Atmos: Let Us Master Beautiful Skies and Clouds With Watercolours in 30 Days

1. Hello and Welcome Back: Watercolor is one of the most pleasing mediums to paint with. Right from when you apply water to the paper, watch the colors blend seamlessly, and the moment you peel off the masking tape. Watercolors give you immense satisfaction, in every step of the process. Hello everyone. I'm Geethu, an aerospace engineer by profession and a watercolor artist on the creative side. Watercolors have always been my favorite medium to paint with. I started teaching watercolors when I realized that I could impart my knowledge to the outside world. And that painting is a skill that you can develop over time. Skies and clouds are one of the most fascinating subjects to paint with watercolors. It is an integral part of every landscape painting and the variety of moods that it presents to us is worth exploring. Welcome to 30 days of Atmos. That is, getting to know your atmosphere by painting beautiful skies with gorgeous clouds all around. I started out as a beginner with watercolors four years ago and my journey up to now has been remarkable. Learning about watercolor pigments and how they affect each and every stroke in a painting was a turning point in my artistic life. For this reason, I wanted to share every ounce of that learning through teaching to paint with watercolors. In the 30 days of this class, we will explore cloudy skies, sunset skies, and night skies. We will learn to add beautiful clouds into the sky and explore the various ways to paint different kinds of skyscapes. I will be explaining all the techniques needed to paint skies with contrasting colors as well as the methods to create fluffy and soft clouds in the sky. I will also show you how to break down a reference image and how to upload it in your own style to paint it effortlessly with watercolors. In 30 days, you will have mastered the most important element in a landscape painting. That is, the sky, as well as to create your own sky paintings from any reference image. This glass is suited for all levels of artists because I will be discussing all the colors in advance and also explaining how to mix the same from colors in a basic palette. Even if you are a beginner, you can join this class with the most basic supplies that you have. Are you ready to dive into Atmos for the next 30 days? Join me now for a fun-filled 30 days of exploring expressive skies and clouds. See you all in the class. 2. Materials We Need: Let us have a look at all the art supplies that we would need for this class. First of all, we need watercolor paper. We need watercolor paper that is at least 300 GSM. GSM is the weight of the paper. We need the paper to be thick so that it can withstand the watercolor washes with water that we're doing on the paper. It is highly recommended to use a paper that is at least 100 percent cotton paper and cold pressed. This here is the paper that I am going to be using. This is from a brand called Saunders Waterford. It is 100 percent cotton, 300 GSM, and cold pressed paper. You can see, it's got a nice thickness as well as nice texture to the paper that is cold pressed. It's medium textured. The size of the sheet is 10 inch by seven inches. Since that is slightly larger than A5, I'll be cutting this into half and that is the size that I'm going to be painting on today. Here, I have cut the sheets into half, so it's approximately five inch by 3.5 inches. That is the size that I will be painting on. It is slightly smaller than A5. You can go ahead and use any size that you want, even if it's a square, it's absolutely fine. Square, Polaroid, A5, A4, even a larger format such as A3, you can go for whatever size that you want. This is the size that I'll be using. Next, we need watercolor paints. I'll be using watercolors from various brands such as White Nights, Sennelier, Daniel Smith, and Schmincke. I'll be using paints from tubes and I'll be squeezing them out onto my palette, which I will show later on. I will also be discussing all the colors that is there in my palette. We need watercolor paints. It doesn't matter if your paints are in the tubes or in the cakes format. Just go with whatever watercolors that you have with you. Next, we need watercolor brushes. You don't need a large variety of brushes, all you need is a large and a medium flat brush. Whichever larger size you have, it's absolutely fine. The larger size is for applying the water onto the paper so that it covers a lot of surface area when you're applying the water. I have this one here which is a size 18 from Escoda. I also have this 3/4 inch flat brush from Silver Velvet series. Then we also need medium-sized pointed round brushes. This is a size eight brush, and this is the size four brush. I also have this smaller flat brush which I will be using in some of the paintings, but it doesn't matter if you don't have a flat brush like this one, you can go ahead and use a size 4 or a size 6 brush for the same. I will be also be using this size 6 round brush from Daler-Rowney. This brush is a synthetic brush. I'll be using this for strokes that doesn't need a lot of water on my paper. The main reason is that the other two brushes that I have are natural hair brushes, and this holds a lot of water. If I'm trying to paint some dry on wet strokes, this will still have a lot of water on the brush, whereas if I'm using a synthetic brush like this one, I can perfectly get the dry on wet strokes. Don't worry that you need fancy brushes like these, you can go ahead and use any brush that you have. I would also be using this liner or script series brush which has long pointed hair like this for detailed lines. You can go with a detailer brush or a size 0 or size 1 brush for the same. You will need two jars of water. One for washing of your paints and cleaning your brushes, and the other for applying fresh water onto your paper. Next, we'll need a palette for mixing our paints and colors. This plastic palette is the one that I will be using. As you can see, I have already filled it up with the colors that I will be using, which I will discuss later on. You can use any palette that you have, be it plastic, ceramic, or metallic. Then we'll need a board or surface which we can use to tape our paper onto. This is mainly because it is useful if you have something other than the table that you're using to tape your board, so that you can always lift it into your hand and move it around for the watercolors to flow on the paper. Next, we'll need masking tape to tape your paper onto the board. You can use any tape that you want. It doesn't matter whichever tape you're using, so long as the paper you're using is a good one. You'll also need some tissues to wipe off the extra paint from your brushes. You can either use paper towels or a microfiber cloth like this one. Lastly, we also need some white gouache. I will be using this permanent white gouache from Winsor and Newton. You can just go for any white pigment that you have, be it watercolors or gouache. We just need it to be opaque. Check for this square in your tube of paint. But don't worry if you don't have something that is opaque, most white watercolors, even the basic sets are opaque. It should suffice. You can use a hairdryer to quickly dry your paintings in-between layers. This is just for the sake of easing up the drying process. It's absolutely fine if you don't have a hairdryer and you would rather wait out for the paper to dry. Now, let us have a look at all the colors in my palette. 3. Colours in My Palette: This here is the palette that I will be using for this class. I have already filled it up with the colors that I want. Let me show you all these colors. The first one here is Naples yellow, that's Naples yellow, and it is a beautiful opaque yellow color. Then I have got perihelion. It's again, it's semi-opaque. It's not as opaque as the Naples yellow, but it is a beautiful bright yellow color. The next color that I have got on my palette is transparent yellow or Indian yellow. This is a beautiful transparent yellow and I cannot live without this on my palette. This is my most favorite yellow ever. The next color on my palette is Naples yellow-red or Naples yellow-reddish. I know that many of you may not have this color, but as you can see, it's a mixture of orange and white together, so if you don't have this color, then you can mix up orange and white together to get this beautiful Naples yellow-red shade. This is again an opaque color. The next color in my palette is transparent orange. That's a beautiful orange. Next, I have Queen Rose. This is Queen Rose or quinacridone Rose. You can go for any Rose that you have. The next I have scarlet. You can go for scarlet or crimson or any red shade. Even Alizarin crimson would do fine. Next, I have transparent brown or burnt umber. You can either use transparent brown or burnt umber. Next is violet. It's a transparent violet shade. This color that I have on my palette is Berlin violet so it's like a reddish-brown shade. Next, I have Payne's gray. The last color on this side is neutral tint. As you can see, I don't own any blacks in my palette, but rather I use neutral tint and Payne's gray and stocker stone whenever I'm using the black color. Then on this side, I have yellow ocher. Yellow ocher is an earth pigment. Then I have lavender. Lavender is another color that's always there in my palette and it's very beautiful for use in skies. This is burnt umber. This color here is shell pink. This is again a unique color like the Naples yellow-red, and you may not have it. But as you can see, you can easily mix up this color by mixing a pink shade with white. Now, on my palette, you can see here that it consists of a lot of greens and blues. That's because this is a palette that is catered for painting skies. You can use a variety of blues in your skies, although I try to resort to only few of the blues, but then I love to have all these blues in my palette because this is also perfect for painting oceans. This here is cerulean blue. As you can see, it's a very beautiful light blue and it is also opaque. Then I have royal blue, which is another beautiful blue from Sennelier. This here is cobalt blue. You can see it's just different shades of blue that I have. You don't need all these different shades. You can go for one single shade if that is all you have. Next, I have ultramarine blue, which is of course granulating. Then I have bright blue so bright blue or yellow blue. It's called bright blue from the brand White Nights. Then this color I have is Taylor turquoise green, which is like a beautiful turquoise green shade from Sennelier. Then I have the dark-green from White Nights. I love this dark-green from White Nights and it is always there in my palette. [NOISE] I don't have a sap green on my palette because if you mix this dark-green and this yellow together, you get a beautiful sap green and that is all I need. Then I have got olive green. Here is a beautiful olive green. The next color that I have is also very similar to olive green, but it is Serpentine Genuine from Daniel Smith. It's a beautiful color. I think I might have mixed up. This is the Serpentine Genuine and this is olive green. I can clearly see it from the granulating property of this one. All the pigments have separated and that's why it is there in my palette. This is Serpentine Genuine and this is olive green. Then I have horizon blue. This is again another blue color, but opaque and very nice for mixing in with skies. If you don't have this color, what you can do is you can mix up your blue with white and add a little bit of green to it and you get this beautiful horizon blue color. But you don't need this horizon blue color because I'll be explaining to you how are the other mixtures that you're going to use to get the colors that I'm using. The next color on my palette is turquoise blue. Lastly, the last color on my palette here is indanthrene blue. It's almost similar to Prussian blue. I have also added up a little bit of indigo here on my palette because I love to use indigo for certain dark mixtures. Here is indigo, but mostly for dark mixtures, I'll be using this dark blue here, which is indanthrene blue rather than the indigo, but you can also use indigo for the same. There you go. These are the colors in my palette. We'll be creating various mixtures with these colors but I will also be telling you alternate options to mix every color that I'm creating in this class, so don't worry if you're using a basic palette because you'll know exactly how to mix these colors. 4. Before You Start: As I have explained in the material section, I will be using this Saunders Waterford watercolor paper. It is 100 percent cotton, 300 GSM, and cold pressed paper. As you can see, the paper part that I'm using is 10 inch by seven inches. I have cut it into half. The size of my paper is approximately five inch by 3.5 inches, which is slightly larger than A5. You can go ahead and start using either A5, A4 or even a square or portrait format, whichever you prefer. You don't have to exactly use the same that I'm using. You can see I've already cut the papers and got it ready. I want to tell you how you can be prepared each day before you start so that it becomes easy for you to go into this lesson each day without any hassle. It would be a good thing for you to have your paper ready on your desk every day before you start. That process actually begins on the day before. If it's into the class already. But for day one, obviously you'd have to do it at first. What you can do is, right after you've finished this lesson, you can have your paper ready and date for the next day. Also, how you tape your paper onto the board is extremely important. Because if you want to have cleaner edges, and if you don't want your paint to be seeping through the edges, this is really important. I'm using this masking tape, which is a normal masking tape that I bought off Amazon. It doesn't really have any big brand names, so it's called workzeyt, I don't even know how to pronounce it, but this is just some normal masking tape. You do not need extremely high-quality masking tapes for your tape to work. From my experience, I have observed that it is always the paper that is the culprit, if your tape is tearing the paper. Any tape would work fine. You just need to make sure that you stick it up properly onto your paper. Let me show you how. What I usually do is, I leave a half a centimeter gap between the edges so that I get a nice clean border for my painting. Stick all four sides together. One step that I always do after sticking my tape is to make sure that I have stuck it nicely. I use a ruler mostly to make sure that I have taped the edges. I run my ruler on top of the tape to take out any air gaps. As you can see there, I'm running over the tape and any air gap there is, I'm taking it outside so that my water or my paint would not seep outside. This is something that I do always before I start any painting. If there's a time that I have not done it, I've seen that's my paint seeps. Maybe it's bad quality masking tape, but I'm not worried about using any branded masking tape because as soon as I do this method, I've never had a problem with my paint seeping out. But if you're so concerned and you would like to get the perfect masking tape, I've seen that the Tesa Perfect or Tesa Professional masking tapes usually do work. It's a really good branded one that does not tear your paper or does not let the paint seep out of the paper. But this is quite expensive, so you can just go with any normal masking tape and follow this process that I'm doing. Some other things that you need to take care of is make sure that you clean your water every day because we don't want to be using the dirty water from the previous day for the next day. Also, if you want, you can clean out your palette. I usually don't attempt to clean out my palette unless it is absolutely necessary because I hate wasting paint. You can see my palette already has all these colors mixed, but I wouldn't want to waste them. But if there is literally no space and I need to use or mix a new color, then that's the time that I would clean it up. Otherwise, it's completely fine. Also, do remember to take care of your brushes. After every use, make sure that you clean up your brushes and get rid of any residual color or pigment from your brush hairs because that's how you can take care of your brushes. Because there are some colors or pigments which have a high staining property. For example, teal blue or teal green is highly staining, and stains the brushes, so you might have to watch it multiple times. After cleaning it up, make sure that you keep the pointed edge of the brushes as it is. This is how you can take care of your brushes so that you use it for a long period of time. 5. Techniques: Let us now discuss about the opaque and transparent properties of watercolors. This is really important for this class because we have two methods of painting the skies. You can either go for the transparent method or you can go for the opaque method. I will explain these two now. Opacity and transparency are properties of watercolors, which allow light to pass in. The opaque watercolors allow little light to pass in, whereas transparent watercolors allow a lot of light to pass in. The transparent watercolors are easy to mix and do not appear muddy or chalky, whereas the opaque watercolors are exactly the opposite. That is they are chalky in texture or appear muddy. But they both have their various uses. Let me just show it to you. This is Indian yellow and this is cadmium yellow light. The cadmium yellow light is opaque and the Indian yellow is transparent. You can know this from the dupes that you're using or from the information that came along with the watercolors. In tubes, this information can be found if you look for it, it appears in a box here. This one says that it's an empty box, which means that this is transparent. In opaque, the box will be completely filled. For example, this one, cadmium yellow light, you can see that the box is filled, which means that it is completely opaque. We also have semi-transparent and semi-opaque. For example, this olive green here, you can see that the box is half-filled, which means that this is semi-transparent. Let me just show it to you what this means when applying on the paper. The first I'm going to show you is Indian yellow here. Here is my Indian yellow. It's a transparent pigment. When I apply it on the paper, you can see that the black line is seen clearly through it, which means it goes beyond the black line. That is, it allows the light of the black line to pass through. That's what. Now let us see how the opaque pigments work. I don't have this cadmium yellow in my palette, so let me take that. Let me show you exactly what it means by blocking the light. Here is a nice amount of cadmium yellow. I'm going to paint on top of the black line and you can clearly see that it has masked out this black line, which means that it appears on top of even black. This is almost like gouache, but because it is watercolors, it is not as perfect as gouache. But this is what opaque means. This is an opaque pigment. You can check this by doing the exact same method by using some dark black lines and try new paint on top of them to determine whether they are opaque or transparent? Let me show you some other colors that are opaque and transparent, so here I've got this violet. And as you can see, this violet is transparent color and so it's this orange because it's a transparent orange, and you can see it doesn't block the black line. Let me try some other opaque color. For example, this horizon blue, which is opaque because as you can see, it doesn't allow the black light to pass through, and then another opaque color is this shell pink. You can see how opaque these colors are. This is the difference between transparent and opaque colors. Now let us see how these apply to painting these guys. Here I have a paper and I'm going to apply some water onto the paper. I'm going to take some opaque paint, so this is shell paint and I will apply it onto my paper. You can see because it's water, it's spreading out. The paint is spreading, and I'll also take some horizon blue and apply it. When you're mixing two opaque colors together, you'll see that they do not blend together easily. They do not blend together to create the color mixture of those two colors. It is good to use the opaque watercolors when you want to be in skies that have two contrasting colors. Now, let us see what is the difference between using a transparent color? For example, here is my transparent yellow or Indian blue. Then as soon as I apply another transparent color, such as this pink shade. You can see that when I mix this on top of each other, they do not mix to form a color, rather, when you mix the Indian yellow and they rose together, you can see that it created a red sheet. Transparent colors mix easily to form the mixture of colors, whereas opaque colors do not mix easily. Then how does it apply to in the use of skies? Like I said if you have a sky that has really contrasting colors, then it is better to use the opaque watercolors to paint those layers in the sky, or those clouds in the sky because they're not going to mix together and spread out a lot. But rather if you were to use the transparent watercolors, then they're going to end up creating a lot of mixtures on the paper itself if you're using the wet-on-wet technique. Now, how do you create these opaque watercolors? One easy way to create opaque watercolors is to simply mix an opaque pigment with it. For example, this yellow is transparent but if I went to make it opaque, all I need is to mix it with another opaque color. Here is my Indian yellow and if I were to mix it up with my Naples yellow, this mixture would now be opaque. This is because when you mix an opaque pigment with a transparent pigment, it turns up into an opaque pigment itself. You can never get a transparent pigment mixed an opaque pigment with it. This means that in order to create a transparent pigment, it is very, very easy. All you have to do is mix it up with an opaque pigment. I know that many of you may not have these opaque watercolors, which is why we can easily mix our pigments with whitewash or white watercolor in order to get the opacity that we need. Keep a tube of white gouache or white watercolor which is opaque in hand so that we can mix all these. I will be discussing the mix of each of these colors in the respective lessons. You can see this tube of gouache has a filled square, implying that it is an opaque tube. Now that you know the two different methods which we will be using to paint the different skies, let's jump into the first day's lesson. 6. Day 1 - Colours & Image: This is the first sky painting that we are going to try. Let us have a look at how we can break down this picture. This is already added in the references section. You can go ahead and download the image. Just remember that in order to access the reference images in Skillshare, you'd have to open it up in a browser, which means either in your phone browser or iPad or laptop browser. It doesn't open in the app. That's the only thing that you need to remember. This image, as you can see, it has got a lot of blues. There are some mountains in the background and some fluffy clouds in the front. These clouds at the top, I think we can go ahead and use a lighter tone of blue, such as ultramarine blue or cobalt blue. It is a very medium tone of blue, not too bright and neither too dark, so I think we can use cobalt blue. This is cobalt blue. You can see that loop is perfect. Or even you can go for ultramarine blue. Let me just show you ultramarine blue. If you have ultramarine blue, you can use that as well. But the only reason why I am not using ultramarine blue is because ultramarine blue is granulating, which means the pigments are going to separate once it does settle. If you have an angle on your paper then the pigments of ultramarine blue are going to disintegrate. That's the granulating property of ultramarine blue. You can see the difference between the two pigments. This is the reason why I'm not using ultramarine blue. Then, now for the base here, we can see that it's got some darker colors. This blue here and this blue here is definitely different. Also, there are some darker blues here this side. It's not as dark as indigo, so we can use indigo. What we are going to do is we're going to mix that blue. I think that if you can use a darker blue such as indigo and mix it with the lighter blue that you already have, then you'll get this version. That means this cobalt blue, mix it with a blue like indanthrene blue or indigo, you'll get that color. Here, I am mixing the cobalt blue with indanthrene blue here. You can go ahead and mix it with indigo as well. There, it's a slightly lighter version. When you apply water to this blue, it's going to get lighter. Let me show that to you. That's the blue that we have painted with. But then when you mix it with water and paint lighter dots, it's going to match that blue. Then we also need the blue for the strokes on the mountain. These strokes on the mountain, I think you can go ahead with this darker blue that we already applied at first. Then we have this darkness at the bottom. So for that, it's very easy. We just go with some darker tones such as Payne's gray, or you can use a mix of Payne's gray and indigo. Here, Payne's gray and my dark blue, that would be the dark blue that I'm using. Then we also have the darker strokes on the mountain. Again, I think this same blue would suffice for that. Now that we know the colors that we're going to use, let's see how we can break up this painting. This sky, as you can see, has sought a softer image. The clouds are softer and so other clouds here. But the mountain part is where it has got sharp edges. That means that for the sky, we're going to be using the wet-on-wet technique, and also for this as well. First, what we will do is we'll paint the whole of the sky with the wet-on-wet technique, and then maybe some of these loose strokes on the mountains can also be with the wet-on-wet technique. But it's not as loose as the clouds and the sky. It needs to be semi-wet or semi-damp on the wet paper. I'll show you how it is. I'm just trying to break down the steps so that you can understand how we can paint from a reference image on your own. Then we have the darker strokes, the sharp lines on the mountain. For that, we have to use the wet on dry method. It means that after painting the whole of the sky and after the sky has completely dried, we need to paint these sharp lines on the mountains. Once that is done, this painting is complete. That is all there is. All of these extra additional details here on the clouds to get that depth is somewhat like an advanced and takes a lot of time to achieve because you would have to use multiple layers to paint that. But let's not go into that much detail today. Let's focus on the simplest part here. Let us go into the first painting. 7. Day 1: Now that we have seen the colors that we're going to use and how to break up this image, let us start painting. There won't be any pencil sketch. Let us just start directly onto the painting. We're going to be using the wet on wet technique so let's apply water to our paper first. Use a large brush if you want to cover a large surface area of your paper. Otherwise, just use whatever normal brush have. You don't need a large brush itself. Apply water onto the paper evenly. You need to make sure that the water that you apply is even and that it does not form any large pools of blobs of water. Also make sure that you apply the water multiple times in order to make your paper stay wet for a longer duration of time. This is something that I always say, especially if you're not using 100 percent cotton paper, then you need to do this process multiple times so that your paper can soak up that water and the water gets into the fibers of the paper and it can stay wet for a long duration of time. Just make sure that you apply the water evenly and multiple times as well. I'll say this because today is a day one. Another trick is to apply the water onto your paper, wait for 5-6 minutes until the water dries, then reapply the water. Do this multiple times. For example, maybe 2-3 times. That would make sure that the water on your paper stays wet for a longer time, as in when you apply for the third time, then it's going to stay wet for a longer duration of time. Let us now start with cobalt blue. We're going to be using cobalt blue, mix up a nice amount of cobalt blue on your palette. Here is my cobalt blue. This is another thing that I have noted that makes sure that whenever you're taking your paints from a pan or even from a tube where you have squeezed it out onto your palette, make sure that after you dip your brush in the palette to rub it against the palette space because that loosens up the pigments rather than having it concentrated at one point on your brush. That's really important, that you rub it along on your palette after picking up from the tube or your pan, whichever you're using. Let's just go ahead so you can see the water consistency that I'm using here. We just start, so there. You can see it's spreading around because there's water on our paper. Going to start painting in this direction. Also we're going to leave some gaps. Let those white gaps be. Whatever you want, leave those white gaps. I have left white gaps. Now I'm going to dab my brush on my tissue so that I get rid of all the excess water as well as any extra pigment because now I want some lighter strokes. You see these strokes that I am going to apply is lighter as opposed to the stroke on the top. This is because we now need the strokes to be lighter. As light as you can. There it's very light. Keep going with lighter strokes towards the bottom. We can have some darker strokes towards the bottom again. Like I said, it doesn't exactly have to be like in the picture. We don't want to be copying the picture, but we just want to use it as a reference to make our own sky painting. Now, I'm taking more of my cobalt blue and I'm going to apply it at the top so that we get a nice darker color on the top. Also apply onto the top of the areas that you've already added. You can mix a little bit of indigo or indanthrene blue. Here I've mixed a little bit of the dark blue color. I want to apply it at the top. Since we don't have an angle on our paper, this is now just going to spread randomly. We also have paintings where we have an angle on our paper, not for this one. Let me get darker colors onto the corners and the top. You can see the rest of the areas we've left it as white and let it remain white. Then now we'll go with a darker color. I'm just picking up the darker indanthrene blue color one that I teared off my palette. Here it is. That I'm going to add to the base. Just adding that to the base because I want it to be a little darker there on the base. Then we also use the tip of our brush to just add some little strokes as we see in the picture and to the base. That's it. There are clouds covering the mountain in the front so another few strokes that we're going to add, some there and some there. Now what we need to do is we need to make the fluffy clouds. We need to make sure that we add the clouds there on our sky region. Also, another thing that we can do is to try to get rid of these hairs that are forming. For that, you can use a brush that is somewhat dry and just rub it onto your painting. Make sure that you dry your brush nicely on a tissue. Then just rub off along the edges of those lines that you have painted. That would spread the hairs around so that it doesn't have much hairs and each time, just make sure that you wipe your brush so that it removes any extra color. I'm going to leave it at that. Now, let's go ahead and add those fluffy clouds. For that, I am going to mix a little bit of Payne's gray. Here is my Payne's gray, a little bit of Payne's gray with my blue. It's like a nice darker version of the Payne's gray with a little tint of blue. But we need the brush to be really dry because the paper is also starting to dry so we have to be very careful. Here, I'm drying my brush and I'm using my brush to add some random strokes into the sky. Also leave a lot of white spaces because those are the bright spaces in the clouds. There, just adding here. maybe is up here Just added some nice strokes. Again, let us use our dry brush to remove all those extra strokes. That is the hairs that are forming because the paint has spread. Let's use a brush to remove that. Also, let us use our dark Payne's gray to add some darkness to the bottom here again. If your indigo is not dark enough and you haven't got that dark color, you can use that at the base. There like I'm using here, adding my Payne's gray to the bottom on top of the dark blue color. I think that's good enough. Now what we'll do is, let us add the mountain. At first, we just add it lightly. Here, I'm going to go use my blue paint, the dark blue, indanthrene blue paint. We're going to have a mountain here. Just going to add some strokes. I'm using my synthetic brush here, which means that the brush doesn't hold a lot of water. Make sure that you dry your brush nicely on your tissue so that there's no extra water on your brush, when you're doing this. We're just adding some dry strokes now, not really drying, but the brushes are almost dry, it's like semi damped brush, but your paper is wet. Then it's going to create some beautiful strokes on the mountains. There, just created some nice strokes. Let's create some here. I think that's good enough. Now, what we have to do is we wait for the whole thing to dry so that we can just add some nice strokes, that is the details on the mountains and then the painting would be done. Here, so our painting is now completely dry. We'll go ahead and add the details on the mountain. I'm going to use my synthetic brush again. I'm going to pick up the dark blue color. Here is the dark blue color. I'm going to mix it with a little bit of Payne's gray again so that we get a nice shade like indigo. I'm not using indigo on my palette. This is the reason why I'm mixing these two colors, but if you have indigo, you can go ahead and use that as well. Now for the details, we need some dry strokes and make sure that your brushes dry again. Dry it on a tissue nicely. Just dry it. Dry it nicely, rub it along, because we needed to be some dry strokes. Then see how the strokes are dry. Let me show you too up close. See, it's really dry stroke, and that's what we need. Some dry strokes. We have some nice other dry straws here as well. It's like the mountains continuing, but it's got to mist and the loud on the top again. To the same, to the side. Just add it on the top of the blue that we did, not all the places, but just some places so that it looks as though this mountain has some texture and then clouds are crowding the front part. See? So now that looks already very nice, isn't it? Let's have some this side. Now, what's missing is this top part of the mountain, doesn't look as though it's covered by the clouds. Let's try to make it that way. Don't worry, it's not that tough, it's just a sky that we're trying to focus on. This is really not at all important. That is, this part of the painting, is not important. Getting the sky to look like this and the clouds to have that fluffiness is what is most important in this meeting. If you're not getting these dry strokes and all of these strokes on the mountains, don't worry. Also, I have a class on mountains, and also my class on watercolor techniques would explain how to paint all these dry strokes. You can go ahead and check that. But like I said, this class is not focused on those things, but rather the sky. What I have done is, have taken some little blue tone. We're going to paint outside of the mountain area. Outside of the mountain area, a little bit of blue tone. Let's just add some strokes outside of the mountain. Outside, towards the top side. You can see what I've done there. That stroke has got a harsh edge. I'm just going to use water to soften that part of the edge. There, so I have soften that. Let's soften just some areas of this here as well so that it looks as though it's having some fluffy clouds. I think that's good enough. Let's go ahead and add a little bit of the dry strokes to the top here as well. I think that looks good enough. There it is. It's done. The most important thing is to get these nice strokes, leaving the white gaps and getting these fluffy clouds at the bottom, and also trying to get rid of those hairs by using a dry brush to remove and soften those hairs. I hope you like this. Let us remove the tape. Here is our first painting. I hope you like it. 8. Day 2 - Colours & Image: Welcome to Day 2. This is the reference image that we're going to use for today's painting. You can see how we have a nice blue sky with some nice fluffy clouds and then a mountain background. For this blue here, I can see that it looks like a bit of nice gold blue color. So we're going to be needing a blue color. Let's see. This is my bright blue color. If I'm using my bright blue color, you can see that it's a little bit more cold than it already is on the reference image. I need to make this a little bit more warmer. What I'm going to be using is I'm going to mix my bright blue or pale blue or [inaudible] blue with my cobalt blue. If I mix it a bit with my cobalt blue and then add it onto the paper, I think it best matches that blue. Then we're going to be using a mixture of cobalt blue and light blue. But it honestly doesn't matter that you have to use the exact same color, you can go for any blue that you want. All we need is to understand the strokes to create this beautiful reference picture. Then we have some clouds in the background. We have the shadow of the clouds. For the shadow of the clouds, we're going to be needing some Payne's gray, but a very lighter tone of Payne's gray. I added a lot of water into the mixture to create that lighter tone. Then we have the mountain in the foreground. The mountain is like an olive green color. Here is the olive green that we can use. If you don't have olive green, don't worry because olive green can be easily created by mixing a little bit of green, that is sap green and brown together. If you have sap green and you mix it with brown, so this was brown here, and here's my green, but my base green is really dark, so that's why you have a darker version of olive green here. If you don't have sap green and you only have a darker green, you can get olive green by adding a little bit of yellow to it as well. Here is my yellow and I'm going to add a little bit of yellow to it and then brown there. I've added brown, yellow, and green together and add it, so that's the olive green. You can see it's slightly different because I need to add more yellow, but that's how you can mix those colors if you don't have those colors. Then I can also see some green strokes here on the mountain. For that, we're going to be using green. So a nice green, sap green or dark green or whatever green that you have. Then we also need some brown for some of those dark brown strokes. Those dark brown strokes, you can see that dark brown. How did we get dark brown? What we can do is we can mix it a little bit of the brown with Payne's gray so that we get a color like sapphire. If you have sapphire you can use that directly or you can mix your brown with black, Payne's gray or lunar black or any dark color to get that nice sapphire color and there's that darker shade. We'll also be needing that brown as a whole for adding on top of this front area here. That's the brown color and we also need the darker version of Payne's gray for these mountains in the background. That's Payne's gray. Now let's see how we can break up this reference image. As we can see, it's got a nice blue sky. We're going to be painting the blue sky. These clouds have a not soft, not hard either edges. It's in-between the soft and the hard edges. What we're going to do is we're going to use a tissue to dab off the paint from the papers that we get some white space on the paper and we create those clouds. First, we paint blue then we create those clouds by using tissue. You can use several methods. You can go for the wet on wet method as well. You can go for wet on dry method as well but if you use the wet on dry method, your clouds are going to have really hard edges. If you do the wet on wet method, it is going to have too soft edges. Which is why we can use for the dabbing method, but it's totally up to you. When you look at this image, you can clearly see that the mountain is in the foreground. The sky is in the background. But this mountain is still in the backward part of our picture because this here is the foreground. We're going to need to have to make this mountain a little bit softer than this part if we need to apply the aerial perspective into the picture. That is how we're going to approach this painting. That is, we paint the sky part first and as you can see, there are some bluish tones here. Which means that if you apply an even coat of blue all the way down here by making your stroke lighter and lighter as you go down, then all your strokes here at the bottom are going to be lighter, but still, you'll achieve some bluish tones here and there. Then, because your tones are lighter here at the bottom, you can still paint the mountain on the top and then the foreground at the bottom. That's going to be simple. There you go. For these white spots here in the foreground, you can add splatters or you can totally ignore it. I'm going to totally ignore it in this painting because the focus of our painting is the sky and not the foreground. I hope you liked this picture. Let's now get to painting it. 9. Day 2: Let us start with our next painting. As I said, for this, we're going to need some tissue so keep that ready in your hand. Before we start painting, let's quickly add a pencil sketch for the mountains. Just some random strokes roughly where you want the mountains to be. That's it. That's going to be the front. That's it. That's going to be the sketch for our painting. Let us start by first applying water to the whole of our paper. Apply to the whole of the paper, it doesn't matter, even the mountains in the front, so we'll just apply water to the whole of the paper. Make sure that you apply the water evenly without forming any large pools of lots of water. Also, if you're not using 100 percent cotton paper, make sure that you apply it nicely such that your paper stays wet for you to work on your wet-on-wet technique. Make sure that you run your brush in even direction so that it stays wet. Also if you want, you can hold your paper at an angle so that the water will be uniform throughout the paper. Next, I'm going to switch to my flat brush to apply the paint onto my paper. Let us prepare the color that we need. We are going to use cobalt blue and mix it with a little bit of bright blue or pale blue so that we get a nice, beautiful blue for our sky. That's cobalt blue and pale blue mixed together. We're going to apply it to the sky in a flat manner, as you can see. Hold your paper at an angle so that all the water and everything would flow down but then it'll be lighter towards the bottom. Whenever you're picking up the fresh paint from your palette, make sure that you start applying at the top so that only lighter strokes would flow down, so we want it to be lighter towards the bottom. Can you see how these strokes are flowing down? That's exactly what we want. All the darker strokes should be at the top and the lighter strokes at the bottom. There we have darker strokes at the top and then I'm moving my brush downwards such that I get lighter strokes towards the bottom. Let's do it all the way. Although here you can see I've skipped some parts such that my strokes leave some white spaces there. Let's just go over it one more time. Just remember that when you're doing this process, you have to go through it all the way down. Don't stop midway because wherever you stopped mid-way, that's the point where you're likely to get blooms or where the water is going to spread out the paint. You can see how this has turned out. It's a flat wash. Now the next thing that we need to do is before this whole thing dries, we need to create the clouds. I'm going to use my tissue here and using the tip of my tissue, so I've just bend it such that I get the tip. Using the tip of my tissue, I'm going to just dab off some cloud. Can you see how it has created the clouds? The next time we have to use a different part of the tissue again because that paint is otherwise going to go back into the paper. Just use the tissue to create whatever shapes you want. We're going to do this multiple times and get all the different shapes that we want for clouds. This is basically just dabbing off the paint from the paper. You don't exactly have to follow as in the picture but just go according to what you think you can make the shapes. I'm just basically using different sides, different corners with my tissue, and just dabbing off all those paint from the paper. You can see the way I've dabbed it, I'm getting those white spots. Still more at the bottom. If you want smaller clouds, just leave a dab, touch a little bit, that's it. It's just basically the way you move your tissue on the paper. You could also do this with a dry piece of cloth, a cotton cloth, or whatever, but just make sure that you're able to lift off the paint. This is one of the lifting techniques where you can use to lift off to form these beautiful clouds in the sky. At the bottom, we're creating smaller clouds. Now you can see how this whole thing has turned out. We've got a lot of clouds in the sky and we've got the darkness of the top, so I'm just going to dab off all the paint from these regions as well. Because we've got larger clouds there, we need to add shadows to those clouds. Don't forget that. This is how the main cloud is going to be like. Make sure to move to a different place of the tissue each time because otherwise the paint that you've lifted off, you've got to put it right back there. Now we've created the clouds, let's go ahead and paint the mountain. It's just somewhat wet, not too wet, but it's somewhat wet. I'm going to be using olive green so pick up a nice amount of olive green. But make sure that your brush is not too wet. Do not have a lot of water on your brush. Using olive green, we are going to add the mountain. If your paper is too watery then this is not going to work. Also, you can have your paper at an angle like this towards the bottom. I actually forgot that mountain in the background. Let's paint that first. Painting that mountain in the background, we're going to be going with Payne's gray, so here is Payne's gray. That's Payne's gray, and you can see how dry my brush is. Also, you can dry it more on your tissue, and then we have part of that mountain there. Then we have a little bit here. You can see the paper is almost dry. This is the reason why we're still able to paint, and though it hasn't completely dried up. Also, your brush needs to be semi-dry or just damp, not a lot of water. Here, this is the consistency of the paint that I'm using. We're going to create those mountains. The reason why we're going with this wet technique is just that because we don't want any sharp borders for those mountains because those mountains are farther away, this ground here is what is in the foreground. We need a flat line where the mountain is ending, and basically, we can fill it up with the olive green paint, and we'll add the details on the mountains later on. First, let's just add up the olive green. You can see because these strokes here, that is the blue strokes here were lighter, we can add the olive green on the top and it doesn't matter that you've had the blue underneath. But if your blue was darker, then this olive green will not going to come perfectly on your mountain. Let's just fill it up. I've filled up the mountain. Now we need to make sure that we make this mountain to be in the front and the other in the background. We are going to go with more olive green and add to the top, and you can add a little bit of dark green to that mix of olive green so that you get a different shade of green. You can see, I've added that to the top. If you don't have dark green, don't worry, you can mix a little bit of indigo with sap green and you'll get the dark green. Here, I'm mixing with that dark green with the olive green, and then adding. We'll also add it to the mountain, at some places, so that we create some details. The olive green that I painted on my mountain is just wet, still wet, so this is the reason why when I'm adding these green strokes, it appears nicely on the top. Now you can see that this mountain looks as though it's in the front, but we're not done yet. You can see some brown strokes on the mountains as well so we need to add that. For adding those brown strokes, we're going to go with a nice dark brown shade. Again, we need to have those strokes in a slightly damp brush, and not too wet because if you introduce a lot of water into this mountain right now you're going to create blooms. Remember water control always. So that's a very important lesson that is to control the water that you put to your paper. The paper that you're working on is just slightly wet. Can you just see how wet it is? Just slightly. If you add any more water than there is already on that paper, then you're going to ruin it. So that's why we need to dry your brush after you've picked up the paint such that your strokes are completely or almost dry when you put it. Now I'm adding those brown strokes and it's not ruining it, it's just blending inside that olive green shade. Just going to create some random lines and some strokes to the top of this mountain. Now we have got that. Those brown strokes, I want to soften them so I'm going to take a little bit more of my olive green. Just blend it along with the existing olive green. Now that it's much better. This mountain, let me connect the brown line. Now we can see that mountain looks as though if it's in the front. That's exactly what we wanted to achieve. Let's paint the ground below. For the ground below, we can see that it's almost semi-dry and it got those white flakes which is like snow on the ground. We're going to make it exactly like that. So let's pick up olive green, and we need our stroke to be dry again. The reason, I'll just show you, we're going to use a dry version of mint green and just add those dry strokes. When you're creating those dry strokes, can you see it looks as though it's got those white spots in between so it's like the snow. But because we're doing with semi-dry strokes it helps. Make sure that you create your strokes dry. Here, I'm taking olive green, and then I'm also drying my brush on my tissue so that all the water is absorbed from the brush. Then we use that to create those lines. Let's just keep at it. You can see how dry my strokes are getting. Then let's add a large dry stroke here. There, it's a very dry stroke. Now you can see how it's turning out to be looking like that lake picture, isn't it? Think towards the bottom. You can go ahead and add darker stroke of the olive tree. Now you can use more water and paint the bottom part. We've used more water and adding the olive green to the bottom. I think that looks much better. Let me dry off my brush again so that I get dry strokes. I'm going to add some more dry strokes here. It need to be more dry. You can see how dry it is. Now the next thing is to add that little tone of brown onto the olive green. Let's pick up brown. Again, make sure that your brush doesn't have much water than there is already on the paper. Adding that little tint of brown in certain areas. Add some here, speaking of that brown. Then I'm also going to add piece to this mountain here with the brown but loose strokes. Don't make it a straight line. You can see how my strokes are loose and also it's got at some places, don't make it like dash lines but just try to make it loose. Just drag your brush long. Try to create some loose strokes. How do you think that has turned out? Let's add some brown strokes here in between as well. You can see how dry my brush is when I'm adding those strokes. We're done with that part. Now, if my sky is dry, we can go ahead and start adding the clouds. That is the shadow on the clouds because it's not done yet. For the shadow on the clouds, what we're going to do is we're going to use a very lighter tone of Payne's gray. You can see how light it is because I've added a lot of water into my paint. The more water you add, that means it's light, very light. I'm going to absorb all that extra water because I don't want to be adding too much water on my paper. Then just going to add those little strokes to get some darkness. Just below each of these clouds, not all of them, but just like here, this is a larger cloud, so I'm just going to add to the base of it. We need to work quickly here because I've added to the base. Now, what I'm going to do is when I use my brush and I'm going to spread out those Payne's gray strokes that I just applied. I just spread out the Payne's gray stroke using water or soften. This is called as softening the edges. Just use your brush, rub it along the edges, along the harsh edge of your stroke, and you'll see that your stroke has softened. I just touched that little bit of olive green and it's spread, that's all right. I'm just running my brush over, softening those clouds. If you're not using a 100 percent cotton paper and your paper is drying out quickly, and you're unable to soften the clouds then make sure that you paint each cloud one by one, try not to add all of these shapes altogether because then you might not be able to soften it. Let me show you another method where you can add these shadows. Just apply some water first. So this might be actually an easier method because you are applying the water first and then you don't have to go through that softening process. Taking a little bit of Payne's gray and I'm going to add it. I added water first and then I added the Payne's gray so it's softened, although I think I didn't add water here. It's more softened look now. That's it. I hope you like this. I'm going to skip the white dots on this olive green part. It's not necessarily, it's completely not needed for this part of the painting because we're focused on the sky here. So let's just skip that. After our paper dries, let's remove the tape. My paper has completely dried and I'm going to remove the tape. There you go. This is the final painting. I hope you like it. 10. Day 3 - Colours & Image: [MUSIC] Welcome to Day 3. This is the sky that we are going to paint today. Isn't it gorgeous? Let us have a look at the breakdown of colors first. We see the bluish sky with some white clouds and it got some shadows. By looking at the shadows itself, you can see that it's got a tint of Payne's gray, that is, a lighter tone of Payne's gray. Obviously these shadows are going to be a lighter tone of Payne's gray. Then the rest of the areas are white and then the sky is obviously a dark blue. But if you look at it closely, you can see that it's got a tint of green on it. Not too much green, but a little tint of green to blue and that's how you get that color. Let's see. We need a darker blue. It could be either Prussian blue, or indanthrene blue, or even Indigo for that matter. Then I've mixed it with a little bit of phthalo turquoise green to get that greenish tint. Here are the respective color mixes after mixing it with the blue that I used. This is the indanthrene blue mixed with the phthalo green and this is mixed with the indigo. As you can see, this is the perfect color that matches because this indanthrene blue or even Prussian blue would work perfectly, is the color that looks almost like this, because indigo in such a dark color so you're going to get a darker version of the mix. But if you want it to be quite like the color in the sky, you can mix it a little bit with ultramarine blue or cobalt blue, and you'll get this color. But obviously, again, you do not need to be painting with exactly the same color as in the picture because you can totally neglect the fact that it's got this bluish-greenish tint and just go with your favorite color, for example, you can just go with one single blue and paint the whole thing. It's totally up to you. Don't worry if you don't have this phthalo turquoise green because you can use either viridian or emerald green, whichever color you have and mix it with your blue. Just makes sure that if you're actually mixing those colors, try to get that greenish tint and not make it too much green. Then obviously, the next color is Payne's gray, not in this darker version, but as a lighter tone here. Now let us see how we can break down this image. In fact, I tried this image three times just to see how we can paint it. There you go. These are the three versions that I painted. As you can see, this has got a different color because this is the one where I used indigo and these two are the indanthrene blues. I'm going to be teaching this method here now today. Let me explain all these three techniques that I have used. The first one is wet-on-wet technique. Then I applied the lifting technique using tissue. Using a tissue, I lifted off some of the areas to get those lighter areas of the clouds in my picture. Then this one is completely wet-on-wet technique in a single layer. Just I applied the water and then I painted the whole thing, left white areas and in the right areas, I added the Payne's gray shadow tones. You can just go with whichever technique you prefer. You don't have to follow exactly the same. Then this one is in two layers. I applied the water first and then I painted the shadows first. In the plain paper, I applied the shadows first and then I let it dry. In the second layer, I reapplied the water and then I painted the sky. Both of these techniques are good to go. You can just go with whichever techniques you prefer. In fact, even this one as well. It's totally up to you which method you want to go. I'll be showing you this two-layer method because that's the difficult one. The single layer is quite easy because we just have to apply the whole thing in a single layer. Let us get to painting. 11. Day 3: Let us start painting. We're going to start with applying the water first onto our paper for our first layer, which is going to be the shadows. Let's apply the water. Since this is going to be the first layer and we're going to quickly do the shadows, we can just apply the waters as a start. There is a little sheen of water on the paper. As in, you don't have to apply multiple times because we don't want it to stay wet longer. We need to quickly dry it as well. Here I have just quickly applied the water onto my paper. Then I'm going to switch to my size four brush and we are going to apply the clouds onto the paper. For that, we're going to be using Payne's gray and a very lighter tone of Payne's gray. Here I have Payne's gray. As you can see, it's very light that I'm using. That is what we're going to add to our paper. Just added a little bit of clouds there. I'm going to start. It's not that clouds, it is the shadows. Let us just start. I'm going to have some shadow here and a little bit of shadow here. Just like in the picture, which of course, you can find in the references. Don't forget that. Then we move on to the next one. The shadow of the cloud at random places. That's what we're trying to add at first now. Just add it. I think we're good. This is just it. This is the first layer and that's it for the clouds. Some of them are a little bit more because I want this shadow here to be a little bit more dominant. Whatever you feel because obviously, watercolors are going to get lighter after drying. If it's too light, then you are nearly not going to see it. This is the reason I'm just adding onto top again so that these clouds' shadows will be seen after the first layer dries. That's it, we're done. Let's now completely dry this up so that we can add in the second layer. While you're waiting for your paper to dry, what you can quickly do is you can premix the colors if you're mixing up your colors, for example, I am mixing up my dark Indian green, blue, white, the turquoise green. You can do that as well. Mix your colors ready so that you would be ready when your paper is completely dry. Here now, my paper is completely dry. I'm going to apply water for the second layer. For the second layer, again, I'm going to apply water on the top. Because we only had a lighter tone, it's not going to wipe off that. Also, it is just the shadows, we can let it be. Just apply water onto your paper. This time, we have quite some time to work on our paper so make sure that you apply the water nicely. You only can apply the water after the first layer is completely dried, otherwise, you're going to move the paint off. This removes the pigment off which we do not want to do. Here, I've pre-mixed the paints already, that's dark yellow turquoise, green, and my dark blue. You can also use Prussian blue or any dark blue that you have, even indigo, like I said. Let's start applying to our paper. I'm going to start applying. I want to create an angle on my paper. Notes, it's going to flow so I'm just going to let it flow in the direction that I want. But the angle that I'm creating is mainly because it is a little bit of extra water here that has accumulated, which I always say we shouldn't have those extra water but then that's extra water, I'm just going to let it flow towards the bottom. I think that's good. Now I need to go, my strokes at the top again. Now we're going to create the shape of our clouds. The perfect shape that we want. There is this here. There's any extra water on your brush, make sure that you wipe it off because we don't want any extra water. Just keep applying these strokes, just like you want as in around the cloud. This is like painting with the negative technique, where you were painting around the clouds. It doesn't have to be exactly like in the picture so don't stress about it, that you're not doing exactly like in the picture. I'm using my smallest size brush, that is my size four brush because these are really delicate areas, I have smaller strokes that I want. If you use a larger brush then your strokes are going be larger, you won't be able to get these smaller, cloudy shapes. This is the reason why I'm going with the smaller size brush that I have. Obviously, as you can see, I'm not also doing entirely as in the picture. That is not what we want. That was complete accident. My brush dashed but then it's completely fine. It's just all right. Because it would just turn out the way it wants. Now we're going to strengthen the strokes. Here I'm mixing more, but you can see in my palette there is very little water because we don't want a lot of water. We're going to darken our strokes. We got to start with the areas that we painted first because it's more likely to start drying. Because these areas we just painted, it will be wet. But the other areas that we painted at first, you need to go at the top over and again. This time when you're going over the top, don't go towards the edges of the blue strokes. Stay within the boundaries of the blue strokes that you did at first. You can see this is the boundary, I'm not going near the boundary, but leaving a slight gap in between the boundary so that towards the edge of the clouds I'll have lighter strokes. The inside, I'll have the darker parts of the sky. Go and trace the steps that you did at first. This was the last that I did, I'm going to go at it last because otherwise, your paper would stop drying so trace the steps that you did before. This was the step I did after painting these areas. Just repainting this area because I feel that it's a little bit lighter and I wanted to make it darker. Now, let's go back to the top. There we are. It's almost done. We can leave it as that. Because now we have the clouds, we have the shadows, we have the sky as it is. There is nothing else to do. This painting is almost complete, now all we have to do is wait for this whole thing to dry so that we can remove the tape. Everything is now completely dry and our sky looks perfect. Let us remove the tape. There you go, I hope you like today's blue sky. 12. Day 4 - Colours & Image: Welcome to day four. This is the painting that we are going to be doing today. This is the reference image for it. I know it looks tough, but it is not that tough. This is where we're going to use the property of opacity to get the sky to blend together nicely. Let us have a look at the colors that we are going to use for this painting. You can see that it's got a nice tint of orange here. It's got a pinkish touch or a violet touch here, a little bit of blue here, and a lighter orange here. Obviously, don't mind too much about the sea, which is not the focus of our painting. Then it's got some clouds on the top. Let us see how we can create those orange shades. For creating the orange shade, we are going to be using Naples yellow. That is Naples yellow. You can also mix it up with a little bit of orange so that we get that nice sky shade. But let me explain. This is not Naples yellow, this is Naples yellow reddish. If you don't have Naples yellow reddish, you could go ahead and mix your orange with white, and you would get exactly the same color and it would also be opaque. Make sure that you're using opaque white color. Here is my orange and if you were to mix it up with white, you would get almost exactly the same as the Naples yellow reddish. You can go ahead and use that. Then the next color for the pinkish touch we are going to be using alizarin crimson or quinacridone rose. This is quin rose, but we don't want it to be as too rose like this because we want it to be opaque and this is a transparent color. In order to make it opaque, we are going to mix it with a little bit of shell pink. Shell pink is another opaque watercolor. Mixing it up with shell pink would make it as lighter like this. But again, the simple solution for you to get that color would be to mix your transparent pink with a little bit of white. You would get almost the same color as mixed with the shell pink. Then we need violet the next color. For violet, we have two options. We can go for lavender, which is our pretty straight first pigment, and it is opaque as well. Most of you may have lavender. In case you don't have lavender, you can mix it up easily by mixing your violet with white paint and you would get the lavender shade. Mix it up and you get the lavender shade. That's violet and white together. This is the violet that I'm talking about. Now, to get shape for the clouds. What we're going to do is we're going to mix this mixture of the pink and the shell pink with the violet. That would be this mixture, but I have mixed this mixture of the shell pink with the violet so that we get a nice shade that we can use in the sky. Then the next thing, of course, is we have a little tint of blue there. But again, the blues that we have might be transparent and we don't want to be using straightaway transparent colors. Here, I'm going to go for horizon blue which is a nice little tint of green in there but that's fine, but it's a nice blue color which is opaque. Obviously, you can easily make that by mixing up your blue with a little bit of white and you'll get that. But it's not exactly the same, but you can go with that which is the opaque version of that color that you can go for the sky like here. These are the colors that you can use today. I've suggested all the alternative colors that you can go and use for the colors that I have used today. Here is the picture. To break this down it is going to be quite easy because as you can see these strokes are blended into each other, which straightaway implies that it is going to be a wet-on-wet stroke. All of these base strokes are going to be wet-on-wet strokes. Then we have the clouds on the top which are going to be again wet-on-wet on the top but in a very soft manner. This is how you can break down this image. Then obviously, the sea is in the foreground. Once the whole background has dried, you can apply with the wet-on-dry method on the top for the sea area. This is how we can break down this image. I hope you understand and like it. Let's get to painting. 13. Day 4: Let us start painting. We are going to apply water onto our paper first for the wet on wet technique. Let's wet the whole of our paper with water evenly. Since we need this guy to stay wet for a longer duration of time, make sure that you apply the water multiple times. While we let the water soak into a paper, let us mix our colorless. I'm going to be using Naples yellow-reddish. Here is my Naples yellow-reddish. I'm using a smaller flat brush to paint, there my Naples yellow-reddish, which I've mixed in my palette. Then the next color that we are going to use is a nice pink shade so here it is. You can either go for Alizarin crimson, quinacridone red, or whichever pink shade that you have. Again, Alizarin crimson is like a crimson, reddish shade, but it's got a nice pinkish touch to it. You can either add that. To my Alizarin crimson. We will be mixing it with, either the Naples yellow-reddish, or you can mix a little bit of shell pink. You get a nice opaque color with that. Then the next color that we are going to be mixing it with is violet. We also need a little bit of violet tone. Here is my violet paint. Whoops. Here is my violet paint. To the violet, we will be mixing it with a little bit of shell pink to make it opaque will also mix a little bit of crimson or pink. Do it so you can see as soon as you mix the violet with the shell pink, it does a little bit lighter and it turns into the opaque shade that I've been talking about. But we needed to be having the violet, pinkish shape. Here I'll mix it with the pink shade. There we get a nice pink shade pinkish violet, but it is opaque because we have used the opacity of the colors. Then the other color that we're going to use is Torquoise blue or Horizon Blue. Here is Horizon Blue. Don't worry if you don't have Horizon Blue mix your cobalt blue or bright blue with white. Like I explained, these are the colors that we will be using today. Let us start with our Naples yellow-reddish tone, and we'll start at the bottom. Here I'm adding my Naples yellow to the bottom and going over until around the middle. This column, like I said, you can either use orange and mix it up with your whitewash or white paint to get the stone so don't worry about that. Just add it to your paper. Then we also added from the right and make some slanted strokes. The words from one corner to what this corner, but slightly above that corner. There, you can see how the strokes are. You can mix a little bit of orange to it to get that nice orange tone as well. If you've already mixed it up by mixing it with orange, then just add more orange to it to get that tone. There then we just add more and create some stroke suite lines. We need to create more so we create another slanting stroke here. Mix it up nicely again and create nice slanting strokes. Now that you've mixed and added your orange strokes will go with our next stroke, which is going to be with the pink that you made, so that will be in the middle in between the two orange strokes that we applied. Just on the top and add the pink strokes and also you can add it just in the form of some lines. There and let's go and add it to the top as well. And here as well, just some lines. This is how we're going to add it to some lines. Now that you've added the lines, let's go with our next color, which we're going to add some bluish tones there. For that, I am going to be taking the Horizon Blue that we mixed. So here is the horizon blue. I'm going to add a slight bluish tone. We needed to be very light. We don't want the blue to be too dominant. We'll make sure that it's really light. You can see it's really light and if you got too much pigment, just drop it off on your tissue or fluid, whichever you're using. You can see there it's a very lighter tone that we have added. As you can see, it's forming hairs because it's got a lot of pink in it, but we can just mix it up by rubbing our brush along and clearing it up. You can see I've just cleared up that being pinkish shade, which had hairs. Now we need to add in the violet strokes. Here I have my violet and we're going to add it to the edge and blend it along in the sky. This is going to be like in some lines towards, from this edge here. We'll just add it in the form of lines. You can see it looks like lines. This is the reason why I'm using a flat, smaller flat brush, but you can also paint this with a nice, small, rounded brush as well. Towards the left is where we need these violet strokes while it's stroke that we mixed. There and then let's have that nice violet screw all the way towards the top and just blend along. Now we need a lighter tone of that violet tone. We're going to add some nice clouds. Smaller clouds in the sky. Just very lightly pick up the tone. We're just going to add or you can also add it with lavender. Here is lavender. You can mix up lavender and create those clouds strokes as well. There it's lighter. Lavender works perfectly on the top. Now we're going to add some strokes here with lavender. You can see it requires a lot of wet on wet technique, which is why we need our paper to stay wet. These are just some strokes and as you can see there is literally no water in my brush. Look at my palette when I'm mixing, it's almost dry. This is the trick to get your paint to blend in. Otherwise what you're going to do is you're just going to create blooms on your paper. In order to afford those blooms you need to be working with a dry brush on the wet paper. Here I'm just going to create some cloudy shapes just like in the picture. Here, maybe I'll add a little bit of the violet there and in here as well. Then let's go back to adding violet. Each time I wash my brush, I make sure that I dry my brush and then pick up the color. Here I've dried my brush and then I'm picking up the lavender stroke. We'll add more lavender strokes. We can see the clouds look like lavender strokes and we'll also add some to the sky region there and we can just mix it up. We've added the clouds nicely onto the sky. Now you can add as much as you want or you can stop working right there. Sometimes we tend to overwork the picture, but we don't have to body much so long as you get the clouds to look as fluffy as possible, or the sky to look as smooth as possible. The trick to that is to obviously make sure that your pigments blend together and not to create any blooms on your paper. You can clearly see how the sky looks now. It doesn't have too much and dully as in the picture as I always say it's totally up to you how you want to create those strokes. I'm just going to add some violet strokes here. Now we wait for this whole thing to dry so that we can just add something at the bottom, that is the sea at the bottom, which is not the focus of this painting of course. My painting is now completely dry, so I'm going to add in the sea at the bottom. First I am going to add it with the Naples yellow and the orange mixture. Let's take Naples yellow and here is the orange. That's Naples yellow and orange, because we need to have the colors of the sky in the water as well, which is going to reflect those colors. There, starting with the Naples yellow and I'm just going to draw a straight line. We take up the orange nicely. Let's fill it up. Now that we've filled it up, it's completely orange and it's looking weird, isn't it? But don't worry, we'll add in the violet shade that we mixed. Here is the violet shade. Let's mix it up nicely. Spit of lavender as well and that is what we'll add on the top. When you add it on the top like that, you'll see that it's got a tinge of orange as well. Just go ahead and start filling it up with that color. Just leaves the tinge of orange here and there. Which is exactly what we want, just some tinge of orange and maybe a little bit more violet towards the bottom to create some depth for the ocean. There, I've added the violet tinge. Now let's just finally finish off with adding some lines on the ocean to give it some lines of the ocean. This is not at all important. You can actually stop at this step, by the way. There, I'm just using my smaller brush and adding those lines, which is completely optional of course. I think that's good enough and painting is complete. Now, let's wait for everything to dry so that we can remove the tape. Our sky has now completely dried. Let us remove the tape. Here is the final painting. I hope you like it. 14. Day 5 - Colours & Image: Welcome to day five. This is the reference image that we are going to be using today. Let us first look at the colors in this picture. If you look here, you see some yellows, some oranges and then we have a sky with a little bit of pinkish-orange and then some brown tones and then we have some darker brown clouds here and in the foreground, we have the darkest elements. Let us first see the colors that we're going to use for this. Because it's got a lot of blending and lots of clouds in this picture, we are going to be using the opacity technique. First of all, for all of these yellow areas, we are going to be using Naples yellow. You can see it's a nice yellow. You can go for any yellow that you have, just remember make sure that it is opaque and if it's not opaque, you can go ahead and start to mix your white with your existing yellow and in order to make it look like yellow, because as soon as you mix it with white, it's going to get lighter. Mix a slight amount of orange to that mixture so that you get a perfect yellow. That's Naples yellow then for these orange shades, I'm going to be using Naples yellow red. That's again, it's like a lighter version of orange. We've already seen that Naples yellow red in the last days painting. Naples yellow red, you can mix your orange with white and you get the Naples yellow red. Then we'll also mix the Naples yellow red with orange to get a darker version of that. If you were mixing up your orange with white and just mix more orange into that mixture to get this Naples yellow red with orange color. Then we also will be needing a little bit of red mixed with orange. That's the red and let's mix it up with Naples yellow red so that means you'll be mixing it up with your orange plus white if you don't have Naples yellow red obviously. That's the red tone that we are going to be using. Then obviously, we have finished with all of these, reddish orange and yellowish tones. Now, let's see how we can get this brownish tone. At the top of this painting, all of these is almost like a lighter Naples yellow red color. But on these brown areas, we need it to be brown. But can you see it's got pinkish hue or maybe it's got like an orange hue in that brown because it's not a perfect brown. What we're going to do is, we're going to use a brown. This is the brown that I have. It's transparent brown. What I am going to do is, I'm going to mix that transparent brown with a little bit of pink. Transparent brown mixed with a little bit of pink and I get like a pinkish brown shade. That's what we're going to be painting in the sky and then once you mix it with more of the brown, you'll get a darker and darker. In order to make it more dark, you can mix a little bit of Payne's gray to that mixture. This is the brown that I used and then I mixed it with pink shade. I'll show you the pink shade. Then I mixed it with more brown and then I mixed it with Payne's gray and I've got this darker color. Pink shade that I have used is Queen Rose and you can see it's a nice beautiful pink shade. That is the color that we have used. As you can see, it's turned out to be a nice mixture of all these colors that we want for the Sky. It's just these colors that we're going to blend and mix in an even manner on the paper such that we get the blend to be correctly. Now, let us see how we can break down this image. Again, this is very simple when you look at it because it's got the sky then it's got some clouds in the front and then even in front of that, we've got the foreground, which is these lands and bushes at the bottom part of the pictures. For the sky, we obviously need to have it blended perfectly. We're going to be using the wet on wet technique. Then on the sky again, these clouds are again going to be either wet on wet or wet on dry. You can go with both the methods because as you can see, these clouds have got somewhat sharper edges. So it's absolutely fine if you go with the wet on dry method as well. Then once that is completely dry, you just add the foreground on the top with the wet on dry method. When you look at this picture, you can see that it's quite easy to break it out into smaller steps. Let's get to painting. 15. Day 5: Let us get to painting. We are going to work with a wet on wet technique so let's apply water to the whole of our paper. I'm just using my flat brush again to apply the water to the whole of my paper. Make sure that you apply the water evenly without forming any large blobs or pools. Also it is better to create an angle so that all the water would flow down without then accumulating at any place and creating any blob. I'm just going to keep my tape underneath the paper so that my water would flow down. I'm going to let my paper absorb the water a little. In the meanwhile, we can mix the paints that we need. We're going to be needing Naples yellow deep, Naples yellow reddish. If you have Naples yellow, mix it with red, like I said. That's a nice amount of Naples yellow reddish. Then we'll also need Naples yellow light, or the Naples yellow yellow without the red tone in it. That is the Naples yellow light. We need that. Then we also need to mix our Naples yellow with a little bit of orange and brown for the sky. Let's get to that. That is the Naples yellow. There I've got the Naples yellow ready to mix. On one side I'll mix it with orange, and on the other side l'll mix it with the brown to make the color that we need. I think our paper has soaked up the water that we applied. This process is because my paper stays wet for a very long duration of time. But if your paper is not 100 percent cotton paper and you wait this long, then your paper might be completely dry. You have to work according to the paper that you have in your hand. Here's my flat brush. I have drained almost all the water, but I'm just going to run it along, to strengthen the water on my paper. I'm not adding any more extra water. It's not dry. But just rubbing along so that I cover every inch of it with the water. But very lightly, because now we don't want running water on our paper. That's good enough. Now let's get to painting. I'm going to switch to my smaller flat brush. This is what we will be using. Let us start. Like I said, we'll start with beautiful Naples yellow for the sky region. We're going to apply to the left. Then we leave a large gap. Then we'll apply it to the right as well. That large gap is where it's going to be the sunlight. I'm going to remove the tape now because I don't need an angle. Because if I keep the angle, everything is going to flow down and I don't want it to be flowing down too much. There is the Naples yellow. I'm just going to add it, the hole at the bottom because it doesn't matter. We'll have darker colors on the top of it later on, but now let's just focus on getting those colors onto our paper. There have the Naples yellow. That's the Naples yellow added. Now we need to add the orange on the top. For adding on the orange, you can either mix it with the Naples yellow red. Here I have Naples yellow red. You don't need to do this process because if you're using Naples yellow, the color there is already opaque and you're going to be painting on top of it, so it's absolutely fine. Here just adding that nice orange spots. Adding to the top and on this side as well. Applying it in a straight line. Do the same on other side. Just a little bit on that side. Now I'll switch back to using the Naples yellow red. Going to use to Naples yellow red and add it. I'm going to leave a large gap of white there again, and then apply the Naples yellow. For adding the Naples yellow, we are going to add it to the whole top region. Let's just go ahead and start adding our Naples yellow on the top on the whole of our paper, where we could use a larger brush to cover the large surface area. This brush is too small. But that's all right. I'm just going to keep and use this single brush. Try to use a single brush for the whole painting. Let's see. There I've managed to add the Naples yellow. What we'll do now is let's just add some more lines on the top here. Towards the top again to get that color to appear nicely because now it's very light, as you can see, it's too light. Let's make it more. Now I've applied the Naples yellow. Now we need to go and start adding the colors. We'll start by adding a little bit of cadmium red. A bit of cadmium red and I'm mixing it with the Naples yellow red. You can mix it with cadmium yellow or whichever opaque red that you're using. But make sure that you mix it up nicely. Here is Naples and mixing it up. Then very lightly, we are going to add some reddish strokes. It's going to be very light, so we'll make sure that you make it lighter. That's it. This, we will cover it up later, but for now, let's just add those reddish strokes into the sky region. It's just a matter of using all those colors which you deem fit. It doesn't have to be exactly what I'm using. All we need to learn is the process of how you break down that image, which is very important. Here, Naples yellow, red again. Now to that we'll mix the brown so that we can paint in the sky. That's the brown and there we've mixed it up and now we start applying that. I don't need extra water on my brush, so I'm going to absorb all that water while I'm adding those strokes. You can see just some few strokes and on the top here as well, and on the right side. Now, I'll go and start adding those brown and Naples yellow strokes to my sky region. Now we need to blend that into our sky. You can see how I'm doing that. It's just a swift left and right motion with your hand to get that nice step and then leave as much gaps as you can to get that nice stroke in there ready. We already have the Naples yellow underneath. So when you're adding the brown on the top, it would just appear nicely and beautiful on the top. But make sure that you mix it up a little bit with the Naples yellow so that you get that nice color and you get that opacity to work. Here again. Now I'm applying on the top. Now we've got the brown. Now I'm going to make it more brown at the top regions. We need to pick up more brown and start adding at the top. Through with the brown, what we can do is let us add a little bit of pink so that it gets a little pinkish touch. There's the pink and I've added it to my brown. You can see the color that we have made. It's like a pinkish brown color, which is what we're going to use again on the top of the already existing brown color. All of this is just going to be like a mixture of all these variety of tones in the sky. There, and now just getting a little brown and adding to the top. Let's wash off all the paint in the brush and try to blend it out to make a smooth mixture now. There, just going to blend that region into a smooth blend. Now let me get that pink brown again, and I'm just going to add in these other places. I'm going to add on the top right here again, just few lines. We don't want to be copying the exact picture, which is why we're going with our instincts as to how to paint this whole thing. Whenever you see that you're getting any harsh line, just use your brush to blend along like I'm just doing now, you can see. I felt that it was not blended, so I just use my brush to blend that region. You can do the same with any of the regions that you're seeing and it looks not blended. I needed a lighter tone there, so now we've got the lighter tone there. Let's get to adding the brown here. Added a nice little brown. Now we need some more brown and we need to get it towards the base. Now we're done with most of the parts of the top region of the sky. Let's get to adding these regions here on the right. Adding a little bit of pink again to that brown mixture. Because this region of the paper has started to dry, I have to make sure that my brush is completely dry and it's just a damp brush. I've absorbed all that extra water. As you can see here what is happening, my paper is dry but I'm still painting in that region, mainly because we have some darker clouds there that is going to mask this color setup that we've just done. Let us go ahead and start painting those clouds now and it's fine even if your paint is dry. But what we can do is we can have a little spray, use that, and just spray some water there so that it doesn't spoil our painting. Let us pick up some of that pink. If you've spread unevenly and it created blooms, what you can do is you can just run your brush along and get rid of any of those areas where the paints has spread out. I think that is much better. I've cleared out any water spray areas that had formed. Let's go back to taking that nice pink shade and adding it to our brown. This is like a permanent brown color when you're mixing a brown with either pink or red. Then I'm also mixing it with a little bit of Payne's gray or black so that I get a darker shade. I think that's really good now. It's like mixing your sepia with a pink or red shade. That's why we mixed it with the Payne's gray. This is what we're going to use in making the clouds. Try and create these random shapes. Then just go around to create the beautiful shapes. I'm just using my brush itself. Let's cover up the whole of the base because that's entirely covered in the clouds. That region is covered all the way up to here, up to there. We have some more colors at the bottom. We'll add that afterwards. For now, let's just go ahead and start filling up the cloudy region. We want the edges of it to be a little bit softer which is why I sprayed the water. But trust me, it doesn't have to be soft. You can make it as hard edges also. If you're afraid to spray the water, go ahead and not spray it, you can just go ahead and directly add the clouds without spraying the water because you just don't need the softer edge. That's absolutely not necessary. It's just optional. There just added to the whole, I've added the dark clouds. This is now the base painting. What do we have to do now is wait for the whole thing to dry so that we can add in the things in the front. The painting is now dry. I thought I'll paint the whole painting with just the flat brush but the inside, I'm going to be needing this smaller size brush after all. We are going to create the front, the foreground details and make those smaller strokes in the form of some foliage in the front, just make some dotted edges and some plants, or just some bushes and things. Then moving into the whole of the inside. I'm using Payne's gray here because that's what I mostly used for my black paint. You can go ahead and use the black paint that you have. My Payne's gray have darkest value or darkest tone looks like black. That's why I mostly use that. Looks good. Adding in this side as well. Here, in this side as well. So this is why I said on the left side don't bother too much because we're just going to be having a lot of plants there. Let me just fill that whole thing. Filling up that whole thing inside. We've got the black. Now let's just finish off with some nice plants as in the picture. But like I said, you don't have to do that. This is not at all important in this painting. What's important was to get this sky correct. I know it's really tough to get it to look exactly like what I've done here. But just try to, first of all, what do you need to try and achieve is to get those strokes to blend together without creating any blooms. That's what's most important. Adding these dotted lines because where the sun is, we need to have it glowing and bright, that's why. We'll get to using that darker brown color that we created. It's almost like sepia with the tint of pink in it and that's what we'll add. Using the tip and adding. This brush is still too large. I probably need to get a smaller brush than that to get those thinner [inaudible] the lines. I'm going to go with a size one brush. Let's add, picking up the color. Let's just add. Make sure that you add your strokes towards the outside. That's ready. Just like in the picture. Like I said, this is absolutely optional and you don't have to be in this part or you can just totally skip this and add another structure or something of your own in the foreground. This is just me trying to show you how I would've painted this picture. Make sure that you remember that and maybe try to add elements of your own if you wish. Lastly, I'll finish off with this side. I'm done with that. Maybe if you want you can add some different plant to the right side. I'm just going to add another palm tree. The look of a palm tree there. I think that's it. I know that's not clearly visible because that's already in the dark area. Look at this, we're almost done. I hope you like it. We'll remove the tape after the painting is completely dry. Here it is completely dry now, let us remove the tape. There you go. I hope you like it. You can see how we have tried to get that blend of the sky correctly. It doesn't need to match exactly as in the picture, but try to make it as close as you can or try to get those blends correctly, that is what is the most important. There you go. 16. Day 6 - Colours & Image: On to day six, here is the reference image that we're going to use today. It looks beautiful, isn't it? So let us have a look at the colors. We can see a lot of blues, some oranges, and something in the sky, and then the foreground which obviously looks like a black color. Let us see what are the colors that we are going to be using. For the sky here, we are going to be using blue. So I'm going to be taking up a bright blue. This is bright blue, it is also known as Taylor blue. This is from White Nights. This bright blue, I want it to be having an opacity technique again so to the bright blue, I am going to be mixing up my horizon blue. Just going to make it slightly lighter. There it is. Now you can see there are some darker strokes as well as these darker clouds. So to that, I'll mix a darker color such as indigo and I'll get the darker version. So it will still be opaque because it's got the horizon blue mixture. Don't worry. Just mix your white with the blue that you're going to use and then mix it up with indigo, that's how we can use it. This is the indigo that I have used. Let me show you the horizon blue as well. So this is the horizon blue, but like I said, don't worry, just mix up your blue with white paint and you'll get it lighter and have the opaque technique then mix it up with indigo to get that darker stroke. Then the next thing is we need to have that orange-pink shade. So for that, I'll be first using the Naples yellow and I'm going to be mixing it up with the Queen Rose. So mixing up Naples yellow and Queen Rose together will give us a nice orange-pink shade that is required for the sky. We also need to have the pink shade at the bottom. So to that pink shade, I will add a little bit of shell pink to get it opaque, so just make sure that you mix it with white, that's it. There, that's the opaque shade that I will be using for that. Obviously those are just the colors in the sky as you can see. Then in the foreground, we have the dark black color. But I won't be using black here, but instead I'm going to be using a darker version of the blues that we have used. So that would mean I'm going to be using indigo, and I'm going to be mixing indigo with a little bit of paint gray so that we get it like almost black. You can see this is almost like black, and that's the color I'm going to be using. Let us see how we can break down this picture. It is very easy as you can see. It's almost like the painting that we did yesterday. It's got the sky and it's got the foreground. So the sky is obviously going to be in the wet on wet technique, and we've got a lot of plans to make. Then we have these smaller clouds, which we're going to be painting with a smaller size brush because as you can see, they are so tiny. So if we use a larger size brush, it's going to spread out a lot, so we need a smaller size brush. In any painting, what we need to find out is which is the background and which is foreground. So this whole thing, the sky is the background and this thing in the front is a foreground. So the background obviously we're going to do with the wet on wet technique and then the foreground will be with the wet on dry technique. That is as simple as that for breaking down this picture. Let's get to painting. 17. Day 6: Let us start painting. First, we will start with applying the water on to our paper. Let me just keep this underneath so that I have an angle for the water to flow down. I'll take my water and apply it evenly on the paper. Make sure that you apply the water evenly. Even if you're using a smaller size brush, keeping an angle would help because then your paper is not going to have any accumulated pools of water. While the water gets soaked into the paper, let us mix the paints. For that, we're going to need the blue. For that, I am going to mix bright blue and opaque blue such as horizon blue. You can just mix your bright blue with white and you'd get the light blue that we need. That's bright blue. Then, I'm going to mix it with Horizon Blue. I'm just mixing it up with a lighter version of the blue itself. But you can always go ahead and mix it with white and you'd get the same beautiful blue that we need. That's the blue. That's the blue that we need. We don't need the darker version of it but we will mix that later on. Then the next color that we need is obviously to get that pinkish-orange shade. For that, I am going to be mixing my Naples yellow. Here is my Naples yellow. Let's mix it up nicely. Add this Naples yellow. Now to the Naples yellow, let's mix up the pink shade so that we get the beautiful shade that we're looking for. If we add more Naples yellow reddish. This is Naples yellow reddish, don't forget that. In order to get this color, you can mix your pink, orange, and white together and we get this beautiful shade. Then we also need to get that pink shade so that'll be this, the pink shade in this corner. I'll mix it with the shell pink. All you need is to just mix it up with white. These are the colors that we need, we have mixed and got them ready. Now my paper has absorbed all that extra water. Now I'm just going to [inaudible] it up with a little bit of water again. This time my paper will stay wet for a longer duration of time. That's what I'm going to do. Here, is my flat brush. This time I'm using a smaller flat brush because it won't hold as much water as the larger flat brush. This holds a lot of water and this holds lesser water. Now we don't need too much water on the paper but it will stay wet for a longer duration of time because we already have the first layer of water that we applied and now this. Let's have our brush movement to have the even amount of water on the paper. We've got that covered. Now I don't need the angle because, if we have the angle when I'm painting the sky then the whole thing is going to flow down which I do not want. I'll go back to using my smaller flat brush and we'll start with the sky region. Here I have my flat brush and I'm taking the blue paint. We're going to start at the top. There, we start at the top. We're just going to paint. I left a little bit white there because I'm going to add the orange color. There as well. Wherever I feel that I need to add the colors, I am leaving a gap. Let us keep adding. Fill any other gaps that has formed like these corners here, you can see. Then again here at the bottom that we need to add the color. Now that we've added the blue tone, let's go ahead and add the pinkish-orange tone. Here is the pinkish-orange but I think, I'm going to have to add a little bit more orange to it. That is the Naples yellow red, to make it a little bit more orange-ish. I'm going to have to absorb all the extra water because we don't want to introduce any extra water. That looks much better. That is what we're going to add. We have to be very careful because there is a likelihood that this is going to create a muddy color but that's all right. We just have to apply our paint and make sure that there is no too much extra water. Absorb that extra water when you're trying to add those strokes. Now let's get back to painting these regions. You can see that at the bottom, there is that slight tint of gray shade as well. It's absolu