of this rose is obviously, if you know color theory, if you just mix your rose with yellow, you create vibrant oranges and vibrant reds. Case, if I'm going to mix more of my pink, can you see? It creates a very vibrant red and the reason is obviously because we are mixing colors that are biased towards the same, and it creates a very vibrant color. So quin rose. I know that many of you may not have quin rose, but here, the rose is not of much importance as the yellow is, so any rose should suffice. Then the next color I use is violet. Here also any violet is sufficient. The violet, what I do mainly is I mix it up with my rose and I create a purple shade like that. That is their use of this violet shade. See, you can create a mix of your rose and it mixes up with a violet to create a beautiful purple shade. This is the color combination and then this purple shade that you just created, let me clear that again. There is that well-polish shade, but when it adds on top of a yellow, it creates a different brownish tone. Can you see that? This is what we want to achieve on the paper, but obviously, if you are mixing up your pink along in that corner there, it will avoid the creation of that dark brown color. See that? This is what we are trying to do. Then obviously the next color that we have used is Payne's gray. That's Payne's gray and you can see it's very simple gray color. Very simple gray color, but what we're trying to do is to add it on top of the yellow. Let me place my yellow here so that I can quickly show you that color combination and what we're trying to do. That's my yellow and if I were to take Payne's gray, that's my Payne's gray, and I'm adding it on top of my yellow. Obviously, the Payne's gray will mix up a little bit with that yellow and create a slight dark greenish to it. Let me show it to you here on the palette as I mix my Payne's gray. Can you see it's like olive green? In case you don't have Payne's gray and you're using a black pigment, what you can do is mix a slight amount of green, or olive green to that mixture, only if you want to get that green. But I would advise against mixing that green because your waves, it's much better without the mixing effect and if you take dense pigment. The moment you start mixing your paints, it loosens up and you call it as loose. You won't be able to get set of stuck waves at the bottom. I would advise against it, just use your black pigment itself. It's not necessarily that you'd get this greenish tone. Maybe towards the top regions where you want a lighter tone, you can try, but I'm just saying these are the colors that I'm using and the method that I have adopted. Basically, that's it. We've looked at the colors in detail today because I wanted to tell you the importance of the warm yellow that we're using. Now the only two brushes that I have used in the class project is my Silver Kolinsky size eight and size four brushes. It's basically almost exactly the same as the Black Velvet ones that I use. I just like this one a bit more that's why I use it, but it's totally optional. You don't need the same brushes that I'm using always, remember that. This is a natural hair brush, so any natural hair brushes would suffice. But if you want to add in a bit more detail on the waves, that is, you are not able to control the amount of water that you're using on your brush, then you can switch to your synthetic brush. Basically, the whole painting with just two brushes, that's it. If you're happy with the discussion of the colors and the brushes, let us go ahead and paint today's beautiful and simple class project. 55. Day 20 - Sunset Ocean: Let us start. We'll start by, of course, applying water to the backside of our paper, so let us apply, and make sure that our paper stays wet. Honestly, once you learn this technique then you'll never go back to the old one because you understand how the water stays wet, and I really love it. I think only when you really want to have those borders with the masking tape of course that's the only time you would go back to the other technique. Unless of course you don't find this satisfying at all with this on the contrary to what I believe, because you'll see how beautiful your paintings turnout, and all the difficulties that you've been having till now to give you a paper wet goes away with this method, isn't it? I really love it. So applied water to the back side now, let's turn it towards the front and apply water. Now on the front side, I have press my brush to ensure that my paper sticks to the board. [inaudible] Sometimes press my hand to get rid of any air gaps, as long as you apply to the whole of the paper, then it should stick definitely, you can just, go over your hand sometimes. Yeah, this side is fine. Now I just keep pressing along the edges and make sure that it's stuck properly. That's amazing. Now, we've applied the water. We obviously need to go ahead and absorb all the extra water. Let us do that, absorbing all the extra water, and also I'm going to tilt my paper to remove any extra water from the paper itself, anything that's accumulated. But recently I have observed that it does because I tilt my paper and remove all the water that my top region starts to dry out sooner, but as soon as I apply my stroke I get back my wetness. But for this painting, I believe that even if it's a little bit are not wet and it loses the wetness, it's absolutely fine. That's why I still bending my paper, my board, and absorbing the extra water, I believe that's enough. Let me just join up that bottom part where the water had gone. This painting is going to be my favorite because I'm going to use my color, which is Indian yellow, of course, I rarely get to use that for my ocean paintings, which is why sometimes when I'm showing you the techniques I use my plain yellow because I love this color, it's just my absolute favorite, so we'll have the sun here. Again, remember, one by third of the paper is very important. Mixing my yellow nicely on my palette, and the sun is going to be there, so I make my circular stroke. Yeah, that's fine, so that's where my sun is going to be. For this one, I believe I'm going to use my transparent colors. Now, I have taken a bit of my orange, and I like that, so my orange start from the very bottom, and I want my orange to be at that. That's where I want my orange to be. I wanted to blend together, so here I'm taking my yellow again, lending it along with the orange and the sun area. That other shades that we added is for the area surrounding the sun, but as we move towards the top, we want it to blend and create nice colors, there. Now, towards the top, I'll possibly add in a little bit of purple, so for that, I'm going to mix my purple, so I pick my quin rose, and I'll mix in my white at itself, so that I get a lighter purple shade. You could also mix your rose with blue, it'll be a much better purple I suppose, but I think I want to stick to this color today. Obviously, I wanted to mix together with my yellow and it's going to possibly create like a brownish stone, at that point where it meets, so pink. Then I use that and blend, and as you can see, the area of where I'm blending, it makes a brownish stone, and it's fine. Adjust the whole thing. Now I'll go back to my yellow and showing, so that we get that color. It's not ideally the violet that I want at the top, but like a combination after you mix it with a nice warm yellow tone. We'll just leave that violet only at the very tip end, the rest of the areas we blend it and all without beautiful yellow shade. You can see how this method is so convenient even for the mixing part, because you see how it turns out it mixes up well, so nicely. Let's move down, we have add orange and add more orange. Think a bit of yellow blended. Then back to my orange and adding on the paper. Now I've added orange. Now we are creating the reflection. I'm going to go back to adding my yellow at the bottom. We're creating an exact reflection area, so I've blended with my yellow itself, I'll probably bring down my orange a bit more, but first, let's now go ahead and start applying a yellow tone , it's very important. This one probably is very important lesson as well because we learn a lot about transparency and using the underlying colors for our advantage. Keeping on applying. As you can see I'm taking a really concentrated amount of pigment, that is how you can make your painting really vibrant, and it's really important that we create vibrant painting, isn't it? I didn't initially plan on including this sunset painting, but somehow I got a lot of messages when I announced my aqua class that if I'm going to do it I should make a sunset painting. You're probably thinking why we're not adding the rows at the bottom, because that's going to be masked out by the waves, so there's no point adding the rows shade at the bottom. But maybe we can add a little amount so that it can shine through some of the waves maybe. Let's see. I'll probably add just a teeny tiny amount. So that's hues and my violet mixed together, and we add that on top of the yellow. We want to keep that center portion light because that's where the light is. I don't know. Whenever I draw paintings like this my light turns out to be somewhere off from the center, it never ends up in center area itself. I'll go back to taking a little bit more orange, and I'll start mending it onto yellow. Like I said, now I'm bringing the orange down, but not in all of the places just in the edges because the center portion needs to be lighter. I'm really happy with the way this has turned out. I like the background a lot. What I'll probably do is I'll go ahead and absorb the extra water from the sides so that I prevent those bleeps. Done, I have absorbed the extra water. We're done blending, and we've created a very beautiful background. Now we'll go ahead and start painting the foreground. For painting the foreground, I believe I'm going to start from the bottom because I'd like my top region to dry out a little bit so that when I add in the final wave it will be softer but not too soft so as to create a lot of hairs. Let's see how it ends up. My paper might still be too wet and it might end up creating a lot of hairs who knows. I'm taking my Payne's gray here. This is Payne's gray from White Nights, and I'm going to use that for creating the waves. Because the Payne's gray has got blue pigment in it, it's probably going to create some greenish tones when you mix it with the yellow, and it's fine because it's water, it's not like the sky where you can't get any clean tones, so it's absolutely fine to get some green tones. Let's see if it does, I'm not sure. I'm going to start at the bottom and make a wave. Not that bad, it's created some tiny greenish on. Can you see like a hint of olive green tone there, and you can see on my palette here. How do I show you too closely? I can see the greenish tones actually, so that's one wave. I need to create a beautiful wave there. I'll take more Payne's gray and we're going to keep adding our waves, so now I'll keep a gap and I am going to create my next wave. I'm going to create like a baby sheep here. Remember, I keep telling you that the movement of your brush matters, and when we were painting this surface waves we did such strokes where we made the movements to depict the movement of the water, so this is what we're going to do here. We added a nice view there and keep adding, and I'll add some tiny waves some lines. Let's see if I add more wavy shapes, and then I'll add some wave here. You can see I'm leaving a tiny gap in-between when I'm creating these waves. Now I move on to adding smaller waves, and the triangular shapes. Obviously, towards the top our waves need to be smaller and possibly darker. Darker here because it's further away, and you don't see any of the form and the light area. A lot of those waves. We need to create the edge of our paintings soon but let's keep going first. I'll add those waves shapes and possibly our less detailed and straight lines and now towards the region where the sun is I'll add in some red shade maybe. It's already got some orange tones there so I'm taking my Queen Rose and I'll mix it with yellow to create a red shade, so there and a bit of yellow and Queen Rose will give me a beautiful red shade. That beautiful red shade, I'll use that to create some waves here. There is the Queen Rose then yellow. That's much better red and I'll use that to create some of the wavy shapes, and blend that along with your Payne's gray. See how gorgeous this is looking. Don't worry it will look beautiful at the end, trust me. Now, I think we'll go and try and create the border of our ocean area. The border is going to be right where the sun is ending, so orange or red towards the end then I'll take orange for the extreme center area. Mix it with some nice red then we'll go back to the Payne's gray for the right side. I'm starting from there. That's the edge of the Payne's gray ones and will blend it along. Here as well, we need to create the edge of our water. I'm creating random ones because to depict the waves in the water. Now, taking Payne's gray, we'll go ahead and blend the thing and blend my red shade along with the Payne's gray so that creates a darker shade which I can use along with my Payne's gray here so that it looks natural, the blend that we're creating. You can see I'm blending out the color onto that region, the wave. Now I'll go ahead and add more darker tones for each of the wave regions. Make sure that you take care of the water control. It's very important that you manage the water control. Not too much darker tones towards the center. Just lighter tones, you can see I'm just moving my brush in a very lighter manner at certain areas to bring in that Payne's gray towards the center. Once you've done that, you can go ahead and start adding your darker tones onto the waves that we've already added, because as you can see, the bottom part has turned really light and you need it to be darker. All of these yellow shining through is the area of the sun being reflected. I'm going over each of my previous stroke to make it darker now. As you can see, I'm using a darker Payne's gray pigment. We can see how it's creating the beautiful wave effect. It needs to be extremely darker towards the bottom, so go with a very concentrated pigment towards the extreme bottom side. I'm taking darker pigment again and darkening some of these waves because I want to depict to the wave movement. Can you see, as soon as I add it on the top, I get these line like strokes which is what I want. I'm want to depict the wave movement in additional to the other wavy movement that I already have on the paper. I believe it's good now. Let us do one thing. I'm just going to use a flat brush or a synthetic brush. Make sure that it's dry and let's soften out the edge here and get rid of those hairs that's formed. All you need to do is just run along the edge and soften it so that any hairs or anything that's formed will go. There, now we've created a nice flat edge, isn't it? I'm going to take a little bit more Payne's gray and add it, especially towards here in the center, because I feel this is not the center, this is the underside of the sun so possibly this area here needs a little bit more darker tones. There's something I'd like to do because I believe that the bottom part is supposed to be a little bit more orangish and it's too yellow possibly, so I'll take my orange and I'll just run through the middle portions. Just the part where the yellow is shining through. I think that's much better, isn't it? When the orange is seen rather than the yellow. We are able to do all of this just because our paper is still wet and I cannot stress that fact enough and it's mainly because of the applying the water on both sides, which is really magical technique in my eyes. I cannot get over painting this technique once I discovered it and it's been a while since I discovered it and just imagine all my other Skillshare classes, I wanted to introduce this method in the aqua class, so we've been waiting all this while. You can just imagine. Also, I just realized, running my brush along the edge of each of these strokes also makes sure that, you see this hairs at the edge of the waves, I think I can soften out those hairs when I run my brush along the edge. This is actually helping us in a twofold way to help get rid of those hairs as well as to add in that orange. I believe that as soon as I add my orange, this is much better now. Earlier on it was looking a little bit odd with the yellow and I know why that is because the yellow was mixing in with the blue in the Payne's Gray pigment, and it was creating slightly greenish tones even in the areas where I had not painted. It wasn't providing that contrast between the warm, then the coolness in the painting. I believe now we rectify that situation by adding the orange in-between. This is much better and also, just because we're running our brush along the edges and with more orange, we're getting rid of the hairs and our edges are becoming much more softer. I think this is really good I'm happy. Now, I just want to darken up the bottom because I still feel this is lighter, so I'll take more Payne's Gray. Maybe if you're not getting it as dark as this, you can use black but I like to refrain from using black mostly in my paintings. Not bad. Let's take some more pigment. I'm adding hair on the top. I love how I'm still able to blend these, you just have to note that you take care of the water control on your brush, don't put a lot of water because remember in the last day's painting where we dropped in water to move the pigment, so it all depends upon the water that is there on your brush, so be very careful. Once you start painting any practice you will understand all about water control, how much water is there, and how much water is needed on your brush and these things. I believe we're good to go, we have depicted the sun, we have depicted the waves, now all we have to do is wait for this whole thing to dry so that we can add in a little bit of white to the [inaudible] we could've used masking fluid, but this is such a simple painting and I wanted to refrain from using masking fluid, which is why I didn't. Let me wipe off the edges because the moment I start to dry these water droplets might flow back into my paper and create [inaudible] at the edges, which is what I want to prevent. It's good now, I believe. Let us go ahead and dry this up. Here our paper is now completely dry, so I'm just going to add in some light effects, so we could have left masking fluid mark for this but since I didn't use the masking fluid, we're going to have to add white and make sure that it's purely white. Take that in a [inaudible] stock dark consistency without any impurities, without any other color tone because we need it to be white itself and probably we have to apply multiple tones in order to get it to be perfect, so the center of the sun. Let's move it towards the bottom and somewhere along the center, I'd like to add in that little white spot. Possibly there, a little white spot. Not a lot just a teeny-tiny amount and we're not just adding the sun drops, we are adding some dots at this moment, dots and some lines. I know that this is going to turn lighter as soon as it dries up, so I'm going to go over it and I think I'll add in a little bit of yellow as well mixed with my Indian yellow and just going to add some nice yellow strokes again next to it. I know that if this is not probably going to be visible at all because it's a transparent yellow, but at least I'll have those reflections, dry strokes next to it. If you want it to show up, then you probably have to use a cadmium yellow and I'm really afraid to add cadmium yellow onto the top of this and ruin this whole thing. But I believe that these dry strokes are much better. See the dry strokes that I [inaudible] contributing along with the white paint? It's going to dry out and possibly not be visible at all, but I like the way it is now, so I think I'll just use that method. Just a little of those lines. We're actually done, so let us go ahead and signing our painting, I'll go ahead with my cadmium red. All dried. Here I have signed my painting as well and this here is the beauty that we painted today, here is the finished final painting. I hope you like it and thank you for joining me today. 56. Day 21 - Techniques and Exercises: Welcome to Day 21. So this here, is the painting that we are going to do today. As you can see, there is a lot of things on the paper and it might seem difficult, but it is not, trust me. It's a Koi fish in a pond or a water body. You've got a lot of reflections and just part of the fish scene and all of that. But it's very easy, trust me. So we will have a look at the techniques to paint this one first. So here I've got my small paper surface ready. What we're going to do is we're going to trace out a small fish. So we'll do a single one for the glass exercise so that you are familiar with the technique, that is the concept of how to paint the fish and the water surrounding it. Then we'll move on to the glass project. Let's see, we start here. So I'm going to start with the mouth of the fish. So if you've seen Koi fishes in a pond, they usually have this big round mouth. You can refer to photographs of Koi fishes. So I have practiced this a lot of times, so I'm actually very familiar with how to draw a Koi fish. So I'm just doing this from my memory actually. So this is the mouth of the fish and then that's the body. So I'm going to extend the body all the way such that it's something until there possibly. Then here the underside, that is, this is again. Now this part here was the mouth, now let's create the body. So we need to create that round shape of the body. So if you put a gill over there, then it'll be like the fish itself. That is the body. If I cover up that body and then the tail. But this is looking weird, isn't it? So we definitely need to add in the fins. So if you add in the fins, something like that and also on the other side. The other side, if you look there, it should be there considering the exact opposite side. Because it's flapping in the water, there is this movement in the water we can actually draw it in different styles. So I'm possibly going to do it something of that sort. That's the fin. Where is the second part? That's the second part. That's the fish in the water. That's all. Wait we need to add the eyes so the eyes. This is the head portion of the fish so the eyes would be somewhere around here. There. The other eyes, if you go to the exact opposite side, somewhere there, not visible. You can't see the full eyes but just a little portion of it. Now it looks like a fish. So that's the pencil sketch. Now we need to get to painting this one. So let's do that. So I'm going to turn my paper around so that we can apply water to the backside. I will apply water to the backside so that I soak the paper surface with enough water. Just going at it multiple times as usual so that my paper gets enough time to soak that water in. So now I turn my paper and place it in the center somewhere. Now let's apply water to the front side as well. So I'm going to skip the fish for now. Always when we are applying the water, I've told you we have to apply to the whole surface. Otherwise, the paper will not be soaked in a uniform manner and you won't be able to work better. The only thing we can do is to apply the water to the whole of the paper. You could mask out the fish but since I haven't used masking fluid for the project why would I use it for the exercise? Let's just go and apply water to the whole surface. Then what we'll do is we'll absorb some part from the top of the fish so that the water doesn't get on top of it. So here, I've absorbed now let me take off all the extra water from the sides as usual. So let me tilt my paper as well so that any extra water can flow down and I can absorb that with my cloth. Just giving it a bit of time so that the water will still flow down because we only need a sheen of water on the paper, we don't want it to be soaking wet. I believe that's good now. Now what we're going to do is in order to prevent the water flowing onto the fish, we have to absorb some of the water from the top of the fish. Just use your tissue or your cloth, and because it's allowed the surface, it's quite easy. Absorb all the water from the top of the fish. This will prevent any paint to flow into the fish, even the top of the fin. Make sure you remove that because we'd like to keep the fin as slightly white, so absorb that. I'm going to use different surface of my cloth because at some point, it gets soaked so wet that it might not be absorbing any more water. I believe that's good now, so let us start. What we're going to do is we're going to start with our bright blue, the Phthalo blue, of course. As usual, we're going to put it onto the paper. We're going to make a random strokes all around. Here you can see I'm making some circular strokes and circular stroke such that I follow in a circle around the fish. It's absolutely optional in which direction you do, but for this one, I'm doing it this way. I'm pretty sure that you're confident with strokes now, that's not something that you're worried about. Let's get going. You can see how I'm adding my strokes. I will leave some white gaps in-between. I don't want the whole thing to be with the blue itself. This is the first color that we're putting on, so let's just add. We will add to this side as well. I think we've put enough blue in there now, let's go ahead and put some other colors. The other colors, this is because it's a pond. Basically, I am going to start with my olive green. We're going to put that on the paper. We're going to put it in the areas in between. Basically, in reality, the colors will not be well-blend in the pond, but what we're trying to do is we're trying to make it as a painting. What I mean to say is that is my style, I don't like my paintings to look too original, or too exactly like the picture because I feel that I think I've said this before, I want my paintings to look painting, to understand that it's a painting, rather than looking natural or real. This is something that I didn't know, that's what I prefer. That's why I try to accentuate or make my things more vibrant, add more colors. That's what I usually do. I am using my olive green. I'm going to go down to this time now, I'll go around the fin. This is closer to the fish, I'm adding this color and as you can see, our colors are getting lighter. I will add more depth and more darker colors using that. These colors in the pond are basically because of some other tree or a plant that is there in-between and is creating the reflection. As you can see, when I mix it with the Phthalo blue, you get a darker green. We just want basically a huge mix of colors. We got to do the top side as well. I'm going for the top side now. We're finished with the top side, but I want to add more colors obviously, so I'll take more blue. I am going to continue on this side just to bring in more colors onto our paper and also towards the edges. I want it to be more dark and vibrant as you can see, it's turned out very light. Obviously, we have to add darker colors. Here I'm taking my dark Phthalo blue color and I'm adding it to the areas in between. As you can see, the olive green has started to fade out, but we'll add more effect. That's how you bring the color forward. I'm taking more olive green now. As soon as I add it, it's now turning to be more vibrant. In areas where it's mixing up with the blue, that's fine. Let it mix. That's actually what we want. We want to create that gorgeous mix on the paper. I'm not reserving myself to not mixing, I'm unleashing the color onto the paper. Let it mix, let it create gorgeous mixes. You can see I'm running over my brush so that it doesn't look like patches of olive green. We don't want that. We want it to be like a nice, beautiful blend on the paper. I do really like how I've drawn, how it's turned out. A beautiful combination, the color. Now I believe, if we wait for this to dry, we can add in the fish and the detail on the top. This was the background. I've dried it up. Let us find the fish first and then we'll add the water ripples. Painting the fish. I'm going to start with my nice yellow color. That's my Indian yellow. You start with the body of the fish. I'm going with a nice yellow color. Mind it, I've already tried the top portion. I haven't tried the underside of the picture, okay? Only the top portion. If you're drying it naturally just at your paper and see if it's still cold. If it's still cold, that means obviously that it's still wet. But as soon as it stops feeling cold, then that means it's dry. First, we'll add a nice coat of yellow onto the whole of the fish before we add in any deals. That's a bright yellow color on the fresh. Now we'll go ahead and start adding details. For adding the details, I am going to take my orange. I think I'll switch to my smallest size brush for adding the details on the top. I'm taking my Size 4. We'll start. I'm going to start applying my orange on the top of the fish. We leave certain areas as yellow itself, so just add the orange at random places but at the top I think I will definitely add all orange. They're covering up the top portion with orange itself. Remember, we're trying to provide a nice depth to our fish. It needs to look rounded, so for that we need to make sure that our strokes make it look rounded. For that what we're going to do is here you can see how I'm applying my orange. I will apply it in a curved stroke like this. This curviness will help to make it look like the rounded shape of the fish. Can you already see as soon as I'm applying these curved strokes, the fish has now a rounded shape. That's how you do it, and obviously this region here let's leave it as lighter yellow. The top portion will have the depth for the orange, so I'm taking more orange and I'm adding on the top. See. Now we need to add some darker spots on the fish. If you've seen Koi fishes they have this dark brown spot, so for that I'm going to take my brown but we need dense pigment. Here I'm taking a very dark concentrated amount of brown. I think I'll mix a little bit of sepia in paint scraping so that I create sepia. Here that's a very dark and dense brown, and you can see the consistency of the paint. It's dry, which means it's concentrated. I don't want water and the reason is this, as soon as I touch it on the paper you see it's not spreading. If there was a lot of water, it would spread which I don't want. I don't want it to be spreading, so that's the reason why I took dense paint. We are applying such random strokes onto the top of the fish from the edge. Again, try to follow a small curve when you're doing that. As you see towards the bottom here my strokes are lighter so I'm not pressing my brush to get that dark stroke. Rather I'm just using the tip of my brush to release the color slowly because I want those areas to be slightly lighter brown. If you press your brush more then you get a darker color, and if you start to release it slowly then your color will be released slowly from your brush. It all depends upon the pressure that you're using on your hand. See we've added some nice strokes. What do we do now? Let's paint the fins. For painting the fins I'm going to go with a raw sienna and I'm going to add, but as you see I added the color to one side. The other side I'm going to take a very lighter tone of this olive green, but see how light I applied literally a lot of water into my mix and this is how light it is. It should be as light as white, so there, and I will use that to blend into my raw sienna. What this green is, it creates the effect of transparency for the fin of your fish. One end, the raw sienna. Let me explain that again, a raw sienna on one end. I'm taking that very lighter tone of olive green, and I explain why olive green in a moment. As you can see there is a very light tint of that olive green. Olive green because the water area in that region has olive green. If you want the fin to be transparent and slightly whitish, you apply a very lighter tone of that olive green on to that fin region. We don't want it to be purely white at the paper but we want it to reflect the underside, that is the colors of the water around because it's transparent. The fin it's got a transparent white sheet. Let's do the same for the one on the left. It's got nice yellow ocher color. The yellow ocher is just the thicker part of the fin, then as it loses and becomes transparent we move on to adding the dirty olive green or the light olive green color. It's got that touch of olive green. Don't mind we'll add more depth to the background to create reflection, then it'll be more nice. We got to do with the tail as well. Here, I'm going to create these lines and olive green. Again, blend it out. Here what I'm going to do is, I'm going to place a little bluish tone so that again it reflects the color of the water beneath. Just a touch. You see that? Then we still have the mouth of the fish to do. So for that I'm going to take my yellow and add but I want to leave the top portion white but blend it along, so I'm going to take my yellow and move my pigment there. The inside has to be dark of course, so I'll pick Payne's gray. Nice and wonderful Payne's gray. I'll paint the inside because it's the inside part of the mouth. That's looking good, isn't it? Let me see if this region is dry or not. It's not dry, so I'll wait before I can add in the eyes. That's the mouth portion added. Now, let's go ahead and paint the reflections in the water. For adding the reflections in water I'm going to shift to a nice dark color, so we are going to take infantry blue here and possibly I'll mix it with indigo. Here in the reflection we are going to go for a multi-color reflection in our painting, so somewhere I'll take indigo, somewhere I'll use green. Here's my green on my palette; my dark green there, and somewhere I'll use indigo. I don't mind creating a mixture out of both of them as well, so it can be blueish, it can be greenish, or it can be bluish-green. We're going to do wet on dry strokes. There. Let us start. We are going to create beautiful reflections. It's basically creating these round strokes around the fish and leaving gaps of olive green and the blue background. Closer to the fish we can have lighter tones, so I'm using the tip of my brush and creating these ripple strokes. These are reflection; not the reflection of the fish, but some other object that's there on top of the water. Let's add that. Just going and creating some random strokes and we've covered up. I think I will go ahead and cover up the region in between the fins. I know it's spreading on top of the fins, that's fine. Actually that'll create a beautiful fin but we can't let it spread too much, so we definitely need to absorb it but we'll do that soon. First, let's get to finish adding the reflection in that region. I'm going to use my brush to soften that out. Now when you soften it, you'll get a beautiful edge to it because you'll get the reflection of that part as well. This is the reason why I left it lighter. Now you have a touch of olive green as well as the background reflection color. Here take your brush, and go and soften out the fin region, and the middle portion obviously needs to be darker. Let's keep going. Now towards the top, I believe I will go with a nice dark green color. On the paper it might not be visible, but when it dries out it will be. Taking my green again. I'm going to go on the top. You might be wondering why I had all those blue and the olive green at the background then. That is because trust me, when this dries out, it will not be the same as just adding green on the top and having that underlying color. That's how actually watercolors work as well. You always have to give that transparency effect to watercolors. Going on top of the fish, laying that darker tone of green there. You can leave some areas as having the blue effect. Here I'm going to go in between the gaps of the fin. There you can already see how this is turning out beautiful, isn't it? We need to cover up this region as well. For that region, I'll go with a mix of the blue and the green because we need to show that transition here. It's the area close to the fish. That's looking nice, isn't it? Now, I need to go and soften the edge of that fin. Because I don't want the paint to be spreading, I want to create softer edges. Now you can see that softer edge, the same for this. It's got that softer edge. Let's take our colors back again and create some smaller ripple strokes, because I just don't want to leave it as having effect strokes. I'll just add some random lines and dots at certain places and see some structures here at the end. I think that's good now. Let me see if the fish is dry. It's almost dry. If I take a dense pigment, I will be able to add the eyes, so that's Payne's gray. Taking that, I will add onto the eyes. Here, that the eye, one of them, and that's the other one. See, as soon as you add the eyes, it's looking so beautiful, isn't it? It's got that unique touch to it. Now the only thing missing is to add the transparency that makes it looks like that it's inside the water. But for that, we have to wait for everything to dry out. It's dried now. I'm going to add that transparent effect. For that, I am going to take my white paint, but I need that white paint to be in a diluted effect. Here I'm going to dilute it on my palette. A lot of water in your brush, that is how you will dilute it. We're going to add this diluted stroke onto the top of the fish. Trust me, after it dries out it will make more sense. I'm adding it onto the water. It will dry out, don't worry. But add these white strokes onto the water region starting from the top of the fish. Let's say this whole part is underwater. I'm going to create some ripple strokes with the white. Then onto the fin as well. Let me go with more blue now. The dark blue that we applied and we can slowly add it into that white and blend it. You'll see that you get a nice blend of the white and the blue. You see that mixture there. It's going to be an opaque mixture. You could mix that in your palette as well, but I wanted to show you how you do it on the paper. Let me pick up indigo paint again, and I'm adding. I've created a beautiful mixture there. I'm going take a bit more and add, especially in the areas in-between. When you add to the area in-between, that brings out the fin. Let's blend the color here, blend that white and indigo tone. Tone go all the way there. Towards the edge of the fish, we needed to be white itself. I think that's good. We can go back with a bit more white if you feel that you've taken all of your indigo out. Now, see I'm going to take a little bit of my indigo onto the top of my fish. Not a lot, just a teeny-tiny amount. We give transparency effect, the water has because of the fish in it. Very careful not to spread out the indigo into both the edges and the white to this, so we got to wash our brush each time or pick up effect paint. Ensure the light acting. I believe that's good now. Now, we just have to add in a little detail for the edge of the fish. Now I'll take my dense white paint. Add some whiter areas. You can add some whiter areas on the top of the fish like on the top of the eyes, I wanted to add in a little bit of white, and maybe like little streaks on top of the fin, will depict more of the transparency. You can use a liner brush for this purpose, I'm just going with my Size 4 itself because I am comfortable in using that. But if you're not, you can use a liner brush. Then the main thing is the mouth. If you've observed any Koi fish it has these tentacle kind of things sticking out from its mouth? I don't know the names. I need a nice sharp edge. I think I'll switch to an even smaller size brush. This is proving to be very difficult so I'm switching to my Size 2, the dark velvet one. I'll take my white paint. See. Some nice effects. Let me add some more white to the front region so here and I'm adding my white again and I will add some white on to the top here just like we did, and probably instead of taking more color, I'll try to blend it in using my water. Because it's watercolors, you could just blend right away. See that it blend in. That's good. It depicts the flow of water or the little amount of water on the top of the fish. If we add some white marks in the water it'll easily depict the whiteness and the transparency of the water. Like I always say, look at your painting, try to adjust it, and see what's missing around. I wanted to give it a little bit of transparency effect just like on the fish so if I add some white on top of this olive green area, that'll make it more believable. Oh, that's why there's that white area on the fish, which is the transparency of the water. There, I think that's good. Take a taint of orange, we just need to go that one step overboard into adding, so here, just add a tint of orange into that line, and then I'll use my white paint to blend that into that tentacle. I believe we're good to go. There are a lot of ways to paint Koi fishes in a pond, so this is just one of them. Here it is let's try this out. Here is the exercise so this is somewhat a similar process that we will do for the glass project. But for the glass project, obviously, there are a lot more fishes and a lot of small lines and reflections like this, but the basic concept is just the same, applying the initial colors first, that is the Phthalo blue, the Phthalo green. Some olive green and some green shades and then adding the fish on the top. I think I do attempt to paint one of the fishes on wet method that would give it a nice effect that it's under the water as well. That's another method to do it. But I believe you can just go with this method of painting rather than doing the other one, so I hope you like it. Let's now look at the colors that we need for the glass project. The colors we need to basically are Phthalo blue or the bright blue for the background, so we will discuss the background at first, and it's going to be bright blue or Phthalo blue, which is PB15, then a bit of olive green. I've already discussed many times as to how you can mix your olive green, my olive green is PG17, PY1, and PBk7. But you can easily mix in olive green by mixing your brown and green together, so olive green, then green. This green that I have is from White Nights and it's a very beautiful green. I really love it because it's a dark green. I have not seen this pigment in any other brands. This is PG8 and that's completely different. PG7 is a Phthalo green that we know but this is PG8 and it's a very dark and vibrant and beautiful dark green. I know that many of you may not be having this dark green and I have a solution for you. You can use your sap green or any green that you have and mix it with indigo or black and you'll get it as dark as this. But in this project, it's not necessary to have this green. All we need is a green shade. You can also mix your sap green because as you can see, I've used a lighter shade of this green here, and hence, you don't need that dark green itself. Then we have used transparent brown so I think I've mixed my olive green with a little bit more brown to make it a bit more brownish-green rather than just the olive green color, so transparent brown or burnt umber. I say transparent brown usually because this is the brown that I use. This is from Sennelier and it is transparent. You can see the square. The empty square it is transparent. That is why I referred to as transparent brown usually that's what comes into my head. But what we need is basically just a brown color so you can use burnt umber, sepia, or just any brown color that we have. Not burnt sienna, so burnt sienna is completely different from burnt umber or the browns that we usually have. We need a darker brown, not the rocky burnt sienna. Then we also use transparent orange, Indian yellow. These are for the fishes. The Indian yellow is PY150 and transparent orange is PO71. These are the two colors that I've used for painting the fish. You can see these fishes, it's where the orange, yellow, and some brown on the top so that's also where I have used my transparent brown for the details on top of the fishes. Then comes the reflections on the top so they're blue lines and the reflections on the top, I have painted it using my Phthalo turquoise. I forgot to mention the Indian green blue for the background also, so you see some blue spots here, dark blue spots. That has been with the indanthrene blue, PB60. All you need is a lighter blue and a darker blue so you can use different versions of your blue to paint the background, and there is no hard-fast rule as to how you should paint that background. It's just a blend of different colors that I put in and then you watch the glass project you will understand that. For the background, I have used a mix of Phthalo turquoise and indigo and Payne's gray also for certain areas like the details on top of the fish here and possibly some darker areas, so Payne's gray. These are the colors that I have used for this last project, and like I said, there is no strict rule as to use the same colors. You can shift your colors and use different ones. I can't remember if I've used a red shade here for this fish to create the depth here at the bottom so that's why I didn't mention it, but as I think of it now, maybe there's a red shade here. Just keep your red paint handy, and if at all I haven't used and you're unable to get this darker edge with your orange, you can add a little bit of red to your orange to create a depth on this side so that it gives the shape of the fish. Now the brushes that I have used are my Kolinsky Sable, Size 8, and Size 4 brushes. Basically, my natural hair Size 8 and Size 4 and I also used a Size 2 brush, just like in the class project because I wanted to get small lines, thin lines. I've used the pointed tip of my Size 2 brush, so the Size 2 one is from the Black Velvet Series. You can use your Black Velvet Series if you have that because I believe I've seen this with many of the artists they own Black Velvet Series because it's absolutely good. Lately, I've just started liking my Kolinsky Sable and I like how my strokes end up, and can you see the beautiful pointed tip? That's why I have started using these but the Black Velvet Series is just as good, and obviously, any brush that you own is just as good. There is no strict rule that you should use one set of brushes, remember that. There is no masking fluid or anything so we can just go ahead. If you are happy with the beautiful exercise, then we can go ahead and paint our beautiful class project. 57. Day 21 - Koi Fish in Water Part I: Let us start with our pencil sketch. We'll trace out the fishes first. We possibly have one here. This one masked out in the water area. Another one here. We don't need to draw any of these in detail because we will be having the water on it anyways. It's the tail of another one. Then another fish here. I know that these shapes doesn't make any sense, but when it comes to the end painting it will, don't worry. Another one here. It's probably going to have its mouth open like that. Here are its fin area. Almost like a flower, isn't it? Then add another one here. We only added the shapes. Now let me add some fins and some details. Here, this one and this one the fin is extended outward like that. We have a top fin like that. I don't know if I'm saying the terms correctly. Obviously, I don't know the words. This one, I'm going to correct that because it's swimming in this direction probably. Then this one is the one that is going to have it's fin like that. We can add some more here, just trace out quick lines. Let me show this to you closely for making the pencil sketch. This here is the pencil sketch. Now let's get to painting. I'm not going to do any masking fluid here at all. Let's not do that. We'll just straightaway paint for now. Let us apply water on the backside of the paper now. I'll use my flat brush and I'm going to apply water to the whole of the backside. Take your time and make sure that the water is applied nicely. Because remember, you need your paper to be soaking wet. As in you need both of the sides to be moist. That's what we mean. When I say soaking wet, that's what I mean because in the end we'll absorb all these extra water as well so just make sure. Keep going. Now I think I'll turn my paper towards the front. Let me place the paper correctly. Now let's apply water to the front side as well and stick the paper firmly on the board. As you can see I'm applying water on top of the fish as well. I'm not at all bothered that the water is going over my fishes. We're not using any masking tape either. We're just going to simply apply. I just realized a lot of water is needed in this process, isn't it? Watercolor is really expensive medium if you consider the amount of water that you apply onto the paper. Keep applying. I have applied the water. Let me now go and absorb the extra water from the sides, all around the edges of my paper. Any extra water my cloth will absorb. Obviously I'm also going to tilt my board so that any extra water would just flow down here. It was too much water that it actually flowed down onto my table here. Yes, there is a lot of water. It's quite a lot of water, isn't it? Now I have applied the water, all the water has flowed down. I'm just going to re-apply to this top edge here, but very carefully such that my water does not flow outside. Just on to the top of my paper, not going all the way towards the outside with just soaking it now, and add my brush along. How do we approach this? Colors always start with phthalo blue, isn't it? I'm going to take phthalo blue and start. Since we have not applied any masking fluid on top of our fish, we just have to be a little bit careful. We're going to go around and paint our fish region. That is fine. I'm taking my brush, and just applying my stroke just in a random manner. You can see my paper is wet. Obviously, it's wet, what am I talking? What bits to flood water onto the both sides, anyways. This method is very efficient in order to keep painting your strokes because your paper is going to stay wet for a very long time, and it's really helpful. I'll keep taking my phthalo blue and add. The water is going to be really rough because all of these fishes are jumping in and and around, so it doesn't need to be in a stagnant manner, it's a very starved water, so that's what we need to depict. Also add in some reflections of some other object, maybe. That's what I'm trying to do, so just adding. Leave a lot of these white gaps, I think it adds beauty to our paintings when in the end you have a lot of these white gaps on your painting. Let's keep going. I've applied a lot of phthalo blue there, now I'm back down. The first color, I am just putting my phthalo blue strokes onto the paper randomly at several places. Lets start here as well. But here I think I want to add in some ripples. Remember the wet on wet ripples, and I told you that it's possibly tough because your paper dries out too soon, but in this method it's maybe easy to create those ripples. Let's see. I'm going to create ripple shapes using the tip of my brush, and creating some nice ripples and you can do that as well. There will be multiple ripples in water. Obviously, the ripples are formed by some object on the water surfaces. These ripples are actually formed because of the movement of this fish, so there will be multiple ripples. That's what we're trying to add. I'll possibly add the ripples later on again with some other colors, but right now I'm just trying to bring in a lot of colors into my painting. I know I didn't take any other color yet, but we'll do it, let's fill in the phthalo blue first. Maybe some lines here. The water is very disturbed, and that's what we want to convey. Done with the phthalo blue, I'll go with the next color. I think I will take some indenting blue, so that's dark blue. I will add that on the top. You can see it's spreading along with my phthalo blue, and try to create some more ripples with my indenting blue. Obviously, I think the bottom parts are starting to dry out, so I need to be quick. But so long as I keep applying my stroke, it will not dry out, so I don't have to worry. I'm not covering all of the white areas that I have, but just some random places. Still I'm leaving a lot of white gaps. Make sure to create nice ripples. It's a lot disturbed water. But I can already see how this whole thing is going to look beautiful in the end, even though I haven't even painted the fishes or added any difficult strokes. It's just with my brush. I'm completely loose, I'm not even bothered. I will just apply, I will show you. It's completely random, just dropping my paint wherever I feel like. Creating a lot of ripples. Now I've added enough blue, but I want us to be in a [inaudible] effect. I'm going to give it a lot of olive green shades. I didn't realize you were not seeing the palette, but I believe I've taken only colors from this side, so it was visible, thank God. A lot of olive green. This is the, I said, the other day for the underwater jellyfish. I probably need to mix my olive green with brown, because the phthalo blue is going to turn this color into very vibrant green. In order to get olive green on the paper, you are probably going to have to add in a brownish shade. Right here. There is a huge gap area there. I'll mix it up, add in a little bit green as well maybe. These strokes, it could be the underwater stones or the darker effects, anything. It's just a mixture of all of these things and the water is highly disturbed because of the movement of these fishes. That's what we're trying to depict here and I'm just taking all of the colors. You can see sometimes I'm picking up a little bit of teal blue, sometimes I'm just dipping my green, sometimes olive green. There is no rule. For these paintings, I've already told you hundreds of times, I don't want you to copy me. Just try to freely create all of these on your own and ensure that the painting that you create will be so beautiful. That is what I want as well for you to learn on your own. I'm not adding these green strokes towards the top because I believe that I am going to add some detailing there on the top, some reflections so I'll probably avoid that. I'm shifting to my smaller size brush now and I'll add ripples properly. I'm taking my indenting blue and I'll mix it with teal blue so we get a nice blue shade. Now, I'm going to add in the ripples properly because I believe that the lines have sunk in, but we can do that on the top. There will be a lot of ripples obviously because the water is highly disturbed as I keep saying, and especially here is where I added the large chunk of the ripples. I add that again. I'm loving this. I'm adding more ripples. You can add more to some of them like here. This one I feel that it's turning lighter so I just add some more color. Now, I need to depict the movement along the ripples, so outside of these ripples I'll start to create movement like this ripple here and then it goes outward into a movement. I can depict that, same with here. Make it into a movement of the water, the end ripples. Now, one thing we can go ahead and start adding fish. First, I'll take my orange and I'm going to add in a tiny amount of reflection of fish there, but it's under the water so we're not seeing a lot of details. We're just only seeing part of it. Let me show you. We're only seeing it through the ripples, so in between the ripples you want to add it and that's why I added some lines there so we're not even seeing what is the detail. That's like part of a fish stay underneath. We don't need to add any details. I guess it's like there. Now, let's add the other ones. For the other one, I'll dilute the paint. I'm going to start with a diluted amount of orange paint and paint that one. I can see it's spreading so I have to be very careful towards the outside. My paper is still wet, but it's worth it, and the thin region not covering the complete fin. Now, I'll take darker orange and start adding to the front and details but not here. I will not completely add the orange as in a full picture. I'll just drop in paint randomly like that so that it looks as though it's in the water. Also, if it's spreading, use your brush to soften out the edges, very important. I think I move down again and add in a fin there. You can see my paint is spreading. Wherever my paint is spreading, I'm probably taking a little bit of my teal blue or green and just add it. That will just mix with the orange and create a differentiate. It's absolutely fine. Taking my brown, I'll start adding more dropping details onto the fish. This is like the wet-on-wet. We'll add more details with our wet-on-dry method later on. Not all the fish needs to be on the wet-on-wet method. I'm going to add a little bit of blue. You can actually go on the top of the fish also. Some of them we'll add in wet-on-wet and some of them we'll add in wet-on-dry. This one more is wet-on-wet. We want it to be shown under some more blue and creating ripple effects, maybe a little bit of olive green. I think I will paint the other fishes with the wet-on-dry method. Now, what I'm going to do is I'm going to add some reflection on the top, possibly due to some other object in the water. For adding the reflection, I am going to take a darker color which I'm going to show you. Let's take in a darker color such as teal turquoise. To my teal turquoise, let's see what happens if I add indigo. I'm just trying to find out the best dark color to use if I add in a little bit of indigo to my teal turquoise. I think that's good. I'll somewhere add in some Payne's gray as well. This is what I'll do for my reflection. I think I will add some reflection spots there. This is why I said that at the top, I won't add any details or any other colors. For indigo and somewhere, I'll add some water. I'm just going to do it enough mix. I don't want it to be a single color then somewhere I'll use light blue, somewhere I'll use indigo. Cover up the top. Like I said, it's the reflection so we need to add it just like the reflection itself. We'll add some wet-on-dry strokes later on. For now, let's stick and do the wet-on-wet. Here is too dark. Let me spread that out. Now, let's try this whole thing up, and then we can add in our fish. 58. Day 21 - Koi Fish in Water Part II: I've dried it up, so I'm now going to take my silver black velvet size full brush to add in more details through the wet-on-wet. We'll start with this fish first. This one will have that effect of spreading in water which will be beautiful of course, and you'll see how it turns out. With the wet-on-wet I'm not going to paint it as a whole, so I'll leave some gaps. See I left a little bit of the orange and also I'll create some lines on the top like that, so I'll give the effect of its like underwater and the movement of the water. This is the reason why I painted this one with the wet-on-wet, but the others I'll paint possibly in a different manner. Then I believe I want to add in a little bit of yellow to that orange region, so I'll possibly blend in a little bit of yellow not a lot. Just blended in a little yellow and then I'm just using water now to spread it. There. Maybe a little bit of yellow along the edges, then I'll use my brown to create darker strokes. Like that, some lines. Use your brush to create these darker strokes, and make sure that they are curved which will show the curviness of the fish. I need some darker orange to depict the fin on the top here, and it also bends like that. Then we have the tail. Again, I'll add in the tail, but I'll create gaps. So there. Now I'll just blend in on the other side, but you can see I've created some lines there. We will add more ripples and reflections on the top. It will make more sense, don't worry. Let's paint this one. For this one, I believe I want it to be not as white but not orange either, a lighter color. Maybe we'll mix it up with a little bit of yellow to begin with, so I'll add in a yellow on the top. I'm leaving a lot of white spaces. As you can see, I'm just adding randomly. I'll take a little bit of orange, add it to the edge here. It's like a mix of that. Adding to the bottom here creates that roundedness, then I'll take my orange and just drop it on the top. My brown for the details, for the curviness, so let me see. I'll choose the half side of the fish like that and the other side I'm just going to add, and then taking some orange for the fin which is here and the tail. Don't worry it'll make more sense, so here I need to add in eyes. The eyes same for this one. That one's bad, it was still wet. It's absolutely fine, and I'll add later on again. The mouth of that one, so I'm detailing there. Now I'll go with some more orange and add for this one, but again, I'll leave a lot off white space on the top. It will be like the lighter areas in water. As you can see, I've left a lot of lighter areas. Now I'll take some darker orange and apply to the bottom one side, maybe a little bit of pink or red. It will give a nice color. The mouth of this one is open, so I'll mix it up with a little bit of red to depict that. Inside the mouth needs to be darker of course, so we're adding brown. Maybe a little bit of pink at the bottom so that we absorb some, then we need to depict the fin of course. Make these fan shapes towards the outside on the shape. I'm adding these quite roughly. We do the same for these ones. I need some base color to this one so that I can create the roundedness and I blend towards the inside or I need to add spots on this one, so using my brown and dark spots. It needs to be,so just some random dark spots. As I add spots this is looking so beautiful, isn't it? Then the eyes of this one and the other eye needs to pop out a little. Now that already looks already very nice, isn't it? We will add more details with white and the ripples later on. I need to paint this one, so I'm taking my blue and then I'll add to the top. Cover it up with yellow. Then the tail I'll probably add with my orange, then which one? We have one more left. Let me add that, so adding that with yellow itself. I'm giving a touch of orange and pink, then the brown spots and the eyes. This one has dried, so I made the eyes properly and the mouth of it needs to protrude out. Something like that. Now this one is still wet I will add the orange ripples on the top, so taking my orange paint and adding. Here I will add it in the form of ripples, there. Add your ripples on that region. I added some nice pectorals then comes the fin, again, towards the outside. I will probably add in a little bit of red here at the bottom place of that fish. It will depict a different color and to show its mouth. As soon as I add the eyes it's much better, isn't it? The mouth region, not this one, the darker spots of course. Added in a lot of darker spots now let's go ahead and add in the reflections. For that I will take my Taylor turquoise like before and I'm going to go over at the top. Start at the top again. This time it's dry, so it'll be easy for us to create, but then the underlying color that we gave at first with the wet-on-wet method that will make this top portion darker. We need to give it reflection. Remember the reflection that we used to create in various ways. Taking my paint towards the bottom my paper dried out unevenly so you can see the bends in the paper. I created these ripples with the wet-on-wet method so that it wouldn't create a harsh edge because the paper had already started to dry out creating a topo effect like this one. There was a fish here and I completely forgot about that. It's okay we'll cover it up with my ripples in fact so that it's not even seen that I messed it out. I'll mix it up with indigo. I want a darker paint. Like I said, we don't want to be applying using a single color. I'm going to leave my ripples because I don't want to ruin it. This is what I said, your ripples they can go over onto the top of the fish area, some of them when you create. They needn't be straight so why am I going in a straight manner. I think I need to loosen up my stroke and start creating in different directions. This is why I didn't add a lot of details towards the top, otherwise, it would have been a complete waste because we are adding these ripples on the top. I'll only leave some random gaps in between. In the other paintings we have been adding the ripples in a quite straight direction. This one is where there is no direction at all. Sometimes it's a whole different method and different way. Just fill it up. Wow, I really love the way that this is turning out. We have a lot more to add. I'm mixing up my Taylor turquoise and my indigo together to create these dots. I have my ripples in between my wavy shape as well. Why do I keep saying ripples? I know I'm mixing this whole thing up. This is reflection, these are the ripples. I have my reflection in between the ripples. Reflection in between the ripples as well. Let's keep adding. Like I said, the tail of that fish will not be seen a lot so that is why I didn't add it in much detail. Now towards the bottom parts we won't add a lot, but obviously you still need to keep adding some more creating a wavy ripple shape here and outside of this specific fish. I'm tracing the shape of the fish and creating some. Here again. As you can see, somewhere I create these ripple lines along with my other ones. Sometimes I use the tip of my brush, sometimes I press. It's all done. I think let me extend these ones onto the fish. Here towards the bottom like I said, I won't add a lot. Also I shall lighten it up. Because we want all of these details that we just added to be seen, so we need to be very careful. Then right where the edge of the fish is, if you add in your reflection then it brings out the shape of the fish. Here trace out along the edge and then create some strokes. Not a lot just some random shapes. But bringing that contrast there brings out the shape of the fish. The same and like I said you can have some of your reflection go over to the shape of the fish. Also, if you're drawing up the shape of the fish and it doesn't look beautiful that is, you can cover that up in this method. I am happy with the way all of these has turned out, but if you think that your fish is not looking good, then here is a point where you can add in the ripples and cover up your mistakes. Just adding here. I think that's a lot there. I'll probably add just a little bit more here. Of course, I want to hide out this tail because I believe that it didn't end up the way I'd like it to be. But I knew that I was going to add in ripples so I didn't give it too much attention also. I'm not coming all the way down I wanted to leave some of these beautiful strokes that we've added. I think that's enough. There is a light area here which maybe we can leave it to depict the light but not as this is too much. That's good. In order to bring out this fin of the fish, I need to add closer to it only then I'll be able to add white and bring out the fin. Now l'll take my white paint to bring out the fin of the fish. Both ends here, some nice lines along. It won't be this bright when it dries out, and I'll possibly blend it with orange. Then the same for these ones, we want a diluted white paint. I know that is much better. Now I just noted something, so I'd like to correct that. I'll take my reflection color, and I will add along this edge here because you know the orange that we had applied with the wet-on-wet stroke had spread so that is preventing the shape of the fish to be seen correctly. We can enhance the shape by just adding the reflection there. See now the shape of the fish is coming to picture. Do the same for the tail. Now that is much better, so we can finish off by adding some white lines for depicting the movement of water on the fish. A lot of these open. For example, here remember we added the orange in the form of ripples. You can add that here. Maybe some on the top here. They are not dry strokes, it's just with my white paint adding some lines such that it looks as though it's on top with the water. The water is creating such beautiful effects. I believe it's already a lot of details that we have added. Let us go ahead and finish with signing our name. I'll take my cadmium red. There. Probably have to dry the backside because I did not dry the backside later on but it's going completely dry. Here is the finished painting. I hope you like it. Thank you for joining me today. 59. Day 22 - Techniques and Exercises: Welcome to day 22. This here is the painting that we are going to do today. As you can see, it's a lighthouse splash. We need to create soft edge for the ocean, the splash, the shadows for the splash, the areas of foamy region in the front and the background sea as well. Let's have a look at the techniques quickly to paint this gorgeous painting. Here is my paper. I'm going to do in this orientation because it's easy and we can quickly sketch out a lighthouse to fit this. If I were to sketch a lighthouse, I'd possibly do the same one. That's the lighthouse, spot an angle like that. I won't draw the full right side. The dark portion can have something inside, like a dome right there. That's basically the lighthouse that we want to sketch. That's the only part of the sketch or maybe a tiny part here at the bottom. Just the left side is what we focus on. Here, that's the sketch. Now let's get to painting this. I'm going to apply water to the backside. Let's quickly apply water to the backside. Now I turn it to the front and apply on the front side as well. Make sure it sticks. Now I will absorb the extra water from the sides as usual. I'm going to start. I'm going to pick my Taylor turquoise color, we paint it with the Taylor turquoise. Taking a nice dark consistency of the Taylor turquoise color and I want to start on the top. I'm not adding any sky or any region here. What I want to depict is a splash, which is the most important part, there. Then as I come near to the lighthouse, I will add to the left side like that, so more darker shade. I need it to be nice and dark, and the same towards the right side. I've added the nice dark shade. What I'll do is I want to bring down the pigment a little bit more closer to the lighthouse so that we can move it later on. Let us move the pigment to depict the splash, but not too close. I think this should be enough. Now we create a splash. For creating the splash we're going to add water. Can you see the pigments spreading out? We're going to make the pigment move out of the region and create that beautiful splash, like that. Keep moving your pigment the same way in all of the edges. Can you see the nice splash around? I think at the top I will let it be and let it have that edge. I only want to splash from somewhere around the middle. The splash is from there. Here I'm adding water. Wherever I add the water, it will spread the paint. Once you paint a spread, you can absorb that water from the place where you've added. You can see I'm absorbing all that extra water washing off my pigment. If I feel that I need to spread it out more, I add more water. See how it's moving down my pigment away from the lighthouse. This is one of the methods that we will use in the class project and we would also make sure that we don't apply closer. I believe that's good. Now, let's paint towards the bottom and towards the bottom we are going to create a lighter strokes just lines. I'm not focused about adding the details, my main aim is to show you how to paint the splash region which is what is important here. Dropping water to move the pigment is very important process here, and then you can use your brush to absorb any extra water from the paper. Just touch your brush and it should absorb the extra water. Now we have created a nice splash. Now let's add in the shadows. The shadows are very important. The shadow I'm going to add with a mix of lavender and to cobalt blue and also a bit of paints gray. The first set of shadows we will add with lavender, so I'm going to drop my lavender into the edge there. I want to move the pigments a bit more because I believe it's still too close. Now we take lavender and I'm applying the lavender here, so the lavender will act like the shadow. First layer of shadow is with the lavender. You can mix a little bit of cobalt blue as well. Then we will also add that to this side, so this is where it's splashing. Always remember everything has a shadow, so that's why we add a shadow onto form region. Now we need to make it farther darker. I'm going to mix my paints gray with my lavender so that we get a slightly darker shade, and I will place that in next to the lighthouse, and also somewhere inside here. Here the splash goes on top of the lighthouse as well, on the right side. On the left side it will not but will be when we paint it with the brush, it will make sense. Here I'll move the pigment a bit here as well. Farther darker tones, so when you're taking darker tones make sure that you have very little water on your brush, we don't want too much. I will place this extended dark tone right at the inside. This is the place with the darkest shadow. It will be absorb that, and we make sure that the whole thing blends together. Maybe a little bit of the darker shadow somewhere in these regions, and you can also add drops of white which will up again shine through. But adding drops of white, that's highly optional. I wouldn't recommend it, but I'm just going to show you I won't do it in all the pieces, just teeny-tiny amounts at some place. See if that also creates in the wet region. If you've made any mistakes and you know your paint did not move, you can use a little bit of white and the splash that it creates is just gorgeous, it's just beautiful, but I don't want to add too much white here, so I'll refrain from adding that. Now all we got to do is wait for this whole thing to dry so that we can add in the lighthouse on the top. Now so it's completely dried, let's go ahead and add in the lighthouse. I'll probably add yellow ocher first. You can do this yellow ocher process either at the beginning or the last stage. I believe in the class project, I've done it at the end. What I'm going to do is I'm just going going to apply little yellow ocher. This is assuming that the light is from this side, and just a line of the yellow ocher. Then we'll go with a darker shade. For the darker shade, I'm taking my dark brown or burnt umber. I would add that right adjacent to the yellow ocher. You can see as soon as I added, it blends together, but there is that light area right next to it. Here, you can see we paint the whole of the left side with the paint. Let's add that and we'll also add the paint towards the right side, there, but careful as to where we have to stop. I believe I will stop somewhere there and also here and go and make a straight line for now. But we have to be really quick in this process. Here now, we need to create a splash, so I'm going to drop my water so that your brown would spread and you move the brown pigment away. Can you see the brown pigment moving away? That's what we have to do and we'll absorb the extra bits. Start from the bottom, we have to be quick so as to not to create any edge there. Then after that you can just absorb those paint and remove all the extra paint. Let me take up my brown and now I will add onto here. That's almost like painting with the wet-on-wet method, but we're just creating a nice splash region. Here, absorb the extra water and then you can also add some white paint to create some nice splatters so that it will be white in that region, plus along with the shadow that we added, it will act like the splash. Can you see how it's splashing out in the edge of the white stroke and soften it. Now we've created a beautiful splash along that left region. Now let's keep painting, so I'm taking my brown and I will add it to the left again because we're not done yet. The same splash on the bottom side as well, so it's just basically using a white paint to create a nice splash effect. But you see how it's creating that splash. This splash is not behind but it's splashed and coiled around the lighthouse. Let's go ahead and add the top region so that I will mix my red and brown together. Now to create the effect of shadow, we create that separation between this point. I'm drawing a line and we add some paint right below, so we get that separation. Make sure you blend it towards the bottom. See, as soon as you add in that darker color, the top region pops out, and it looks as though it's having that bend in the lighthouse. Let's do the same. I just need to make this region lighter here. Possibly also, I'll run my yellow ocher over and blend along with my brown because I don't want it to be this vibrant, okay? We have that lighter effect there and we also have the effect of the splash from the right side, we have the shadow here inside the splash region, and you can see there how it's splashing. Now we just need to add in some windows. I'm going to switch to a smaller size brush so that I can add some windows and we'll be adding it with white. Something there. See some windows. You could add more splash on the top, but it's completely optional. Now I'm going to take a little bit of my brown, mix it with paint gray for the head of the dome. Make something on the top. All of this is just optional. Nothing absolutely necessity. Again, we need to bring that dome pop out. I'm taking my brown shade. I am adding a bit at the bottom and towards the right side because remember I said that the light is from the left side, so adding to the right side. Now that makes it pop out. See that? The same for the dome as well. If you can just add darker colors towards the right side. Let's finish off by adding the balcony. For adding the balcony, I'm just taking my dark paint screen and we'll use the tip and just some strokes. It's completely optional. You don't have to complete your strokes. There. Something. I think that's enough. We don't want to add any details. That's basically just it. But the most important point here to note was how we painted the splash by moving the pigment and also the shadows, which was very important. Now let's talk about the class project some more. You can see it's exactly similar here at this point where we move the pigments and we create the splash region. Then we have more of the splashes here and more of the colors to bring out the shadow of the waveform. Here you can see how I've applied the stroke to imply the turning wave. We've already practiced this in a previous class project and exercise. This is the reason why I didn't share that. It's already there. I believe in one of the crashing wave once where we did using our brush to create the movement of the wave. Also painting the form at the bottom has also been covered in various other class exercises. That is why here the only point was about the lighthouse and how to make that splash covered on the light house. That's what this exercise is about. Here it is. Now, let us have a look at the colors that we need for the class project. For the water area, I have used taylor turquoise and taylor green. Taylor turquoise is a mixture of PB7 and PB15, which is the taylor blue and taylor green. It's a dark sheet. You can use a turquoise green shade. You don't need the exact dark shade I'm using. Obviously PB7, taylor green. Then for the sky, I have painted it with Payne's gray. I did not want to focus much on the sky and apply more colors so that's why I have used the Payne's gray and also I wanted to depict a stormy kind of day, so that's why I have used Payne's gray. Then for some of the darker form region, I have mixed my taylor green with cadmium orange and that creates a darker green shade and depicts the darker areas on the form and some of the sea depth showing through. Then, obviously, for the shadow areas, I have used lavender and Payne's gray together. Lavender for the shadows. We've already seen how we use both of these colors together to depict various layers of the shadow. Then for the lighthouse, I have used my transparent round of burnt umber, yellow ocher, and alizarin crimson. These three colors I have just used for the exercise is exactly the same. The method to be into the lighthouse. In fact, the shadows are also exactly the same. In the class project, the only thing different is the water area, which I didn't show in the class exercise because we had already covered it. You're already familiar with these colors which are needed for the class project. Now the brushes that I have used are my Kolinsky sable size 8 brush, which is my natural hair brush as a piece 8. All you need is a medium-size brush. Then I also used my silver silk 88 size 8 or you can also use a size 6. Basically, this is a synthetic brush. I've used it because for the areas that I did not want a lot of water on my paper, natural hair brush holds a lot of water and hence might introduce a lot of water onto the paper. That is why I have used my silver silk 88. Those are the two brushes that I have used. You can also use a detailer brush for adding some of the details on the lighthouse. This is silver velvet size 2 or you can also use a size 4 or any small brush. Basically, all you need is a nice medium-sized brush. You don't have to switch brushes like I'm doing between the synthetic and natural hair once and just a smaller size or a detailer brush for the details. Now that you know how to add in the beautiful splash for the lighthouse, let us go ahead and paint this beautiful, gorgeous class project. 60. Day 22 - Lighthouse Splash Part I: Let us quickly add up and so sketch. I'm going to place the lighthouse on one by third of the position in the vertical space. One by third would be around here. That is the top part. Here. Then comes all the way down. Then around here around here is the base part of it. We actually don't need to sketch the entire thing. The reason being that most of it is going to be masked out by the wave. Done with the top part. Then that's the balcony area and then the dome area on the top. That is the dome area. Then some lighter area this side to show the bend of the lighthouse. That will be the lighter area. Then we will have the windows, which will add later on. I am just marking out of my pencil to show you. We don't need to mark the right side. Rather, we can outline the shape of the wave if you prefer. But draw it very lightly so that you don't have the pencil marks at the end. Something like that. Then I think here we'll have a little portion of the lighthouse scene so that we can add in a wave behind. Here the wave crashes like that. Then we have some wave behind there. That is the wave, it's crashing. Then we'll have that huge wave. Where is that huge wave? That huge wave goes like that. This is the wave. Let's have it crashing somewhere here again. It's huge. I'm not adding a lot, as you can see very likely because we can't afford to have these pencil sketch to be seen when we're adding it to the white because those areas need to be white. Here again another wave shape. Here, again, the wave is splashing. There that's the splash. Then we can add the line of the ocean behind. Like I said, I'm doing it very lightly. Here is the close-up of the pencil sketch. I know that those wave shapes are not even seen at all. That's how lightly I've made them. That's because like I said, I don't want that to be visible at all. Very careful. Now I will apply water to the backside of my paper. I'm going to use my flat brush and apply the water. I've applied water at the back side. Now let us turn it and apply to the front side as well. Now let's apply water to the front side. Now I have applied and even got a photo. I'm just going to wipe out the excess like always and tilting my board so that all the excess water would flow down and I can absorb it. Let us get to painting. It's a stormy sea. I'm going to add the stormy sky. For that, I'll probably take indigo shade. It's a stormy sky. For the sky region, I'll probably take a little bit of Payne's gray. There is my Paynes gray, and I will add that to the sky region, there. As you can see, I added in a very lighter tone. I don't want it to be as dark as black or the dark color the paint it is, just minimal tones and I'm not bothered about my paint coming on top of my lighthouse because we'll paint that with darker tones later on. This is just me applying my indigo. This is me just applying the Payne's gray. At the top is where I want all the depth to be and all the dark paints. I'm just running my brush along, and creating that blend? I don't want it to be perfectly blend, either. I can have some lines in the sky. It'll just be my sky region, that's it. I've added a nice amount of the Paynes gray. Now I'll add in the ocean area. For that, I am going to take my synthetic brush, mainly because I want to have a softer edge there and I don't want my paint to flow down. I'll go with [inaudible] turquoise. It's already [inaudible] turquoise here on my palette, so that's why I'm using that, and I will use that. I think I might have to tilt my board as well because I'm really afraid that it will flow up. I'll place something underneath for that angle. Now I placed something. Now I will go ahead and add in my stroke. As I reach here, I am going to stop because I need to have my wave there. Again, here. All right if it spreads because you can always absorb it and flatten it out. Like here, I am going to absorb that and flatten out the edge like we always do. This ensures that we get a nice flattened stroke, and also a softer look because I don't want it to be having a harsh edge. Now, we can go ahead and keep adding our paint. That's a darker tone, and you can leave certain areas white. Also, I can see my pencil sketch here, so around my pencil sketch of the crashing wave is what I'm going to add. Also, I think that since we've done adding the color at the top, maybe we can switch back to the other brush. I'll go back to my Size 8 natural hair [inaudible] brush, and I'm going to add. Remember to add and leave as many spaces as you can, just some white gaps. You can also do some lifting, just various methods, anything and everything that you can think of. Here again, I'm following the line that I've drawn. I'll add some dark spots. Add in some [inaudible]. I will use indigo, so I've mixed it up with indigo, and I will add that. Just some darker, random lines. You can also use Indian blue instead. We just don't want it to be a constant color. That's it. Just giving a nice feel to the ocean area there. Now, what we need to do is if accidentally you've had your pigment come there, all you need to do is apply some water, so that will spread the paint, and create that nice effect for the wave. Like here, I need to spread the paint, so I'm applying some water, and that'll spread the wave. The same towards the side. That is done. Flattening out all edges that I see are not right. Here I think I need to flatten out a bit more because it's spreading. We want to create a uniform line. But the other thing is I like my paintings to have that watercolor effect and I love the way everything looks softer. You need to work the way that you like your paintings to be. If you want a harsh edge there, you should do that. Random dark strokes. Now, let's get to adding more details. Now I'll take my yellow green. We're going to add the crushing wave here. Remember how we used to paint the wave. The wave is crashing out. Draw it in the form of lines like that. I think I need to shape to a smaller size brush. This is too large. I've taken my size four brush now. Using my yellow-green start to add in there crushing wave region. So that is a lot of wave crashing here. We don't need to depict it entirely. I think there's another part here. A lot of it can be white as in the form region. Only some areas will depict with the crashing part. That's again the crashing part. Now let's reach to the bigger size brush and go ahead and add in the other details. So going back to my Taylor tocoys, and you can also mix in a little bit of Taylor green maybe. We start adding rest of the strokes. As we're coming down, we need to add in an a lot more form. For that, I am adding, and I'm leaving a lot of spaces you can see. I think I'll switch to my smallest size brush itself because I'd like to prevent larger strokes, and also I see I need to soften the region here. It is mainly because of the water that we applied here and we let it spread. But so long as you observe your paper and you keep doing that, you should be fine. This is why I said you don't need a pencil sketch. In fact, because I think my pencil sketch is already somewhere down below there. Go back to my yellow green, and start adding. I think the bottom part of my paper has started to dry out. What I'll do is I'll just go ahead and apply some water, and also because of the angle on my paper, my water would just flow down. It won't go up. Just going to use my flat brush and apply water, and as you can see, I'm only applying in those areas where I have not touched my paint. The reason why this dries out is mainly because of the angle as well. But like I said, it's not dry. The underside is still wet. So long as you just apply the water, it should stay wet. Now this will stay wet for a longer duration of time. My halo turquoise and start adding. So you can see adding strokes like that. You need to be careful at the edge here. I think I'll mix my yellow-green with a little bit of cadmium orange. That will give me different kind of green, like slightly a muddier green. Which is good to show the areas between the full region, like that. Because it makes through that yellow green itself, it look uniform, and just adding some normal strokes. Like I said, here was the wave region. This region outside of the wave needs to have those strokes. Remember this, this was actually, I accidentally touched my hand with the palette knife and it created a wedge there. So that's why it's showing with the watercolor. You can see I'm adding a blend of the Taylor turquoise and cadmium orange and yellow-green mix. Yellow-green and cadmium orange mixed together. I think now I will remove the flat area because I can see my paint is spreading out a lot. That's much better. Under this region here is where the wave is scratched so like bottom part of it needs to have that depth. This is the wave. Then take the yellow-green. Again I will depict the movement of the crushing wave. Because the water there is somewhat dry. Now we get some more better strokes when you do it. It's like half dry, half wet, and it depicts the movement. Now let's add in the shadows. So for adding the shadows, I will go with my lavender. Start. How do we go about it? So there are some lighter areas. We need to create that separation between the wave, each of the splashes. Okay, so I'm mixing my raw sienna with my lavender here. I will add that to this region here. You can see that little gap that I'm creating. All right. As soon as I do that, it creates a separation between the wave region, and the splash so that there is the splash. Let's add some more. Now we'll add this. Remember, it needs to be nice and wet. We're adding the shadow region here. Now can you see, this is one splash here, then there is another larger plash here, and then it's splashing out to this region as well. Now let us add our depth in that area. I'm adding my dark color right where it's splashing, it will be darker. That's where the shadows appear. Now I soften out, and to blend out the edges. Just using water and softening, and blending out the edges onto the outside. The inside part of the wave is darker, and more dark where it's the extreme inside. Soften out our stroke. Just use water and blend it. Do the same, do the right side. Now, the right side do depict a shadow separation. This here is the front region of the splash and this region is the backside. The backside, we need to have that shadow. I've applied the lavender stroke but as you can see I've soften out the edges. Now, let's add more shadow towards the inside. The inside take more lavender and my raw sienna mixture and add it. The thing about here is you can add in some of your yellow green strokes as well. That will show the water splash region, and a little bit of yellow green inside. Like I said, make this bottom part darker, and don't let it have any hedge. Let's take our cadmium orange and that yellow-green mixture and add some more on the top so you can see how the early ones have spread out, and when we add some more, it'll just look more natural. Added them and softening them up. Now that we've done that, let us go ahead and add some white strokes. Here's my white paint, and we're going to add in our white strokes. The white strokes can be extremely towards the outside edges, which are to be definitely white. Drop it in small drops like that. Because the paper is wet, it's going to spread out and create a beautiful extra towards the outside. Beautiful splash. That's created a nice splash. Skip adding, some here, this region now, and here and it's the separation between two splashes. This one was another splash. Here we'll add downwards strokes using a white on the top of our Taylor green. That will also pull out the Taylor green a little bit downward. But we give the effect of nice formyl region. That region outside. This here is also the splashy part. Now you can see how that wave splashes with the white and the extra pigments that we've added. Now, we need to add in a shadow before the whole thing dries out. The shadow is what makes the wave look wave because if we just leave it as white, it won't have that shadow effect. Mixing my lavender and my raw sienna together, I will add some more random spots. I think I'll switch to my larger size brush because I'd like to spread out the spots. Just dropping in my violet, all my rows in a mixture, and then I just spread it out. That's how I create that shadow effect. In this region here, I know that it should be more darker, so I'm taking darker pigment by mixing of my gray and put it right here. Right outside of the lighthouse, just next to it, here's where it should be darker. We'll paint it outward from the lighthouse and my strokes darker. I've added the darker strokes. Now I need to soften out the edges because it cannot be too dark, so spread it outward all your paint. I'll take some white and drop it in-between. I'll spread out the white. We don't want any specific strokes to be seen, we want the whole thing to be spread out. Yeah, I think that's much better. It's looking like the splash. Now I need to do for this region here, and will come into a better view when we add in the lighthouse, but that has to be on wet on dry, so that's why we're not adding right now. Here again, here is those darker shadows towards the outside. Then here are the shadows obviously in the inside to reach in. Just adding up my brush somewhere here and here. I can see the splash much better now. If I want I'll take a little bit of my green mixture, make sure it's dry because I find afford to have it and add it right below the wave. Below the wave we're seeing a little bit of the green, that's why we're adding. I think that looks much better. Now we can see how the wave curls up and then here, it creates a splash at the top. I think I'll add darker shadows to certain regions, some darker lines and depict the curling up of the wave. That's how the wave curls up. See that wave curls up and splashes. I feel this is enough, we've added a lot of details. Now, let's go ahead and add in the lighthouse. But of course, we need our paper to dry out completely if we are to add in the lighthouse. I can see some harsh edges here. You know what? When we're doing paintings like this, you can have a lot of balloons in your picture, but it's fine. It's absolutely fine, because those are in fact what makes this painting much more attractive. You've used the watercolor techniques to depict a lot of these things. I am just going to finish off before I dry out, I want to add in some strokes, because I think already my background is dry. The strokes that I have added dried out, so I'm just going to use my white paint to add some form in the further of ocean area and depict some form region. Because it's a stormy day and you can see the waves crashing, so it's going to have a lot of form in the background. A lot of crashing waves, so my strokes are semi-dry. Don't use completely white paint. You can see semi-dry strokes at random places. This where the ocean is very disturbed, that's why we're adding these strokes. We're good to go. Let's now wait for this whole thing to dry out that we can add in the lighthouse and any other details, as when you look at the paper. 61. Day 22 - Lighthouse Splash Part II: I'm trying just a lighthouse region. I didn't try out the rest of the region, so it might be still wet. Under the paper it's still wet. I only need to paint the lighthouse. That's fine. Let's go and start with our transparent brown. I'm going to use my transparent brown to add in the lighthouse. Adding on the top. Painting the whole thing. The top region is complete, so we'll add that. Coming down here. The next side is completely visible, so that's why we paint the whole of it. See as soon as you add that left stroke of the lighthouse, the splash that's coming from behind the lighthouse, now it makes sense. This is part what I was talking to you about. When you add in the lighthouse, everything will turn out beautiful. It's basically you just need to visualize how your end painting is going to be. I knew that this wave is going to seem like it's coming from outward, that is from behind the lighthouse. That's why we added in the shadow regions. I'm going to draw my brown paint and add in the lighthouse strokes. I know that the wave is here, but we draw the wave now. First let us draw the stroke of the lighthouse. That's until here. I think somehow of this region needs to be seen. Now, adding some details towards the bottom. Now, we need to depict the splash. We'll use the same method of moving the pigments. I'm just going to drop water right next to my brown, so it's going to pull out my brown, but it will also move the pigment inside. See, it moves the pigment. I know that these regions, it has dried out. But we move the pigment enough to create a beautiful splash. We'll add with our white paint also. There, it's moved the pigment and created a nice splash region. Now, we just need to use our white paint, drop it at the tip, so that we mask out any brown regions that has come out. See that. Also the brown will be helpful to depict the shadow. Now, that is looking much better. Like I said, the brown will be helpful to depict the shadow, and here I'm blending out white towards the inside. We need to add the top portion of the lighthouse. I'm going to add it with my alizarin. Mixing a little bit of brown. Added in the dome region and, I'll create some darker accents towards the right side. Also I think I will take some yellow ocher, and add towards the left side. To depict light. Using yellow color all the way on the left side, because it's a dark brown pigment there. You have to apply a little more time. Now we can see, then a light in the windows, so I'm taking my white mint and just a small line, and here as well. Now we need to depict the depth of the top tower, for that I'll take some Payne's Grey. We're supposed to add it towards the base. Now we can see that separation. If I add it and brings and paint downward, that depicts the shadow of that bottom region. Then right side can be under shadow as well, because I am assuming the light is from this side. Then we can finish off by adding the balcony with our Payne's Grey. Just going to use the tip of my brush. Something along the top of the tower. It doesn't need to be in a detailed manner. You can see I just have made some random small strokes. That's it. Something is sticking out. I think I'm going to add a little bit of my white stroke here, because I can see a little bit of extra brown color which shouldn't be there. Some of your white strokes can be dry as well. I know that our region has now completely dried, but I'm adding dry strokes and it's fine. I love the way this has turned out. You can see we have a large wave here. We have the nice splash region there. I think let's add some dry strokes here at the end where it's splashing, some dry strokes, just using my brush and spreading. The combination of the dry and the wet strokes will make this look amazing. Let's see here. I think that's enough. Now we'll wait for this whole thing to dry so that we can add in some splatters. Here, my painting has now completely dried. Now, we'll add in some splatters and finish off. I'm going to use my toothbrush and I'm going to dip it into my white paint. I need it to be slightly wet. Brush was too dry, so I've just dipped it in water, and just a dip. Let's add splatters towards the edge here. Towards that edge and this edge here. As you can see it's splattering onto the lighthouse as well, sensitively fine. I need to change the direction in which I'm adding this splatter, because it's coming towards this side itself, so hold my paper. Now, it's going outside. Some nice splatters there and here at the front also. Wherever we've added like the crashing wave, those are the places that we need to add in the splatters. Dip here. We can see now, that's the wave crashing. Then there's here, this side. I believe that this is enough. Let me go and wash my hands and brush. We are done. Well, let us finish off by signing our painting Taking my cadmium red. Here's the final picture. You can see those white spots are now turning lighter. Like I said, it would not be so evident, because this is the far of picture, so it's good to have it lighter. You can see it's splattering on top of the lighthouse as well. Here you go. You can see that crashing wave. Then there's a wave crashing on this side and on the lighthouse area as well. It's very important that we add in the shadows with the depth region inside there and also here to depict the wave crashing as it touches the lighthouse. There you go. I hope you enjoyed it. Thank you for joining me today. 62. Day 23 - Techniques and Exercises: [MUSIC] Welcome to day 23. This here is the painting that we're going to do today. As you can see, it's a very calm beach. There aren't much waves because the waters are very calm. But what we need to see here is the shadows of these foliage here. There's some foliage or part of a tree, some branches at the top. At the top means basically, it's some tree standing here at this end and it's got this branches coming in the front, and the picture is taken that way, so the shadows of those foliage and leaves are there at the bottom, and also onto the top of the sea, so that is what we need to depict. Some far off boats at the further end, and some Island at the further end. Also, we've tried to paint the background in a different way using a larger brush but that is something that you can follow along the class project itself because it isn't that difficult, so all you need is a larger size brush such as this. Don't worry. I'll be mentioning this along with the brushes as well. I used a large flat brush to apply the background continuously, and then we used the other brushes to put in their details, but here what I want to give more focus on is to paint the foliage as well as how to paint the shadows. Let us have a look at that first. I used this Size 8 silver Kolinsky brush for the class project, but you can also use a size 8, any other brush. I believe the synthetic one should also be fine, so long as you are able to add a lot of color and water into your mixture. So let me show you how we do the foliage first. When we're painting the foliage, what we need to understand is we use a lot of green for our paintings, but in truth, the natural greens that we see in reality, it's not entirely the vibrant sap green or hookers green or such colors. It shouldn't be that vibrant unless you're going for that hue with here image like a HDR quality image. In nature in reality, if you look at it, you will see more of brownish tones or even dark and olive green tones along with your sap green. So you should always start with an olive green when you're trying to add your foliage, olive green or such yellowish greens in fact. What I'm going do is, I'm going to just quickly apply water to this paper. I'm not going to apply the backside, because I'm just showing you the techniques quickly. I just need a lighter coat of water to show how we paint the foliage and the different elements. I'm not even applying a lot, just a teeny tiny amount. I think that should be enough. Just a thinned attached water. Now we'll get to the foliage. Like I said, for adding the foliage, we mostly should be using olive green in our mixture. So here, I've taken olive green. I hope it's not too much water. I don't want it to spread, but even if it spreads, I'll just show you the technique quickly. Mostly, we should be using the whole length of our brush for painting the foliage rather than just using the tip. If you point your brush like that, you're just using the tip, but if you use your brush at an angle, you're using the entire length of the bristles and also don't hold your brush very close towards the bristles because then your strokes are going to be more controlled, you're going to be bothered about how you are placing your strokes. Rather, move your finger upward onto somewhere towards the end. So after halfway point, somewhere there, or even towards the end, you can hold, those will give you more uncontrolled strokes, and strokes in such a manner that you are not bothered about what stroke that you're applying. That's why I hold my brush there when we're doing the loose strokes. Here, I take my olive green. You can see I've taken concentrated mixture like a creamy mixture here now. For painting the foliage, what I do is can you see my brush shape? I don't want it to be pointed so when I took the brush, I've made it all flattened out, my point is you don't have to perfectly take the paint in your brush that it's perfectly shaped. Just go and randomly pick up the paint and then on the paper, you touch it, and then you just going to do these random movements. Can you see that? That's why I hold my brush at the end because otherwise, when you put it closer, you're going to be concerned about the strokes that you're going to put, so hold it further away and let the paint flow. Let your brush to the magic. Any random strokes, and turn your brush in different angles, move it in different directions, you can see I turned my brush and then I just dab on to the paper and naturally some white spaces will happen all of that. Just let it happen, let it flow, let it do its own magic, you don't do anything. You don't have to focus on what stroke you're applying so see somewhere. I just go and I just try to put that on my paper, so here it's dried, so let me show you how dried strokes work as well. That's good. Now, because my paper has dried, I've diluted a little bit. This isn't making consistency yet, so this is like a creamy consistency still, but then you just apply and then some of your strokes at the end would have these harsh edges, see? Now that you've applied the olive green, it's not a single color, like I said, you need to give [NOISE] a different shades of green. Now, I will go for sap green, or you can directly go for dark green. I usually go with this dark green itself so this dark green is the G8 from White Nights. It's an amazing dark green. I mostly, only need these two colors in my palette, and I can make several different types of greens. Then if you want to add your green on the top of the olive green at random places, you will create the nice foliage effect. Now the paper is dry, so it's not that blending, but here we just applied the paint so it'll blend out more. This is actually a much better because it's still wet. This had dried that's why, but it's okay when you're painting in the class project, you'll will see because we are applying water on both sides of the paper. Now, for giving further shadows, you can take more green and apply it in random places. Again, I'm holding my brush farther off and then I'm just doing these different strokes. When you're adding with your darker strokes on top of the olive green, make sure that you don't dab on all the areas, but just it random places at the top. Somewhere you can go towards the edge, somewhere you can stay in the middle. So that's how you create foliage. You can do that with a smaller brush as well if you'd like to get smaller strokes. Then we also need to add in some brown sheets. Why is that? Because through the foliage, you always see the branches, but if it's a dense foliage, you don't see the branch clearly. So you add some brown strokes to depict that some branch is there within, but we just can't figure it out the exact shape of it. So that's why you had browns in some place, but again when you add the brown, even lesser than the green that you applied. See some [LAUGHTER] brown. I've added some brown. Once you've added some brown, you can go ahead and create the branches. How do you create the branches? You know those white spaces that you left, you can use that and you can add your branch in between. See that. Like here probably the branch there, and maybe this branch will stick out, so I'm using the tip of my brush now. Once it started to dry, you will get proper branch shapes. See this is how you add the branch into the foliage. Now we've painted the foliage. The next important thing to learn is how do we do the shadows. Since my paper's dried out? I'm just going to quickly water down that's important part because I wanted that region to be wet. We are only painting the top and bottom parts of our painting for now, because I just wanted to focus on those two things which are important, which are the techniques. I don't have to show you a whole painting because this painting is actually very easy. But I just wanted to bring in these concepts of foliage and the shadow. What is a shadow. [MUSIC] The shadow is basically the light being blocked by the object. Here, this foliage casts a shadow onto the shore region and a little bit on the sea. This is because wherever the light is, it's being blocked and that area gets the shadow. This is what we need to depict. In order to depict that, what we do is we basically use some complimentary colors. Our complimentary colors to what you can show us, light. Light is usually yellow, orange, and red strokes. Shadows are basically cool version of it. It's cool because it's the opposite side of the spectrum where the light is not reaching, it's the absence of light. The light is being blocked by the object, so you depicted it mostly using cooler colors. The cooler colors that you can use for depicting shadows are dark blues or any blues. You can even use violet, but you need to be careful about using the violet. You need to actually look at the colors that you're using for the sky. Here, it's white, where I've added the light region. It's better to use the cooler version, which would be just a blue. But if your light is yellow, then the shadow can be the complimentary colors, what is the complimentary of yellow, it's violet. You can use our violet for that and you'll get a beautiful shadow version. Now, since we haven't used any yellow in our sky, we're going to use the complimentary version of the white color, which is the cobalt blue. Is it dried out? While I was talking the paper dried out. Let me just quickly apply the water down there again. [MUSIC] Now to paint the short region, what we will use is we'll use a raw sienna. Just going to quickly lay some raw sienna onto the paper. You can also use yellow ocher instead. The best thing about using raw sienna or yellow ocher is that, your blues won't mix to get out much with that color to create greens. Obviously, if you mix it up on a pallet, well, it would create greens, but you can prevent the creation of greens to a certain extent. I'm only going to add it towards the top, because the bottom part, I want it to be the shadow. Here I've placed my raw sienna a lot at the base. You can clearly see we've skipped the ocean part in the middle. For the shadow, you can use cobalt blue. I basically like to mix a little bit of lavender to my shadows, so cobalt blue. Then we use the same strokes that we used for the foliage at the bottom and create those shadows. This here is going to cast a shadow at the bottom. What we will do is holding the brush again at the farther end and then see doing those random strokes. I think you can make it slightly darker. Maybe mix a little bit of indigo to your cobalt blue. You get it slightly darker. Again, it doesn't have to be exactly the same so you don't, the viewer's eyes would make it exactly the same. Just creating some random strokes similar to the shadow, similar to the foliage would be sufficient. Now we'll go about this. Again, just creating some random strokes at the base. See then I'll go and add some more. Now for this region here. It can extend all the way towards the edge. That's why I said to follow along the same. Because the shadow, what you need to understand is the shadow is not just off the foliage that you can see here. There's more foliage to what's top part of the painting which is not in there in the painting there is more foliage towards the left there's more foliage towards the right. It's mainly because of a tree that was here. I told you. That you can depict so that is why there will be more of the shadow. You give more to the shadow part. That's the shadow at the bottom. In the middle, was the sea region. I'm going to paint that. But just so that this picture doesn't look weird, I am just going to add it. I'm just taking my football turquoise. This is not part of the exercise, you don't need to do this. All you need to learn is to practice the strokes of the foliage and the shadow. I'm just placing a little of colors here. [MUSIC] I know this looks a bit very weird. But my whole point was to show you how do we make those foliage strokes. I was using a large brush so we got larger strokes but you can shift to a smaller size brush and you'd get smaller strokes. Maybe I'll quickly show you that. Here I'm taking my size four brush. If I were to use my size four brush for the foliage and here's my olive green I'll dilute the mixture nicely. I'm just creating some random strokes on the top as you can see. See how the edges turn out completely random, the edges turn out in a haphazard manner. Then if you go and pick up your dark green and place it at the top at random areas, you create the foliage. Well, that's much better, isn't it when to be added to the small brush? I was too quick with the larger one, that's why but you get the point. This is how you paint the foliage and its shadow. Now that we're done with this, let us go ahead and look at the colors that we have used for the class project. It's almost the same, you already know the colors of the foliage and the shadow. We just need to know the other colors. The main colors that we have used are a bright blue and Phthalo blue obviously. The sky region I have made it with bright blue, that is Phthalo blue; PB15. Then in the C region I have fixed both my Phthalo blue and Phthalo green together; so PB15 and PB7, in random places. Then on the top I have added these little spots of indigo, so that would be indigo at the top then move on to the shore region. For the shore region, we use raw sienna. You can also use yellow ocher instead. Yellow ocher is a bit little too bright and that is why I use raw sienna. The raw sienna I have SPBR7 for White Nights or you can use yellow ocher which is usually PY43. Let me check. What I said correct. Yes, here PY43. Sometimes I know these pigment numbers by heart, but then I get confused when I'm saying a tone [inaudible]. Yellow ocher or raw sienna, I would prefer you add raw sienna instead of yellow ocher because yellow ocher is a bit too vibrant. That is that, then we move on to the foliage or the shadows whichever order you can do that and also lead background items. It's the same colors that we discussed, olive green and a dark green. You can use olive green and sap green. Olive green can be easily mixed by mixing your green with brown so that the olive green and the green that I'm using is from White Nights. This is I believe, a very good green to have on your palette Because this is PG8 from White Nights and I think I've mentioned it before. I've never seen this bigger pigment in other brands, so that is why I really loved this pigment, PG8. Those two colors, then again, for the branches we have used transparent brown or burnt umber. The transparent brown is the brown that I use, it's from [inaudible]. It's PBk7 and PR101, but you can just use any brown. For example, the burnt amber from White Nights is also a very good choice which would be PBr7 I believe. So transparent brown. Now we move on to the shadows. For the shadows, we can use cobalt blue, and a mixture of indigo, and lavender. I've mix these three colors together to paint the shadow at the bottom here on the sand area, and a little bit into the water region so that would be the shadows. You can avoid the mixing of lavender, it's just me I like to do it. Then also I've used a little bit of burnt sienna for painting the rocks that are in light. The light gives the rocks a bit of a lighter color; raw sienna, and then the darker part of the rocks are with the darker color which would be brown I believe. Then Payne's gray for some of these boats here, and also some white for the lines of these boats. You can also use Payne's gray itself for these lines. Basically, these are the colors that I have used for the class project, now let us have a look at the brushes. Here are the brushes that I have used. Like I said earlier, I've used a flat brush this one for applying the background strokes. This is thicker, so I wanted to show you a different technique to paint the background using a larger brush. That's why I have used this 1/2 inch flat brush. This is the black velvet; see this one, so any large flat brush would suffice for painting the background. It's basically doing a whole bunch of wash because that's how you can paint a background as a whole and then work on the details on the top later on. This is not the whole wash of water that I'm talking about. Obviously, I apply the water using my [inaudible] brush size 20 as usual. I'm talking about the color strokes. Then I have used my Kolinsky sable size 8 and size 4 brushes for the other details on the top. All of these smaller details, the strokes, everything, are these two brushes. Now the importance of the liner brush comes into picture when painting these little lines of the boats. The liner brushes are also known as a rigger brushes. I've used a silver [inaudible] size 0 rigger brush. It's called a rigger brush because in the earlier times it was used to paint that rigger lines of the ship. The rigger lines that are going to be masked on the poles on the ship, so that's what is known as regard. People used to paint those with rigger brushes which has long hair like this which holds a lot of pigment and releases it in a straight line. That is why it used to be called as rigger brushes. Nowadays it's called a script liner, liner rigger, many smaller names by different brands. Here it's called a liner brush. I've used this to paint these thin lines. I know that many of you may not have these liner brushes, but what you can use is the tiniest and the smallest brush that you have but make sure it has up point because you need to get that teeny-tiny line. It needs to have a point, and using that brush you'll be able to create a small line that. I don't think you need a rigger brush itself, but I was just explaining the importance of a rigger brush. I think these are the [NOISE] basic brushes that I have used. Now you know how we add the foliage, the color of the shadow. I've already explained the importance of using the complimentary versions for the shadows. Let me remind you that once more because our light is white, we've used the cooler version of that which is blue. If your light was a bit yellowish, then you can use the cooler or the complimentary version which would be slightly white light for your light. We'll do that in more class projects; maybe in this class or in some other class but just remember that always when you are approaching some painting on your own. Here, this is the painting. If you're happy with the techniques that I've showed you, the colors, the brushes, and the explanation of light and shadow here in this picture, then let us go ahead and be in this beautiful class project. [MUSIC] 63. Day 23 - Calm Beach: [MUSIC] Let us start. We'll start by applying an even of water to the back side of our paper. Keep applying. Now let's turn our paper towards the front side and stick it onto the board correctly. Now we'll apply water to the front side and stick our paper firmly onto the board. Now I going to absorb all the extra water from my board. Also having tilt my board so that all the extra water can flow down, and then I'm going to absorb that as well. Today now I'm going to use my flat brush to apply the sky because it'll cover the area quickly, that is why. I also want to show you several techniques, that is, how you can use a single brush for painting as well. I'm taking my bright blue. In fact, this manner does not enough to take the colors out for such a large brush. But I think an inch. Taking my bright blue, and I'm going to apply on the top. As you see it covers a larger surface area. I know that many of you may not have such a large brush, but go with any flat brush that you have. It is just this exercise is to make you get out of your comfort zone and paint freely using the brushes. It's not easy to do so that's why. As you can see, I've painted the whole way and to here, but here I have left a huge gap because I want to bring out the light. Now let's go ahead and paint the ocean or the sea. For painting the ocean, I will take my bright blue or the pale blue itself. Going to take a nice consistency of the pale blue, I probably mix in a little bit of the viridian or emerald green so that I get a dark with blue shade. But more of my blue itself and that's what I'm going to use. I probably tilt my board. That's very important because I don't want my paint to flow up. I need to keep something under my board so that I can prevent the paint from flowing up. I guess I'll use this small bowl that I have. Now that's perfect. I know that then this, you can't see the palette properly. But it's important that you see the painting. Here, bright blue and green mixed together then will stop somewhere around one by third. I'm also going to try out without the pencil sketch for this one. This is why I put this into our last. Although this painting is very easy if you were to do a pencil sketch and where to approach it with a normal brush. But I wanted this to be lightness, so that is why I put it for the last few days. There, let's make a straight line. That's soft enough. Now let's keep going. I'm taking my bright blue again and I will add here. I want to take a little bit of green and I want to add into the water here. Just for the base layers we're trying to fit in some beautiful strokes. After that, we'll move on to the other brush, but this is the first layer, that's what we're trying to do. Back to the blue again. Just using very light strokes now, can you see that? Lighter strokes and just putting my water down, that is the paint down onto my paper. Now I'll probably go for a little darker tones on the top. I'm taking indigo. You can see it, this is indigo. Because our paper is wet, it will be beautiful. Now let me remove my ball so that we can move it out. Here I've got my indigo. I'm going to just drop it in the water in several pieces. It'll just blend out. I don't want a huge angle, I just want a small angle so I will skip that. But that was very huge, that's why I removed the bowl. Just dropping my paint randomly, some here, here as well. Now let's paint the land area. Painting the land area I take my raw sienna. Here's my raw sienna. It's very hard to activate my raw sienna. I'm going to have to run in multiple times. Not bad. The raw sienna. I'll run my raw sienna at the base. This is us just dropping by the colors. Using our brush will add details later on. This is the base layer. I know where the brown is coming from, my brushes touching this palette region, that is why we get a little bit of the brown, but I think that's fine. I think we're good. Now we've put in the base layer, the whole base layer using a flat brush. Now we'll go with our other brushes and start to add the details on the top. I'm going to go with my sable brush and we're going to go add more details and mix up two wonderful paints against it. We'll start with bright blue and a little bit of teal green. I'm just going to add that into the water region and blend it into that little amount of indigo that we added. That added indigo paint just blend together. This will be like the ocean, the tropical waters. The details under the tropical water. You can see just blending together towards the right side. I'm going to leave it slightly lighter because I want this light to reflect onto my [inaudible] area. And there. Now I'll take some green, teal green. I'm taking my teal green, and I want to add to the base here. We'll add that tropical water effect to the base. It'll give that nice transparency to the water, and I'm adding a very lighter tone. You can see that. [MUSIC] Now we'll probably go with a little bit more darker indigo shade and start adding to the top. But not the whole where we acted just few random spots here and there. Especially this closer to the shore, just some random spots. [MUSIC] I feel this one is too dark, so let me just soften it out. The ones closer to the shore are fine. Now we need to add the high ground. Some beautiful, gorgeous island. I am going to do that with my olive green. Going to start with my olive green and make sure that the water consistency on your brush is correct. Adding that island on the top. Because our paper is still wet, you'll get that slight softness. Then another small island there. I need to put my paper flat because I don't want it to flow down and then another huge one. This huge one we have to add multiple colors as well. First, let's add with that leaf green. Now for the multiple colors, I think I will mix my indigo paint and probably a bit of lavender to that mixture to give it a bit of chalky effect. That's my indigo and lavender together. Always take care of the water consistency because I feel that this is very loose. I want it to be dark. Making sure that I absorb all the extra water and that is what we will add on the top. Everyday, I wanted to bring in new styles to show you. This is a loose style now [MUSIC]. This island will be in the front maybe and the other one is greenish, this is probably a rocky one that's why it's darker. I want to add a green one in the front. I'm just going to go with green and a bit of olive green. Maybe it's greenish on that side and some detailed green on the olive green one. [MUSIC] We need the base of it to be darker to show the depth. Adding darker strokes to the base of it. We need to clear and wipe out the base part to show the reflection. It shouldn't spread. It shouldn't be forming any heads it can spread, that's fine, but it should not have any heads. Both the islands will do that. I forgot we need to add some grayish, greenish tones onto this one. Here Here taking my green and adding on the top just at the base the top part can be with olive green. [MUSIC] There, where you've done the lifting. Now we need to depict the shadows. For depicting the shadows, I am going to take my cobalt blue. Here is my cobalt blue, but we need to take a nice consistency of the cobalt blue. I want it to be slightly darker, so I'll probably mixing in a little bit of indigo, okay, that's too dark, some more cobalt blue. That's much better. I need to absorb the extra water and now we'll add in the shadows. The shadows are going to be on the top. Even on the water, it's casting a shadow. We'll add some trees later on and that's what's going to cast the shadow so let's add that. Trust me, it's going to be beautiful in the end with the shadow and the foreground and everything. I'm just adding a little bit more indigo because I see that it's blending out with the blue and not showing much. Then we can add more colors. That's why I go lighter at first only then go darker. Leave gaps, as many gaps like lines for the branches, maybe and add the tree branch. I love how it has turned out. Can you see the, how the reflection, how the shadow pops out? This is what it is. Let's add onto this side as well some other shadow of some other object. [MUSIC] It's cobalt blue and indigo mixture. [MUSIC] This region is under the shade. This is why I didn't add the raw sienna darker because I was anyways going to add these on the top. [MUSIC] My stock [inaudible] Now, I think I'm going to use a flat brush to create some flat lines over there. Just a dry brush. I haven't dipped this in water because I want to create that flatness. Now it's all wet. I'll wash it off, remove the extra water. Dry it up completely and then run it over once more. We can do that multiple times to get rid of the paint. I've been heat up this shadow. I cannot get over how beautiful the shadows looking. Just going to add a little bit more and probably on to the water. I see my shadow here is spread. Let me correct that in the water, I wanted to be seen. That's because we painted the water and then we added this so that region was more correct as opposed to the other. It created those rocks. We're almost done, this painting did not have much details to add. It was just, I wanted this to be simple, but at the same time implementing all of these details. Now I'm going to take a little bit of yellow ocher and add just for the sand region. Some extra line. Maybe like the sand is accumulating there to create a separation from the ocean part. Now we'll add some details onto the sand. I'm going to take my brown, maybe my transparent ban or burnt umber mix. I want it to be nice. You can also take sepia. When we are adding to this side, this is actually the details on the ocean. This is not on the sand. This is not the shadow, but obviously it's under the shadows so it's darker, so just some rocks and texture on the sand. We're just dropping by some strokes that's literally what I'm doing. [MUSIC]. The same here. We're going to do something here to bring out the beauty of it. Remember I said that there are some rocks here and this is the shadow. Let's bring out the effect of the shadow some more. What we're going to do is we're going to add light. The area where there is no shadow, it's going to be under the light, so I'll add part of the rock there. First I'll add a bit of my yellow ocher there and in-between and then I'll take my burnt sienna and add on the top. See it's under the shadow, notice there are rocks everywhere. Then those rocks are like under the shadow, so it's darker. But the same rock under the light it's brownish. That's what we're trying to depict. I think we're good to go. I missed a rock right there. Let me soften those things. I think we are good to go in all of these places. We just need to add in the foreground now. Just adding to the shadow because I feel it's getting lighter, blending in with the ocean. We're good. Now let's add in the plant, the foreground. For that, I am taking my olive green mixing a little bit of brown probably because I want it to be olive greenish itself, because my olive green might be too bright. Now we're going to start and add it. I'm just using my brush. Going to make these strokes. Random strokes in fact, and I'm using a lot of water as well. I want my strokes to be lighter at some point and darker as well. We can add some greenish strokes at random places. This is the reason why we added water so that you can add in the details. Just using my brush and creating these random strokes. Let it go over the island. [MUSIC] Some greenish strokes at random places on the top. Back to the olive green. That's what creating that shadow at the bottom. I believe I will add some more here, this plant is sticking down, and a little bit on this side. [MUSIC] Taking green to add it in random. The green will be like the shadow regions among the foliage. You can also add brown. I take some brown and I'll add that as well [MUSIC]. Now we'll add in the branch, because the branch is missing as you can see, but we can add that with our brown just in between and random. [MUSIC] Right some here. I really love the way this has turned out. [LAUGHTER] What else? We just need to add in some boats in the further end region, that's it. I believe so. Maybe a little bit of the light brown strokes here to depict some details on the sand. I think that's enough, now let's add in the boat in the front. For adding in the boat, I'll switch to my smaller size brush, the size 41. I will use Payne's gray, and add in the boat, you can add it somewhere here. I want it to be further away, just very tiny and small. This one probably facing us, we will add some with white as well. Here is my white paint. [MUSIC] We'll add one here. Also to the base of this island here, let me add some white. It will be like the form of the beach hitting that region. These ones are very far away, so we don't need to add. What? Some detail on the top, just a little bit of white on the top of our boat. Now we can just add the lines on our boat. For that, I'll take my liner brush and I'm going to take my white paint. [MUSIC] Maybe for this one, I'll make it dark. I just want to turn things around. It is going to have the reflection, isn't it? Just a teeny-tiny amount to the bottom. Can you see that? It's not even clear and that's how we want it. [MUSIC] Added some white spots randomly. Now we'll do the same with our black, Payne's gray. Here is my black, we load it up on the liner. I going to turn this for my convenience. Always with the liner, I feel that this is convenient for me, this direction, so do according to our convenience. See that, just continued on that line. Actually it's looking much better, isn't it? Because along our island, it's light and along the sky, it's darker so that we can depict the length of it. That shows the other rigger lines. How it is done that I need to add for this board as well. Needing to be perfect just very lightly. If you look at it closely only then you can see it and that's what adds to the beauty of it. Do we need to add the reflection? Maybe not, because it's like really far away you won't be able to even see the reflection of it. I'm just going to take a little amount of white and add it. Just a teeny-tiny bit can you see? That is a reflection if you look at it closely and seem or the boat just a teeny-tiny amount of my Payne's gray at the bottom. We are done. I believe so. I don't want to add anything more, I'm just happy with the way this has turned out. We can call this done. Let's try it out and we can sign the painting. Here, it is completely dried, I just love the shadows in this one that's my favorite part actually and also how the lines of this board has turned up. In fact, even the foliage I love it. Let's just go ahead and sign our painting. I going with my [inaudible] red and I'm going to sign my painting. [MUSIC] Here is the finished painting for today. I hope you liked this tropical singing with the Sun and light flashing. Somewhere here there is the Sun region, probably outside of the paper, and that's why this region is lighter and it's casting that shadow all over into our land area. There isn't much wave because it's just a calm beach scene. There you go. 64. Day 24 - Techniques and Exercises: [MUSIC] Welcome to Day 24. This here is the painting that we are going to do today. I am so in love with this painting. It's actually because I've never attempted something like this before. This was my first try on this because all of the other paintings I had attempted multiple times and this one I just went at it directly for the class project, mainly because it's actually very easy. But the only thing was the leg of the girl slashing the water. But I thought that maybe I can do it and then I just went at it directly and it turned out amazing. The most favorite thing for me in this is the color combination actually because it's very pleasing to the eyes to see that green and the blue combo. That's it. I love the splash region obviously. This is the one that I had mentioned, that is one of my favorite. I just love it. It's actually very easy to paint this one. But the reason why I put this off to the last few days is because there is masking fluid involved for covering up the legs of the girl. I don't see an alternative to masking fluid in this case, mainly because I think you'd have to go around the shape of the leg and each of these splashes, which can be quite hard. For example, these splashes obviously you can get it in white paint. But the issue here is the leg, which also I masked with my masking fluid, and you want to get these dense green color around the legs. It's better to get that dense green color by using the masking fluid method rather than going all the way around because it's got these reflections as well, which needs to go in a perfect straight line and such strokes. That is why I put this off to the last few days because I know that if I put it in the beginning, many of you might be put off because it's got masking fluid. I don't see an option, but you're welcome to try without the masking fluid to go around the legs, but it's good to apply if you have it, use it. That's one of the major points that I wanted to talk about before we go into the exercise. The exercise I want to show you how we paint the whole of the background so you're comfortable with it. The leg of the lady is in fact are very easy and the slashing part also. Let's get ahead to the quick way of painting the background. Here's my paper ready. I'm just going to mark out the horizon line somewhere around one by third of my paper as usual. That's the only sketch I want to do. We just learning to do the background. We'll start by applying water to the backside of the paper. Let's turn this up. Now, water the front region. Done. Let me know absorb the extra water. I will also tilt my paper so that any extra water will accumulate at the bottom and I can take that as well. Now, let's get to painting. What we'll do is we'll paint the top region first where there's the foliage. For that, I am going to take my dark green. This green has a great importance in the color composition that I have used. If you don't have such a dark green, mix your green with indigo or with a slight amount of black, you need it to be as dark as this. I'm not going to add the bench here. That's quite easy to do. What we'll do is just add in our background. You can see I just add some nice background and its softer edge because our paper is wet. We are just creating the shape like a bushy region. It'll spread on its own and create the magic. Now we take the dark green and apply it at the base. You can see the dense dark color is at the base. That's why we got a nice very creamy consistency here. You can see it's very concentrated, not at all diluted, this creamy consistency. You can apply it to the right where it is the horizon line. We need that edge to be darker. Pick up that dense amount of pigment and put it there so you can see. Now we come down and we want to add in the reflection. For adding in the reflections, you can start using a little bit of yellow so that we depict some lightness. Basically, used Indian yellow and you can apply to the base like that, and then use your green on the top. When you add your green on the top, it brings out a sap green color. Here, I guess maybe if you have sap green, you can add that as well. But I believe adding a little bit of yellow at first really give that nice edge for the horizon. See, you need that separation between the water and the horizon part so this is good to use and then just apply some lines and some strokes like you normally would. Make that line thinner. Pick up your paint and try it around where that is. Also, remember if your paint starts to get dry you can pick up more of your green and add it right to the edge. Remember that edge always needs to be darker. I go with my darker paint even more on the top because as your paper dries, your watercolors tend to go one shade lighter. In order to avoid that, see I'm picking up more of my green and adding at the base. But this time I won't go all the way towards the top. I'll stay here at the base, add in the strokes at the top and create that division. Now, I can go with more of my paints and add. If the darkest part is here, then why isn't the immediate bottom the darkest part? That's because we need to depict the separation between the part where it's joining and the water. That is always going to be a separation and this separation is mainly because this region here is the dense forest or the dense bushy region. But that's not like standing in the water. There is a thick ground there, which will also have a reflection. That ground part is the reflection where we see the thinnest off the line in between. Then you see me applying the darker strokes again now at the bottom. These darker strokes it's actually the reflection of this bushy part. [MUSIC] Now I've added those deflections. Now you see there's a clear reflection. Let's go ahead and add the water to the bottom. Adding the water, I will be using my Phthalo blue. It's my favorite color now when I'm painting water, of course. Then we go with Phthalo blue and we can just go about it as normally how we would paint without pale blue. You can see, just using my Phthalo blue we go and start adding to the regions right below our foliage part or the bushy region then we just go with our blue color. Here, I've blended the whole part. Now I'll probably add in some darker shades on the top. For that I will mix either indigo or a little bit of Indian green-blue. You can also take Russian blue for a darker version of the blue, the bright blue, Phthalo blue and add it. These will be the waves. We've already practiced waves in a lot of the lessons so I believe it should be easy. I am using my larger size brush but I believe for this small-sized paper, the waves would be better with a smaller-sized one so I'm switching to my size 4 brush here. Now I'll dip then sprite blue and make sure that I apply it in the form of lines. There, I've applied it in the form of lines. Now the reflection lines on the top is mainly using indigo so we can take dense indigo. If we go for a dense pigment of indigo, we need it to be dense. If your indigo is indeed turning lighter you can add a little bit of black or Payne's gray to it so here I'm taking my Payne's gray. I will mix in that Payne's gray with my indigo and that is what you can use for adding some reflection lines. Here there is no object for reflection just like in the class project. In the class project you have the bench and leg and some other objects for reflection. Here we don't have that. What we'll do is, we'll add some random shapes and lines with our indigo. Instead of the bench, we'll just add some dark wavy shapes with our indigo. You can see it's just some random shapes. I've just added some random shapes. This is basically the gist of it. The class project, you add more of your shadow with indigo but the point here was about the horizon line, how you can create that separation between the horizon line and the water. You can randomly run your brush over. That would actually create some water lines because you tend to make your paint lighter in between. That's absolutely just optional. Here, you can make lines that resemble some wavy strokes but I guess that's enough. What we'll do is, I want to show you a mixture of colors that I used for the class project. We add some foreground details onto this so that just this painting looks a bit more attractive. To have quickly dried the top region, what we are going to do is we're going to add some bushes or just some tiny grass elements into the foreground. For that what we need is a color that is going to come on top of this. If you were to add in your green, that would be fine as well. Let me show it to you. I'm going to place that in the water so it's like you've seen those tiny, I don't know what it's called. It stands in the water so it's possibly like a water plant. It's got its roots in the water, so something like that in the water. But it's more attractive if you can use different colors as well. Also, it's good to have it sticking on the top here. If you add it with your green itself it wouldn't look that attractive. For that, what you can do is if you have an opaque yellow, here I'm using my cadmium yellow. I take my cadmium yellow and I'm going to mix it with my green. Here you can see it creates a very creamy mixture of that lighter green shade. That is something that you can apply onto the top like that. It's better to use a liner brush because then you can create those thin lines, but I think I'll just go with my pointed tip here. Just a lot of these green lines sticking out in the water. Can you see that? It's good to have it going all the way up in front of that truss. See that? Some of them, you can create bends, bendy shapes, mix the different greens. The reason why I mix it, because you get a different shade of green by using this method. Somewhere you can use the dark green itself, somewhere you can use the lighter green. It's just different mixes. Now that I've added a lot of those greens, they are in the water but there's something that we're missing now. We need the reflections. We'll go with the indigo color that we used and we'll create some reflections. Our reflections, they are supposed to be just some random lines. As soon as you add them, it changes the whole perspective of the picture because then you know it's water, it's got the reflection. Yes, it is there. Remember to connect, always. You can have them broken up as well. It doesn't have to be continuous. Some broken up lines. Wait, I won't do the ones that are stopping there. [MUSIC] It's a nice reflections. Now, this one had a bend, so let me go and create that bend. Then now for adding the one that's sticking out at that end we need it to be green around that region where it's on the top. Then at the bottom, we can continue with indigo. Again, green and then indigo. Possibly, just to make this a little bit more attractive, you can add some new lines in all the details that we usually use to add with indigo. Not with indigo, but what I mean is that reflection strokes that we used to add, possibly due to some other elements, the dirt in water, or the reflection strokes due to some other elements you can add that. They just make your painting look more interesting. There is no element here, like the bench in the other one so that's the reason why I just randomly add such strokes. Can you see now, as soon as you add those things, this indeed the small thing has turned into a picture on its own. There is no splash. We've done a lot of splashes. The splash part is quite easier actually so that's why I didn't do it but here is the class exercise. I hope you like it. Let me draw the dark side of this now. Here it is completely dried out and you can see how it's turned out. It's just a simple painting. What I wanted to depict was obviously the background of our class project. I hope you liked this one. Now let's have a look at the colors and I'll explain to you more. There's no sky region, there is no color on the sky because I wanted it to be possibly an overcast condition, cloudy day perhaps so we're not adding anything to the sky. We just directly add in the background bushes or the background forest region. For that, we use dark green. This is PG8 from White Nights. I've been telling this for all of the class lessons that I love this color. It's got this dark vibrancy that I love. I've never seen this in any other brands, PG8. I'm not sure if you know, maybe it's there, but I haven't seen myself. This is amazing color to have, but I know you may be using obviously a watercolor set and you might even be mixing your green. If that is the case, you can darken up your green by adding a little amount of Payne's gray, or even indigo. That's two options which you can use to darken up your green to make it as dark as this, just like we did in the exercise. Then at the base here, below the leg, and at the background part here, we mix a little bit of green and Indian yellow. Indian yellow is PY150. It is one of transparent yellows. For this case when you're mixing it up on the background, I would recommend using a transparent yellow and not an opaque yellow because that really does matter. Lemon yellow is semi-transparent in most of the cases, so I don't think that would be good. Otherwise, what happens is it creates an opacity on the painting. That is, your pigments would be dense and the strokes here would be opaque, which we do not want. I'd like to maintain the transparency of the paint that is because the Taylor blue that we add is transparent so bright blue or Taylor blue BB15 that we have been using is a transparent pigment. In order for it to blend that smoothly all the way down, it's better to use all transparent pigments, so Indian yellow and green mixed together. Then as we move down, I have used obviously bright blue or Taylor blue BB15. On the top, I have mixed it up with a little bit of Indian green- blue and these shadows and reflections are with indigo. Those are the major colors for the background region. Then as we come into the foreground, there's this lady here. Her dress basically is white so I've depicted just the crease and the bend in the dress. That's what we depict. You can see there's a bend here, there's the shadow and the reflections here and the bends there. That is using lavender and Payne's gray. I love using lavender for shadows and for such things so I've mixed up lavender and Payne's gray for depicting that. Then there's the bench which I have used transparent brown. You can go for any burnt umber or sepia, or any dark brown. It's basically just dark. I've mixed my burnt umber with Payne's gray here to make it even more darker and here's the reflection, then the legs. The basic colors that I have used for the legs are yellow ocher and burnt sienna. I've mixed these two and also for the darker areas, I've used my transparent brown for depicting the darker areas on the leg. Can you see that? If you are a person who paints portraits or paints human figures very well, you might know different shades to use for these, but I've used a combination of these three, along with my white paint to depict the light in her legs. Then we come down to adding these grassy structures, which we've already done. What we mixed is the cadmium yellow, cadmium yellow SPY35, and green together. That is what I did because I get different color combinations by varying the amount of green in that but there is another pigment that you can use directly if you have it. It is the PG7 and PY153 Taylor green light from Sennelier. This does appear on the top. I don't know, I keep saying this, this one on this tube, it says transparent, but I always manage to make it opaque. That is, I always manage to paint it on top of a darker color and it does come so I'm not sure why Sennelier says it's transparent. Maybe because both of these two pigments are transparent. Yes, PG7 is transparent, PG7 is viridian or the Taylor Green and PY153 is another yellow color which is transparent. I guess mixing both of them makes it transparent as well, but it's definitely usable as an opaque color to be adding on the top of objects like these. That's a very good color to have but like I said, you don't need this if you have an opaque yellow such as cadmium yellow. Cadmium yellows are usually PY35. Cadmium yellow or even lemon yellow if you have that, mix it with your green to get such lighter strokes and if that doesn't work, you can use your gouache as well. That's it. That's the basic colors that I have used for this class project. Now let's go ahead and have a look at the brushes. I've used my size eight for major part of the painting. For any tiny details, you can go for a size 4 a smaller size. This is my natural hair, which is the Kolinsky Sable 1 but obviously, you can go for any brush. All you need is a medium size brush to paint the whole of the painting. The details for the smaller size brush such as a size 4 or a size 2 and the grassy structure, you can use a liner brush or you can just use your normal smaller size brush itself if it's got a pointed tip. Like I said, all of these are not necessarily, understanding the strokes and how to do it is the most important part rather than having the exact same supplies that I use. These three and obviously don't forget what I said about masking fluid. I suggest that if you do have it, do use it because it's better, otherwise you'd have to go around the leg which can be quite difficult but maybe it's doable. I want to bring one thing to your notice, can you see little greenish tones here on the leg? That's actually because I applied the masking fluid and then when we painted all of these green, the masking fluid caught on some green on it, and then while I was rubbing off the masking fluid, that green went onto the paper underneath while I was removing. That is because this green is so dense, the pigment is so dense that when I was rubbing it off both using my hands and using the masking fluid eraser, it came on the legs. I've tried to get it off maximum by using my white paint. You'll actually see this mistake happening in the class project so don't worry. I tried to remove it as much as I could using white paint and then I've also added some splash on the top so it's really masked out but I have no complaints because I just love this painting. I really love the way it has turned out but I'm just telling you to watch out for those silly mistakes that I do and now I've learned what to do when such a thing happens. As in when I apply my masking fluid, what I do is after the painting, I try to wipe off the excess paint on top of the masking fluid so that I don't make this mistake again. It's as I say, each painting teaches us something new. That's what I learned with masking fluid on this one. I never had such problems before. I guess it's happened after I started applying my masking fluid with brush because earlier on I used to apply a thick layer of paint and it was easy to peel it off but now, in order to see masking fluid and my brushes as well, I've been applying a very thin layer of masking fluid that is hard to move by peeling off. It had to be rubbed off. That's the problem. If you're happy with the exercise, the colors, the brushes, then let us go ahead and paint one of my favorite class projects. [MUSIC] 65. Day 24 - Girl's Legs Splashing Water Part I: [MUSIC] Let us start with our pencil sketch. So the leg is going to be some here. So I'm also very bad at this kind of sketch, but I am going to try it. I've tried once on a smaller piece of paper, but this larger piece of paper actually scares me. So that would be the bench [MUSIC]. Then the underside regions of the bench. Here, we need to follow perspective. I will roughly do it now and then maybe later we can correct any mistakes. So then that's the leg that's resting in water [MUSIC] That's the leg part of the bench can [MUSIC]. These are all in water. Spreads water all around. This angle is too much. Again, so let's reduce that. This region is now fine, so we reduce the angle. I think that's much better. Now, the lady sitting, that's the dress only that much is to be seen. We don't want to add too much details. So that's her dress. Now her legs, standing into the water [MUSIC]. That's not too weird, that's one bad and then the other leg goes down it like that [MUSIC] We'll mask out most of it in the splash. So we just need to trace out just a little [MUSIC]. Straight. [MUSIC] Not bad. [MUSIC]. Now, her dress needs to extend downwards. [MUSIC] That's fine. Now the only problem is I've made this woman come towards the center. Now she looks as though she's actually lying on a bench rather than sitting. So probably I need to adjust that. So I will make her torso go up like that. We don't need to add it in much detail. It's going to be white. It's a white dress that she's wearing. So I'll just make it like that such that it implies that she is sitting and then we need to have the upper part of this cool sticking out for part of the bench area. Follow along the straight line and something in the background. I think I won't add background in detail [MUSIC]. So I think we're good to go. I'm happy with how this sketches turned out. Let's go ahead and paint it. So we need to be able to paint the water surface freely. So let us go ahead and apply masking fluid to the feet of that lady, of the girl. We will also need to add splashes, remember that. So here is my masking fluid. I would apply that to the feet [MUSIC]. Very carefully. [MUSIC] So I'm covering some part of the dress as well because I don't want my water region to flow into that part. I'll just cover a little bit of the dress region. I'm using one of my old brushes. I think I've used this in the class before, haven't I? Or maybe not, I can't remember right now because I paint for my patron as well. So then I lose track for which painting I've used, which brush and all. So you can imagine [MUSIC]. Cover it one leg, one more left. As you can see, I did not paint or mark the legs in detail. That's mainly because we cannot cover most of it in splash. So then wipe, add it in detail. That's the reason. Then, her dress is white. So I need that to be white as well. Although we will add shadows, but we don't want it to be blue. So I will cover that up as well [MUSIC]. These regions are darker so I don't mind, that's fine. Just the upward also. Maybe we can add a bit more and cover it up with masking fluid. Just so that you know, your paint doesn't flow. Actually. You can just cover it up towards the very end like that. That would be enough because then your paint wouldn't flow from either direction. That's it. So let us also add some splashes where the leg is touching the water. So here I'm dipping my brush in masking fluid and I will splatter that. Obviously on the top of the leg it's not going to come. But outside of the leg we'll get nice splash. So let's add that. So I accidentally dropped a bit of masking fluid, but I'll use my hand or maybe brush later on to move that out. First, let us add in the splash. So that's the region where it's splashing in the water. [MUSIC]. That's created a nice splash. Let's extend that and create a little splash region. I'm just spreading out the paint onto the legs. Actually it dries out faster because if it accumulates like a lump it'll take a long time to dry. Now I need to go and wash my brush to not damage it and my hands as well. Let's wait for this to completely dry. It's completely dried. Let's go ahead and apply water to the backside as usual. Let's apply the water evenly. [MUSIC] Let us turn our paper and fix it onto the board properly. [MUSIC] Let us now water the front side. [MUSIC] Let us now wipe out the edges and remove the extra water. [MUSIC] Also tilt my paper so that any extra water can flow down. Then I will also aid in the water to flow on the masking fluid region where the water might have accumulated. Just using my finger and allowing the water to flow down. [MUSIC] Now, all the water's at the bottom. Let's absorb that. [MUSIC] I think that's enough. Now let's get to painting. I'm going to start with my size 8 and will add in the background first. We're going to take a beautiful green shade, a dark green shade. There's no light or, what do you say, the sky region here. We're going to directly add in the green because the lighter top region is going to be a cloudy day perhaps so that's what we're trying to depict here. That region is in fact where the end line of the bushy region goes. I take my dense paint and I add it to the top. As you can see, it obviously flows down. That's fine. Adding some nice tree line. I'm going to extend my tree line a bit from the picture, a little bit towards the top. The reason being I want these white spots to be seen. They are the spots of the water. If I don't do it then these white spots will be masked out in the white region itself. There will be no contrast. To bring in that contrast I will actually extend my green region towards the top. That is specifically what I'm doing right now. Just adding the background. It's my dark green. If you don't have a dark green you know how you can mix it. Just use your sap green and mix it up with indigo. That's the best color to make your green darker. Now we have a darker green. I'll make sure that the underside of that is darker as well. [MUSIC] Having this darker shade here will bring the maximum contrast for these splashes. You can already see how it's acting out. Because we have applied the masking fluid so we have the maximum contrast when we remove it, when the background is darker. [MUSIC] If you're happy with that let's proceed downwards. Now I'm going to go with a lighter green, possibly sap green. Actually, in order to make sap green we can use yellow color and mix it up with our green so that we get a sap green color. I'm mixing up my Indian yellow with my dark green. This is what I will add for the reflection of my area right below of my tree line. First, add a yellow shade. I'm mixing it up with my green and adding the reflection. That's my Indian yellow mixed together. That was the reflection. Now we need to refine it. I'm going to go with my green again. That gap there will signify the end of the water region and the reflection starts. Like that. Now, I'm going to create a reflection such that it may mix the top region. [MUSIC] Now we'll go with our blues for adding the water. Obviously, we start with a beautiful phthalo blue and we add it right below. Add it in those regions where actually the water reflection is. Because remember wherever the splashes are there we need to bring in the contrast. That's the reason why we need to make sure that we have a lot of the strokes and our strokes at outcome. [MUSIC] Lighting my strokes towards the right side somewhat. For that, we can use a lot of water in our mixture and add. We can see there's a lot of water in my mixture. I'm letting my green flow and it's absolutely fine. Now, I paint. I'm not bothered about my color going there because that's going to be with the darker paint anyways. We'll create a nice, wavy shapes. You can see I'm leaving some white gaps. As I move towards the bottom I am increasing the tone. [MUSIC] The scene will do for all the areas at the bottom. As you move downwards you need your tone to be darker, now, let's go with dense pigment and we start adding wavy shapes. I only need a very little amount of white, which is what I'm adding. So now we go towards the top. Start making it lighter, medium tones. Obviously, we need to darken the agents at the bottom again, but let's first finish off this. Now, let's darken the bottom part. For darkening the bottom part, I will mix my Indian green-blue with my bright blue. This is my Indian green-blue and take my bright blue or my phthalo blue in fact. This is one of my favorite paintings that I tried out just because of the beautiful natural colors. It's not at all like in the picture, but I loved the way that I'm changing the colors. [MUSIC] Now, we'll move slowly to the top and I'll have my tones lighten up. Also, we need to have a lot of disturbance in the water region here where the girl is actually putting her feet in water or has splashed out the water. That is what we will add. Am taking my Indian green-blue and you can see the consistency of the paint I'm taking. It's very concentrated. No water at all. That is what she has done here. She splashed out and created a lot of waviness or disturbance in the water, so I'm using the tip of my brush to create that disturbance. You can also mix indigo if you want. Am mixing up a bit of indigo. Adding to this point here, where the green region was. I think I'll shift to a smaller size brush. I'm going to take my Size 4 now and I mix up indigo, Indian green-blue, and my bright blue, and I'll start. I'm using the tip of my brush again. I'm just adding a lot of disturbance in the water using the tip of my brush and doing these strokes. I'm going to create that disturbance all the way to the right side. Basically dense pigment, you can see that. But I make sure to mix it up on my palette before I apply it to that water region. Over to here, this region as well while the underside of the bench needs to be darker, that is because it's under the shadow. Let's see. This is the region where she has splashed, so I'll create some splashy effect, there. Now we'll create the shadow of the bench area. That's here on this left side and goes underneath. You can see where I'm holding my brush. The more you come towards the end, the more you lose your strokes sket and that is the reason why I do that. Now towards the left side, this is the reflection of the bench and it needs to come all the way up to this point here. But it need not be straight because it's reflection and the water is moving. But first let's cover up the left side. [MUSIC] Up until this point. To add like reflection itself and these strokes. These are just loose strokes. We don't need it to be detailed at all and it depicts the bench. Now we need to fill it up. That region is obviously darker. You might ask or you might be thinking then what was the whole point of adding the waves and the blue at first. But then do you see you still have some color underneath. We just can't leave it white, you need to have that color shining through. If you were to just add indigo, then it would be white on the top, I mean underneath and it wouldn't be this beautiful. Just a good tip. Now we're done with adding that reflection but let's add these random lines in random areas. You just show the ripples in water. Very roughly, you can see I'm adding roughly now not as dark as this one. More indigo and light blue mixture and random details. These are random ripples in the water. I believe it's good now. Let us go ahead and add in the pole and the bench. I'm taking my dark brown, transparent brown, my brown is not that dark, so probably add in a little bit of paints gray should make it like a sepia, so if you have sepia you can use that. I do have sepia, I just have to find it. I'm lazy and I just like the result to use the colors in my palette, which is why I don't use my sepia. That's the pole, then at the bottom as well. That's the pole going into the water. We'll add it with detail later on. I just wanted to make it soft here, that's why, and also we need to paint the bench. Remember we added masking fluids so that it won't flow to the leg of the girl. Now what? I feel that I'm missing a little bit of spots here and there. I'm just going to take my dark blue paint, some more and just going to add a little because I feel like it's got a huge break which I want to reduce. Maybe I'll add some dots and random spots like that as a continuation from this region. I think that's much better. Now let's paint the bench. On the bench, I'd like to show the reflection of the stress. Let's take brown. I'm going to add it. That's the line for now for showing the reflection. I will just blend and add a lighter region, just in the center there. The rest of the regions, let's paint it darker. Just a teeny-tiny amount of light region there. Then I need to create the shadow or the underside. I'm digging my beans gray because that is the underside of the bench. We'll add it in detail later on, don't worry. Now, the top part of the bench. That line should be enough. I'm really happy with how the things stand out. Now, all we need to do is wait for this holding to dry so that we can add in the details, and remove the masking fluid as well. 66. Day 24 - Girl's Legs Splashing Water Part II: [MUSIC] Now I've dried it off completely. Let's go ahead and remove the masking fluid. Here I have removed all the masking fluid. You can see the major accident that has happened on my paper here. It's actually because the masking fluid had this green color right on the top in little patches and that had not dried, so while I tried to remove it came on the leg, but I think it's going to be all right because we will anyways add in the colors of the leg and also some cool tones for shadows. Maybe the green will contribute as a cool tone. If at all if it shows up at the end, you will know what happen. I hope you'll forgive me because I don't want to repeat this. I just love the way the ripples and the water stand out. We've got the nice splash region. Now we need to paint the leg. Let us do that. For painting the leg, we need the cool tones and lighter tones. That green stays. Let's ignore it. Or maybe I'll cover it up with a splash later on, but now I'm going to take my burnt sienna and repaint this. Here on the underside, blending it up. Now we'll go with a very lighter tone of the burn sienna, very light. Or you can also take yellow ocher. In fact, let us take a very light amount of yellow ocher. You can see how watery my mixture is. I'm going to use this watery mixture and run over the top. That watery mixture of yellow ocher, I'm running over the top. The green that has spread onto my legs is making it look really weird, but I think I'll cover it up with water splash later on. For now, let's just go ahead and add burnt sienna on the top. [LAUGHTER] It looks like our leg is got something on it with the greenish tone. Maybe I'll correct it later on, I hate the way it's showing us green and perfection is the key. Here I'm taking my burnt sienna again and start to add darker tones. I'll go for darker tone at the bottom. Then now we need darker tone further, so we'll take our brown and this region here needs to be darker because it's under the dress and is under shadow. Then we'll run along the bottom edge to depict the roundness of the leg. Then the other leg. Now the other leg. Now I'll add my burnt sienna at the base. That's the leg. Now a little amount of lighter tone towards the top, the yellow ocher. Now I'll go and add burnt sienna to the bottom. This region here, I want it to be light because it's the ankle region. Then the burnt sienna again for the underside of the leg. Now we'll go with darker tones, so I'm taking my burnt umber and right underneath that leg needs to be in shadow. Here this leg is part of the shadow. Now taking my brown and mixing it up with burnt sienna, I add to the base again. We created the legs. [MUSIC] The focus of this painting is not these legs, but rather the water splash, so that's why I'm not giving too much attention. I love the way how I've added the shadow for the underside region here. Then a little bit on the top there is the leg again so I'll use Payne's, sienna, and yellow upper mixture and add to the top. Burnt sienna. We can lighten that up. I really like the way that this is turned out. Now we need to add in shadows for this one because it's the white of the dress lying down. That needs to be under shadow. We'll add that with a combination of lavender and Payne's gray. Here's my Payne's gray, here is my lavender. I love this combo for shadows. Now we first use a watery mixture and cover it up. Now we'll add darker tones on the top, so here my Payne's gray and my lavender mixture. I wanted to paint the folds in the dress. We go towards the edge, it's too watery. Maybe I'll wait for a bit for that to dry out or I'll just use my clothes to absorb extra water and now that's perfect. Using my lavender and Payne's gray mixture to depict folds in the dress. We'll soften out edges. The same for the dress here. I've added that now I will soften it out so that it blends towards the inside and it will be a very certain color. Now, can you see the whiteness of the dress here? If we want to bring out that whiteness of the dress, we need to paint something here to the top region. For that top region, I think I'll probably go with a very lighter tone of Payne's gray. Here is my Payne's gray. I'm going to take a very watery mix, very watery. We just want it to be slightly light. Make sure that this region is dry so that it doesn't flow into my dress and I'll paint that region lighter. That brings out the whiteness of the dress. Can you see that? Just dropped in a little bit of Payne's gray at the edge to bring out that whiteness again, and then I'll just blend it towards the sky. Can you see that? Now that brings out the whiteness of the dress. The same we'll do here so that it doesn't look odd that something of Payne's gray is there towards the other side of the pole, but not here. I just added a little bit of Payne's gray and then I'm blending it to this side. Now it doesn't look weird because there is something here. It's just a part of a cloudy day. But you can now see the whiteness of the dress and also all the shadowed regions. Now let's add in some mix in the dress, the fold. Just watering down that region, but make sure that when you water you don't touch the outside. That is now good. We only need to paint this and add in the splashes. I'll take my dark brown paint and I'll add here that is the underside of the bench. We depict that with a darker color. Can mix Payne's gray as well and then the bench, the end of the pole so we need to follow along from the top. Make sure that we draw it in the same line. Because this is the pole that's continuing towards the top. Then other stuff along the underside of the bench. Now like I said, this part here is also the underside. Now we take a little bit of brown and you'll add it on the top like before so that we get a little bit more dense color, and also the place where the girl is sitting, that area needs to be darker. Always remember shadows. She's sitting here, so under that region, it's going to be somewhat darker and then rest of the areas will lighten up with brown, lighten up, as in will be lighter, that's it. The center region, I will blend it up again there. I love how it has turned out. Now let's just randomly add in some spots and details onto the bench because it needn't to be perfect. Perfect line. [MUSIC] Now we've added that. Let's go ahead and add in some more details before we can finish off with a splash. For those details, these are details with the wet on dry. Can you see? The wet on wet show that we added is very light. We need to bring in some more depth to the area right underneath that bench. For that we'll take indigo again, dense pigment always. A bright blue maybe. That's dense pigment, just right underneath the bench. It needs to have that depth where it's joining. Remember we did the poles in water, so the reflection always needs to join. That is what you're doing now. Nice reflection underneath and it's bigger as well, bigger towards the bottom. I'm just adding bigger strokes, but you can see it's totally random in a ripple manner. I added some nice ripples. I think I'll switch to my larger size brush as I go towards the bottom because I'll make the ripples larger. Indigo and join it up towards the bottom. I'm just joining it along with the other ripples that we had added. Now I believe this is good, isn't it? I'm adding for the region below. That's the region behind. Let's get back to the splash region. I'm just going to add some nice small ripples, I'm using the tip of my brush, and I'm going to create some small ripples and some shapes. That'll give it a more beautiful effect with the wet on dry strokes as well. We're almost done before we add in the slash. I love it. Now, remember the shadow always. Here I'm going to take the lavender and Payne's gray mixture here. I will add it to the water region to add in some shadow. See, as soon as you added that shadow is looking much better because water is not purely white. It needs to have shadow in the region where it's splashing. Just dropping a bit of the lavender and Payne's gray mixture into the heavier areas of the masking fluid. I think that's now good. Now we're almost done. What I'm going to do is I'm going to get rid of that greener stroke on the leg. I'm going to use my white paint. You can skip this step because I believe you did not make this mistake. Actually, in order to clear it out, what you can do is when you're using your masking fluid and after you're drying your painting, before you remove the masking fluid, use a wet cloth and just go over the masking fluid area. Don't go outside because otherwise the outside region would move with the water. But just over the masking fluid, try wiping it off the colors on top of the masking fluid region, then you will not get this error. I did not do it. I thought it would be all right and that paint had dried, where in fact it hadn't and I'm now having to correct it. I hope you don't do that mistake. I need to correct my legs, that's why I'm doing that. Now I'll probably add in yellow ocher and I'll blend that in. That gives the effect of light as well and my bad green has gone away. That's much better, but I hope it's not too yellow. I can take my burnt sienna and correct it up even if it's too yellow, but at least you get rid of that greenish stroke. That's perfect. I just love how it has turned out and I've removed my stupid green stroke. I'll probably do that for the other leg as well because I can see some green strokes here and I want to correct it. Just taking my yellow paint to blend alone. I've done sienna as well. That's actually much better now, I like how it has turned out. I've cleaned up the mess that I created. Now, I'm just adding a little into fingers, so I'm just using my dark brown. I'm creating some strokes, but don't worry, you don't need to add that in detail at all. Now I'll add in the splatters onto the leg also, so taking my white paint nicely. Taking the right paint nicely on my brush, I will add the splatters and I'll make sure it goes on top of the legs as well. Any mistake, I can cover it up, especially here, that green region, that's masked up now. I love this, how it has turned out and also I'm adding to the end here, is we didn't add any fingers in detail, we didn't add any toes in detail, so that's why. I believe this is now enough. I'll add some grassy structures here because I see that in the reference image. First, let me wash my hands. I am going to add my grassy structure. For that, I am going to use my Phthalo green light or you can mix your lemon yellow with your green and that would be sufficient also. There and I will add some nice grassy structure. I believe I would definitely need to add in yellow as well because this is too light and remember to not go on top of the dress because this is behind. Also, not on top of the leg either. You can have possibly one here which goes over the leg, so I need to be careful, I'll make that one from here and that goes above the leg and some of them are coming from behind the leg, this one here. [MUSIC] Now we can add more. I believe if we mix lemon yellow or cadmium yellow, we might be able to get more lighter. I'm mixing my cadmium yellow with my Phthalo green light, that would be perfect. Yeah, see that's more lighter. Maybe mix in a little bit of brown towards the base. Yeah, that's good. For the ones that I've added here, we definitely need to have the shadow, so I'm taking my indigo and just something underneath so that it's not perfectly blank. Always remember about reflection and shadow when we're painting water. Each of these ones connect and create some reflection. I know it's not clear in the image, but since we added these things in detail, we need to definitely add some reflection. I really love the way this has turned out, so I definitely have to sign this one, I'm in love with it. [NOISE] Here you go. I hope you like this, this is definitely one of my favorites on the core projects now. Thank you for joining me today. 67. Day 25 - Techniques and Exercises: Welcome to Day 25. This here is the painting that we are going to do today. You can see it's a sunset scene. This is a frozen lake or the icy landscape. These are the cracks in ice so we're going to use several techniques to paint this one. This is really fun to do. Trust me. I had a lot of fun painting this one both with the scheme of the colors, the composition of the painting as well as the techniques. You're going to love this one, trust me. We have what? The sky region here. Here is the frozen lake part. These are the cracks in the ice and then we have just a single mountain here. We have the light here depicting the light towards the mountains. You can see these mountains are lighter and then it gets darker as you go further away and you've got some other colors in the sky here and the same the light being reflected on the lake because it's water itself. It's frozen lake. So it's water and I want to include this in this class because I wanted to depict everything about water and I didn't want to create a separate class just for lakes or just for ice or all of these. My aqua class, I wanted it to be aqua. It's all water. The ice part here, that's what we're going to add. Let us see how we are going to paint that. It's going to be quite magical trust me. Here's my small paper. We're going to do something similar but another landscape, another frozen lake landscape. I'm going to take around one by third of the paper for my horizon line so that is my horizon line and I will have a mountain here but this time I'll make it different mountain. Maybe an icy mountain and another mountain in the background, something like that. This is basically my sketch. Let me show you too closely. See that. That's it. We do not sketch out any elements on the frozen lake. This portion here at the bottom is going to be the lake part, the top portion, the sky and here the mountain. We'll start with obviously applying water to the whole of the back and then to the front. Let's get going. Done with the back. Let me now turn it towards the front and I will apply towards the front now. Done. Now one absorb the extra water from everywhere. I also need to bend my paper so that all the extra water comes down and I will take all of that extra water. Done. Let's start. We'll start with the sky region of course. I'm going to go with differences of colors today so I will start with a bit of cobalt blue. I will apply it to the top. The technique is what is important. You already know how to paint sky and all of that. So there. That is a nice cobalt blue that I have added then I'll go for teen-tiny amount of pink. I'm going to add that. So there, a little amount. Pink. Just applying a very lighter stroke you can see that and my cobalt blue also mixes with the pink to create gorgeous while at sheets at random and I let it be. I'm not bothered about this mountain because I'll add it later on. I let it blend then possibly I'll take a little bit of orange so that I can add an orange shade to my sky there. Something there. Just a teeny-tiny amount. A bit of pink. A smaller brush would've been perfect for this but I just love covering up larger areas. I guess we're good to go. We can possibly stop there or maybe I want a little bit more of my cobalt blue because I feel this area here lacks a lot of color. Let's just fill it up. Now it's good. I'll leave the sky to that. Now we are blending it perfectly. We've done with the blend. Now what should we do? Let's go ahead and paint that background mountain first. Painting the background mountain, I'm switching to my smallest size brush. I think that's convenient. What I'll do is I'll take indigo for adding that background mountain but I want my stroke to be a little bit opaque. So what I'll do is I'll possibly add in a little bit of lavender. Here's my lavender. I will add that to my indigo mixture. A bit of lavender. That makes my stroke [inaudible] teeny-tiny bit opaque. I'll add that to the mountain in the background. It's going to be softer obviously because we're adding it in wet-on-wet and we want it to be softer otherwise we wouldn't add it that way. Maybe we can apply darker indigo towards the bottom. We can take indigo and apply to the base. I believe that is enough. Now we're going to paint a larger surface so I'm switching back to my size 8 brush, my large brush. Can you see this a larger in my studio it's creating these lights but I like it. Maybe it's slightly disturbing, isn't it? Let me close the window there. I think it's good now. Isn't it? Let's go ahead and paint. Whatever colors we placed on the right side we'll place that onto our lake region. Some nice orange shades, some gorgeous pink [inaudible] sides, some pink shades here will make them as vibrant not more than the sky and you'll see why soon. A bit of pink there then taking the cobalt blue, mixing along my cobalt blue. At the further edge I believe I will add some indigo strokes that will depict the shadow part of the mountain. Now towards the bottom also I will add indigo. I'm taking my indigo and I'm adding. Observe my strokes here. My strokes are going to be concentrated going towards the center. There. You can see it's going through such that it is angled towards the center. That is my dense indigo. Let's pick up more dense indigo and place the color at random places. That's more color. Maybe a little bit of inter-green blue. Basically, we just want the whole thing to be dark. As you can see the other areas that we painted are light so I'm taking back my cobalt blue adding on the top. We need it to be more dark. I think we can go with darker colors now. Orange to make that portion darker then pink will make this darker. All towards the center remember that and it'll create gorgeous pilot sheets when it mixes with the cobalt blue. It's fine. We've added a lot of colors into our paper right now. Now what we need to do is to pick the frozen liquid. We're going to adopt a very beautiful technique today. I have shown this technique in my Watercolor Ultimate Guide to watercolors class. It's basically using cling film. If you use a foil or a clean film and you put that on the paper, that creates unique texture on the paper. We're going to use that because it's very good to create such textures for icy landscapes. You can see this is our cling film that I just have in my kitchen and I'm going to be using that one. Here is the film. I'm going to take out a little. I think that should be sufficient. I'm going to cut it out. I'm just taking it out of the frame so that it's easy for me to cut and so that I accidentally don't touch the painting right now because if I do it on the top, my film might fall onto it. done. Here I have my film. What we're going to do is we're going to place that film onto the paper. You can see that as soon as you place the film, you start to get these random strokes but what we need to do is, we need to create deliberate bends in the film. Can you see that? Create deliberate bends. Let me leave that once more. I want to create some more bends. There. We create some deliberate bend in the film. It should not be clear flat. Let it create those bends, then stick it firmly. Obviously, this process you have to wait for it to dry out naturally. All we got to do now is wait. Trust me, when I say that you've got to wait for it to dry up naturally because I've tried otherwise. I don't usually paint with this method though I know that this method exists and the class project was one such painting which I did after a very, very long time. I thought that maybe I can try drying it from the side so that the painting will dry out faster. All it did was to lift my paint film and it attached onto somewhere on the paper again and just dropped all the colors somewhere. You will see in the class project what I mean. So I had to go and correct it. Don't do that mistake. We really have to wait for it to dry out. Either way, it doesn't have to be completely dried out. You just need to dry somewhat. Let's see. Yeah, I think this scenario is enough. When you remove the foil, you can see how all the colors are here back on the foil. This is what you've actually absorbed from the paper. This is what I said, what happened when I blew on it the foil lifted and it went back and stuck onto the paper but at a different position so all the colors mixed together and even got some on my sky region. We need to definitely prevent that. That's why this is not often no use or you can use the scene to create, but make sure you fold it off such that you get rid of all these droplets they are inside. You can use that to create more shapes because the paper is still wet. Can you see the wetness? You can use it to create some more shapes. I do that in the class project. See, I got some more shapes. You can use that and use it to your advantage. I know that when you put it on initially you won't be able to use it to your advantage because all you get are these random shapes. But what if you really want to do it and create some shapes on your own? Then you just take it off, fold it, and do something like that and maybe stick it in a certain direction and lift it. See, I got something in that direction. This is one method. Notice here my paint spread here at the top towards my mountain. I'm not worried. It's okay that it spread towards the mountain. Mainly it spread here right at the center because we tried all our strokes towards the center. That region had more of water particles. That's why the paint spread but here itself is our mountain. It's all right that it spread? Now, this is of no use. Let's throw it out. We've got an amazing texture now, but before we can add any more details, we need this whole thing to be dry. Let us dry this out. I've dried the top part. Now if you look at pictures of the frozen lake, what you'll understand is, these crevices in the ice, the cracks in the ice, they are formed in multiple layers. It's not just on the top. The ice forms in layers and the layers underneath might also have these cracks. What we added now is actually the very, very base layer underneath that what we're seeing through the ice. Now we need to add the ones on the top. For adding the ones on the top, we're going to use our white paint. Here's my white paint and we're going to use that. First, we will start with a very diluted consistency. You can load up a lot of water in your brush and pick up a diluted consistency. Understand it's not concentrated, diluted. Diluted consistency of the white paint and we'd start to add our lines. Make sure that all of them are towards the center. Also as you approach towards the bottom of the painting, they have to be thicker. This is again following the rule of perspective. These lines that actually this thick, but as you go further away, they tend to go thinner. That is why. Use the pointed tip as you go further away. As you're coming closer, there'll be thicker. As I said, it's a diluted consistency. Just add them in various directions in your painting. You don't have to extend all the way towards the middle. Some of them can stop in some random places. These are cracks in the ice and they basically don't follow any kind of flow so you're free to do any kind of stroke. I've added some large ones. Now, we will add more concentrated ones. Pick up concentrated version of the paint. This was one layer underneath and as it dries out, it will go dry out. Now, if we take concentrated paint, that would be more vibrant on the paper. I need to shift to my smaller size brush. This is not giving me very, very thin lines. What I'm going to do is, I'm going to use my liner. You can go ahead and use any smaller, tiny brush that you have. For example, as I use a zero or a size 10 slash 0 so I will be using my liner. Here, picking up my liner brush and gleaming consistency of the paint. I will use that, and possibly this time I can start in the center and create these cracks. They go from the center towards the outside. Those are nice cracks. Why from the center, if you may ask? It's just that following the rule of perspective, one-point perspective that we're just trying to depict the a lot essentially going over towards the center point. It's just one point perspective where you're looking at it and you see all of it converging to one point. You can see some of them I'm adding cross also. Because like I said, they don't follow any kind of rule. I think that's enough. For adding that ice in the background, I'll take my brush and I'm going to add some white strokes. These will dry out and turn lighter, so it's fine. Same here. I need my stroke to be diluted so make sure that you have a lot of water in your brush and you're using a diluted amount. See, there's a lot of water, and using that will create some nice strokes towards the further end. It's just dense ice and you can start to break it up as you reach towards the side. See, now you've started to break it up. The same thing you can do here. Now can you see the cling film thing acts as an underlying layer and those lines that you added even goes on the top? Let's paint the mountain quickly. For painting the mountain, what I'll do is, there is no light effect that I've shown here. That is only for the class project. Maybe I want to make it more beautiful. It's just a bigger thing, but you obviously know there's the light so we start with the lighter colors and move on to the darker colors on the left side. Here, I'm just going to put in a single color for now. I'll just take my transparent brown, my burnt umber and I'll just add it. Here, just adding to my mountain. This is why I said it's all right that your paint spread and it's all right that it's being visible on the top. That's the mountain. I want it to be icy mountain, so I'll dry it up and then add white on the top. I've dried it up. Let's take enough white to add the ice on the mountain. There's the hip mountain. It's going to be an icy mountain, so lots of ice at the base probably. You can leave some areas brown. It'll just depict the rocky texture through the mountain. Am not going for any dry strokes. You can also use any dry brush strokes or maybe not. Let's try some dry brush strokes. Obviously, for dry brush strokes, we need dry paint. Where do I try out if it's dry? I'll dry it up my clothes and then I just go and add it here. It's dry as you can see, dry fresh strokes. I think that's enough. The mountain needs to reflect some colors of the sky, because if there's ice on it, the ice will definitely reflect those colors. I'm going to pick up a little bit of my cobalt blue and add it to that. A bit of my cobalt blue. That's a lot of blue but I can just blend it to the background. We'll also add some pinkish sheets. The ice is just basically water, so it will definitely reflect those colors. Some pink on the white. Yeah, I think that's good. That's basically it. Now I just got to dry the back side. You can see the pool of water. I'll just dry the backside and the exercise is done. The exercise is basically done. Now you understand the techniques. The cling film, what we used was for the underlying layers of the ice. We create multiple layers on the top, just using our white. For those of you who do not have a cling film, you can just use any kind of plastic foil, even the plastic bag would suffice, I hope. But if you do not want to use any plastic, you can also draw this using the just a white method. You just have to add several layers of white on the top. First, for these ones, you would add it with a very diluted amount of paint. Then a little bit more paint, then a little bit more paint, and finally, darker details like these. Just using several tonal values of the white paint, you will be able to create the same strokes. I know that it may not be exactly same as the cling film method, but that's one way that you could do it. Now, let us have a look at the colors needed for the glass project. The colors are Indian yellow, basically BY150 or any kind of transparent yellow. That's what I have applied for the sky region and here on the frozen lake part, on the right side. A transparent yellow would be the best to use I suppose, because cadmium yellows or any opaque yellows that you have, might not blend so easily with the other pigments that you want to use. Transparent yellow or Indian yellow BY150, that's the pigment number that I'm using, but there are various other transparent yellows as well, so you can use that. Then for my sky, I've used some pink shades, you can see that. That is queen rose. I say queen rose, it's BV19, that's the pigment number. For White Nights, it's quinacridone violet rose, that's BV19. The queen rose is not exactly BV19, it's some other pigment. BV19 is quinacridone violet rose in White Nights, but I guess in some other brands it's called queen rose, so that's why it comes out of my mouth always as queen rose. Queen rose. Then, for the sky region here, used cobalt blue. A beautiful cobalt blue, cobalt blue is PB28. That's what you use. You can see the cobalt blue and the queen rose mixing together to create perfect purples here. Then as we come towards the bottom, we have the same colors that we have used in the sky. Basically Indian yellow. Then I come towards the bottom and I've mixed in a little bit of burnt sienna. The burnt sienna that I have used here is quite different from the other burnt siennas that I have been using. The other burnt sienna was from Daniel Smith, which was PBr7. This one here, what I'm using is from Mijello. The reason why I use this burnt sienna is because it's different. This is one of the burnt sienna that has a yellow pigment in it. If you look at the number closely, it's PBr 25, PR112, and EY150, which is basically the Indian yellow. This PY150 component in the Mijello's burnt sienna makes it a yellowish burnt sienna color. For this reason, artists do not use this for mixing in with blues to create grays because that yellow in this burnt sienna will mix up with the blue and create a greenish tone. If you're doing it for like cityscapes and specifically those paintings where you want to create a gray by using burnt sienna and a blue mixture, do not use this burnt sienna. But here the purpose of using this was completely different and hence, I have used this burnt sienna purposely to get that yellow shade. It's got transparent yellow in it, which is the Indian yellow or the PY150. If you add this on top of the PY150, it creates a perfect blending mixture. I use this mostly in many of my paintings where I'm using my Indian yellow and I want to create a perfect blend because the yellow in this one and that yellow, they just naturally blend together along with the other colors. You won't use this for other paintings, but I've used it for this. I know that many of you may not have this burnt sienna, I can understand that. But in order to get it to blend together, what you can do on your palette is mix your burnt sienna, which is basically the PBr25 or PBr7, with a little bit of the yellow that you're using. Once you've mixed it up on your palette, then use that on the paper. That would create a better mix. Burnt sienna, and then obviously I have used indigo and Indian blue here at the bottom to create some perfect mixes and some darker strokes on my leak. Here you can see some greenish tones and that's basically because of my indigo mixing with the yellow, the BY150, both in the burnt sienna and the Indian yellow and that's fine. We're just trying to create some random colors. This other mistakes that I told you happened when I was using the hairdryer to dry my painting when foil was on. Don't do that mistake. I think it's fine so long as it's not seen and the painting is still beautiful, so it's fine. Indigo and indanthrone blue, PB60, and then again the same colors that we have used for the sky region here. I see some greenish tones here. I'm confused, I can't remember if I did use any teal turquoise color here. If I did that too, I haven't picked it up here. Then what? Next is obviously the mountain. The mountain here again we're depicting the light. To depict the lightest part, I have used Indian gold shade. I know that these colors are not available with many of you, but this is the reason why I give you the pigment numbers and how you can mix them up. Indian gold is basically a combination of PY150 and BR101. It's very, very simple. PR101 is the typical red sheet, and BY150 is Indian yellow, which is basically the exact same transparent yellow that I'm using here. Again, you don't need this Indian gold pigment. All you need is a yellow and an orange or a red shade which can mix together. BR83 alizarin crimson and BY150 also will give you a perfect golden color mixture. You can use that as well, or any red. Just make sure that the red that you're using is transparent. Do not mix your cadmium red or any opaque red color with your yellow pigment because you won't get that golden color, you just get a vibrant orange. In order to get it transparent, what you need is both the colors to be transparent. Basically, any transparent red and your transparent yellow should create this golden color. This whole painting is based on transparency, so try to refrain from using any opaque colors. Indian yellow, then I've gradually blended it together with the burnt sienna from Mijello, which has got the PY150 pigment inside it. Then gradually blended it together to the transparent one. Well, I forgot to take the transparent one here to show you. Let me just pick that up. There. The transparent brown. That's PBK7 and BR101. BR112 is just a different red sheet, BR101 is another shade. What was the Indian gold one? The Indian gold is BR101. You see how all of these are similar red shades. It's a transparent red, BR101. That's what these darker strokes and then obviously I've applied white paint on the top. These are all the colors, I believe. Yes, that's it. Now let us have a look at the brushes. Not a lot of brushes involved. It's just basically my size 8, size 4, and my liner brush. The size eight for the larger details, the size 4 for smaller details. I can't remember if I used the size 4 or not. Obviously, these brushes are what I recommend for everyone. Just a medium size brush, smaller size brush, and [inaudible] brush. If you have all of these, then you're done. That's it. This is quite an essence liner. This is my [inaudible] size 4, and this is my size 8. These are the three brushes that I have used. Basically among the materials we have the cling film that we want to use. If you don't have that, you can use another plastic foil, any kind of plastic foil in fact, or go for the white paint method that I described. If you are happy with the exercise, the techniques, the colors and everything, let's go ahead and paint our beautiful icy frozen lake. 68. Day 25 - Icy Lake: Let us start. I'm going to add my horizon line around one by third of the paper. That would be my horizon line. I think I'll probably shift it a little bit downward, but not at the exact center point. The center point is this and I will probably go there, so it's not in the center. Maybe it's in the point between the two one-by-third. That is my horizon line and we need to add in the mountain. The lone mountain. Just a quick sketch would be enough. Goes there. This part extends upward again, stops there, and then behind it is the rest of the mountain. There are some two light mountains at the back and here as well. That is the pencil sketch. Let's quickly get to painting this. We'll apply water to the back side. I'm applying water to the back side of my paper. I believe that's enough. Let's now done the paper and fix it on to the board. I think that should be enough. Did I have paint on my hands? I've dropped it there, but it will be gone when we apply the water. Let me now apply the water and fix my paper onto the board as you should. This process is fairly, everyday the same, isn't it? You know it by now, what it is that I do. I love painting on the wet on wet. That's my style. But obviously, you are all welcome to understand the techniques and implement it using your own style. There is no hard fast rule that you have to paint the way that I do. Every artist, if you look out, will have a method, will have something that they do, something that they like. This is mine. I love painting this way because it just gives me more control and ultimately it stays wet for a very long duration of time. Mostly because I paint using wet on wet method and I prefer to have my paper stay wet for a longer duration of time. I believe I've applied the water enough. Now I'm going to absorb all of it with my cloth. Not all of it, of course, from the edges like I usually do. Absorbed from the edges. Now I'm going to lift my board and take off any extra bits. Here is my palette. We are going to start with a beautiful Indian yellow shade. Just finding a clear patch on my palette here and starting with that Indian yellow, I am going to apply from the right side. We are not going to look at the mountain now, that's something that we'll add later on. For now, let's just add our initial background strokes. That beautiful yellow shade and then we go lighter towards the top. It's going to have variety of colors in the sky today. I'll take some cobalt blue. I'm going to start on the left side. We don't want our yellow to touch the blue, so we'll keep that separate. That's my cobalt blue. I would apply that on the left side like this and as I come towards the bottom, my colors will get lighter. Can you see it's getting lighter? I'm not picking up anymore paint, but rather I just apply the stroke. I might have picked up a little yellow on my brush and it's come here, but it's fine so long as it doesn't make a green, we're fine. Next, I will take a little bit of pink shade. But can you see it's very subtle and light tone and that is what I love right here. That's certainly a lighter tone of pink will mix with the blue to create a gorgeous violet shade. Not too much, but we need to be subtle. See the amount of pink I'm picking? It's very, very light. The pink goes at the top. The pink can mix with the yellow of course, that's fine. It'll just create a beautiful orange shade. Then that orange can mix with the blue. It'll create a gray shade. That's fine as well. Here, pink at the top and going over. Now I want to create a subtle violet as well. I'm taking my pink, a touch of the blue. There is that subtle purplish violet shade and we'll add that from the top to add some clouds like that. That's blue and that's subtle pink. Very settled purple as well. We're going to add that on the top of our stoke of yellow to add in some nice cloudy effect. That's the pink, that's queen rose that I'm using. That's the blue. That's too much blue. Add more pink. It's now a lot of color. I'm just removing all the paint from my brush so that I can pick up very subtle amount of it and we'll use the same color tone on the left for the clouds. See how beautiful the sky is turning out to be. Let's repeat that. Just having some stuff to clouds. Can you see that? How gorgeous it's turning out to be. I'm sure yours is also gorgeous as well [inaudible]. This is just wet on wet stroke. I'm not doing anything, you've just seen what I did. That's too much blue, so a little bit more of pink. All right, beautiful clouds. We're done with the sky. I know that you're more interested in the water. You should be, because it's the water that we're trying to paint in this picture. Let's go ahead and continue. Not water in this, obviously it's the ice. Taking back my Indian yellow and I'm going to add it to the base. You can see that little drop of white that I've left behind. That's going to add the snow mountain at the back. I'm not sure if my paint is going to flow upward and if it does, I'm going to ditch the mountain. For now I've left it blank. If I'm not able to leave it blank, let's see if you can. Take it as a challenge, maybe. I'm just saying what comes into my mouth, ignore me. At least the gap is still there. Good. Back with my yellow. I need to mix it nicely in my palette. Now I'll go upwards and start making some slanting strokes. There, not bad. Slanting strokes and as we come here, our strokes are straight. Now, what color do we add to that joining part? I think we need to go for brown. This is already brown in my palette which I'm reusing. It's basically just round sprints brown or burnt umber in my palette. You can use that. I'll mix in a little bit of indigo to that so that I get a slightly greenish tone. Yeah, that's good. This is because I'm going to add indigo strokes later on, so then that should be able to blend well. That's why I've mixed my brown with that indigo. You can see, just adding. My brown strokes I'll add on the top of my yellow there, just let it blend. Now let's go and take more indigo. I'm adding indigo now. Now as we come this side, I want to make my strokes straight. More indigo. As we reach towards the left side we start making it bluish. Now towards the left side. My flat hake brush shades a lot of hair. Really I think it's high time that I replace it. I'm going to mix a little bit of Indian green-blue now to get a nice bluish tone. Maybe I'll take a little bit of turquoise as well to get some little touch of turquoise. All of these are just magic tricks that makes your painting look unique because then you'd have a lot of colors there on that paper. You don't need to use just a few colors, try and mix and match a lot of colors. See, I added a bit of turquoise. See how that stand out. Now towards this left side, I am going to go with cobalt blue. You know why that is? We've gotten reflection cobalt blue there. This region in here is a very far away from where the sky is reflecting, so that's why we've got more colors in that region. I'll probably pick up a little bit of pink as well, and it joins up a little brown purplish color. Loving the way the blend has turned out, so let's keep at it. That's more blue now. I'm not touching this area yet because we'll add some nice reflection strokes there, so it's all right even if your strokes doesn't go up to that point. There. Let me get some more brown and I'll mix together. Back to my yellow. I'm going to take a little bit of burnt sienna. This is my burnt sienna here on the right side of my palette, that's what I'm picking up. I know that it's not visible in the frame. I'll mix it up here in this pit. Pick up from the right side and then mix it up here so that you can see it. I'm adding that. This is a slightly different burnt sienna, that's the reason why I'm using. I usually have burnt sienna here on my palette. This burnt sienna is from a jello. I've already explained it in the color section , you can refer to that. Also the reason why I'm using this burnt sienna, that is also mentioned in the color section. See, a touch of turquoise. Let's add some nice indigo now, some more because I want to darken some areas. I'll mix my indigo and in green, blue together and try and darken some of the areas. I want a nice, dense color to this corner and probably, a little here and some here. Let's join this part again. I'll pick up more of my yellow and add to this part, some burnt sienna. Back to my yellow. I'm just adding more on the top because it started to dry out. Now, let's quickly add in the reflection. For adding in the reflection, I'll shift to my smallest size brush. That's my size 4 and I'm going to take my sepia. The sepia, also I've got it here on the right side of my palette, which I'm going to use. I'll mix it here, though so that you can see. Take and I mix it here on the left side. That is what we're going to add for the reflection. Basically, just using your sepia, we will add some nice lines like that. We need dense pigment. You can also use some paints, gray mixture so that it becomes very dark. Or you can even use black, I guess but I wanted to give that touch of brown, which is why I'm using the mix, so there. This is what I will add. We need to give it the height of the mountain, so that'll be until around there. Then to the right side, we will add more strokes with our burnt sienna. Here I'll take my burnt sienna and I will add subtle reflection. This is because on the right side here, it's the brown. Like I said here, see my yellow has gone upward and I didn't manage to capture the white part. Probably we'd have to add with the white but it's okay. Anyways, I knew that was going to happen. This is because our paper has got a lot of water, so it's actually very hard to control all of the paint flowing in and that's the beauty of this method, actually. Now I'm going to just take my burnt sienna. Can you see? Adding some strokes like that. It gives some vividness to this region. It's basically just pushing my brush at random location and doing that. That's good. We'll do the same towards the left side. Indigo and then green, blue together and we do that. Notice where I'm holding my brush, at the very tip. That will give dense color, that is why. Also now when you're adding more colors, it'll appear dark. Why? Because our paper has started to dry out and the dark colors will up your mode on the paper. We will just, dark colors here. As I go here, I'll make that cobalt blue. What else can we do? I want to bring in a little bit more pinkish tones. I had blue on my brush, so it turned out purple. That's more pink there. This is where I want to bring out the pink. The reason being the sky has pink in that region, so I'll try to bring more pink into the picture. The reflection is amplifying the color. Now we've got all of those beautiful shades in. Now is when we're going to do the magic. The magic is for basically using a cling fill in. Let me see which we'll cover the whole length of the paper. I guess this side will, so let's do that. I'm going to stick it but I need to be sticking it in a bent manner like that. It's already absorbing and it's creating these beautiful textures, oh, my God. Can you see? it's already created this. I need to do that. Just creating some nice bends. Make sure the foil that you're using doesn't go above. Now I think we can press it down. I think I've ignored the right side. We'll just do these regions now. Press it down and create these large gaps. Let us remove it and see. Oh, my God. Can you see that? The fixture it's created on the paper. It's like the ice, icy texture. Now I have to actually try out all of these edges. I have to warn you, while you're waiting for it to dry, don't use a hairdryer. I used a hair and my cling film actually wrapped onto this mountain region and I got some spots there. Luckily, not on the yellow. Thank God, the mountain at least I'll paint it with the darker shades later on, so I'm safe. Now I'm going to do something else. That is, we're going to go one step overboard and we're going to create some more of these. It's not completely dried yet, so that is one tip. Don't wait for it to completely dry, remove it at first for it to get these random strokes. Now we're going to create some more. I'm using the same cling film again. I'm going to place it on my paper at an angle here, all the way towards that mountain. I'll hold it for a while until colors can be absorbed and then I'll take it off. See, I got little batch of ice there. Let's do that again in another area. Let me actually change the colors and position. I'll do it all the way here. Now let's take that off. We've got the sheets now what we've got to do is wait for it to completely dry out. My paper has now completely dried and as you can see it's come in different layers. The reason why I did that is now if you look at these lines are below these lines. Now we'll add some more and give the whole theme some dimension. For that we're going to add a white paint. Taking my white paint, my nice white paint, I'm going to start at the tip here and I'm going to make these random strokes. My strokes as they go towards this region are going to get thinner. I'll use the tip of my brush there. Somewhere you can press your brush. But at the tip we have to be thinner. Let's do it here. You can see that one. Maybe one last one here on the right side and I'll stop. You can see I'm creating breaks as well because I don't want it to be continuous. Shouldn't be dry, my strokes are dry so I dipped my brush in water. Here at the end we'll add more. We'll create branching out from the main one. Here at the end we'll try and create a lot more but very thin. These are going to lighten out. That is why it, because I have a lot of water in my brush. Now, I'm going to use a lot of water again so observe a lot of water. Now we're going to add. There is a lot of water so this will be very light. We'll go lighter. We'll take colors from the underneath and will be lighter. Then I'll take my white properly now and create the horizon. Same here. Like I said, I wasn't able to see the white so I will just add it with my white paint. Like a slight mountain shape. Towards the bottom here I want a lot of white strokes. Just using suggest using my brush and brushing very lightly. Can you see? It's very light the way I'm brushing it. Now, let's go ahead and paint that mountain. I'm taking my brown and we'll probably start at the top. What I'm going to do is I'll randomly pick up some white and add it on the top of the mountain. See our brown is mixing up with the white and creates these beautiful shapes. This is what I said, luckily my blue just spread on that region so I'm able to save it and paint my mountain. Otherwise it could've been tough. Our mountain until this region. This one didn't undo this here and then the one at the back of the line is here. The one behind it we need to add some light on it, so first let us mix the burnt sienna with brown so that it's more brownish. Can you see that? My stroke is now brownish, slightly different. I can just take my burnt sienna now and go with that. On the right side, we are depicting the light reflecting on that. Can you see it's lighter and the golden shine on it? Let's do the same. Here now I'll take some Indian gold and this right side is going to shine with the golden sheet. We can see this is like more close to the sun of the lighter region, then we'll bend it along with the burnt sienna. Let's just create a separation between the two mountains so that applying a darker tone here that creates the separation. Let's go ahead and create a separation between these two. If I apply my stroke in that inside region that makes mt mountains separate. Let's add some darker details, so I'm just sticking my brown, adding some light. Remember the palette knife technique we learned for depicting the structure on the rocks. You can use that method here. You can experiment and try that as well. It's going to be very useful. I'm using my brown paint, now I want to add some white on the top so that white will be like the lighter feature. Can you see that? It will also act as some snow texture on the mountain or the rocky mountain. I just love it, it's very beautiful. Now what else? Just let me darken this bit here. I really love the better standard, now I'm going to take a little bit of brown. Probably mix it with a little bit of burnt sienna and I will add to the tip here on top of the white because I want to add a little mountain there. The horizon, that would be in front of the ice mountain. Yeah, that's good. On the left side I want it to be bluish, so I'll take a little blue and add. I love that, that's good. We need to wait for this to dry so that we can add in dyes in the front of it. It's dried, so I'm going to take my white paint nicely. We're going to add some ice on top of that mountain, of that rocky mountain; just a teeny-tiny bit at the bottom. That needs to be dense white. This white; only some seen through, that is only some of the rocky areas seen through at the bottom. Just a little like that I think that's enough, so I'm just going to blend that slightly at the base as well. I'm going to use my liner brush to add some more of my white lines on the ice. Here's my liner brush and I'm loading it up with my white paint and I will use that to create lines, so these lines are going to be thinner. This is why I'm using my liner brush and you can start at the tip. That's where the ice starts to break off. There will be a lot there. Don't worry it will get lighter, so it will be beautiful. I'm just darkening this one now because I felt that it's too light. Some here, like a small spider web there at the end probably. Just to depict a part where most of the ice is breaking out near to that mountain, but here we have got the texture nicely. I'm just so in love with the way this has stand out. Now I will add some lighter lines. For that, if I have loaded my white with a lot of water and now diluted white paint using my liner. That's what I'm going to do. The paint is diluted here in my liner. I'm so happy with the way this has stand out. I know I shouldn't keep saying this, but I really I'm. Maybe a little brown at the bottom because I feel that I got rid of all the browns. Yeah, that's good. What else is remaining? I can't actually think of anything. I think we're done unless maybe if you want to add some more white details. We are using the liner brush and depict some ice on the mountain top region as well. I will add some here as well. It's like the ice in-between the gaps, it hasn't yet dried out. Let us finish off by signing a name. Here is the finished painting of today. I hope you like it. I'm seriously in love with how the mix of all these colors are on the paper. I hope you can do it too. Thank you for joining me today. 69. Day 26 - Techniques and Exercises: [MUSIC] Welcome to Day 26. This here is the painting that we are going to do today. It is a scene from Antarctica where we have some icebergs and it's beautiful reflection in the cold waters of Antarctica. It's possibly bright, not dry, but [LAUGHTER] like not cloudy, sunny day. Maybe that's why you got all these ice which has melted and some background mountains, which are again rocky mountains filled with ice. The white spots are the ice. It took me a long time to figure out how to paint this one. I'll check the reference picture with you so that you can see it. It's basically this one here. This is what I have used for the reference. You can see I've changed the colors and it was quite difficult for me to choose the colors for this one, mainly because as you can see, most of it is white and I wanted to depict it in a more vibrant and watercolory way, in my own way perhaps. I tried different color combinations. Let me show you that also. Here are some of the different color combinations that I tried. I tried with cobalt blue. I knew that the mountain, I wanted it to be a very bright and vibrant, not the mountain, the iceberg. I went for a Taylor turquoise color. I think I've had that in mind, but the water and the background mountain was what was confusing me so much. I tried with different color combinations. Here again, I think this is what I tried out, a different color combinations. This was cobalt blue, this is indigo, violet, this is bright blue, and this is violet, and Payne's gray mixture. I think I liked these three here. But since we were using teal blue for almost all our class projects, I wanted it to be slightly different. Then out of these two, I went for the mixture of violet and Payne's gray. Because just using violet was like too unrealistic, if you know what I mean. See, this one was completely unrealistic because you don't get perfect or violent strokes. That's why I went for this color combination. But here's a different color combination for you all to try out, if you do not want to try out the same ones that I did. Let me explain once more. This was cobalt blue and Payne's gray. This one is other Taylor turquoise again, you can go for Taylor green as well, that would give you a light color for the iceberg. I wanted it to be a bit darker. That was cobalt blue and Payne's gray. This is indigo and Payne's gray. You can see it's dark and turns a little bit dull. This one is up effect violet and Payne's gray. This one is also violet and Payne's gray. But the difference is that I'm mixed the violet and Payne's gray together on the palette and then apply it on the paper. This one is the teal blue and bean gray. That's also very beautiful. I do like these two actually very much. Then my next problem was to how to paint the iceberg. You can see I tried different versions here. I tried to add in the dark strokes of indigo on the top with different strokes. I tried to blend them together. Then finally I realized, why not do it the same way just as we did the last day's class project with the cling film. Finally, I think that's what I went for. Here you can see that. That's using the cling film and I just loved the way it turned out. As soon as I put the cling film on it, and I saw how the bends were being created, I understood that this is going to be amazing. I just loved it mainly also because those spots and the bends in the iceberg, those were ideal for this because the cling film was actually taking off pigment and turning my Taylor turquoise into a lighter shade. All of these, the problem that it faced was the Taylor turquoise was too vibrant and too dark and I was not getting a lighter shade. Maybe I could have tried lifting method but I'm not sure. Now why I didn't try that. Anyways. But just seeing last days frozen lake experiment, I loved it and then that's what clicked to me that I shall try this one with that too. I only applied the cling film to this mountain here, just this area. I really loved the way it stand out. I did add some dark strokes after that, but this is overall something that I loved, the way it stand out. I'm just telling you all of these so that you can understand how I approached a painting, Some that reference image. You've already seen that reference image. Let me show that to you once more. Here is the reference image. You can see how I've approached that image. You've got that iceberg in the front, which I have changed the color and some of the darker spots I have changed it to indigo. All the lighter areas are with the Taylor turquoise. The cling film has managed to absorb some of the [inaudible]. It doesn't turn out exactly in the shape anyways, but that's not the point. It's to depict something in a different way. Then the background mountain, you can see that. Since I went for the mix of Payne's gray and violet for my background, you can see I applied those same colors, but instead you can just go for Payne's gray as well. But I think I did try that. Well, here it is. This is the one that I tried to apply the background mountain with just Payne's gray and I hated it. It is like this. If you're going to paint it in a more perfect, realistic way, then you can go for Payne's gray and apply that mountain with wet on dry. But I go for wet or wet methods for most of my paintings. You know that by now. This is the only one which is in the foreground, which I wanted to bring the viewer's attention to. That by why everything apart from that, wanted to be on wet method. Then when I tried out that wet on wet with Payne's gray, I did not like the combo. That's why I decided to go with a mix of violet into that Payne's gray and immediately the whole thing changed its look. Then in the water, you can see those teeny-tiny amount of darker sheets, which I have added with Indian green, blue and other indigo mixtures. There is no techniques involved, it's just basically the same cling film that we have to use on the top. I'm not going to waste my time to draw a smaller painting. You know, where you can just topically go into the class project. I promise this is easy. I should tell you I did use masking fluid with some of these ice in the water to keep it white so that I don't have to add a lot of white at the end. But I also add these white, other ones on the top at the end using my white paint. Which means that if you don't want to use the masking fluid, that's perfectly fine. You can refrain from using it. Just added with the white at the end. That is all I have to speak about this. I've told you the color combinations, how I approached this painting, how I came to that decision. It's all a lot of process. This book is what I keep for planning out most of my paintings and trying out repeatedly. You can see, for example, what are the experiments, the color gumballs I did remember for the day 1. This is my sketchbook that I keep for that purpose. Now, let us have a look at the colors that we need for today's class project. Since I've already discussed the composition of my painting and how I approached it, you have understood mostly the colors. Let's just go through it once more. For the sky region here, I've used my Taylor blue. This is a different one than the cobalt blue that I usually use. I think I have this thing in my mind where I just want to bring out the bright blue or Taylor blue in my paintings. It's just so beautiful. I love this color. I applied very lighter tone of the bright blue into the sky and it's really amazing. I think if I had added cobalt blue to the sky here, in contrast to the violet at the bottom, it would have been a slightly duller image. The bright blue mix it's a bit more vibrant. That's why it's bright blue for the sky. Then these reflections here are the Taylor Turquoise. Taylor turquoise is already made shade from Sennelier that I've used. I have explained this in many of my class projects before. But since I know that you may not have this [inaudible] tube, this is why I go on explaining about it. It's BB15 and BB7, basically Taylor blue and Taylor green mixed together. But I know that you may not have these, but it's all right you can use turquoise blue SPL, it's going to be equally beautiful. You just don't have it to be as dark as this. It's absolutely fine, trust me. Then for the background mountains and these regions here, obviously, like I said, I've mixed it with violet and Payne's gray together. My violet pigment is again for White Nights. It's a single pigment color. It's BB3. Anyway, [inaudible], but I love this BB3 from White Nights is a single pigment color and very gorgeous. But if you don't have violet, you can mix it up using your pink and blue, or red and blue. Then obviously for some of the details on the foreground, iceberg, I've used some indigo and in the waters here, just blend of my [inaudible] blue as well, PB60. That's it. Very less colors today and mostly cold colors. There is no warm tone in this painting but I think that's fine. Considering it is colder region of the world that we're painting. Let's have a look at the brushes that we need. As usual, the brushes that I have used are my Kolinsky Cabo size 8 and size 4 which is basically my natural hair medium-sized brush and my smallest size brush. That's for the whole of the painting. But I also did use my silver silk, 88.5 inch flat brush. I just mentioned the series because I get a lot of questions about which brush is that, what is the brand name? Now you know. Basically, all you need is just a flat brush, mostly seen, it is better to have a synthetic flat brush because I wanted to have some lifting done. The lifting technique is best with synthetic brushes because they absorb out the water from the paper well and will not introduce extra water back onto the paper. If you were lifting from using a natural hair brush, the problem you would face is that you would find it very difficult for it to dry out or to make it damp such that you won't add any water back to your paper. That is why I use a synthetic to do some lifting. You can see some strokes here in the background, some lines, very feeble, but those are the lines in the water which I wanted to depict. I've done that using the flat brush. Any flat brush would be enough. If you don't have a flat brush, just any synthetic smallest size brush would be right as well. Smaller because we want it to be a thin lines. If it has a larger belly like this, then your lines are going to be thicker. That is why I would recommend having a smaller brush which you can use to lift off. If you have a flat brush, even better. Basically those are the brushes. I've also mentioned already that I've used masking fluid, but you can totally skip it. Then also don't forget about the cling film in the materials. You can find the reference image in the resources section, if you are happy with the way I have explained about how I did the composition of this, let us go ahead and paint this beautiful class project. That is, let us go into the waters and I see landscapes of Antarctica. 70. Day 26 - Antartica Part I: [MUSIC] Let us add the pencil sketch. I want to place my ruler around, not at the half point, but somewhere above the half point like I always say, exactly at halfway point your painting might not look good. It's good for photography, but not for painting purposes so that is why we shall move it a little bit upward than from the middle. Where is the middle? I think this here is the middle point. I'll place it somewhere above that. Around here I suppose, yeah, that's much better, and place my horizon line there. It gets my line straight, I think it needs to be slightly like this. So there is my horizon line. Then we'll add in the icebergs. One here, then I should have another iceberg in front of it. That is one, so I'm going to extend that. This is the main one that we shall be doing. It's the way that the iceberg is bent. Then another one behind it, that's like another mountain, so it must be a rocky mountain covered with ice. In the front of that, and the back of this one, we'll add other smaller ones. A cave-like shape here. This one shall extend below the horizon, so that is the horizon but then this, let's have this standing in the front. Can be some things, and it may not be in a straight line, so remember that. So let me erase that horizon line from the inside of that iceberg. Also, remember to draw very lightly, the main reason being many of these regions need to be white to depict the icy region. Very careful.Then, let us add some icy areas on the water region, some icy regions like that, just at random places and create different shapes if you want. [MUSIC] Another one here, maybe we need small ones. [MUSIC] Farther off towards these mountains, you can have more of them because they are broken off from the main piece. It's likely that there are more next to it. Now I've added all of these, what we're going to do is we're going to mask out all of these. If you're not using the masking fluid method, I don't want to explain, you can just go forward and paint the whole thing and you can add in the icebergs later on with white, these regions. Here is my masking fluid, I am going to add them to all of these ice regions. [MUSIC] I've added some extra bits with masking fluid as well and I'm probably adding some random splatters all around, that's it. Now, all we have to do is wait for this whole thing to dry. My masking fluid is not completely dried, so I'm going to turn my paper and start applying water onto the backside, let us apply water. [MUSIC] There you go. Now I will turn my paper and start applying on the front side. Let me stick it properly. Now I'll apply to the front side and stick my paper. [MUSIC] [MUSIC] All right. Now I'll absorb all the extra water from the sides. I'll tilt my board to let all the extra water flow down so that I can absorb that as well. Now I'll just go along the edge and join so that there is no extra water. Perfect. Let us make this a summer day, bright and sunny, and probably that's why all of these ice has melted. I'll try to add in the sky region. For adding the sky, I think I'll take my bright blue, but I'm going to take it in a very light consistency and I might mix it up with cobalt blue as well. But I want to have a nice gorgeous sky, maybe a little bit of cobalt blue , that's what I'm adding. I'm going to leave it at that. Don't need to add it any darker. Just add blue at random places. You can see it's very light and that's all I want for my sky. If you want, you can add to the very top part, but not anywhere else, just at the top there. Otherwise, like I always say, the watercolors dry out one shade lighter, so it might be too light and it will not be even visible that you've added a blue. I'm just adding to the very top most region. Not too much, I think that's enough. Now, what we will add is, let us add the reflection first because the reflection needs to be on the wet on wet. This needs to be on a half wet on wet and wet on dry, so we actually needed to dry out a little bit more. This mountain also is wet on wet but I think it's too wet now, so I'll go with the reflection first which will enable me to paint this later on. For painting the reflection, I'm going to take my teal or turquoise, and using that I will add into the water. Right below here, is where we need the teal or turquoise to be, so I'll add my teal or turquoise and I'll try to add it in a shape exactly like this one. Goes like that, and there's a bulge here, and then it goes upward somewhere here, and then it comes down and joins there, something of that sort. That's the shape of this iceberg. I've tried to mimic that, and now I'll just paint the inside. We need to understand the concepts, like I always say, and understand why we're trying to create the shapes that we do. Now, this region here needs to be darker because it's like the side area of the iceberg. I will add more color onto that. I might mix it up with a little bit of indigo, and you can add more color there. Again, follow the shape that you created and it goes and adds there. It's a nice dark shape. Now we'll add the reflection of these mountains. Those mountains, I think I'm going to paint it with a dark color. I'll probably take a color like indigo. I don't want it to be purely indigo, I think I'll mix a little bit of violet, just to give it a touch of different tone. There we go. Oops, my hands are very clumsy. Anyway, [inaudible] there. That's all right, I'll adjust it later on when we paint. Those mountains there at the background, I think adding that. Now, painting that with the color that we mixed. Where else do we have mountain? That was indigo and a little bit of violet together. I'll probably add in like random detailing on to my mountain. There's some areas I want to keep white and dried. Just touching my brush, you can see I'm holding my brush in very far off place. Holding very far from the bristles, now I'll run my brush a long so that we flatten out any hairs. Now, I'll take my teal or blue and start to add at the base. This is the region where the sky is being reflected. I will add that, but obviously we need it to be very light. Observe the color tone that I'm adding, it's a very lighter tone. Going next to the already existing strokes, add in a little bit of teal or blue at random places. Just taking my blue blending it at the bottom. Also, you can see I'm spreading out my teal or turquoise color as well. Here towards the left side, this mountain also, I'd like to add it slightly violet. I'll probably add in a little bit of violet there and then bring out some teal or turquoise regions towards that side. It's just spreading this already existing paint and then moving my stroke. Just use my brush to blend in and create these lines and strokes, because it's not going to be uniform. Now let's give in more color to the water region. It's not going to be perfectly blue at all places. You must have seen, I just took all the pigments out of that region, whatever was there, some violet, some of that blue. I just need to go around each of my ice that I have masked out because when you remove it, I actually want it to be white, so that needs to be reflected out. A little bit of indigo. Bringing out a little bit of color, that's what we're doing. Just add blue at certain places and spreading it out. I'll take a bit more violet maybe and add. Like I said, I'll add and drop to some of these regions on the top and maybe a little bit of teal or turquoise here, this region. Then taking my violet mixture, I'm just trying to bring out dark color surrounding each of these masking fluid layers that we've added, because then only you will be able to depict the whiteness of it. This is like the water. The water is disturbed, it's not stormy or anything, it's just normal slightly disturbed water, the movement of the water that we're depicting. A lot of pigment there, just cleaning it out. Now what we need to do is we're going to create some [inaudible] that we create a nice reflection. Like I said, we did apply. Now maybe I'll add in a little bit of depth to some of these regions, some of these important regions for the mountain. Taking my teal or turquoise itself and add it. This is shape. [MUSIC] [MUSIC] We're going to use a flat brush to create some water lines, the reflection, the lines of the water that is reboot. First of all, let me clear out this region, the hairs. Once you clear it out, wash it off and dry your brush again. That's how you do it. Run your brush along and try it. We can do the same and create some lines, see some flat lines. Wash your brush carefully each time, biggest yellow pigments are really staining. It should be hard to actually begin them off. Can you see it pulled out the pigment in and it came outside. I washed my brush and then I'll go over it for one more time in the opposite directions that I move that pigment back in. Just creating some lines. You can also use it with a little amount of water, which will eventually move the pigment out. But be very careful when you're using the water method, because you can create blooms, unnecessary blooms, which is very dangerous. That is good, I think this region that is much better. now I'll go ahead and add in the background. I'm adding in the background, I'm going to take my violet and indigo mixture. First of all, what we're going to do is, we are going to take a very light amount of cobalt blue. We're going to add it on the top of the mountain. That will be the ice region. I applied my paint and I'm lightening it up so we go around the mountain. Create, I've already add a little amount of cobalt blue. After that, I'm just blending it out with my brush. I just want that very light tone. Then I'll go back to using my violet and indigo mixture. Have tried to add in some rocky details. Let's find it, and that's indigo. Just some details so you can see, it is softer on the mountain as well. Somewhere, it can be dark, somewhere, darker. This is the dark depth details that we added. Only leave a little areas white. Those areas that are seen white, we want the cobalt blue to shine through. That's why I added a cobalt blue at first. Then we go back to adding the phthalo turquoise, here at the base. it's like possibly there's an iceberg or some reflecting ice there. Taking my phthalo turquoise and adding. Let's spread that and join the rest of this needed a bit more cobalt blue in that region. Divided the dog, then go with the flat brush wherever you seem necessary and absorb the water. I think you need to create a nice line there. Also tie your brush very nicely, it's forming air. I will go around with my flat brush to create a flat stroke for my mountain. See, I waited for it to dry thinking that I'll be able to prevent these airs and still why people wasp it. This is the advantage of this technique and sometimes also the disadvantage because you really have to wait a very long time in order to create some dry strokes. I'm taking my mixture again and I'm going to go over and add some further darker tones, indigo and violet mixture. Added the indigo and violet. I've taken a little bit of my phthalo turquoise and added at the base, but in a very lighter tone and run my brush along so that I can soften out the indigo strokes. Maybe a little bit of lavender. Some of my strokes, some of my ice regions. Now I have this left side to do so I'll do the same, I'll take a very lighter tone of my cobalt blue. I will apply so you can see just apply at the top and the bottom. I have only taken a very little amount of cobalt blue. Went back to my violet and indigo mixture and we just add some random wings. I think that's enough. These regions here, they've already started to dry out but I'm trying to create like the blue kind of a base. I'm just running my brush along, and creating some lines like that. They will just appear blended. Like in the water, you need to add a little bit of more violet here because I can see it doesn't have much. Then blending my color. Then we take a little bit of turquoise again then I flatted and I've soften out the edges. I need to create those water reference again. [MUSIC] I think probably I'll add some white paint to create a little bit more effective water ripples. Here's my white paint. I'm using my synthetic brush it's settled. I'll just go over. Yeah, that's actually much better. Just some random lines. Same to this side we can do. Now, I feel it's looking much better. But also, I want to darken out the color at the bottom because I'm not happy with just the amount of color that's already there. I feel that these regions will not appear more white. I'm just adding a bit more of the colors. Don't worry I'll just blend out. This is the reason why we use this method. right your paper stays wet for a very long time and it enables you to do these strokes. Yeah, I think this time it might be better so we can see the contrast here. I'm trying to create a good contrast when we remove the masking fluid, so that contrast needs to be seen. That's why I'm adding a bit more color. I think that's much better for these ones and also I'll only add this color in the extreme bottom because that's the closest point. Then I'll just blend towards the top my water region. I always look at my paper and then decide how do I need to proceed. I decided that I need to add in a bit more color, so that's what I did. I added some shades right below. Now I'll just go ahead and blend all of these together. It's pretty good with this method that we are painting. Like I said to add a bit more here because I feel that it's not clearly showing the mountain at the back, it needs to be darker. That's good. Even this one, we added the color again on this one, but we did not re-add to this one so probably we should add it again. Here I've mixed my shade and I'm going to add. I added a darker color than at the top. Obviously, we needed to be denoted somewhere here, then we blend it, blending it towards the bottom. That is the mountain so let's create the shape of the mountain. That is the mountain. Then comes the next shape. Now, let's go ahead and blend it [MUSIC]. Mountain needs to be bigger here. That definitely needs to be bigger because I just observe something. The height of this one is until here so then the mountain extends far beyond that, which means the height we added was wrong. I think that's until where the mountain should be. I can see the sun has come out and it's coming onto my paper. Let me just adjust my window. Now let's go ahead and keep blending. We pick up that color again and we'll try to add in the random details that we added. I'm just dropping my paint at random places. I think that's enough. Now we create the white lines again. We need to create them in various places. We'll also use the white. I believe it's good now. I have created some harsh edge here, let me try and soften that out. That's good. Another harsh region here. We can just use water to blend it out. Now let's go ahead and dry this up so that we can add in this one and the other details in the water. 71. Day 26 - Antartica Part II: Here now everything is dried out, so let's go ahead and add paint to this one. This is the one where we are going to need our cling film. Use any plastic foil or plastic film that you have, and that will suffice. I'm just going to cut out a little region. Let's go ahead and add in our color to the top. For that, I will take my Taylor turquoise and we could water here. Let's water the amount of Taylor turquoise and I'm going to apply that on the top. I dropped some paint, I hope I can solve it. Maybe fellow green in some trees. Instead of the Taylor turquoise, you can also add a little bit of Taylor green, then a bit of Taylor turquoise. Make it a blend of different colors. Maybe create a small gap between the reflection. I've added paint on top of that, but now I'm going to create some reflection. Remember the line that we added. That line was somewhere around here. I know that my paint is going to spread, but then at least I'll still be able to create a trough area just like we had added there. That is the dark region. I'll mix up various colors, mix up my Taylor turquoise as well, a little bit of indent thin blue, a little bit of indigo, a little bit of darker Taylor turquoise. It's just a blend of all of these colors together. Maybe we'll add a bit blue to the top as well. Just giving random bend and random shape to the iceberg, that's it. Now, before it dries out, let us go ahead and add in our cling wrap. I am going to place it in a random way such that it creates a lot of lines on the paper. It created various bends at various places, and then let's place it on the paper. I think it's too perfect here, so I'm going to create some bend in this region. Let me press it firmly because I'm not sure how this is going to turn out. That's the thing with this because you are not sure. You don't know water is going to come out of it, you really don't know the outcomes. It creates its own random shape. I hope it's beautiful. Let me create removing air gaps, just running my brush along and removing any air gaps. Again, we have to wait for this to dry. I believe we do have to wait. The reason being there is no point applying a heater because the paint is underneath. While that dries out, we probably can remove the masking fluid and paint the bottom regions. I'll remove my masking fluid. There I have removed the masking fluid. Now we need to add in more white and also give some shadows to some of these ice regions. For adding the shadow, I will use a mix of both Payne's gray and Taylor turquoise. Here I'm taking my Payne's gray, and just applying to the one side of my ice. As you can see, as soon as I've added that, it looks as though the ices scatter three-dimensional look, and we do the same. We give a little bit of Taylor turquoise at one edge and maybe a little bit of Payne's gray to one side. You don't even need to add to all of them. I'm going to leave that as it is, maybe a bit of Taylor turquoise same here. I like the way this turned out. Now let's go ahead and add in more white. I forgot to add to these ones here. These ones we can take our Taylor turquoise also. Now, I take my white paint. Take your white paint nicely. We actually need to create a lot of dry brush strokes as well, so make sure that you take your fresh whitewash paint. I'm going to absorb extra water from my brush and then I am going to add in some dry strokes like that. Can you see? Some of my lines, I will add some dry strokes, so next to some of these lines. As you can see, the lines that I had, they're gone so I'll probably add a bit more. Dry brushstrokes. We hadn't applied any paint there. There is a little bit of masking fluid there. Let me remove that. Adding some details, and next to these ones, they needn't be sitting there empty. You can add some more details because it's far away and the ice has just broken off the icebergs there. Add some more lines and details. Creating some lines. Then maybe we can add some white splatters. I just realized that in this class, I haven't added a lot of splatter. I used to love adding splatters. I mean I haven't added them with the paint brush, only with the tooth brush. Let's go ahead and add in some more details. I feel that this whole thing looks a bit empty. I probably take a little bit of my paint's gray mix it up with the Taylor turquoise on my palette, I'm just going to add in some rocks. These can be rocks within the water, not covered in snow yet or the snow has melted. Taking very lighter tone, it's a mixture of paints gray and the Taylor turquoise on my palette. We'll drop that at random places. Some of them I'd add lines as well. Maybe I will add some splatters with the black, I mean with the Payne's gray and Taylor turquoise mixture. I'm not sure when is the time to have to actually remove this. No, not yet. I still have to wait for it to dry out. But, I'm going to try and remove it. Oh my God, this is so easy. I just love the way this has turned out. Do you see that? Oh my God. I should control my emotions. Anyways. Let us refine the shape of this. I believe at the end, some of it has bled out. I'll just refine the shape, and maybe you can create some lines along with the existing lines. You can use your dark color to add in some darker lines, maybe I'll use my indigo. I'll add in some darker lines. But honestly speaking, I don't want to touch it and do anything because I'm really happy the way this turned out. You see the blend of colors that we've done. That is why some of the regions it's darker, some of the regions it's lighter. I love it. Now, we'll go ahead and add in some white right below it, and we'll finish off with that. Love how it has turned out, and I forgot we have a little bit of Payne's gray to add on this one. Just blend to show the reflection of the painting just to show depth. Because I feel that all of these has turned very light, so I'll just add a bit extra. I think that's good now. Let's now go ahead and add in at the bottom of that iceberg some white details. We don't have too much, just add at some places. Any places like my color has bled out here so I'd like to hide that fact, then I'm going to use my white paint to hide out the mistakes in that region itself. It's not mistake if it were unpreventable, it's just my paint spread when we put the cling film. You can create your own island like that, small ones at random places apart from the ones that we've already added with masking fluid. This is what I would do if you're not using the masking fluids, you just go ahead and add it on random once. But since I didn't want to add all the bigger ones, so this is why I did it with the masking fluid. But obviously, you can totally skip that and just use your white beat like we're doing right now. You've already seen the reference picture that I have used. This is the one, and I painted it in my own way you can see. I wanted to show you there are a lot of these dark spots on the areas towards the right and towards the left. I'd like to add in more paints gray lines, darker lines. Picking my paints gray, I'm diluting a little bit so that it doesn't look odd, and we'll drop it at several places. Just a bit more. These are probably dot in the water or some things swimming by. Add some splatters as well, because they actually added on top of the splatters, and so I wanted to add a bit more splatters. This is, again, one of those paintings where you can never stop adding the details. I am going to pick a white paint and adding in a lot of this white regions. You have to stop whenever you feel it's the right time to stop. I can't, I'm still going on adding at random places. I think we're done. Let us go ahead and sign our painting. There you go. Here is the finished painting. I hope you really enjoyed it. The most satisfying part for me was feeling of that cling film here. I just loved it. I hope you enjoyed this. Thank you for joining me today. 72. Day 27 - Techniques and Exercises: [MUSIC] Welcome to Day 27, and this here is the painting that we are going to do today. As you can see, it is another calm beach but right next to a cliff. There aren't much waves, because it's calmer. But what we need to learn is how to paint the cliff by depicting the light, the shadow, the foliage in the front and then again, some part of the foliage in the front. This is basically the cliff region, so overlooking the ocean. Here is the end of the cliff and the water is blue. It's not grass growing in the ocean, but rather it's on the top, it's got that height, the cliff region and below is the ocean. Here it goes and curves into that cliff part. That is what this image is basically. But what we need to learn here is how to bring out more colors, how to accentuate, or what do you see? How to increase the vibrancy of your paintings by depicting your light and shadow giving very much contrasting colors. If you bring a lot of contrast into your painting, then it looks more attractive. For example, here you can see the lighter areas with lighter tones and then darker areas by giving more darker edges and darker tones into that picture. Then here the foliage is again, what we practiced in the calm beach 1, Day 23, I suppose. That is again similar and we have some foliage in the front here as well. This is what we are going to practice. I'll also tell you another method how to soften out the edge of the beach here, which I haven't told you until now. That is there for the class project, you can see it there. It's not a big deal, but I'll leave it for the class project. For now, let's go ahead and paint smaller cliff version to see how we can bring out the shadows and the light in the picture. I'm going to show you something very similar, but we'll make it a different painting so that the exercise is slightly different, but the techniques that we cover in this one will be really helpful for painting the class project. Basically, I want my ocean line. I'm not going for exactly one by third of the paper because I want to add in some cliff or foliage part. That is the line of my ocean, but let me have it bend like that. It's a calm beach. This is going to be the shore area and I will make the cliff here, as well as the foliage. I'm just creating some random shapes. [MUSIC] That's where the cliff goes. Let me show the picture to you closely. Here, that's the picture. Let us start by applying water to the back side. [MUSIC]. Now I will apply water to the front. [MUSIC]. All right, done. Let me now absorb all the extra water. [MUSIC]. All right, I think that should be enough. Let us start. Basically we'll start with the sky, so I'll just put in little amount of cobalt blue strokes in my sky, so that's cobalt blue. You can leave some gaps and that would create the effect of clouds. See, some random cobalt blue strokes. In order to make it vibrant, I apply darker colors at certain places but some of the regions I will leave it lighter, so that it depicts the cloudy forms. It's all right that your paint is flowing on top of that. That is the clouds or the sky region. Now let's paint the ocean part. For painting the ocean part, here I'm going for cobalt turquoise. Cobalt turquoise is PG50, it's a different color. This cobalt turquoise, I'm going to mix with my bright blue. Here it is bright blue or my phthalo blue. It's always there on my palette because these days I'm painting ocean. Here, I will mix it with my bright blue, so you get a very opaque bluish tone. This is what we're going to use for our ocean. There, just applying along the edge. Let's add the color. More of my phthalo blue on the top towards this edge here, which will bring in the depth of the ocean. Because as the waters reach towards the shore, we need to depict transparency, so we'll move on to our phthalo green. Here's the phthalo green, I need to loosen it up, and we apply the phthalo green. You can also apply a very loose tone of your cobalt turquoise. See, that depicts the transparency of the waters. You can blend that along into the water region. So lighter colors towards the edge. [MUSIC] I can see here, my paint is spreading. Let me absorb that and soften out the edge of my ocean. I'm not bothered about the paint on top of the mountain region because I can flatten that out later, but here I just need to soften the edge. Once done, now I'll go ahead and start applying a bit more depth to the edge. It's basically just my bright blue and my PG50, my cobalt turquoise mix. I will tell you the alternate shapes, don't worry. Basically, you can just use turquoise blue itself. You don't need to use the same pigments that I'm using. I always say that, remember? It's just adding it in a line like that to show the depth and blend it towards the green and the light cobalt turquoise that we have applied. That is the ocean area. Let's paint the shore as well before we move on to the foliage and the cliff. Here for my ocean sand region, I will go with my raw sienna. As usual just picking up my raw sienna, I'll leave a slight gap so that depicts the calm waters and some foam. You can see some white gaps and then also my brush came out a little dry in that region and I let it be. There I'm letting it be. Obviously here, it needs to be dark, only towards the edge, you need to leave the whitespace. There that's the darker regions, but in order to enhance the look of the shore, what we can do is we can add some splatters. For adding some splatters, I will take my burnt sienna. I've shifted to my smaller size brush. Then I'll place that and then I'll add some splatters on the top. See that, just a teeny tiny amount of splatters, they'll spread out and create gorgeous texture. There. You can also add some splatters, I guess, with the raw sienna itself, but make sure you pick it up in a nice amount. Maybe a bit of splatters with the yellow ocher, Yellow ocher is more brighter than the raw sienna hence would give a much better picture, I suppose. See, just some random details. You can soften some regions out and that would blend in the burnt sienna. See, just some splatters and then you blend it up so that it creates some details. I think we'll add some splatters with some dark brown as well that will depict the rocks. Taking my transparent brown watery mixture and also hiding out the edge because I don't want these splatters on the ocean. I think that should be enough. I don't want it to be a lot. We're adding such simple details. This is because it's a smaller painting. If it was a large painting, we wouldn't go for this method. Now, let's get to adding the cliff region. For adding the cliff region, first of all, let's add the foliage in the front. That foliage region, I start with my olive green. Remember how I told you how the foliage is? I place it in such a random manner. I need to dry my brush because I want it to be lighter. Not lighter but in a very creamy consistency. [MUSIC] Making sure that my strokes are loose and depicts the foliage. Then for depth, you can pick up the dark green and add it at random places. See, I'll probably assume that the light is from this side so then I'm going to have a darker edge to that slope. [MUSIC] We've added some nice step. As soon as you start adding olive green for your foliage and your greenery, it becomes more natural and more original. Now for the light effect, I think we already covered this light effect in one of the splash lessons, isn't it? Where you use yellow ocher for the areas around the light? Here, as I said, I'm assuming the light is from the left side so I use my yellow ocher to depict that, maybe some areas here which is under the light. [MUSIC] Now let's get into the further darker tone so I'm going to go with bad sienna and I will mix it up with my yellow ocher. Can you see the lighter color getting blend? We need to be working on this very quick before the paper dries, but obviously, we've applied water on both the sides, so I guess we should be all right and in areas in between. Now, those were the one shade darker colors. Now we can go add further darker tone on the top so that we take our brown and we go. Here right at the base, I add my brown. All those regions away from the light is where we add the brown. [MUSIC] Let us assume that the cliff extends like that towards the shore. You can apply your darker tones. Remember, how I taught you the foliage, you can add some brown shades in between the green as well. That would depict the foliage. But do you see already how this whole thing looks more original, more attractive? Let's just blend that region because I don't want it to be too bright and too light. That's created the perfect blend and now see how we've depicted light, the depth. You can add further depth. You just need to go one more shade darker. The more contrast you bring in with the light and the shadow, that's how your painting is going to look better. Here, taking more of my dark brown, I've brought in a darker edge to that. Maybe I'll add the same to some of my other areas, example here at the bottom. You can see I'm adding some extended versions onto the ocean, just some little bit of strokes to depict rocks in the scene. These are little things that you can do to bring out that naturality to your paintings. I guess, I don't want to go more about it. This is it basically. You've seen the foliage. Maybe if you want, we can add a little bit of foliage here at the bottom, I guess because I want to depict some grassy texture and show you. Here, I'm taking my olive green and I will add it. Don't go towards the edge this time because it's a flattened out shore. In the class project, it's a cliff, so it's fine. There. A little bit of olive green. For the depth we go with darker green, but only at random places. Further depthen your stroke. Now that you've done that, there is one thing you can do to depict this as a grassy texture, and that would be to use a liner brush or a very small detailer brush. Here is my liner brush, and what I am going to do is, I'm going to pick up my olive green or my green mixture. See that. I pick up my olive green and my green mixture, and using that you can just do these upward strokes. It will be still wet on wet, but then it'll be softer and creates these soft grass in our painting. Can you see that? That creates a very good soft grass in our paintings. That would be, instead of using the wet on dry, the whole thing is wet on wet. I am a big lover of wet on wet paintings. I just love doing that. That's why I always keep doing that. But you get the point. See how it stands out, I love it. You see the depth in the ocean as you go further away from the shore, you see the transparency in the water. You see the form, you see the cliff, you see the foliage in the far off clip some greenery. All of this looks natural, mainly because of how we're adding the colors. The color composition matters a lot. You can see here a little bit of the grassy texture. This painting is basically that's it, let's try this up. Here is the completed exercise. Again, you see the little splash of burnt sienna that we did and it's all blended together. Then the further splash of the dark brown that we did has spread and created that soft edge. See the soft edge of the foliage. Some edges are soft, some are not, and creating the perfect look for it, then the light effect. Also see the grassy texture at the bottom. It's there, but it's not. It's those strokes that makes your painting look more beautiful, at least for me, because I love the wet on wet strokes that we do. There you go. Now let us have a look at the colors for the class project. The colors we need are, starting with the sky, we need cobalt blue, which is basically the same as what we have done in the exercise. You can see some beautiful shades of cobalt blue in the sky. Then we move on to the water region where we mix our bright blue and our turquoise green together. So cobalt turquoise, turquoise green. It's different names by different brands. For example, in Sennelier it's known as turquoise green, but Schminke it's cobalt turquoise, Daniel Smith is cobalt teal blue, but most of it is cobalt turquoise, I guess. The pigment is PG50. We haven't used this much in our class, but I had explained about this in the color section before we started this whole class. I know that many of you may not be having this color, but you can use turquoise green, or turquoise blue instead. You don't have to use the same mixture that I'm using. I create opaque texture with mixing the cobalt turquoise and light blue or teal blue together. But instead you can just directly go ahead and use turquoise blue instead. You don't have to use the same. Then we also have some beautiful teal green. I missed to take that. Teal green, teal blue, and you can see here clearly the shades are teal blue. You can clearly see the shade here is teal green and teal green here. Then I've also mixed in a little bit of indigo. Then we move on to the foliage, obviously. We know what it is, it's olive green, green and transparent bound together. These three colors. Olive green and green from white paint, which is PG8. I know I've been saying that this PG8 is not available in other brands. I just found out that ShinHan has PG8 pigment, which is known as sap green. But I have tried that sap green, it is not as dark as this. Possibly, the way they have mixed up the pigment is quite different and hence you don't get it as dark as this. I still keep to my words. The green from white nights is the one that is as dark as the one I'm using. The only brand I've found which has this PG8 pigment is the ShinHan's sap green. The PWC ShinHan sap green one. But it is not as dark as this. It is a sap green color, which is quite a lighter version of this. I still recommend this one. Hence olive green, green and transparent brown for the foliage regions. You can see that. Then we move on to the cliff again, which would be yellow ocher, burnt sienna and transparent brown. The mix of these three colors where we will depict the light and the shadow in our buildings. These three colors. Then we have the foliage here at the bottom again, basically using the same shapes of the foliage, and a little bit of fancy and transparent brown down the bases. Basically these are the colors that we have used. Now, let us have a look at the brushes. As usual the brushes I have used for the whole painting are [inaudible] sable Size 8, Size 4 and my risens liner Size 0 brush. You know those by now. I don't need to specify it again. But the only other brush that I have used in this case is the soft fluffy brush, which is a black velvet jumbo round in the small size. You don't need the same one, all you need is a dry brush, which has got a lot of bristles. Possibly a Size 12 or a Size 10, a bigger size brush like this one maybe. This is Size 12, the Black Velvet one. But as you can see, it's got a larger amount of bristles. It needs to be dry. A dry brush absolutely necessary. Any brush which is quite large and dry, that's what we need. I have used this one which is the Jumbo Round from silver black velvet in the small size. Any large round brush. Here in this painting, a large round brush, a medium-size brush, a smaller size brush, and a liner brush. If you are happy with the exercise, the colors, the techniques and the brushes, let us go ahead and paint our ocean cliff. 73. Day 27 - Ocean Cliff: Let us start. I'm going to place my horizon line again around one by third off the paper. Always remember why I go for one by third because it's following the rule of composition. It's a much better place and attractive than halfway point. Simple horizon line there. I believe that's straight. Yes, it is. Then we go for the cliff edge. Assuming that cliff edge is going to be somewhere there and let's extend it out into the water and some rocks outside. You can see where I'm holding my pencil as well. It creates looser strokes. If you go and hold your brush or pencil at the very tip, your strokes are not going to be loose. In order to get loose strokes, it is better if you hold it away from the tip and then you just create random loose strokes. We don't want it to be detailed. So that's one small, something there. Then again parts of the cliff extending. Some rocky areas there. Here the cliff is going to extend. Some rocks again, some rocky texture, lots of rocky texture here. Basically, that's all for the pencil sketch. Let me show it too closely. Here, we can see that and I always tell you I draw my pencil sketch very lightly because I don't want my sketch to be seen at the end. Now let's go ahead and apply water to the back side as usual. Here is my flat brush and let us apply to the backside again. Very important. [MUSIC] When you apply the water to the backside, just simply running over all the areas, probably might not be enough because if you go over it multiple times it gives the water enough time to go into the paper and that's what we want. We just don't want it to be at the backside only. We want it to go into the paper so that it can up dampen the paper from beneath. That's what we're trying to do here. I have gone over multiple times. Let me know turn my paper and stick it. Now let's apply it to the front side as usual and pressing firmly. [MUSIC] Now we can absorb the extra water [MUSIC] and tilting my board so that all the extra water flows down, and I will absorb all of that now. I'm happy. Let's now go ahead and paint. We are going to paint the sky first. So I am going to take my cobalt blue. You can see it's a lighter tone of cobalt blue and also my paint is diluted. I'll start from the left side, and just create some nice strokes to depict a nice cloudy sky, a white beautiful clouds. Just creating random strokes. You can see my strokes are completely random. There is no rule at all. I am just moving my brush along in various directions, I love how it has turned out. I probably do some here. I'm not picking up any more paint. I think I'll leave it lighter there towards the bottom. That's good, isn't it? Just absorbing a little bit from here and spreading it outward. I'm going to pick up a bit more darker color this time and I'll apply to the top part, just to give depth. Remember, the top part is the closest point always in a painting. The top part and the bottom part, mainly because watercolors dry out when shade lighter. It's better if you can give some darker shades at random places, especially at the top side. When I say random, remember that. That's good. Now let's go ahead and paint the ocean part. For painting the ocean part, I have to tilt my paper and also I'm going to switch to a synthetic brush so that my water doesn't flow up. Possibly, let's wait for a few minutes so that the water sink into the paper. Here, I'm going to use this to keep underneath my board so that water can flow down. That'll prevent my paint from going up. Possibly while that dries out, we can mix the paint. Let me mix my paint. What I'm going to do is, I'm going to take my cobalt turquoise shade. That's my cobalt turquoise. I need that nicely on my palette a lot of it. I'm picking a lot of it because most of our shade is going to be in the cobalt turquoise. But we'll mix different colors, of course. Create a larger quantity of the paint. We'll mix that color. [MUSIC] The next color I'll mix with it is a little bit of bright blue. Bright blue is tallow blue and I'll mix that in here. Just a teeny tiny amount to this side, I'm leaving that side as it is. Since we are going to be using a synthetic brush, I'll keep this brush aside. I'm not washing it off because there's a lot of paint on it, which I don't want to waste, so I'll leave that aside. Then I'm switching to my synthetic, so that's my silver silk size 8 brush. Using that, I'm going to take paint. You can see I'm taking almost dry the paint on the side, and I need to mix it with more blue. This time more bright blue. There, more bright blue, and the cobalt turquoise. I believe I've got some dry paints on my brush now which I'm going to paint along the horizon line. Here along the horizon I will add it. Not bad. Now I'll go over it multiple times. The paint is really opaque, you can see that. The opaqueness is because of the cobalt turquoise that we've added. Light blue or the tallow blue is obviously not opaque, you would know that by now. Now we've added that. Now I'm going to show you a different technique, wherein you can soften out those hairs. Pick up a brush. We just got a bigger size. This is just my black velvet large size brush, and it needs to be dry, so any brush that is dry, and then what you're going to do is you're just going to go around at the edge of it and run your brush along. See, what happens is your brush absorbs all that extra water from that edge, making it impossible to create those hairs. Once you run over multiple times, it would be the end of it because now your brush has a lot of water. This is only for a few times and in areas where it's forming hairs like here. Perfect. Now, are you going to ask me why I didn't do this method for the other days where I was struggling to keep that top region? [LAUGHTER] One of the reasons is I actually forgot and isn't this a new technique for today? Well, that was not at all in my mind. Please don't curse me. Anyways. Getting back to my color. Now, I think I'll go with my other brush. Here's my brush, we go with the same color, the cobalt turquoise and the bright blue mix, and start adding it. We'll blend that nicely. You can see, as I come towards the bottom, I'm adding more of my cobalt turquoise. Here's the cobalt turquoise. You can see the sea is darker there, and as we come towards the bottom side our strokes are getting lighter. It's the cobalt turquoise. Only to the edge here I'll paint, and I'm just blending this region out. I think I need a bit more color on that side. I'm taking my cobalt turquoise and my bright blue, because it's just some more dark color there. Light blue. I picked up Indian cream blue instead, but I don't mind. Don't go over to the edge, we just cleaned it up to get the softness, so be careful of that. I'm good with that. Now let's get back to the cobalt turquoise. I think I'll mix a little bit of talo green to the cobalt turquoise, so I'll give it a nice green shade. Not enough green, which means I take a little bit more of cobalt turquoise. Yeah, that's now greenish , and mixing along. As you can see, there's a lot of water in my mixture aiding the strokes. Closer to the shore, I'll have a lot of white areas, so I'll just apply light next to the shore region but leave a little bit of white there. Not here, there. I loved the color tone there now. Now we need some more of the bright blue, or the talo blue to create that. I'm going to mix it up with my indigo. Here's my indigo, and I'm mixing it up with my bright blue. More of bright blue, not the indigo. There, that is the shade. Now we'll just go and create some random strokes within the ocean area. Here, of course it's darker and possibly some near to the rocks here. Just using my brush and brushing along and creating these random haphazard strokes. I think I'll remove the angle notes, better to be keeping it flat. We're done with that. Let's take a little bit of talo green and I'm going to add some green strokes there. Just a little bit of talo green amidst those blue strokes. Add a little bit more blue. Now let's go ahead and add in the cliff regions. Adding the cliff, we need to wipe out this paint here because I need some space in my palette. Now for adding the cliff, I'm going to go with olive green and a little bit of brown mixed together so that we create the perfect olive green, and I'm going to add in the cliff, so some foliage on the cliff first. Just using my brush and creating some random strokes. Just moving my brush in random movements, you can see that. [MUSIC] That's the point until where there is [NOISE] cliff foliage. I'll probably add in a little bit of green. Taking my green paint and adding on the top, just gives depth when you add the green. It's just like what we painted yesterday for the foliage in the front. Remember? At this time it's on the cliffs. I'm going to mix that green with a little bit of brown so that I start getting more darker shade, and that's water that lie towards the end. Then I'll shift it to brown so more brown as I approach the end region. Now, let's paint the whole of that land area itself. I'm going to go with my yellow ocher. That is the cliff, and as you can see, I'm applying a lighter tone to depict the light, of course, always. That's where my cliff is. Let us add the yellow ocher to most of the cliff region. There is this again, extending outward then here. All the areas with light that's what we paint with the yellow ocher. [MUSIC] [NOISE] Now I'm going to add darker shades on the top, and obviously, that is going to be with my burnt sienna. Using my burnt sienna, I'll start to apply strokes and create random shapes. [MUSIC] Then again, for the next one. [MUSIC] Then the next. [MUSIC] Let's keep going. As you can see, my paper here at the bottom, the top region has dried. But as soon as I add in these strokes, it's going to stay wet again. This is the reason why we apply water to the backside so that even if it dries out, the water is still there. Going back with my olive green, I am going to create some shades now on this side. [MUSIC] Remember we painted until here, so now we'll fill it up with the olive green. [MUSIC] Here at the bottom as well, and you can see some of the paint is spreading, but it's absolutely fine because it's that what creates the beauty of watercolor paintings, I believe. I like it. If you don't, you can go ahead and adjust it. I will only adjust a few, but I love the way it spreads. [MUSIC] Some here at the left. [MUSIC] [NOISE] Now we need to add depth so again, we'll go and mix in our dark green, just random. So going back with my yellow ocher for some lighter regions here [MUSIC]. Then back with my yellow ocher again, for some of the lighter regions here. But you can have some of the regions. Leave it as white. It adds beauty to our paintings. You don't fill up the entire thing. So this is the reason why I've left a lot of white gaps in my painting. So now I'm going to switch to a smaller size brush my size four, and we'll add more details. We'll start with a little leaf green again. I'm just going to add some smaller strokes towards the top here. Because I feel that the top region is larger strokes. I'm just softening it out, not softening but making my strokes and the end of that tree line smaller, basically. [MUSIC] Olive green again here. [MUSIC] Then now we need to add in the depth into the ocean, I mean the rocks. So taking my brown paint. Here's my brown pigment. We're going to add in to these rocks. Especially I need to try out my brush because I can't introduce dark watery paint. But now this is what we will give to that edge there, so to create that nice depth. Especially at the bottom, we need to add it, remember. [MUSIC] To the edge of our foliage region also, I'm adding. You can see the stroke that I add is completely random. [MUSIC] Taking to that one. That's the next one. To create a separation between the cliff's region. If I make this region here darker, then that brings out the yellow ocher. Can you see that? The yellow ocher region that we added, comes forward the same will do for the end of this cliff region, bringing out that yellow ocher. Each time when you do that, it brings out the beautiful yellow ocher outside. [MUSIC] Brown paint you can use it to create various shapes, like some rock. Assuming that there's a large rock here. I'm going to add that. Just make sure that there's no yellow ocher towards the bottom. Because you need to show the depth and at the bottom it's not going to be yellow ocher there. [MUSIC] I'll mix in a little bit of burnt sienna. This is the normal burnt sienna, not like yesterday's from mid-low mission. [MUSIC] [NOISE]. Now I'll take some burnt sienna itself. I'm going to use that to add depth in this region. [MUSIC] That depicts the rocky texture. [MUSIC] Maybe a little bit of burnt sienna here at the bottom. Just to show that color difference. I just don't want it to be yellow ocher only, so that's why, and a little bit of brown to the edge. [MUSIC] Now let's add some rocks in water. For that, I'm taking my brown again. I'll add it in the water. [MUSIC] You can see how it's adding the beauty. [MUSIC] Now we need to add in a little bit of light onto those things. But I believe yellow ocher probably won't work. So I'm going to take a little bit of cadmium yellow. It's here on the right side of my palette. That's why I showed you. Even yellow ocher is fine, but I like the look of cadmium yellow. So that's why I am taking that. I will add that to the top. Can you see? This one as soon as I add the cadmium yellow deep. The same here to each of those rocks. [MUSIC] Just adding a touch of the cadmium yellow so that I can depict a little bit of light on top of them. [MUSIC] Always remember to depict the light. Here's it's very important. Be it any painting, light and shadow is what makes you painting a painting. Now I'm going to go with a bit of olive green to depict the more sea structure. I'll just go under. Because your rock has been under the water for long, maybe it's got sea weed and moss accumulated. So that's why. [MUSIC] You can go with the olive green in some of the places underneath the rocks as well. Now I take sepia. Sepia is here on the right side of my palette. Using sepia, I'm going to create some branches for those trees. Not these. These are grass, but this one was a tree, so there. [MUSIC] Maybe add some darker texture at the bottom. It doesn't show how that line came out to be. Maybe to this side as well. See, just some branch so now you know that it's a tree. We can take sepia to add further darker shadows. I'm going to use my sepia. I have it here on my brush now. There on the right side of my palette, and you can't see it, but I showed you yesterday, I believe. I'm just going to add those, and add that. I love how the way the cliff has turned out. Let's pick up a little bit more olive green and add to the edge here. I wanted to paint some grassy texture, so that's why I'll use it. I think that's a too big brush, so I'll switch to my liner now, my liner brush. Using my liner on the olive green. That's olive green. I'll use that. My paper is still wet, so when I do these strokes, it looks wet on wet itself, but gives the grassy texture, and looks like grass itself, but on the wet on wet. That's what makes this beautiful. This applying the water on the backside gives us a lot of time to work on our painting, which is why I really love this method. See how that turned out? I hope you like that. Do the same. Let's finish off by adding some white. We did leave some white gaps, I'm going to further add some more. I'm hear taking my white paint, and just some areas if you add drops of white, it looks like the foam, foam in the ocean. Obviously right beneath the rocks, but use a liner brush or a small tiny brush so that we get thin, thin lines. Most of them extending outward into the ocean. Can you see? Just a teeny tiny bit, that's all you need, but makes it look beautiful. Maybe I'll add a bit extra to this one. I love that. It shows how the water disturbs and creates the form right when it reaches that rock region. Just teeny tiny bits, that's all we need to add. Just making a little foam there. I'm really happy the way this has turned out. I love using bright colors to bring out that picture forward. You know what I mean? It's not really this yellowish or brownish, if you look at rocks just in real. But then this brings out the colors and makes it look more attractive. That's why I use that and I love doing that. I love the softness of even these here, the olive green spread a little, but it looks as though it's grass, just like here. We also added extra lines onto this so that it looked like that. Because we're done, let us sign our painting. I hope this region is dry. It's not dry, so I need to dry it up before I can sign my painting. I've dried it up, let's go ahead and sign the painting. Taking my cadmium red. There. Here is the finished picture. I hope you like it. Thank you for joining me today. 74. Day 28 - Techniques and Exercises: Welcome to Day 28. This here is the painting that we're going to do today. This is special because it's actually inspired by some photographs I took myself when we traveled to a park nearby. There was just a little lake structure and lot of these seagulls flying around that water area. I captured that. I'll share all the photographs with you and I'll show you as well. See here, this is one of them. It was an evening scene. You can see the gorgeous evening light. But I didn't want to bring all of that. I just wanted to capture the essence of the seagulls, the water strokes, and the deflections. You can see all the ripples in water. There's multiple pictures. See all of these. I'll share all of these pictures with you. Because some of these birds are from different images. For example, I think this one is this one, then here this one is this one. Lets see more. This one is this. It's just basically different ones that I have added from different images. You can choose your birds from each of these images and make that as your inspiration for adding. You don't have to do exactly the same as mine. As you can see from the picture, there's this further end some land area, the end of the lake. I didn't want to depict that as well, so I completely avoided it and depicted it as light towards the top region. It's just looking at the photograph and trying to imagine how you want it to be. I only wanted the seagulls in water, so that's what I did and I imagined the whole top portion to be involving the light. I added those lighter strokes and coming darker and darker as I come towards the bottom. These images will be in the resources section for you. There are some techniques that I'd like to introduce in this one. Techniques as in some brush strokes. I don't need to show the seagulls, I think because that's quite easy. The only thing is the sketching part which I know can be quite difficult to add in the birds and get this shapes currently, but let me tell you one thing. If you're adding the birds in water, only those need to be in the correct shape, the other ones, even if your wings are in different directions, it is absolutely fine because it's just flapping its wings, it's moving in the air. You can capture it in any way. If you look at those photographs, you will see exactly what I mean by that. It's completely different you don't need to match or have those wings in the exact same direction because they can be completely in opposite sides as well in different movement and also if the birds are twisted and turned, all matters that way. You can look at that. This is quite easy, but I wanted to convey how to paint these ripples and some of these strokes. I think we've already done the ripple strokes in Day 2 I believe. I don't remember the day now but I did cover the ripple of that wet-on-wet throughputs, and this is what I have done here. But remember that day I had said that the wet on metropoles are quite hard because your paper might start to dry faster. But here we're doing the stretching method where we were applying the water on both sides of the paper. Hence, you can go and do the wet on metropoles easily. I just wanted to quickly show you some different strokes we'll also add a few wet on wet ripples here. You can see how we're doing it. Let us start. I'm just going to apply water to the backside. I'm not adding any seagulls here on this paper. I'm just going to depict water. This is the reason why we're not adding any sketch. This is just quickly to show you the techniques which is what is important here, the brushstrokes, I mean, that's what's important. I'll show you that one. I'm just applying my water to the backside to stretch the paper. [MUSIC] I have applied water to the backside. Now let's turn it to the front. I'll apply to the front side now [MUSIC]. Now let me absorb all the extra water. I just usually just apply a lot because I know that I'll eventually tilt the board and absorb all that extra water. That's why I do that. But when you're adding with the masking tape, your paper starts to bend eventually and it creates a dip. You'd have to apply the water evenly. But this one, because it's a flat surface and your paper just sticks onto the board you can absorb the water by just tilting your board. I guess that's it. Let's go ahead and paint the water. I'm going to use my Size 8 brush. I'll start with my paler blue as usual. It's my go-to color for water paintings, you might want to start by now. Pale blue, and I'm just going to place it on my paper, and add some flat strokes. It's just basically the way we used to paint water earlier. Here as I go towards the top, I need to make my strokes lighter. I'm going to take more diluted paint or just what I was getting my brush. Here I'm just adding width gaps. Leaving a lot of white spaces and fill the top. Now we need to darken the bottom part again because you can see it almost looks like once single color. Let's go ahead and darken up the bottom part. For that, I'll slightly mix in a little bit of indenting blue perhaps and add to my base. Taking more of that color so that I can just apply, making sure I apply it darker, extremely darker towards the base. That's indenting blue, and medium towards the middle. That's it. I see there's a lighter region here, so let me darken that up. More bright blue and indenting blue mixture. Adding that to the middle, what is happening is my paint just spreads and goes to the sides as I'm applying that's why. Now is the strokes that I wanted to show you so that you can practice it. I want to shift to a smaller size brush now, because this is a smaller paper, but in the larger sheet we'll do with the larger size brush. When we want it to be smaller, we'll do it with the smaller size brush. Here, I'm taking my Size 4 brush and I'm going to mix a darker tool. For that, what I'm going to do is I am going to take my indenting blue, a little bit of white blue. Basically, mixing all the blues together. Bright blue and possibly a little bit of indigo as well. I need to fill up these wells, it's almost finished. [MUSIC] There. Now we've created a darker shade. We need to create some wavy structure. What we're going to do is, you remember the waves that we use to add in a straight line? Now this one, we're going to do it in a different way. I'm going to press my brush, lift, press my brush, lift, press my brush, and then lift and press. See those strokes? This is the thing that we're going to do. It's almost similar to what we did for the jellyfish one, where I applied my strokes, so many strokes like that. But here what we are doing is we are trying to create a chain possibly. Don't do it in the same aligned manner, so you can see the pressing down of the brushes here and join this here. Probably the next one, I'll make my press here, join like that. See? So that it doesn't match my strokes. But that's one of the strokes that I do. It doesn't all have to be the same, some of them can be in a wavy manner, but if you put a combination of the press and the waves. Let's do in different directions as well. Find where to add this ink at the bottom here. Can you see? It's got some nice different strokes. I'll like to show you the ripples as well, so I'm just going to take a little bit of indigo, a bit of my Indian teal blue. Make up that mixture nicely, my light blue. Here I've made a very creamy consistency or very concentrated amount of the mixture, and I'm going to add in the ripples. For adding in the ripples what basically we do is up we put [inaudible] because we've done the stretching, we've applied water to both the sides. Now, all we need to do is create those elliptical shapes. The ripples are ellipses because you're looking at it from the side. If you're looking at it from the top view, then it would be circles. You're looking at it from the side, so that's why they are ellipsis, and you can create multiple ripples. For example, this is one ripple, but you can have another one right adjacent to it such that it's joining that, maybe another one which is not complete but is part of it. Let's add another one here, but see how you can add these ripples in the water. We need to add on the top with a darker color, but these are initial ways to add a ripple in the wet on wet. Then outside of the ripple, we can have strokes. See? Added a lot of these ripples. I know, I've just added a lot of these ripples and it doesn't make any sense without some object, whatever is touching the water to create those ripples. But this is just my way of showing you how to do these strokes and also how to add the ripples. This painting has no relevance in reality because there's no object to create those ripples unless somebody has been throwing rocks in the water. Basically, that is the technique that I wanted to show you. Here, I've quickly dried this up. Like I said, this was just to show you the techniques of those brush strokes and the ripples. Now let us have a look at the colors that we need for painting the class project. Here are the colors. As you can see, it's not a lot and it's a very simple painting if you look at it in terms of the colors that we have used. The base colors obviously goes that yellow blue, Indian teal blue, and the indigo. These three colors, we're painting the water and adding the strokes. You've just seen me use these three colors exactly to create the background strokes. That's basically it. These three colors are very important, obviously, yellow blue BB15, Indian teal blue, BB 60 and indigo. I'm not naming the pigments of course, because there are various types of indigos out there, all we need is a very, very dark blue so that you can create a darker shade, and also for these ripples we're using indigo. Then comes the seagulls of course. If you look at the pictures in mind, there's that light in the top portion where it is being reflected onto the seagulls. I wanted it to depict it more, to bring it out more in the painting just like I usually tell you. For that, I wanted to show that yellowish color, and the best way to do it was using burnt sienna. The burnt sienna here that I have used is from Mijello. Obviously, this is the one that I told you in less than a few days ago where it's got that yellow pigment, so it's got p by 150 in it, and hence it's got that yellowish hue in it. It's BBr 25, PR112, and PY150, which is transparent yellow. I've got that in it. I've used Payne's gray. When you're using this burnt sienna and the bean gray in combination, you'd have to be very, very careful and not to add too much of both together because they can turn into a green shade. Because the Payne's gray has got PB15 and this has got PY150, so the PB15, and the PY150, the blue and yellow together will create green. We need to really avoid that, and as you can see, I've only used very, very lighter shades of each of them just to depict that warm tone for the light. I wanted to bring in those warm tones into my painting. That's why I used this color, but you can just use any normal burnt sienna. Maybe you can mix in your burnt sienna with a little amount of yellow, but that's completely optional. It's absolutely unnecessary. You can just use your burnt sienna to depict the light as well. I guess that's it. Now let's have a look at the brushes. Here my usual two brushes, the kolinsky sable, size 8 and size 4, basically the medium-size and the smaller size. That's all I have used, nothing else. This painting is actually very simple if you take out painting the birds and the sketching part. Another thing I wanted to tell you was I did not use a masking fluid for any of these birds, so that's also an easy part. I didn't use a masking fluid because as you can see, most of the areas of the birds are darker. You can just use some lifting method and some absorbing the tissue method to keep those areas white in your birds. Now that you've seen the techniques, the colors, the brushes, and everything, let's go ahead and paint our seagulls in water. 75. Day 28 Seagulls in Water Part I: [MUSIC] Let us start. We'll start sketching the seagulls. This is probably one of the difficult paintings that I have done. I tried this out multiple times and the first time I did it, I did not like it at all. It's all right, even if you don't get it right the first time. We'll add a lot of birds in the water, basically. My first bird, somewhere around here, so I'm going to trace that out. The pencil sketch also is possibly a little bit difficult. But it's so worth it, the process at the end and I mean the final painting is just so worth it. That's probably the wings. They are doing different movements in water. I've already shown you the peeks so we can understand how we catch it. [MUSIC] That is the first bird in water that's in. This one shall have its reflection. Just marking out the reflection. You don't need to do it, you can do it with your brush also, but this helps while we are adding in later on. That's one about there. Now we'll add birds flying, of course. Different flying birds. Another one here, I believe this one. I really love this picture because it's inspired from my own pictures. To add that transparent tail, that's probably a little longer than 40 so let me shorten it up. That's much better. Then two legs. Obviously the other wing, so that's another wing. [MUSIC] I'd like to adjust the shape of this one. It's just flying in weird angles. Don't worry. Okay, that's one. Let's add some more in the water. That's another one in the water, resting. Of course its reflection. The reflection of this one, because it's in the air, what makes it in the air would be the reflection. The reflection of this one here is going to be somewhere here. I'm just marking it with my pencil so that I know and I didn't miss it in the end. I'm just looking at the reference image and I found one that I love. I love this one here, I'm going to add that in. I believe the other ones I added was this one and I added this one and then I believe I added these three in the water. I also love this one and this one. I'm just going to mix all of these up and put it in my paper. I will share the reference image don't worry. I'm going to put that flying one somewhere here at the end, right side. I'm going to probably change the direction of it because I feel that this one is towards this side to the other one and add towards that side. I'm going to make it slightly smaller as well because it's to depict the depth of it that is far away as in behind these. That's the tail pushing, and that's the body, and from there starts the leg. Then let's add in the other wings. [MUSIC] I think that's enough. Now, we can add just some more in the water. We'll add most of them faraway, smaller. There it is in the water and another one here. All of these are the birds from various images combined together. Using the images. I will upload all of them, don't worry. Maybe some flying faraway. But it's going to be like a boomerang shape. There, can you see that? That one is also that in the image, I just added the body. Let's not complicate this too much, I think this is enough. Let me show this image to you closely, so here it is. Now we can go ahead and start applying water onto the back side. Now I will apply water to the backside. [MUSIC] Take your time and apply the water. There's no need to rush on this process. I know that each of these paintings can be quite lengthy, but you learning the process and define an outcome is what is most important. Now, I will apply water to the front side. It's bated. Let me put it back into the correct orientation. Now, let us go ahead and apply. I'm not using masking fluid for this again, because I believe I am going to try it in a different way. Let us keep going. Now I'm going to use my cloth to absorb all the extra water. I think I need to wash my cloth because I was running around, my cloth touched the paper and it got a little bit of khelo green, it's from the cloth. I'm happy with the way to stand out. Now, let's speed. Now, another important thing that we're going to do is, I am going to absorb some water from the surface of the bird, it's those areas where we want to keep it dry. This is another technique that I'm trying to do today. The areas where we want to leave it white absorb the water. Just using the tissue. Just in the center is enough because the rest of the bird is anyways going to be in a dark color. If you've absorbed from the outside of the wing region, I am going back and applying the water again. Only on the body and the wing is where I need, so just outside of the wing I'm just reapplying my water. This is just another method where you can prevent your paint to flow into that region where you don't want it to flow. Let us get to painting, we'd start on the bottom side and go up. The first color I am going to take is my bright blue, and I'm going to mix it up with my Indian green blue to make it darker. Indian green blue and bright blue together that will give a nice darker blue, maybe a touch of indigo as well. A dark blue basically, that's what we need, and starting at the very bottom, we will apply in our first colors onto the paper. We will need to add in little pulse later on. But first let us now place our base layer of colors. That is going to be the mixture of the three colors that I just used, and we're adding it onto the paper. Starting at the base, I need to make enough mixture. Let me go ahead and mix some more. Here is the region where I am going to go outside of my seagulls, so see that. As I go towards the top, I'm going to lighten up my strokes as well. We don't need to dark stroke towards the top, so any fresh paint and dense pink that I pick up, I'll put it downwards and then as I go up, I need to start getting into lightning of my strokes. See lightening up my stroke and it starts to get smaller and also in the form of ripples. A lot of whitespaces, you can leave that and these far off birds, they are fine. You can see in the image that the words, the top, it's lighter and towards the bottom it's darker. As you can see, I'm not mixing any more paint, but rather I'll just pick up whatever is there, and maybe dilute it a little bit as well so that I get rid of the extra darkness that it has, because I want it to be light as I go towards the top. You can see how lighter strokes are towards the top and I'm just flattening them out again, and lightening them up. It may go on top of my bird, but it won't spread too much because of the way we absorbed the water out of it. Remain white for a little while. Then we need to go and add it. This is just the first layer. I'm mixing my white blue and my indent green blue nicely together. Pretty important mixing it up nicely. Let us go ahead and add in the depth now. Just going with my darker color again on the top. This is still the depth background that we're adding, we're still not into the waves or the repulse yet. We're just adding the dark color because we laid down the first wash and understood how we need to proceed. Now, we'll go and darken up the tools, especially at the bottom. If you look at those pictures, you will see that the bottom part is darker, that is what we are trying to bring in into our image. As I approach the top, start to make smaller strokes again. Smaller and lighter, all the depth towards the bottom of this thing, all strokes are getting lighter. Let's mix in some more colors. [MUSIC] I've added enough depth towards the base, but now I feel that the top is too light. I'll probably go and mix in a little bit of my bright blue, lighten up my stroke by adding water. But obviously, when we put it onto the paper, we shouldn't have too much water. [MUSIC] This side is better. Now I do the same to the right side and the middle. Remember, water control is something very hard to achieve. It takes time. Please don't curse yourself just understand the ratio of the water that you putting in onto the paper, and also to create lighter tones you use water. Then when you pick up lighter tones using a lot of water, you obviously have to dry your brush and see, I put a darker tone there, but I washed all the paint off my brush, and I'm going to sweep it over so that my stroke is lighter. See, I've lightened that up. It's just basically that's what you have to repeatedly do. The same here, I have added darker stroke, but I'm just going to run my brush over and lighten it up, see what I did. We've put in nice darker tones, now let's go ahead and add in waves. Again will mix up the same color, but this time more of blue and indigo so that we get a darker shade. But obviously, to start with, I need a lot of bright blue so I'm just picking up more bright blue in my mixture. Make sure that it's enough for me to add the waves. I will mix up enough at first. Almost finished in this region here. Now goes the [inaudible] blue into the mixture. Then indigo. As soon as we add the indigo, it gets darker. Repeat the process, make sure that the mixture contains the colors all around. We don't want it to be transparent. Let's go ahead and add in the waves. For adding in the waves, I will use my brush, and make these small strokes on the top. Can you see at the base, I can almost fill it up because it's anyways darker at the base, and I want that darker tone. As I go towards the door and start to make more wavy shapes, and we need to create in the reports as well. All of these will follow along the direction of the lines that we want to create. I want to create your pulls this way, but I believe that I need to use a smaller brush this is too large, possibly. Maybe, I'll just drop in the ripples. There's ripple there. Another large ripple there. Smaller ones there. It's just a lot of ripples that we're trying to add. [MUSIC] Maybe I'll just continue with this brush itself because it's got a lot of paint in it which I don't want to brush off, so I'm just going to make smaller strokes with it. Smaller strokes. Smaller baby strokes for the waves. Multiple waves and ripples. That's wonderful. Continuing on the same and creating the ripples. I'm going to sadly wash off all this paint and switch to my smaller size brush. Here's my smaller size brush, and I will pick up the same paint but now apply it such that it follows the direction that I want for the ripples. Those are ripples there's another here again. See how it's creating beautiful ripples in water, and we need to create darker strokes all around it. Picking up my darker color, and adding [MUSIC] another ripple shape for this. The ripple shapes are basically we're just trying to add some round shapes like that. I've dried my brush and moved almost all the paint. I'm going to add some ripples for this one. As you can see, it's using a lighter tone. Using that lighter tone I'll go ahead and add in the waves. Just using my small lines and my waves are starting to flatten out. As I go towards the top. [MUSIC] Let us add more strokes. [MUSIC] Like I said, while the darker strokes towards the bottom. Just creating these wavy shapes. I've already shown you how to create these wavy shapes. Really happy with the way it's turned out. I believe we have to wait for this whole thing to dry so that we can add some some darker strokes on the top, and onto the birds of course. Let's dry this out. 76. Day 28 Seagulls in Water Part II: [MUSIC] Quickly dried up the front side. Let us now go ahead and add in the birds. Obviously, the birds, it's darker in the picture. But if you look at images of seagulls, you can find that it's got some white and brown shades in it, which we will add now. Let's start. I am going to start with a bit of Payne's gray. I'm mixing my Payne's gray here in this area. Got a lot of other colors there. That is for a different painting that I was doing for my patrons. That's why I'm not cleaning the palette. That painting is not over yet, so I can reuse those colors. Let us add beak of this one. Then what else? Need to lighten up my stroke. Lighter stroke. I know it's going to mix with that blue slightly but I am fine. I am letting it mix, actually. Where is the base that I have added? That's the base. Let us add darker colors to the base. The darker at the base because it's farther away from the sun. As we go up, we can just use water. Just going to use water and blend in my Payne's gray. But I'm mixing a little bit of my brown, of my [inaudible] You can see, this end here, that is the end with the shape of the wings. [MUSIC] Just a darker color up to the end. You can see that. That's the beauty of it. That is, some areas would be white and some is going to be darker. It'll look more pretty that way. But obviously, remember, the base needs to be extremely dark. [MUSIC] I added that one. These ones here, they can be more lighter because they're far away also. Now, let's paint this one. This one was darker anyways. I applied paint on the top side. But I want to lighten up the top side, so I'm just my water over on that top region, and use dense black at the bottom. [MUSIC] Now, again, lightning up the top. The face can be really, really dark. Now, let's paint that one. I'll start with my [inaudible] first, and add on the wings. Then just use my brush to spread out that color towards the inside, and a little bit of Payne's gray. A little bit inside. But can you see the little amount of white that I've left at the top? Same way for this one. [MUSIC] Little amount of paint here [MUSIC] I love that one. Now the body like this I have added darker, start with the bottom half first, and added the darker paint, and the upper half, I will leave it to spread, so dense pigment at the bottom half. To separate the body and the wing, we take some dense pigment and apply to that area, where it's separating the body. We need to add that once more because now that region is wet, so we'll just spread so we'll wait while we paint the others. It will dry out. Here at that base, we need to add in a lighter tone so I'm going to go with very light tone of my burnt sienna. Can you see? That will give the transparency for that region. Using a little bit of the Payne's gray, and paint downward. See, but now we'll have to wait for it to try to paint the legs of course. Let's paint the other birds now. This one, that can be darker again. [MUSIC] As you can see, I always apply the paint [NOISE] towards the bottom, and then just use my brush to spread it across. That gives a beautiful, well toned look. See that. Obviously, it's a far away one and we don't want it to be too detailed also. Then, where's the next one? The next one is here. I'll probably add in a little bit of Payne's gray to that one, and also a little bit of burnt sienna to its head. I'm just trying to bring out different colors. It doesn't have to be the same. See, it appears as though there is this light that is being reflected on those birds so I probably add a little bit of burnt sienna to that one as well. Otherwise, it lacks that light [NOISE] reflection. That's really good. This one again, we have to take burnt sienna for the wings. I use a wet on dry stroke for adding the wing shape, you can see that. Then I do these line strokes, which makes it the shape of the wing. Then I just use my water to spread it inwards into the body. [MUSIC] Then we'll apply water to the body, and just to use some Payne's gray strokes to paint the body and also the wing. See, just a bit of Payne's gray. Now that one further off, I will just add with Payne's gray so I'm just wetting that at first. We need to depict some light on it, so I'll probably add a little amount of burnt sienna at first, and then a little amount of Payne's gray so Payne's gray possibly to the bottom. I love that one. It looks so soft and very further off. Doesn't it? Let me see if this is dry or not dry yet so I'm not going to touch it. One thing I want to soften out is add more is this one because it's got some bluish tones I believe that we can correct that with Payne's gray. If I add more Payne's gray to that region, I can get rid of those bluish tones. [MUSIC] Remember I said that one is dry now, so we can possibly create a beautiful separation between the body, apply some paint, but obviously we need to spread that out into the wings. Can you see, as soon as you create that, there's that separation between the body and the wing. Now the legs I believe we can add that with a dark brown so here's my dark brown color, and I'm going to use that for the legs. [MUSIC] Just one single line. Can you see that? This one also wasn't dried, so it spread, but I'm okay with it because I like where the leg is joining. It looks nice. [MUSIC] Added a beak for that one and dropped a little line for the eyes and I'm taking a little bit of dark brown, and I'm going to use that to create some lines for the shape of the wing probably and refine that and I like it now. We need to create a nice borderline between the wing and the body so make sure it doesn't spread like mine, [LAUGHTER] but I know how to correct it. I'll just remove it with my brush. [MUSIC] You see, just added a dark line, creates a separation between the body and the wing. Somewhere we have to add the separation, and the best place to do that is to observe where would be the dark point. If I went to add that dark stroke on the top part of the bird's body, it wouldn't be feasible because then we needed to beat the light, so the light is obviously on some areas, but it's like a joint or in the bottom regions. It was the bottom part of this wing, which was the most obvious choice, that's why I'm applying the darker tone there. That leaves the body of the bird to be lighter. We add that line here as well, so separating the body out. I need to wait for that to dry before we can add in that. Taking my brown adding the legs of this one. Need not be too detailed and very lightly. Can you see that? It's very light? Now, what else do we need to add? Now we can go ahead and start adding the reflections we've added in the birds nicely, we need to add in the reflection. This Is pretty lengthy, isn't it? Anyways, let's now go ahead and add in the reflections. We're adding the reflections, I'm going to mix my indigo on my palette. Nice dark indigo color, and I'm just mixing it up with the blue that was already there I don't mind. Taking that we'll add in the reflection. The first one is this one. Remember the rule of reflection, join to the base always. I'm just going to use our diluted version, I don't want the paint to be too dark. Here I'm adding a lot of water into my indigo mixtures that I get diluted version, and this diluted version I'm going to add. That portion is the head then here is the wing but I will extend that teeny-tiny amount. As you can see, I'm creating breaks in the reflection also that will make it beautiful. The reflection of this one was supposed to be somewhere down here, let's add that. This one definitely lighter because it's gotten no touching points with the water, so there on the water. That's the deflection of that one, so if we're adding for this one, we need to add for this one as well. They're probably in the same line, isn't it? I'll go ahead and add that one. This one is a bit down, I guess. I'm happy with the reflection of that one. Now let's go ahead and add the reflections for these ones. Obviously, remember that reflection has to touch the bird, and once it has touched, you can go ahead and detach it. Now, this one there's a reflection, but it has to be lighter, so make sure you pick up a very light amount of the indigo, I need it to be more light, I think that's much better. See it's lighter, and the same goes with this one. Point where it joins can be darker, but as soon as that is over and you're coming down. With that, this one definitely has a reflection but I have to be add it. Let me look that in the picture. That one is like far off so we can't really see the reflection, it's probably here outside of the paper because it's far off and also it's away from the water, so no reflection visible on that one. I just realized I'll add a beak to this guy here and an eye for this, an eye for that one, all of them are missing eyes. As soon as I added the eyes it's much better than the other one, it was looking weird. Now let's get in more ripples and lines. Just randomly not a lot. I believe we can add more towards the ripples. These are wet on wet to the ripples will be still there but then the more you add with your wet on dry strokes it will look beautiful. Can you see? Just lightly and don't finish off any of the ripples try to leave gaps. Some of the ripples I try and add different shapes around, and you can see it's not even dense indigo pigment it's a very light pigment I'm using. We need to pull lines closer together. See how that is. Now that's looking much better, isn't it? I really love the way it has turned out. What else is left? Looking at the paper closely to find if I can find anything that I've missed. Just adding a little bit of depth to that bird. Then what else? We said we'd wait for that to dry so that we can add in that separation. Taking my paints gray, and adding to the tip edge of that bird. Then I'll just use my brush and blend that. Now you can see the separation between the body and the wing. I'm really happy with this. I did not add the background elements in it, I just left it to lighten up towards the top. I believe we're good to go. I'm going to dry it up so we can try our painting. Let us go ahead and sign our painting. Here is the finished picture of today, I hope you like it, and thank you for joining me today. [MUSIC] 77. Day 29 - Techniques and Exercises: [MUSIC] Welcome to Day 29. This here is the painting that we're going to do today. Isn't it gorgeous? It's basically just two flamingos in water and water is a lot to start so it's got a lot of ripples, which we have to do obviously and takes a lot of time. This is one of my favorite paintings now and also you can find the reference image of this one in the resources section. It's a square image which I've changed it into a landscape mode, and consists of two flamingos standing in the water. Basically, the first part involves sketching out the birds and then applying the masking fluid on it. That is something that possibly we cannot avoid because can you see how contrasting the two colors are? That is, the birds and the water area. This is the reason why I put this project into the last few days because it is one of those again where you cannot do it without the masking fluid. You can, but then it's not going to have the same output as this one because you'd have to go around and paint the water, which is going to be really difficult, especially when we are doing the stretching method and applying water to both the sides. All you can do is like maybe absorb the water from the paper using a tissue and then using cadmium colors. I do use cadmium colors, but then these cadmium colors might still mix with the phthalo blue that we're using because phthalo blue and indanthrone blue, these are all very dense blues and especially because the yellow-blue is a very staining pigment so it's not good to have the phthalo blue there and then you have to apply the cadmium colors on the top or even some opaque dense colors you can use gouache on the top. That is why I still suggest that the best way to do it would be to use the masking fluid. But you're welcome to try without the masking fluid and to use poster colors or gouache colors on the top so that you get it such vibrancy. Here, the main part about the painting is the contrast. If you look at this painting, the two flamingos catches your attention immediately and that's because of the two contrasting colors that we have used. The flamingo is like orange and the water is blue, so it's complementary colors, so they both compliment each other. The warm part in the painting is obviously the birds, the flamingos and the cooler version is the water area. That's very important to understand the composition of the picture here. The painting process is actually very easy and it's quite similar to the brush exercises that we actually covered in the previous Day 1, Day 28. That is why I'm not going to involve any exercise with it because trust me, I'm not trying to ease my job here, but I just didn't want to do any repetition. We've already covered these ripple strokes in the koi fish one and we've covered these waves in the Day 28 one, which was the sea goats one. The only thing remaining is these dry brush strokes, but that is just basically trying to add so many lines, strokes with your brush, that's it. Just adding a lot of ripples, adding these ripple lines in parallel and in several directions. You can refer to the image and you'll see that. That's the only thing that's new here. But there isn't much to show it either because it's simple wet on dry stroke. It's not even wet on wet, it's wet on dry stroke and it's really simple to do that so that is why I am skipping the exercise. Then obviously I've already talked about the masking fluid in the bird here. We've got light and shadow here on the birds as you can see. The top portion here has got light. I've left some areas are white to depict the ultimate light here as well in this corner. Then, I've used some color combinations of the orange, red and my transparent orange together to depict the birds then the legs with raw sienna. Let's have a discussion of the colors that we need for this now. For painting the water, obviously we have our usual colors, which is probably our phthalo blue PB15, indanthrone blue PB 60, and the indigo, which is basically PB7, PB15 and PB55. The one from [inaudible] is different. It's made out of indanthrone blue, a black pigment and another rose pigment. Basically, I've already explained this many times. I'll just repeat one last time. Indigo is made out of the phthalo blue or the indanthrone blue, and a black pigment and a little bit of rose to it. Basically these three colors for the water. For getting your indigo even darker and to get some of these darker strokes, you can mix in a little bit of Payne's gray as well. So Payne's gray is again PB7, PB15 and PB23. It's almost exactly the same as this indigo if you ask me because it's got PB7, it's got PB15. The only change is the rose pigment PB55 and PB2. I assume this might have more of black pigment, which is why it's grayish. If you're using your black to mix up, you can just mix a darker color with your blue, so more black into your blue to create this dark strokes. All of these reflection is with a dark, bluish black color. I've used these colors for painting the water. [NOISE] Then we come on to the flamingos. That I have painted with cadmium orange, cadmium red, transparent orange, and transparent rose. Possibly l might have added a little bit of Payne's gray as well for the areas of these dark areas here. I missed out raw sienna. Raw sienna as well for the legs. Let me explain the colors on the bird now. Cadmium red and cadmium orange for the basic parts of the body, starting from the neck, the beak area here has got some orange and some red. I'll show it to you closely. See See, some orange, some red and the neck area. Here, I wanted to get some lighter tones so the cadmium orange will not go into a very lighter shade and lose its opacity as much as a transparent orange does. That is the reason why I mixed some transparent orange into that area so that I get a very soft gradient and blend into the white region to depict the white light or the lightest part where the light is acting on the body of the bird. Then for the areas here underneath which is blocking the light or the dense spot, the shadow areas, I have used a mixture of the cadmium red and the transparent altogether. Mixing both of these together will give a darker brown color. You can also mix a bit of Payne's gray if you want, and you'll get those darker brown color which goes into that region. l painted most of these in wet-on-wet itself. That is the body of the bird and everything so that's that. Then the legs, again, I have used raw sienna for my legs because I wanted to do lighter and you can see how it is. But obviously you need to add those shadows into the legs, and I've just blended my red and the brown together onto the leg off the bird that's it. The painting is very simple. The only thing in bold is the dense process of sitting and adding all of these lines. It is one of those paintings where you can just never stop and you just have to find a point where you say, I'm done. Sometimes I can't. When I look at this painting, I can still see a lot of gaps and I have this urge inside me to go and fill it up, but I'm just refraining myself from not doing that. Now the brushes that I have used is my normal, the usual brushes, the Size 4 and the Size 8. I might have also used a very small brush so that I get these thin lines, which is basically my black velvet Size 2 brush here so that I get these thin lines. You can go for a Size 1 or a Size 0 brush or even a liner brush to get those thinner strokes and I think that's it. Basically, here you go. There was no exercise to this painting. But if you are happy with the colors and brushes and you understood the composition of the picture, let us go ahead and paint this gorgeous, beautiful flamingos in water painting. 78. Day 29 - Flamingos in Water Part I: Let us start. We'll start by adding the two flamingos first. Let's say the first one is going to be here. I'm going to do the pencil sketch. That is going to be the difficult part here. Getting the sketch correctly of course. That is like this. The important thing about flamingos is that their neck can actually bend in any shape, so it doesn't have to be exactly the same as I am doing. Just try to capture the essence of the thing. That's too big and you can really see it. Let me shorten the head portion. That's much better. Now let's follow along the line. I think it should be bigger a little more. Let me make that bigger. Now it's got longer legs. Let's add that. That's too long. I think that should be it. That's where it's ending at. Then let's quickly just add mark the line for the reflection as well. That is the line for that, the bulging part, then the reflection. I need to follow right where this is. Let's just finish off the head. The eyes goes there. Now if I were to follow along the same, that is the beak. The body is there. That's the reflection. I'll just add one more but before that, with the other leg. That's important too. That's the other leg. That's the leg in water, so for that it also needs to have the reflection, so there. That's the reflection of that one. Which means I need to create a little bit more bend for the neck. Now, that's perfect. One more flamingo somewhere here. This one is facing us. You can see the reference picture, just trying to follow along the reference picture and create your own sketch. I know that the sketch can be the most confusing part. You can clearly see how it's taking time for me as well. That's the neck. That's the body and it's got this leg sticking behind and possibly lifted. The other leg is there. That's where it's resting. It was other two flamingos. I'm not adding the other details such as the tire and all those things we'll keep that but we just add reflections at the top. This is how we will approach the reference picture that is to split it out from the other elements that are unnecessary. If you want, you can paint them as well. But it's completely not needed. So let's go ahead and first mask these things out. Because as you can see, if you observe the picture very closely, you'll see that the colors are very contrasting. That is the flamingo and water. It's much easier if you can paint the water freely and then add the flamingos later. This is the reason why I'm going to mask these ones. Here's my masking fluid. I am going to apply to the whole of the flamingo very carefully. As you can see, I've actually reserved this old brush for my masking fluid application. I always remember to go ahead and carefully, wash the masking fluid off after every use so that I save it and I can reuse it. Otherwise, your brushes are going to be just sticky and you might have to get fresh masking fluid brushes every time. I also sometimes use the applicator, but I prefer the brush. The applicator is more for when I'm trying to make random strokes like the one I showed in one of the class projects initially. Like for sea. I want to completely add random strokes. So that's when I use the ruling pen. Cover that. Now comes the trickier part, the thin legs. I only need to add the point where it's sticking out of the water, inside the water, the reflection part is going to be darker. Don't need to apply that. One of the reasons why I put this for the last few days is because this is one of those projects, it's better that you use it with masking fluid. Then that's why I've categorized it to an advanced level. Apply to that one. I've always I've done that mistake where I start from the right side. Now, I have to carefully avoid touching that one to paint on this one, I mean, to apply masking fluid on this one. Something that I always end up doing. I believe that's it. Now I have to wait for this to dry, to paint the wall painting. It's completely dried out now, so let's go ahead and apply water to the backside. Here I am applying water to the backside. You can see the dent here because of the masking fluid. I'm applying the water evenly on my paper. Now we'll apply water to the front side. Let's take it to the front. There, I think that's perfect. Now we'll apply water to the front side. Obviously, these regions I am going to have to press a little bit more. Because you remember it had that bulge. So I wanted to be sticking firmly. I'll use my hands and my brush to stick those regions firmly. I guess that's good. Now, I've applied the water evenly. Let's go ahead and absorb the extra water from all the sides. Also, we'll lift my board and absorb from the side and the bottom, especially. Because when I lift my board, all the extra water is going to flow down and I can absorb all of that. See a puddle here. These are all extra pools of water, which are definitely not needed. That's why I'm tilting my board and absorbing all those extra bits. Here between the masking fluid. So I need to run my hand. Otherwise, it'll forms large pools there. I believe that's good. I'm just going to apply a little bit of water down there at the bottom where I had touched with my cloth. Just using my normal brush itself, not going to use the large flat brush. It's just like painting but with water. Just applying so that there's that connection in the water. Now let's get to painting. I am going to start with my phthalo blue. That is, of course, my bright blue. We are going to start with the nice diluted version at first. You can see here I'm diluting my paint nicely and we'll start with that at the left side. You can see how I'm adding beautiful tone onto the paper. I like my paintings to be vibrant with the blue. That is why I always applied this then go for the darker color rather than leaving any white spaces. Because of the masking fluid, you're free to paint the whole thing. I wanted to pick some lighter tones there. What I'll do is I'll just go and leave some white gaps with my brush. Can you see that so just a few white gas? Spending you on. Towards the top regions, I don't have to leave any white spaces. I'll just go ahead and apply because we need the darker tone at the top before adding the reflection. Here I'm going to take a more darker tone. You can see the nice dark tone that I am picking up, it's towards the top that we actually need these darker tones. The reason behind this is, I know that I always say that this here is the closest point. Yes, it is the closest point. But here it's the reflections of lots of objects which we're trying to depict, and hence the darker tone. You can see here at the top where the dark tone start I am applying. Here now coming and adding smaller strokes. But there's a lot of white space that I have left in that region. Towards the top, extremely dark. I don't want any part of the paper to be seen. Now we've applied a darker tone. Now, in keeping with the aerial perspective, I definitely need to apply a bit of dark tone here at the bottom. Not in those white regions, but here at the bottom. Now I'll mix my phthalo blue with more darker colors to start adding the waves. I'll take my Indian green blue and start mixing it with my bright blue so that I get a nice dark blue. You can also use Prussian blue. I don't need to tell you about the combination of Prussian blue and Indian green blue anymore. You already knew it. Maybe have a teeny-tiny bit of indigo. That should darken it, like that. I will apply on the top. Can you see how as soon as I apply you see that darker tone? Just a teeny tiny bit of indigo. Let's go and add in the waves. You can see it's a nice wavy lines. As I go towards the top, I start to make it smaller and lighter. I'm just going to blend some of these very smoothly because I don't want it to be too vibrant. But just add lighter vivid shape in the water. I like how it's turning out. See. This process will also move the hairs out. See. I really love how it has turned out. Now, let's apply. Now the next thing is, I am going to switch my brush because we're going to add in some ripples. First, we'll add it with this, then we'll add our darker tones later on. My bright blue, Indian green blue mixture. Let's see the ripples. Here the ripples, I want to add it surrounding this one. You obviously know it's going to be bigger just like in the picture. Here so there are bigger ripples in play as well. You can see how it is in the picture. It's a nice ripples. Now, let's go ahead and add these ones. Wow, I like how I did that. Basically, I just continued on from each of those , was completely optional. It's just trying out, we need to add with the darker tones later on anyways and I'm adding multiple layers of ripples. Can you see that? I think that's enough. I'm happy with the background layer that we've done and I'm happy with the waves. Now, all we need to do is wait for this whole thing to dry so that we can add in the foreground, which will be the reflections and more of the ripple lines. Before I wait for this to dry, I'm trying to absorb all the extra water and the paint from the sides because I don't want it to flow back in and ruin the edges. You have to be very careful here. Now what I'm going to do is I am going to dry this up. 79. Day 29 - Flamingos in Water Part II: [MUSIC] Here I've dried that but I only dried the front side. I didn't dry the backside. I think that should be enough. Before we proceed with the darker colors, let us add some lighter tones. What I'm going to do is, I'm going to use the same colors that we used. Here is the Indian green blue and the bright blue mixture. I'm going to use that to add in some ripples. Let us say that we have [inaudible] here. Just using my brush and using the tip of the brush, absolutely essential and marking out some nice ripples. See, just created a nice ripple. I think that's the only place where I can see some lighter ripples but let's add in some lines towards this side. Also along the ripple line, the wave [MUSIC]. Now we'll go with the darker tones. First, I'll start with my large brush because we're going to do the top region. That is going to be with a darker color. Here in the picture, it can be seen as a black sheet, but I would like to change it to indigo. Gives a better appearance in our painting because of the color scheme that we've changed. Instead of adding black on top of this, it's better if we add indigo. The darker version of indigo is obviously going to be any ways most like black. Here, taking up more and more indigo. Okay, let's start. Any ways at the top, I want to cover it up. This is almost like the Koi fish pond where we added a lot of dark strokes remember. But in that one there were some wet on wet strokes as well. Here I've totally avoided the wet on wet strokes. I thought why not? Let's just go with wet on dry itself. At the moment, it's just my large brush. We'll create a lot of shapes. But with our brush with a lot of gaps. [MUSIC] You can see in the picture how it is going and how you need to add. But as you can see, I'm not entirely following the picture because we've avoided so many elements from the backside. It's just go with the flow, create some strokes, natural what comes into your hands. [MUSIC] You can see many a times I'm using the tip of my brush doing these strokes. It's just basically running my brush over like that. Covering up the edge. Then where else? I think towards the right side, we can bring it more down just like in the picture. [MUSIC] Careful about the reflection part. We want to add the reflection so we'll avoid that area, when you're adding these random strokes so that we can add in the reflection properly. Here I'm going for these rounded shapes because I think we are approaching closer to where the swan is and we can start creating some proper shapes [MUSIC]. Anyways, so that's up until where we're using the larger brush. Now we can shift to the smaller brush and start adding more details. I think we'll first start with the reflection of the swan itself. Picking my indigo paint, I'm going to do the swan. That's the leg and that [inaudible] part in the leg. Then the other leg, I mean, the extended part of the leg and here is the body. Then here is the other leg. [MUSIC] Now the body, beak and the head part. [MUSIC] Great. The insight. [MUSIC] That's basically the reflection, that's one we've we got the leg, and now for this one, there's a lot of details and lines there so we come to something around here right next to the head of it and start adding the body reflection. That's approximately how the body is, the reflection let's fill it up. Obviously, the leg part now is a lot of disturbance, now, we should go ahead and start adding all of the repose, the disturbance in the water, which is obviously what it's going to take them most of our time. Let me mix up a large chunk of indigo paint here. We need a lot of it. Where do we start? I think we should start on the left side. First is obviously we need to add in the circular blue lines, so this one and the blue lines has little amount of unevenness like that. It's not perfect round. It is up there, but then it's got these disturbance. Another one, again with a lot of these disturbance. That's the curve. In these lines and curves, I don't get it even if I make some mistakes or not because we can just mask it out later on with different strokes. Here is another one, then there's some here, but that one I'd like to break it up, so I'm not adding on that one and more here. Let's get to adding. Just going to slightly on my paper so that it's convenient for me to add, starting here and we're going with my smaller brush and adding a lot of smaller lines and joining the stock part and several gaps as well. Let's switch to an even smaller size brush so that I can add tiny lines. Switching to my size two brush here. As you can see, that gives me more smaller lines. This spot here is the lengthiest here. Let's add several little lines here, a lot of disturbance in the water. This one here is what I said that it will go like that, [MUSIC] my hand just going to add it you can see. More rules. The most lengthiest part is adding these tinny ripples. You just got to do it and sometimes this is one of those instances where I see that, you can never stop. You can just go on forever and ever. [MUSIC] You can create broken lines, continuous lines, okay? [MUSIC] I know that this is taking a very long time, but the end process is worth it. Also, this is the reason why I put it for last because you need to have that patience, and only those of you who've reached up till this day has the patience to do it. I'm pretty sure of it, so that's why I put it to this day [MUSIC] because sometimes painting process is all about testing your patience. There are paintings which could take million, zillion details and you just got to do it and never quit. [MUSIC] [MUSIC] Love how these regions are stand out? It's looking amazing, isn't it? We just got to keep at it and continue doing for all the regions. This here is the reason why I said that I don't mind even if I've made some mistakes when I was making those ripples. Because now I can easily add more ripple shapes and things on the top and it'll just look like ripples, see. So that break in the line that I created is not at all visible now, it's just gone. The water is very disturbed, so we just got to keep at it. Imagine the time it would have taken if you were to add in those tires as well. This is the reason why I wanted to avoid it from the picture. As you can see in all of these places somewhere, I'm actually going just according to my brush where bad taking me. I'm not even looking at the picture, I'm just trying to fill in several lines and details. Seeing just a lot of random lines, we've got to fill in this region as well. At least I have covered a lot of those regions, just a few more gaps that I see. I think that's enough I won't add anymore in that region, let's just come to the bottom and finish off, some random dots. I love how it is turned out. What is mixing from the picture? It's the flamingos of course. I'm just going to do one thing. I'm going to run my brush over that masking fluid because you see that paint that is going to start coming on my paper as I remove the tape. I'm just going to run my brush over to loosen up those paint and then I will absorb it with my cloth so that it is clear because I remember the mistake I did with the ligand water 1 where all my green was spreading onto my paper when I was removing the tape. I don't want to do the same mistake and hence taking off that. Now I'll dry this whole thing up so that we can paint the flamingos. Look at my hand wherever I've touched while I was painting. This is why professional artists they use a different brush or a longer rod and then they keep their hand on top of that and then paint. This is just mainly because you need a resting surface where you can touch to paint and this is the reason why they use that like that. If I had something like that, I would have been able to do that. But I don't usually do that way. That's why I didn't attempt it. Now let's try this out. 80. Day 29 - Flamingos in Water Part III: Dried let us remove the tape. You have to be careful not to have the paint come on the top. This is better. It's better to remove like this. This is the most satisfying peel, isn't it? Let's get to it. We're going to mix a nice orange red color. We're going to do that by mixing cadmium red with cadmium orange. When you mix those two colors together, you get the perfect color for the flamingo. But you can also mix any orange and red, in fact. I've checked that mixture. There is only a slight difference. You will also need some white paint. Let's keep that ready. I'm going to start. Cadmium red and cadmium orange mixture. We're going to start at the face region. I'll paint the face region. Most of my pencil marks are gone, but then you can always refer to the picture. We will definitely need to add in shadows and darker marks. But for now, let's just apply the color. I love that stroke. I just wanted to try out that continuous stroke. I've reached to the body of my flamingo. Now, I'm going to add some depth and shadow, so that I will take my cadmium red. But I will slightly mix it up with a little amount of brown so that it's slightly darker. Cadmium red and a teeny tiny amount of brown. You can also mix Payne's gray instead, but I prefer to add brown. I think I need more brown. A little depth at the top there. It's not depth, it's some darker colors. Then we add the same to the base. It's not enough. The color that we've already applied is too vibrant, so possibly, I'll mix it up with Payne's gray instead and see. You can see how dark the mixture is now. I'll try that. That's much better. More cadmium red. I'm going to apply that mixture. You can see, we got that base and some depth and darker region here. We'll continue with the body and see. Here, I'm going to keep adding. The regions that we wanted to leave white, we will just use the white of the paper. But in some areas where you want that lighter orange, we shall apply white paint. You can see some areas at the top, I am going to leave white. I'm taking my orange and red mixture for applying here. There is that bend shape in the body where the leg is. Just going to drop some lines in there on the body. We can add that up with our white later on. Those are the regions with the dense pigment. Now, I want to go with red to darken up regions. The red mixture needs to be dark here. The place where it's joining, we'll add more dark, don't worry. Now, I'm just going to use my brush and water to blend these regions here. You can see, it's just a watery mixture. Using the water on my brush, we'll pigment and add. Can you see how light we've kept it? Possibly, I'll be adding a bit of transparent orange as well. Yeah, I like it. The transparent orange. It's a different orange. For adding this, you can possibly mix your orange with a little bit of yellow. You can see that different orange. I'm not sure if I want to add in the white piece. Adding the white is not good in terms of watercolor paintings. Maybe I'll skip it. Let's see. Now, for the beak. Here again, this is our transparent orange, so I'm adding this beak. That's perfect, isn't it? Now, the leg portion. I will go with transparent brown at first. Because closer to the body, we need to depict some shadows. That's why I'll start with the transparent brown here. That's brown and then as I come towards the bottom, I will lighten it up. I will use raw sienna. I am lightening it up. As I go towards the bottom, I'm adding raw sienna. Observe here, now we've reached to this leg. I want to depict light. At the top portion, it's going to be lighter. I'll leave a gap. Oops, there was a lot of water in my brush. That consistency. I'll leave a gap at the top. Pure white line at the top. That will act as the light. That is perfect, isn't it? Do the same for the other leg. The other leg is from here, we need to add orange above it. That's basically the dark part. Then raw sienna towards the bottom and to the extreme bottom. Then we've got to add orange in the middle and the part where the leg is joining, and there. It's looking good now, isn't it? Now, I'll pick up that darker tone. That is what I will apply for the feet. I'll take a little bit of brown again and I will have this area here joined together. Remember I always say join the reflection and the object together. See, a bit of darker tone to the bottom and now you see how it's joined. These are minute details that we always need to take care of. Now, let's properly add in the details on the body. Let's start to bend there. Obviously, that bend will be properly visible once we add in the details. That's still wet. Let's leave it at that. Let's paint the other flamingo now. That's the leg, a little bit of the leg seeing there. That's why I draw that first, then painting along the inside. Get to the body. We'll add in the colors so that it looks like the feathers on its body, so some lines here, line strokes. As you can see, I'm stopping there. Rest I will add with just water and blend it. See how I'm just blending it along, especially at the top part, I want it to be white. I will just add water and blend that part along. Can you see? Now like I said, I'll pick up some transparent orange and I add that. I love how it's standout. Now, to create the darker regions, I am picking my cadmium red, and add it. Here, around the right side where the leg is it's supposed to be a little bit lighter. I'll just move my pigment there and use my brush. There, you can see that. Let's go ahead and add in the details for this one. I'll take is a little bit of Payne's gray, mix it up with the red, and we'll get a nice mixture. That's a good enough dark mixture, and now we need to focus on adding the details. Place where the leg is bent. You see the detail that I've added, I will pick up a little bit more dark Payne's gray and try to add along the line, and then I will blend it towards the outside. Now you can clearly see how that region looks like it's got the legs folded. Do the same to wherever you want to add the details, so some darker lines here and here on the leg as well and blend it. I love how that one standout. Now just the other one remaining. Blur the beak. Beak of that one needs to be black, so I will take my dark Payne's gray and add it at the end, and also a dot here for the eye of this one. Now, what else? The leg obviously. Taking my yellow, my Raw Sienna, other leg behind as well. Add a little amount on this leg that's seen. Now let's apply the darker details, for example, this leg some depth needs to be there because it's not entirely this color, and the same details for the neck. You can see it's spreading, the dark creates the softness. Then what else? The darkness here at the bottom. Now let's blend all of those regions. I think that's good to go. Let's see it closer, it's looking nice, all of the regions. Maybe we'll add some nice lines because it started to dry now. I'll personally take a little bit of my transparent orange and start to make some lines to depict the feather kind of stroke. See that? The same for this one. I can't believe we did it without using even any amount of white and that's good, isn't it? Because you should always refrain from using white in your paintings, unless it's beach painting as you know in which it's okay because you want to add some splash and some details. Just giving a bit of red on the beak here. That is good. Now it looks amazing, isn't it? With all the reflection, the details, these strokes. Oh my God, I know that this is the lengthiest because of all these strokes. I don't want to actually stop, because you could just sit there to go ahead and add a lot more of these lines. As we speak, I just observed that this one here looks a bit weird. Here I'm going and adding. This is why I said that this kind is where you can never stop, possibly because you can just go ahead and add as many details as you want. It's hard to stop, trust me. I think we will stop, we definitely should stop. I believe this is it. I haven't missed out anything, I've added the details here, I've added the lines, the reflections, the light effects, all of that. We are good to go. Let's go ahead and sign our painting. I'm going to take my cadmium red and I'll sign my painting. I'm going to sign on the right side here because I love the way cadmium red pops out on darker colors. Here it's light, so that's why I'm adding here. Here is the finished painting. I hope you like it and thank you for joining me today. 81. Day 30 - Techniques and Exercises: Welcome to Day 30, and this here is the painting that we're going to do today. I know it's a completely different scene from the ones that we've been painting lately, and you might be wondering what's it got to do with aqua but it's wonderful. It's basically just water and I wanted to cover this as well in this class, so it's like a very comprehensive glass covering everything about water. Maybe there are more elements I know but whatever I could bring into the 30 days and whatever I could think of I've tried to add it in here, so we finish off with this beautiful picture of waterfall. We're going to learn how to depict the fall, the shadows, and the elements that compose that for all of that and to get that soft finish for our painting. This is probably one of those paintings where I have used very little of my thalo blue, but trust me I've used thalo blue even in this painting here just a little bit on my sky region. That's it basically. Let's go ahead and learn how to do a waterfall and learn how to depict the fall in the picture. Here I've got my paper ready and since this is a very small surface, I'm going to turn it this way so that we can show more of the waterfall rather than if we turn it this way then you only get this much for the fall. So I'd like to have more of the fall around this much so that's why I'm going to paint it in the portrait mode. Let's start. I'm going to have the fall somewhere here in the middle. Don't sketch out the lines of the fall; very important, because that could create up until marks or in the end because we have a lot of spaces that we need to leave white, so just mark the top whooshes. That is basically another edge there. We can have some mountain or something that's there in the background, so this is very far away. That is basically the sky and here we have where the waterfall is falling and the water region. You can have some rocks in between as well, maybe rock here at the top where the waterfall is falling right there. So at the edge, there's a rock. Let me show the pencil sketch to you closely here. That's it, very simple. Let's go ahead and quickly apply water to the backside. Here. I'm going to use my one inch black velvet flat brush this time because I see that my hockey brush is time to be renewed. It's shedding a lot of hairs, so I'll just use this one; my black velvet one. I'll quickly go ahead and apply water to the backside. We apply water to the front side. I have applied water to both the sides let's absorb the extra water now, so I'm going to tilt my board so that all of those extra water can flow down. We'll start with the sky of course. For the sky region here I'm going to use my bright blue, otherwise we don't use that color. Just adding my bright blue, and I'm going to be leaving some gaps and that will be the clouds in the sky. We have this land region here, but we'll still simply add it. Observe my color strokes here, more darker tones towards the top and also I'm applying my color right to the area above the waterfalls. This is the waterfall and I'm applying my stokes there so that we depict the contrast between the sky and the white region. I'm just going to pick up a bit more of my color make sure that your color is not diluted because if it's diluted it's going to flow down. Remember we have water on our paper. Here I've just mended the color together and applied those blue strokes right above. What shall we do? Let's paint the sides. For painting the sides, I'm going to go for a mix of green and brown. A little bit of greenery, a little bit of brown, so not a lot of greenery. I'm just going to drop in random places some green. I think I need olive green as well because I hate it when my nature doesn't have any olive green. So maybe a little amount of olive green that makes it much better. Let's go ahead and add in our brands, so I've picked up more of my dark brown and start to add that and I'm going to add that starting from the top. You can create your strokes right at the top and don't make it like a square or anything, but first let us bring down our strokes and make sure to blend it on top of the green as well because like I said it doesn't have to be a complete green stroke stop somewhere there. Don't come all the way down because we definitely want to depict the fall. Now the left side again. We blend that together bringing that region. Because we are applying water to both the sides all of our strokes are going to be released soft. I'm taking my brown and bringing it down. I'm going to stop somewhere there again and now it's looking like a green patch, so we're going to fill it up to random places with my brown. That's better. Now taking more then some my brown and going to depict some darker regions. The same on this side, it's more dense brown now. I think I will add the frock that I added, but obviously, I need to add in some darker areas as well. We've added and we left the gap of the waterfall. Now, shouldn't we depict the fall itself? Let's do that. How do we do that? We need to depict the shadows and the water, then it looks like a fall. Adding the shadows in the wall, I'm going to start with my cobalt blue. Here I'm taking my cobalt blue, mixing it up on my palette. A very nice lighter tone of cobalt blue, and I'm going to add into my water region. You can see that region is going to be softer and going to have these strokes which depicts the shadows in the water. That's what we're trying to depict. Also, imagine the strokes in your head, imagine the fall of the water. Here the water is falling straight so you've got those shadows. Let me just remind you, you can use another brush to just soften out the edges in case your paper has started to dry. I'm talking a lot and explaining to you in-between, so my paper has started to dry. What I'll do is I'll probably just quickly apply a little bit of water here all the way and at the bottom here as well, so that I can keep it wet and gets softer strokes. The same thing you can do if your paper has started to dry out. Now I've wet it. Now I've wet it, and taking my cobalt blue, see now that's more softer. What you need to do is you need to imagine the stroke, imagine the fall in your head where waterfall. Here the water is falling straight down. Then what? Maybe there is a rock here which is obviously covered by the water, but then because of that rock the water has like splashed on top of it and changed direction. How do you depict that? Change the direction somewhere, there. That is a rock, so it's going to splash on both the sides. Again, we don't see the rock, it's going to be lighter. Maybe we can add like parts of the rock, but that is why imagine the fall in your head. That's very, very important. Towards the bottom, more dense shadows, mainly because it's got these splash region. Bring out that cold blue color at the bottom, and it's going to create that dense splash. We will add more. Remember how we used to depict a splash in the waves lesson that is using lavender. Here I'm picking up lavender, and I'm going to drop it. Our strokes will definitely get lighter, so don't worry about it, and we'll also be using some white paint, and that's basically the lavender, but we need to add more depth. It's only one single stroke now, so what we'll do is we'll take our lavender, mix it with the Payne's gray so that we get that grayish color, the violet gray color, and that is what we will add for more shadow on the top. The more Payne's gray and lavender, that creates like a darker color. You can add that on the top. Leave the cobalt blue and let it be there and then also on the top, try and add some of these darker strokes, which will depict the shadow in the water and the fall. Here the water splashed this way because of some object there, and again, some of our darker strokes into the splash at the bottom. Once it's splashed, because we're adding a larger area here now, let's go ahead and add some bluish tones for depicting the water movement. Maybe I'll take a little bit of what. Let me try first with the yellow-green. You don't want to add too much. Yeah, just a teeny tiny bit. I will add to the bottom, so it depicts the stream where the water has started to lose its formy edge. Something of that sort, let's mix this up again. Something of that sort. But we need to create the splash anyways, still the splash is remaining, but at least you can see what's going on there. Before all of this dries out, let's go ahead and add in the foliage behind. I'll take my olive green and go with the usual strokes for my background. Then my green on the top. Take my olive green again and I'm going to add some possibly some pine tree structure. We're just going to use the tip of my brush and run along like that. That's good. Now, we need to add in the rocks. What I said. I'm shifting to my smallest size brush. I'll take that brown and we add it. It's basically sitting there, the edge of the fall. I added the rock, but we need to depict some water region right next to it, so we'll go with our cobalt blue strokes right next to it and also possibly some on top of it. That's where the water is like falling, and some of the brown let it leak so that they find some of the continuation of the rock because it cannot be simply standing there. The whole thing is just rocky, mountain part and that's where the water is falling. We can do the same. You can just pick up a little bit of the brown, do some vertical strokes. Something like that, see. A little bit here and there, some vertical strokes into that pet region. Again, here depicts that you are seeing some part of the rock and there's a split between the waterfall. Here was the splash. I'm going to depict a very lighter, brown tone color there to depict some rock there that's causing the water to split. Do the top, the top portion is where the water is splashed. See that where it's splashing out, taking it down and I can probably add to the base.That looks like a bow right now, doesn't it? Anyways, but you'll get the point. I shouldn't have put it at the right center, I should have put it somewhere else. Maybe I can correct it up by adding some more round strokes at random places. That will depict a rock seen through, that's much better now. It's just the rocky part, seeing through the fall. Now what, we've got the fall there, we need to depict some darker tones on the mountains, not the mountain, the rocky edge. We're just going to drop my dark tone here, here. Now we need to depict the splash. For that we take our white paint. But obviously, I need something to cover up the rest of the areas. I'm going to take my white paint, use a small brush to get smaller slatters. Here I'm using my smaller brush, and taking my nice and creamy consistency of my white paint, then I will cover up the areas where I don't want the splash to be, and then add in the wet strokes, the wet-on-wet splashes, right here at the bottom. You remember what the white splash used to do in our ocean paintings? The same way. We need to cover it up here, otherwise it goes all the way to the top. See, it's just a little part of the splash that we have added. Basically, we're just trying to, what do you see? I'm not getting the correct word, but trying to show more than there is. In reality because the painting is such a small thing. You won't see such large splashes. Try to imagine it in perspective. The fall is only this much, which must be around for what, 50 meters high. If the drops are visible like this, then that means those drop sizes would be the size of tennis balls like that. But we're just trying to show more. We're just trying to depict it more and show more than there already is that as to accentuate, to increase the beauty in our paintings, that's what we're basically doing. You can just drop in some whites as well. This is the reason why I don't add a lot, but you can also add your splatters with the toothbrush. Here I'm not doing it for the class exercise because it's such a small area. But you get the point of what we're trying to do. The fall you've depicted the shadows, leave the lightest areas to mostly the top regions, the fall area and the bottom part is where you get your darker tools. That's basically it, I guess maybe we can add a little bit of shadowy region to the left here in the water, something of that sort. It started to dry so I'm not going to ruin it. Let me dry this up. I've dried it up, so here is the final painting. You can see the class exercise is quite similar, except for the fact that we have painted it in landscape and the color scheme is completely different, it's not a rocky mountain, but rather a very green nature to stick landscape and it involves two different waterfalls as well. Oh no, the Sun is back again. Let me get it. Back. This waterfall is different from this one in the sense that this one is in the middle and you can see both the sides of it. This waterfall, this edge here is not the side of this waterfall but rather this is some foliage right in the front. The picture is taken in like some angle. For example, if this was this waterfall, then you're taking this picture from some angle here on the right side, such that you see the waterfall, you see the things on the left, and then you see a lot of foliage or some plants at the right side, so very close to that. That's what this the right side region here is and obviously the fall and there's two parts of the fall is involved. The waterfalls there and then comes again and falls on this side. That's the class project. Rest of the techniques are basically similar. Now let's go ahead and look at the colors that we need to paint the class project. We start with cobalt blue in the sky region, and we begin some light clouds in the sky by not painting it. I think I have added a bit of raw sienna here. I didn't take that out. Raw sienna, a little lighter tone. Can you see that? That's where the sun shines. When you add a contrasting colors, this is raw sienna along with your cobalt blue, it creates a higher contrast and gives a much better appearance to your whites. That's why I probably added that raw sienna. Then we have some bright blue shades here, which obviously I think recently, I am not able to not include this in any of my paintings. It's bright blue, phthalo blue PB15. Cobalt blue is PB28, raw sienna is PBr7. Then we go about painting most of the foliage, which is with my olive green, my green, and my burnt sienna. Olive green you can mix with your green and brown together to make it. This one is from white night, which is basically PG17, P by one and PBK7 and the green pigment is PG8, which I've already mentioned in a lot of the lessons already. Then my transparent brown or my burnt umber, any brown that you have that would suffice. Then we move on to the shadows in the water, which is basically again with the cobalt blue, the lavender, and Payne's gray. These three colors together make up the shadows in the water. That's what I have added. Now what are these four? I have added some lighter elements into my foliage at certain cases and to lighten up my strokes, I have basically mixed my Indian yellow, my cadmium yellow together. You can also use lemon yellow so that's why I've put this out so that you can understand different colors that you can use. Lemon yellow BY3, or cadmium yellow BY35. Indian yellow is PY115 if you mix that with your green, you get like a nice sap green color. But basically, I've used the cadmium yellow to lighten up these strokes here. Let me show that too closely. If you look at the image, I wanted to bring this part of the foliage into the front and this part here into the back. That I basically achieved by mixing a little bit of my cadmium yellow into that green so that my strokes are opaque. Then I added it to the front and then I also darken up the backside by adding some depths into the bottom part of that stroke. Can you see that? That brings these regions to the front. That's what basically I did. That's all I can think of, but that's it. Now, let's go have a look at the brushes. Obviously, here it's the usual Collins Key table size 8 and size 4 brush that I have used. Nothing unusual here. I think with just these two brushes you can paint this whole painting. I can't remember if I've used a liner here. I don't see why I should use a liner. I think these are just the two brushes that I have used in this painting. There is no masking fluid or anything and can you believe this is the last day of the aqua project? This has been my dream glass for a really long time and finally it's out there. Finally is there in front of you. Just wanted to cover up all the topics so I had written down each of these topics like waterfall, jellyfish and water, seagulls and water and everything down in paper and I kept searching for images, practicing a lot and finally produced this class. There you go. This is the last class project. If you're happy with the exercise, the colors, the techniques and everything, let us go ahead and paint our last class project. 82. Day 30 - Waterfall Part I: Let us start. Around from here, I will have to line up my first waterfall and it's going to go down like that and then another line here joining. Let me make that more towards the top. That's under there, so that's the two line of the waterfall. I don't want to draw it in dark layer, as in by pressing my brush. It has to be light because we're going to use a lot of whiteness of the paper, no masking fluid. It's very important. I see that's dark, so I'm just going to rub it off and I'm just going to mark out the places. This is one of the fall, one region here, another here, or maybe let not ruin it with our brush at all. Let's just mark the areas where we want it to be the fall edge. The fall edge here and here and that's it and the same this side, around that. I know nothing is visible, but here if you look closely, you can see what are the marks that I have made. The main important ones are these and these two lines. Let us start. We'll start by applying water to the backside of the paper as usual. Taking my water, my hockey brush, and applying the water to the backside. Keep doing. I've applied all of the places. I'm just going to run it over a few more times so that my water gets time to stick on to the back side and get into the fibers of the paper. That is very important, that you give it enough time to soak in, that's what yields the time for it to stay wet. Now, let me turn my paper and we'll apply to the front side. That's upside down, this is the front side, yes. Let me now stick it onto my board, yes. Now we'll apply water to the front. Apply my water to the front side now. Just pressing the edges where it's not stuck onto the paper. Let's apply the water evenly down along my brush such that it sticks properly, very important. Now, let's absorb the extra water from the sides as usual. From the top, the sides, and the bottom. I believe that's good, let us start. What we're going to do is we're going to put a subtle amount of raw sienna onto our sky region, very subtle just to bring out the contrast when we paint with the cobalt blue. It's not even visible, can you see? Just a subtle amount I have placed into the paper. Can you see? It's very subtle, but it's there. Now, we'll go and take our cobalt blue and we'll start to paint the sky with it. Here, painting the sky region with my cobalt blue and I'll leave some gaps, lots of gaps, and we'll create various shapes. Just move our brush, we don't want it to be in a straight line. Creating these movements will give the shape of the clouds. Can you see? Just randomly running along my brush and creating strokes and lighter as I reach towards the bottom and also towards the right side, I want it to be light, so I'm diluting my cobalt blue. There diluting. Towards the right side, I'll probably take a little pinch of my bright blue. It's not even visible and now I'll use that diluted paint toward the right side. There, that's how my sky is going to be. There's a lot of white regions here, but can you see that little yellow part is giving us the nice contrast alongside the cobalt blue? That's good. Now, let's go ahead and paint our waterfall regions. For painting the waterfall, again, we're going to need a lot of cobalt blue. You can also use, I guess, bright blue itself, the phthalo blue, it doesn't have to be cobalt blue. It's absolutely not necessary. We have a fall here, so now we have to use very carefully with our brush. Just going to add some vertical strokes like that. Can you see? I've added some vertical strokes, then I leave a gap, and then I'll add some vertical strokes. For this method, this is why I waited for a little bit for my water to flow down actually because a lot of water on your paper, then you'll not be able to do this. Again, here, I add it at the bottom, see some strokes. Take my cobalt blue again and it's here right at the top, so this is where the next one starts. I'm going to add again some vertical strokes, very important, vertical strokes and just at the bottom, leave a huge gap of white there and make sure that your strokes are such that, imagine the water falling, the water is falling down, so it's a waterfall. Imagine that and try to depict its movement, so possibly there's a rock there, so it's touching that and then splashing out, so that's why it's got that curved movement there. All of this, just imagine the movement in your head so that you're able to do it. Let's add to this layer here so the water is coming from there. We're not going to completely add everywhere, it's just the shadow regions that we're painting with the cobalt blue. Here again, as you can see, the paint I'm taking is very light and I just add it in little amounts and it's here. These are just the shadow, remember that, very important, that you understand that it's the shadow. It's splashing down here and it creates a large bubble at the bottom, that bubble thing can have the shadow. For the shadow, let's pick up a little of lavender as well. Remember, we've been using lavender for creating the shadows, so mix up your lavender and a little bit of the blue, so you get a violet-blue color. That's just what we're going to add for the shadow. See at the bottom here, let that splash take on. You've a lot of white gaps. Remember it's the shadow very, very important. We have added that. Now let's get onto the foliage. We'll possibly start with the left side. Yes, left side. I always get that, and I start on the right. I believe these regions will flow if I add now. I'm going to start on the extreme left side now, and we'll go with that olive green first. Going to need a variety of shades to depict the dense forest surrounding the waterfall. I'm starting with my olive green. You can see, it's my dense olive green shade. I'm just dropping it onto the paper. You'll also take some Indian yellow. You'll depict some light. Don't worry. We'll cover it up all ways. This is just the base layers so that you get a nice sap green color when you add it. Get the green. Here's my green. Adding it on the top. See, when I add that green on top of my yellow, it turns into a nice sap green stroke. That's what we want. Also just to have some of the yellow shining through the green. As we reach towards the waterfall you'll start to have our strokes downward just like the waterfall itself, and closer to the waterfall, very careful. So layering down the first strokes now, we'll have to obviously add in more details later on on top of the olive green. I've placed my greens there. As you can see, it's still very light and doesn't look much frosty. Here I'm going to dilute my green and add and make it such that it touches and there's a huge gap there because of the water. Now let's do on the right side as well. The right side also has a lot of the foliage which we want to add, and the foliage is sticking out of the water. It's adding some yellow tones. I'm going with my green again on the top. Here we go all the way down. As you can see, I leave some white gaps so that it mimics the waterfall region in between these forest as well. There's a gap that l left and possibly I'll leave it all the way to the bottom. That gives it that look of a waterfall again. I'm going to add more such gaps. I added some gaps. Getting back to adding darker details. Now we've placed the darker tones on the paper. Now we need to get to painting the other regions. For that, I'm switching to my smaller size brush. Using my smaller size brush and a mix of green and a nice olive green shade. Use that nice olive green and green mixture to create the foliage behind. Let's see, not too much water, I need it to be concentrated, and some trees in the background right next to the waterfall. We are just using tip of my brush to get some strokes. Can you see that? Then we create the perfect vertical strokes, and that's under where it is. Let's fill it up. Then where? Some here. In between the water also. We're just going to drop some vertical lines. Make them all vertical such at that it looks as though it's growing in a vertical manner. Imagine your strokes what it is doing to the paper, then you will be able to get it perfectly. There's the foliage, again. Some of the foliage, and let it stick out. Maybe it's like a tree. Then let's bring it on until there. In-between fill it up. No white gaps in between, the forest needs to be dense. Just in-between the waterfalls is where you can add like such vertical strokes to depict some of the moss in-between the fall region. There, can you see that? We need to bring in a little bit depth, so I'm taking my brown now, I'll mix it with a little bit of the green on my palette and I will add that to the base of this region. It shows the depth of the forest, same here. See now, as soon as you add that, it has a nice depth effect to it. Now let's go and add to the next bottom region. Again, I'll mix my olive green with my dark green and we can go and create the foliage here at the top. Maybe you can draw some palm trees sticking out. I want to add a palm tree here. See, it's just with the brush itself. Here at the front, there is the foliage itself. I know that it joins now, but we can lighten it up later by adding a dark tone at the top, then this would come towards the front. Don't worry. Now here, when you add the foliage, is where you create the separation between the fall. Let me create a dark greenish brown for the water. I know that my strokes are getting dry now, but we have the method to get that right. For now let's just add and I'll show you how we can place them correctly. Here again, some of the moss in-between. This one can come all the way here. Now I'll show you how we can soften that up. We just need to soften it, which we know how to do. Use your brush and then now just randomly go over it, but not everywhere. Don't soften all the regions, just a teeny-tiny bit. Some of it can be harsh and some of it loose. Let me take a little bit of cobalt blue again to add in the depth. See, just adding a bit of the cobalt blue again into that water region and that will depict the splash in the waterfall. That looks good now, isn't it? Now let's get to adding dark depth details to the left side, obviously because it cannot be this lighter. That was the base layer that we had put in so now let's go ahead and add in more dark and depth into that left region. I think I'm going to switch to my larger size brush again because this is such a large area and it's difficult to cover it up with a small brush. Taking my olive green, my green. There's no hard and fast any rule that I am applying. I am just putting these random strokes and somewhere I'll pick brown, somewhere I'll pick a dark green, and I just add them. See, just adding them. The dense forest area, that is what we're trying to depict. Sometimes you can add a little bit of brown at places that will be looking like, possibly the rocks, larger rocks, smaller rocks. Just go with a lot of shades. Now observe something. As I come towards the bottom, I will lighten my stroke and possibly mix in a little bit of yellows that it turns into a sap green shade. See at the bottom, my stroke is definitely lighter, very important. I will tell you the reason why because it's the gate area closer to the splash and we will add more splash regions there. It shouldn't be as dark as it is. You can see the harsh edge here so I'm just going to go run my brush over and soften it. Not all the regions, just some areas. You can see, just soften it towards the inside. Mixing my cobalt blue and my Lavender together. We are trying to create the nice slash effect. Self-denial. Now we've darkened up the left region. We need to darken the right as well. Taking my green again, and I'm going to go over and add in the foliage as well. Again, I'm just going to use the tip of my brush and create these random strokes for the foliage. I think I will take it all the way to the right at the top. A bit of sap green, a bit of olive green with brown, and some gaps as well. As you see now, it's the plant sticking out. Let's keep going and adding. I just make these strokes using the tip of my brush. My brush is, basically, pressed down, so it create these random strokes like the foliage. In order to create darker strokes, you can mix indigo with your green, that give a more dark strokes. I believe, towards this right side, I'll make it a bit darker to show the depth. You can also add Payne's gray instead. Mix your Payne's gray with green. I'm taking my Payne's gray as well and green. Here, like I said, we will go for vertical strokes. Remember the gap that we left, so let it be there. That will be like the waterfall again, like I said, a lot of the waterfall on the right side. Here I'm just using all the greens in my palette. No specific green or rule. I've put down the color, but now I need to make certain areas dense, because can you see it looks like one single color. I'm going to take my Payne's gray, mix it up with my green nicely, so that it's darker. Then going to put my darker strokes at random places that will give the depth for my dense forest. See, just random strokes. You can lighten up some areas. You simply have to add yellow on the top. As soon as you drop in your yellow, it turns into a sap green color. Let me now soften some of the edge here, and we get that foliage sticking out. Now I need a very lighter Payne's gray mixed with my lavender to create some water strokes. Just giving different colors to the water so that we get the illusion of depth in the water. That region is too dry now, but I'm just going to place my stroke, and then I'll soften it up. See, riding the water strokes. Just imagine the way the water is falling. Now I'll go and soft them up, made important that I soften it. But remember, when you soften it, don't do it too much and go all around such that you lose the white areas. We need to capture the white areas in the painting. I'm just running my brush over. Can you see? It's almost gone. But now when I add in my wireless stroke on the top, it will be there. Where else? I think this region can have a lot of depth, That's why I'm adding a dense color to that region. The more depth you add in your painting, that is how it looks more beautiful. Payne's gray and Lavender mixture, that's what we're adding. 83. Day 30 - Waterfall Part II: Remember I said that we want to depict the depth here at the bottom, so let me go ahead and soften this part. What we're going to do is we're going to splatter some white. That'll add to that splatter region, so let me take my white. That's my white paint. I'm going to load it up on my brush. Don't have a lot of water on your brush, just enough to create some dense and beautiful splatters, and note I'm using my smallest size brush. I'm just going to mask out the top region in case it goes and falls there. It's going to be very risky. I'll just hold my random scrap paper. See some splashes, see it's already gone all the way to the top, but we can't afford to make it go so far. That is why I'm just adding my teeny-tiny splatters by holding my paper so that it doesn't fall to the top. Just here at the base, if you add a lot of splatters, that will create the effect of the water splashing out. See that? Isn't that looking beautiful? Plus because your paper that region is wet, it's going to create a bloom effect with the white. Well, that's beautiful, isn't it? The splash, some of it is big I know, but it's all right. It's what I usually say, bring your painting to life, that kind of thing. Now, what else? Where else do we need to add? I believe I want to add in a little bit more shadow to the water. The shadow always brings the water to life, so here I'll add more of my gorgeous lavender and Payne's gray mix, soften it up. Another way that you can do it is you can first apply some water. Make sure that you apply freshwater. Again, not dirty water. If you apply fresh water like that, then you'll be able to add in on the top and it'll be wet on wet. Now let's go. Lavender and Payne's gray mix and where else? I think I'll add some here and make sure that you depict the brush strokes. That's very important. That's what actually creates the fall effect. That's why I said, imagine in your mind that the water is falling, so then how it would be, like I said, for example, if it's touching a rock there, so it's having that movement. What did I pick up? Do not look at the palette and I picked up some green, but it's okay. It's like part of the forest inside. Maybe I'll solidify that green a bit more. Always know how to correct your mistakes, that's what's important. See, that it's looking beautiful, isn't it? I'm going to add a bit more depth to my forest region. I'm taking Payne's gray again and adding on the top and maybe we'll add some depth here as well because I feel it's too lighter at certain areas. Blending along. I'll take some brown and add at some random areas. Now I'll go for a little bit of lemon yellow to lighten some areas. The lemon yellow will lighten up some of my areas. Can you see that? Or even cadmium yellow. Now, remember I said that this region, we can create a perfect separation and lighten it up. What we're going to do is mix your cadmium yellow with a little amount of green and we'll add that to the top and also create the gorgeous foliage, so assuming that this will depict the light here at the top. Can you see? Now it's lightened up. The area behind is darker, but we can add depth at the bottom, just at the top is where it is light. That was by using cadmium yellow. If you use cadmium yellow, it gets lighter. Can you see that? It's turned light, but at the base, you can use darker green to depict the darkness. Now there's that separation between the two, isn't it? You can use cadmium yellow at random places to create the foliage effect. I'll probably take a little bit of yellow and add to some of the areas here, mix it up with my green. I love the way it has turned out. I'll take more cadmium red. Did I say cadmium red? I don't know why I said cadmium red. Anyways, I'll take more cadmium yellow and add to this region here because I believe I need that to be lighter. Let's say the light is here, the light is falling on this object, so that's why this region is dark, the forest area is dark, but here it is lighter. We'll depict that light using the lighter strokes. For that, use cadmium yellow or any opaque yellow. Even if you have gouache yellow, that's fine. You can add gouache on top of watercolors to aid in your strokes. You can see just some random areas and blend it up. I really love the way this has turned out. Now, what else? I need more depth perhaps in the water, so Payne's gray, lavender. That's my easiest to mix. That is good. Isn't it when we add more depth? In the base regions, they have more depth. The top regions can be white. Now we need to create that separation between the fall and the top. What I'm going to do is I am going to apply a little amount of water at the top and towards the top. I'll take my cobalt blue or maybe let's shift to a different blue because we've used cobalt blue for the water. I take my bright blue, that's my teal blue. I always, somehow bring in teal blue to my images, don't I? We'll apply right there at the top. I know it's looking weird. Don't worry. We just need to soften it out along the line and lend that into the sky here at the right. This is the reason why I say, if you apply water to both the sides of your paper, you have a lot of control. It doesn't create dark, stupid strokes, a lot of things that you can achieve with this method. That there is the separation and take it upwards towards the sky so that it doesn't look weird. Add more bluish tones all the way to the top. Then soften it up and join the rest of the sky. Now that's looking much better. Now we can see the fall as well. If I take more cobalt blue to depict the water movement. Always it's called bringing out more colors. In reality, you won't probably see these blue colors in photographs, but then if you add it into your paintings, it becomes more brighter and it becomes more real like. Can you see that. I just love the way it has turned out. It's creating a lot of splash here. We only added lavender strokes, so let's go ahead and add in some paints, gray, and lavender mixture there at the bottom. For the depth, splashing definitely we'll have darker tones. Remember that your watercolors will turn lighter, so that is why I'm adding more darker strokes. It well done, lighter eventually I know that. Cobalt blue as well. Adding all of these colors, when you make your painting beautiful, I believe that's good. It's not doing it [inaudible] more things. I'm happy with that as it is and some of the water strokes here as well. What do I feel sometimes on this right side, I am lacking some color, so I just keep on going on adding my paints gray on the top. You can clearly see that. But I keep adding paints gray to the top. Just taking a bit of green. We can finish off by adding some splatters with white but this time the splatters with a toothbrush so that they are tiny. I'm going to load my toothbrush with my white paint. I'm going to splatter it down here. It's down here that we want those splatters if you want to cover up the dark regions. That's a lot of water on my toothbrush, so it drops. Let me absorb that. Let me try that first on another paper. That's now fine. See the tiny splatters. We can add that, and to take dense pigments. See, there are a lot of splattering effects there. It's dried now, let us test and refine some things. For example, here, I want to bring this to the back. As I said, we added cadmium yellow to the front and added lighter tones here. But if we add some darker tones towards the backside, then this thing would come towards the front. For that, I will pick up my dark green and I'm going to add in the area behind. But obviously, I'll create some strokes such that it looks like the foliage in the front. A negative painting here. As soon as you apply the stroke, we need to blend it out into the background. There, just using my brush and blending it out into the background. Do you see how this has popped up into the front region as soon as you add in that depth at the bottom? Now this appears to be in the front. You'll do the same for this region here at the bottom. Just added some random strokes. Now I need to soften it up. I'm just using water and running my brush towards the top and softening it so that area here at the bottom is not dark again. Now we've clearly added a separation between the front and the back for that region. Now I'm going to add subtle details that make your painting look unique. Here I'm taking my dark brown shade and, for example, here I am going to add it to that palm tree shape that I added. Maybe we'll add some dense strokes. I'm just taking my dark green and adding on the top. Whoops, paint from here has touched there. I always do these mistakes. Let me see if I can correct that. I'm just going to drop my water to that region and we need to absorb with my cloth. I'm not going to use that blue cloth because it definitely has a lot of phthalo blue and phthalo green sheets. I'll Just drop water and wipe it off. Clear. Thank God. This is something I always mess up doing because somehow I get my paint here on my hand and then I go and touch it somewhere on the paper. This is something that's happened in a similar method and I don't even know when that's happened. I can't clear it now. Now what we're going to do is we're going to add some rocky effects towards the bottom. What we're going to do is we're going to do that with a nice olive green-brown shade, so more brown into that green mixture so that we get an olive green-brown shade and we need it to be very light. It's just like seeing a little through the water. I added a slight shape, but then I'm going to lighten it up. See, only a little part of that is seen. The rest of it I just blurred it out with my brush. We can do some similar strokes to some other areas. For example, here, let's maybe add in rock, which we can blur out. Here, just added a rocky structure. I think I'll take a little bit more brown and add to the top. But here, the base of it. See, it's got that softened look and it's something some rocky area. It's too brown I think because the rest of it all is green. I'm going to add a little bit of green on the top, that's much better. Where else can we add depth? The depth is very important in a painting and I believe maybe possibly I will add a little depth there. Here at the bottom of this tree, it's not dense enough, so I'll add some depth there. But obviously, I put in my strokes and then I go ahead and soften them because we need them to be blurred out. Can you see that one is blurred? Now we'll do the same to this. Another method that you could do was to apply the water and then add the strokes rather than softening them out. You could do in either way. See, now it has got some depth. Possibly, I will add to the bottom as well. I'm just going to drop some water. This is the method with the water, I'll show you now. So I've added water to that region and then we just have to make strokes on the top. Can you see? If you make your strokes on the top, then it will be blurred because there's water. I've blurred that region. What else can we do? I think I'm happy with the way this looks. I just want to add in a part of a waterfall there. Now we can go ahead and start adding any small details with the white. Here, I'll take my white. Using that, I'll start adding some dry strokes. Not a lot, just a teeny tiny amount on that white spot that we have left. Most of it is already the white of the paper. This is just adding it on the top. See, I just added some lines and we can possibly continue on and create other ones at the top. Maybe from here, I'll have a small waterfall. It's coming through the foliage. Make sure your strokes are dry. See that? My waterfall is crunching out. Then you can also take it to mask out any harsh edges that you have on your painting. But I'm not going to use much. I love the way the waterfall is at the moment. I just need to add some splatters here at the bottom. Now the splatters are with the wet on dry, of course, so we use our toothbrush. The splatters need to be with the toothbrush. I'll load my toothbrush with the paint and I will splatter that obviously. I need to mask out my top region because the splatter only needs to be here, and you can see the tiny tiny splatters. Whoops. Can you see the straight line because of the paper? I'll hold it further off so that I can add in a splatter such that it doesn't create that line. That's good, isn't it? Now let me wash my hands and my toothbrush. I don't see where we can add more details. I don't want to add anything more and ruin this. Let us sign our painting. Done. Here is the final picture. Can you believe it's the last day and we're finished with the last painting of this aqua class. This class was like a dream project of mine. I just cannot believe that I actually painted 30 water paintings. I feel so happy and I hope that you also feel the same happiness after attending all the 30 projects. Here is the finished picture. Thank you for joining me today. It's not over yet. You have two more videos, don't forget to watch that. 84. All the Paintings!: Hey, don't vanish yet. I just wanted to tell you what next and to thank you all for staying up till here and joining me. Here in my hand is all the 30 projects of this class, as well as all the exercises. Can you believe? This is indeed a lot, isn't it? I mean, I've never had a class where I got 30 projects and that took all of them in A4 size. So it's literally a lot for me. Let's basically look at all of the paintings that we have done. We started with the light and the waves, underwater bubbles, the paper boat in water, the surface waves, then we had the light, the sunlit ocean. I forgot the names that I gave because it was just completely random. I used to call this test sun drops in water, but I know that that's a literally lame name to call it, so I changed it to sunlit ocean when I was uploading the project. Then this was boat top view. You can still see my mistake. Then had the buoys in water, the rope in water. Isn't the order wrong? This was supposed to be Date 3, right? Yes. Indeed, it was supposed to be D3, I'm sorry. Okay. Anyways. The underwater cave. So mind you the order might be wrong, I'm so sorry. The swan in water, then this was what? Ocean Splash? Mid ocean splash, I guess. Then poles in water, the ocean top view, and this is where we started the stretching method, right? We stretch the paper, we apply the water onto both sides of the paper and paint this. Then this one was what? Rounded wave? I don't remember the name. I used to call this the rounded wave. Then the ocean rocks top view, the underwater scene, another slashing wave, the jellyfish in water, the twin rocks splash, so it's got two rocks and the twin rocks splash, the sunset ocean. I really got a huge number of requests to include sunset ocean in my class. This was not part of it, I think. I believe I had another one of these wave splashes just exactly similar to this one. But then what I ended up doing was I included that wave splash as the exercise for this one, instead I added a sunset ocean into the class. The koi fish in water, the lighthouse splash, the calm beach, the leg-lady in water, the frozen lake, Antarctica, then the ocean cliff, seagulls in water, this is from my own reference picture, and that's why I love it, the flamingos in water, and finally the waterfall. Obviously, all the associated class exercises where I was showing you the techniques and also some of them involves a simple painting that covers the techniques for the water for each of the class projects. For example, here, the boat, the underwater bubbles, and this one was for the rope in water where I demonstrated the ripples, the surface waves, the sunlit ocean, the buoys in water, and yeah, I included the light and shadow as well so that you understand the different tones like the form shadow, the core shadow, cast shadow, occlusion shadow, the viewer, the central light, highlight and all of those things. Then, yeah, the rocks, the swan in water had these underwater rocks which I think I covered in three different ways, yeah, there. Then that's the ocean splash, the underwater cave because I used granulating pigment, I showed you the method to paint it with salt. Then this was the calm beach where we learn to add the shadows and the foliage in water, the pole in water, and here is where I have introduced the stretching method and I explained to you about the difference. Here, the structure of the wave, where we did the wave structure so that we can understand how we can paint the shadows and the light in a wave. Underwater. The splash, most of it had masking fluid. I showed you an alternative way to paint without the masking fluid for those of you who do not have it. This one is amazing. I just love the way this fish here. This is the one I was talking about. This was supposed to be a huge class project, but I indeed changed it to the class exercise because the steps was actually very similar. This actually turned out to be the class exercise for the other painting. The lighthouse, this is the leg in waters exercise, the frozen lake, where we used the cling film, the cliff, and finally the seagulls in water and the splash. I know this might be just boring to hear all the things that you've just worked on, but I wanted to talk to you about what next but before that, I just wanted to boast about all of the class projects and the exercises. Forgive me for that. Now that we're done, you might be thinking what next, what do we do? I'm pretty sure that if you are someone who painted all the 30 class projects, you are completely confident in painting water. Trust me, I've covered intensively all the techniques for painting waves, splashes, waterfalls, ripples, reflections, everything. I'm pretty sure that you're really, really, really confident. 85. What Next? And Thank You!!: Now what you can do is you can search for pictures in sites like Unsplash or Pinterest, which are basically copyright free images and you can go ahead and paint the woods. Most of the images that I have shared with you are copyright free images, which is why I am able to share the reference that I have used. But as an extra gesture here, I'd like to show you my Pinterest page where I have this board, water, waves, and ocean, which I have saved a ton of ocean and waves and water paintings which you can attempt. It's completely fine to attempt those paintings. Pinterest is basically where you can get these inspiration ideas from. You don't have to exactly copy the image because many of them might be copyright images, but just be careful, you can get your inspiration from them and try it out. Many of these images are also actually there in Unsplash or Pixabay. Just be cautious, but you can refer to this and you can join this board or save this board to your Pinterest profile, which will give you a ton of inspiration for your next water project. You can see all the ideas that I have saved, some of the pictures. In fact, look at this one. This is very much similar to the class exercise that we did for the icy mountain. I took my inspiration from that one, but I did not do it exactly single, I changed a lot of elements. Here, you can get your inspiration from there. I'll leave a link to these in the description. For those of you who have stuck with me till the end, and all those of you who have joined this class, thank you from the bottom of my heart. I am so happy that you're here and you took your time out to look into this class and paint along with me. I hope you liked each of these class projects just as much as I did, and I hope that you can leave a review for me in the review section so that more people can find this class. They would understand what this class is about and what you liked about this class. I would love if you can upload your projects to the projects and resources section so that others can see your work as well, and even I can see it. Obviously, you can always post your works to Instagram and tag me @colourfulmystique. I will always be there. If at all you have any doubts or suggestions, you can ask me there, I'm just a DM away. I might take time to respond considering the lot of messages that I get and the little time that I have, but trust me, I will always respond. You can just ask me anything that you want, even if it's a small doubt regarding some strokes or any painting, you can just go ahead and DM me, I will be there. It's really emotional for me that this class has come to an end. I hope you like it the same way that I do, and I'll preserve it to your heart the same way that I do. All of these paintings and class projects are very dear to me, and I hope it's the same way for you. Once again, thank you from the bottom of my heart for joining in. See you all in my next class. Until then bye bye.