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 absolutely fine if it turns to a little bit of gray in that region. Now let's cover up the whole of the bottom with that. Then we'll go with a nice bright pink shade as well at the bottom. You can add just some extra pink here and there. This is just me adding some extra tint of pink at certain places to make this look beautiful. You don't have to do it but I think that it adds some extra beauty to the painting. There, we've added that. I'm going to go back to taking my blue and filling up the areas that has turned lighter like these areas here. I can see that it's turned light. Now that we've added the blue, I can see the paint flowing down here. Let me just remove the flow. Now we need to get to add the darker version on the top. For that, we can get our darker blue or you can use just indigo and mix into the same. Here, let me dig up a nice amount of indigo and mix it. We still need it to have the opaque version. So I'm mixing up indigo with a horizon blue and the bright blue mixture that we have here. Let's actually switch to a different size brush, a smaller size brush because we want the clouds to be tiny. I've switched to my size one brush. We'll pick up the paint. Let's start with the tiniest areas here. Some clouds there. Then we have some here. You can see how they are forming because we're using a smaller size brush. We get the smaller, smaller clouds in the sky. Obviously, my orange strokes are not exactly the same as in the picture. But that's absolutely fine. Let me remove all the extra water before I try to add in the clouds. Extra clouds there, then let's go with some lines. There now we've added those lines and added in the clouds as well. Now if you want, we can go ahead and start our nice blend at the top, because at the top you can see that it is somewhat darker, so we need to get that blend in. I'm using the same mixture, I've added a little more blue to it, and add that to the mixture and blend in at the top. When you blend in, you can see now this side, we've got that little darkness, and we're going to do the same to the other areas, so all of this before the paper starts to dry. There just take your brush, and blend along, sea, so dark at the top and then just blending it into the lighter blue region. Now it's darker there at the top and lighter at the bottom. Now, what do we need to do is make sure that it doesn't have any hairs so what I'm going to do is I'm going to dry my brush completely and just go around those smaller clouds to try and remove any hairs that has formed. If you want, you can also use it to add some extra clouds. Now we've added the clouds, let's go ahead and add few strokes on the pinkish region as well so we just blend nicely and create some small cloudy shapes because it's not entirely pink in that region, you can just try to get some nice strokes, that's it. Let me dry my brush and try to blend in all of those strokes so that they don't look dominant. Now that we're done, we can wait for this whole thing to try to add in the foreground. The whole thing is now, completely dry. Let us go ahead and add in the foreground. For adding in the foreground, I'm going to use a darker version of indigo and Payne's gray mixed together. I know it looks like black but we are not going to use black because there is always distinct that whenever you're painting something in sunset scene, rather than using black, if you use the colors that are just similar to the colors that you've used in the sky, it looks more attractive in the painting, so that is the reason. Here I'm mixing indigo and Payne's gray together, so that's indigo and Payne's gray together. Let's just go ahead and start adding all the foliage details. You can see it looks almost black itself, but then it has that tint of indigo when you look at it closely, so that's what we want. Just some plant shapes randomly. Let's spread it up and get a nice tree shapes. It's almost looking like black, will just fill up and try adding some small shapes. Then at the end, this side here let's have the edge of the palm tree. There I added a tree there, so maybe I'll add part of another palm tree here, I think that's good enough, we can leave it at that, and that is all for the painting. You can see we've added in the background sky, the foreground everything looks amazing. Now let's wait for this thing to completely dry so that we can move the tape. It's completely dry now, let us remove the tape. Here is the final painting. I hope you like it. 18. Day 7 - Colours & Image: [MUSIC] Welcome to Day 7. This here is the reference picture that we are going to use today. Let us have a look at the colors that we need to use. We can see some orange, pink, and violet is here in the background, in the sky. Then the foreground is definitely just a black dark color. Here in this image you can see that it is a transition from orange to pink and then to the darkest violet, and then it's got some darker clouds on the top. In this image, you can actually go for transparent watercolors or in fact, any pigments because it does not have any contrasting colors, such as a blue and a yellow together, or a blue and a green or a yellow and a pink together. As long as there are no contrasting colors, which creates muddy mixtures or creates darker grays, you can go ahead and use any pigments that you have. Which means that for this, you can go and use any of the base colors that you have with you. Let us see the colors, how we can make them or directly use them. We've got orange here at first, and we can go ahead and use our normal orange shade directly. Then we've got a nice pink shade. We can use a pink shade as well. Then we have a violet shade. That would be a nice violet shade. Blending these colors would give us the beautiful sky as it is. Now, we need to get this color of the clouds. It's not really black as you can see. It's not a Payne's gray color either, so it's got that touch of violet and the pink from that sky being reflected onto that clouds. We need to create a color such that it is a blend or mix of these colors. What we're going to do is we're going to mix a violet and the pink together. There's the pink. There's the violet together. Once you mix the violet and the pink together. Let me show you. That's the pink and that's the violent. It's going to create a more purple shade. It's going to create a purple shade, but we want it to be darker. In order to make it darker, what we'll do is we'll mix it up with a little bit of Payne's gray that would make it purple or violet mixed with rose. Then little bit of Payne's gray. When you add that, you get a darker shade. This is definitely darker, but it's got that touch of violet and the pink shade in it, which gives the perfect color for the sky. Obviously, for the foreground, you can either go and use a black or even Payne's gray, or even you can use the same mixture in its darkest value. You can add more Payne's gray to that mixture. Add that, so it'll be the best for the foreground because it's dark. About breaking down this image, I hope it is pretty much clear, isn't it? When you look at it, it's got the sky as the background and it got the foreground. The background is obviously going to be with the wet-on-wet technique and we'll add in the clouds on the top with the wet-on-wet itself. Once it's completely dry, we add in the foreground, which is going to be in the wet on dry method. This is quite easy to understand. Let's get to painting this. [MUSIC] 19. Day 7: Let us start painting. We're going to start with applying water onto the paper. I'm going to use my flat brush to apply a nice even coat of water onto the paper. I'm using my flat brush. This is the smallest size flat brush. If you want to go ahead and use a larger size brush, or whichever brush you have for that matter, to apply water onto your paper. [MUSIC] Here I have applied a nice coat of water onto my paper. Then, I'm going to switch to my size 8 round brush to start painting. We're going to start with the lightest colors first. The lightest color here is at the bottom where we have the orange. Here I have my orange shade, and I'm going to use my orange shade to apply onto my paper. I'm going to start and apply. There I have applied my orange at the bottom. Then, towards the top we want it to be a bit lighter, that is, this area as it goes towards the top, we want it to be lighter. That's why I'm taking it light. Then we have some dense oranges here in this region. Let's add that. We can go with that dense orange there. We can add to the bottom as well. The main reason being it'll be covered by the foreground, so it's absolutely fine. Use your tissue to absorb any extra water on your brush if it's too much that's disturbing and adding extra water onto the paper, so you can just absorb it off with the tissue. Now we've added the orange. Let's go with the next shade, which is the pink shade. Here is a nice pink shade. I'm going to leave a slight gap when applying my pink shade. There, leaving that slight gap and adding the pink shade. But here, we need to have it joined towards the orange, and you can see it forms into a nice reddish tone. But towards the top, we only want it to be the pinkish shade. Here like I said, we are not using the transparent colors. It's not necessary mainly because there is no color that is too contradicting and any colors that will create a gray for that matter. This is the reason why we are free to use any color that we have. That is something that we need to look at the picture and always understand if there are colors that has too much of a contrast such that it is going to create a multi-color in the picture. If it's not, then we are safe to use the transparent colors itself. Here, I have to blend those together nicely. We'll add a little bit of violet there as well. But first, let's go ahead and start painting in the top region with violet, as in the picture. We'll start adding the violet tone. As you can see, it's very dark at the top. We'll start adding that. There I am blending it into the pink region. Every time you pick up a fresh violet, make sure that you apply it to the top because we don't want the darker colors to be at the bottom. Then once you apply the darker color to the top, then just swiftly go with your brush and add those brush movements to transfer those little violet strokes towards the bottom. Whereas, if you pick up the fresh paint and you add it to this area, it's going to be darker. This is the reason after each time I pick up the violet paint, I go over the top so the dark is at the top. Then I'm just transferring the lightest tones on my brush at the bottom. That's what we need to do. There we can see, you just got the violet shades and we're transferring them. We got those nice violet shades and we're blending them nicely into the sky. Add more dark violet tone towards this corner because it needs to be darker. [MUSIC] Picking up darker tone of violet and adding to that side. I'm just using, as you can see, swift brush movements like that. Now once we have added that violet, let's go ahead and start adding the smaller clouds and everything. I'm switching to my size 4 brush. Now we'll go ahead and start with our pink. We need to add more pink shades here in the sky. As you can see, there is more pink. Trust me, all of these sky paintings, they're going to take a lot of time and practice to get them right. Just add some nice pink strokes. As you can see, each time when I'm picking up my brush, I'm not adding any extra water, but rather just taking up the paint so that I am free to add those strokes. We're adding some nice pink strokes. Keep adding those beautiful pink strokes right below the violet. You can see it creating a nice blend in the sky. [MUSIC] To create some more, and I'm just adding some lines and nice strokes. [NOISE] Added the pink. Now let's go back to adding some nice orange strokes. We don't want extra water, so make sure that you absorb all that extra water and then I'm just going to go over and add the orange stroke on the top then adding orange strokes. Now that we've added all the orange strokes, now we need to go ahead and add those darker clouds. For adding those darker clouds let us mix the color that we mixed, so that is going to be a bit of violet. Then we're going to mix it with a little bit of pink to get it a slightly pinkish shade. There's the pink. I'm mixing it with violet and you'll get such a nice purple shade, but we need it to be darker. In order to make it darker, we're going to mix it with paints gray. Here is paint gray. I'm going to mix it up with that. [MUSIC] Now. I've mixed up a nice color that we need for the cloud. Before you apply it onto your paper. If your brush has a lot of water, then it's going to ruin the painting. Make sure that you absorb that water from your brush. There you can see I've absorbed all that water. Now, I'm going to make those cloudy shapes and make sure you use a smaller size brush. [MUSIC] Just go ahead and create nice shapes in the sky. [MUSIC] Nice shapes, smaller, smaller shapes. [MUSIC] In all the places. [MUSIC] Small. [MUSIC] As you can see here, here's my sky has almost dried up, so I'm getting clouds that are not too soft. I'm going to try and make it soft. What I'm going to do is I'm going to pick up my flat brush, remove all the extra water, and then just trying to soften the edge there, so that I get softer clouds rather than harsh edges. But make sure that you don't have too much water on your brush. Because if there's too much water, then you're not going to be able to soften those strokes. [MUSIC]Going to add some here then where else. We have some darker strokes here in the sky. Let's add that. [MUSIC]Here, more darker strokes. [MUSIC] You can see that our darker strokes separating each of these places [MUSIC] lets go ahead and start adding more at the top region here. [MUSIC] We've got a nice clouds, the sky. [MUSIC] All of these clouds slanting to the right [MUSIC] and joining. [MUSIC] Make sure that you don't have any harsh edges, any there is, you can just soften them up with a brush that is damp. Just use a damp brush to soften the edges there so the background is now complete. Now what we can do is wait for this whole thing to dry so that we can just add in the foreground, which is going to be really simple. [MUSIC] Here my background is completely dry, so I'm going to go ahead and use paints gray to add in that foreground. I'm just mixing it up with the same mixture that we used for these darker clouds because it doesn't matter. Just go into add some mountain shapes. [MUSIC] Some weird shapes. Just add whatever shape you want and add in the foreground. [MUSIC] Keep filling it out. This is the simplest of the foregrounds. [MUSIC] I've added the foreground. Now, I'm just going to add in some trees, like in the picture. [MUSIC] The branch of the tree is not to be seen, but maybe we can add that. [MUSIC] Just added that tree there. We'll add something to this side as though like a bush. [MUSIC] Like in the picture. [MUSIC] I'm just going to add a few empty branch there as well, just so that it doesn't look too much weird. [MUSIC] Some here maybe I'll add like a four or something. This is me adding some extra stuff into the paintings. [MUSIC] It's not there in the foreground of the image, but I don't want it to be lying there empty. This is the reason [MUSIC] they're added like maybe an electric line or maybe it's part of a fence. Don't know, but just added something. [MUSIC] It's done. Once this is completely dry I'll remove the tape. [MUSIC] It does completely dry. Now, let us remove the tape. [MUSIC] Here is the final painting. I hope you like it. [MUSIC] 20. Day 8 - Colours & Image: [MUSIC] Welcome to day 8, so here is the picture that we are going to be using today. Let us see how we can break down the colors. We already have painted something similar using colors that are similar. If you remember correctly, we had painted this one where the colors are almost similar, so let's see how we can paint this one. The colors are going to be almost exactly similar to the other one, so it's going to be easy to make those colors, because you already learned how to make those colors, so let us see. At the top, we're going to make that nice dark blue shade, so for that, we are going to be mixing bright blue and horizon blue and the dark Prussian blue, or [inaudible] blue or indigo, and we'll get a darker shade somewhat like this. That's this darker shade here, so don't worry if you don't have this color, because what you can do is you can mix your blue with white and then with a darker shade of blue to get this color or with black even. The reason why we're going with the opaque technique here is because as you can see, it's got two contrasting colors and we needed to stay opaque, if you don't want your paint to spread out and create multicolors. Then obviously we have the other colors in the sky, so for here, we're going to go with a slightly different color than the other day. The other day we used Naples yellow red, but today we're going to use Naples yellow for the yellow here, and then we're going to mix it up with orange to get the orange sheet. Then what we're going to do is we're going to mix the Naples yellow with the pink, and we'll get a nice pink shade like this. The pink that I'm using is Queen Rose, and basically that is the colors in the sky. So for the cloud, we will use the exact same color that we used for the top part of the sky. If you want, you can mix up a little bit of Payne's gray to it, and then we have the building and the foliage in the foreground. For the building will be using indigo, and then in the foreground, the plants will be using Payne's green. To break down this image, again you can see it's quite simple, the sky is the background and the buildings, and this foliage is the foreground. The background sky will be painting it with the red [inaudible] technique, and the foreground will be painting it with the red on right technique, obviously. But it can be painted in two layers because if you look closely, the building is one color and the foliage is in the front of that again with another color, so that's why we're going to paint the buildings with indigo and the foliage with a darker tone. So let's get to painting this. [MUSIC] 21. Day 8: Let us start painting. Let us first start with applying the water onto the paper. Here I'm using my flat brush to apply an even coat of water onto the paper. Make sure that you apply the water evenly because that's really important when painting the skies. Let us start painting. We will start with the blue color. We are going to mix the blue again. That's bright blue or pale blue and then we'll mix it up with an opaque color to get the opacity. I'm using horizon blue, you can mix it up with white. Now we need to make this darker, so will be going to mix it up with it. Mix it up nicely. Once you have mixed that up, you'll get the darkest color and that color will start applying. We'll start applying from the top, and we'll basically apply in the areas where we want this color to be. Some lines there then some strokes here towards the right side. Now we have to make sure that we strengthen those strokes. Let's add more on the top, and right here we're going to add in an even manner. We've added the blue strokes, now let's get to adding the other strokes. We'll start with the lightest tone now. We have yellow, so we'll go with a nice Naples yellow shade. Here is my Naples yellow and we'll start adding the Naples yellow. Adding the Naples yellow to the sky on the bottom right side. Now once that is added, we'll mix it up with a little bit of pink to make that gorgeous orange pinkish color there and we'll add that. Let's add that and that's what we'll add at the bottom. That's going to be Naples yellow and pink together and we'll add that. That's what we are going to be adding at the base of the blue and at the top. We need to be working quickly in order for us to get the blends correctly. There and here on the left side as well, taking more pink shade, adding it at the bottom. Let's take some orange as well and start adding at the top of the Naples yellow so that we get some orange sheets. Because we're adding it on top of the Naples yellow, it's going to be fine, it's not going to be transparent, even though the orangish that I'm using is transparent orange. More of the pinkish shade, absorb all the extra water if there is any on your brush because it's absolutely essential that you don't introduce extra water. We have some pinkish used at the top, and some areas there at the top, although it can be orange as well. Let's go with some orange shades here and some orange lines. Now that we have added all those strokes, let us go ahead and add in the clouds before the paper dries. Let me tell you one thing, remember this. If your paper has completely dried and you're not getting those softer clouds, then what you can do is wait for your paper to completely dry and then re-apply the water to get in the clouds. That is one method that you can use to get the clouds on that wet technique. What you have to do is wait for the holding to dry, and then reapply the clouds. Let us see. Here is the dark tone that we mixed. Start at the base, and start adding in those fluffy clouds. Just using my smaller size brush to get in those beautiful clouds in the sky. Some clouds here on the left side as well. Here it's absolutely fine in whatever method you paint because it's going to have the buildings in the front so it's fine. Let's go ahead and add some darker colors on the top, that'll give it a nice depth. Then before this region dries, I need to get the other clouds there. Just adding. I've added some nice clouds there. Now what I'm going to do is I'm going to add some orange clouds as well. Let's go ahead and take our Naples yellow and mix it up with the pink shade. We're just going to basically add it towards the top region here. That is going to form the clouds as well. You can see some nice orange shades to the sky. Let's blend it up. Let's mix it up. I'm going to add some clouds of my own as well just to create some beautiful effects. We've added those clouds, but I need to soften these because they look like having hard edges. Let me just soften them. For softening them, we wash our brush, make sure that we dry our brush completely, and then just run along so that it gets softened. Let's go with this darker tone again on the top and try and get those beautiful clouds. Before it dries, I need to soften them. Now, we've got the nice, beautiful clouds in the sky. This may not be exactly like in the picture but like I said, our aim is to get as close as possible and to get all these things into our painting without forming any looms. Now that we're done with this, let's wait for the whole thing to dry so that we can add in the foreground. Our painting is now completely dry. Let us add in the buildings in the front. For that, I am going to add it with indigo. Let me take up indigo nicely. There is Indigo and let's just add in the buildings. We're going to add it randomly with our brush itself, we don't need to create any pencil sketch for that. Let's just go directly with our brush, so that and then another building there. That's it. Then let's paint inside. Painted the inside of the building. Let me just add that ladder-like structure. We added that as well. There are some dotted lines here on the left you can see towards the inside. That's it with the buildings. Maybe there's a bold here. Now, we have to wait for this thing to dry to add in the next foreground, which is in front of the buildings, which is all these foliage in the front. It's dried so let's go ahead and paint that thing in the front and for that, I am going to use Payne's gray, which is almost as dark as black. You can go ahead and use black at this point here. That's dark and just creating some foliage shapes here. Later on, we'll add details for any plants sticking out. Let me create the base. Some plants or bushes, or trees whatever that is. Here as well. It's like a palm tree there and some other tree here as well. This is the reason why we first used indigo because the Payne's gray or the black that we're painting with now is darker than the indigo so whatever details we're adding right now we'll be able to see it. Let's go and create some more tree shapes. Another tree or palm tree structure here. Then we'll have a larger tree here like in the picture. We're going to be needing to use the pointed tip of our brush and create those small foliage for the tree. There you go. I think that's good enough and once this is completely dry, we can remove the tape. Here the painting is now completely dry. Let us remove the tape. Here is the final picture. 22. Day 9 - Colours & Image: [MUSIC] Welcome to Day 9. This is the image that we're going to try and finish today. As you can see, the analysis of this image is going to be really simple because it's got a nice cloudy sky and a foreground with two mountains. The sky again, we're just going to paint directly with the wet on wet technique, and then the foreground with the wet on dry technique. But the trick here is to try and get these little clouds here at the bottom. For that, you can use the lifting technique with a tissue, with a cloth, or even with your brush. You'd have to leave a lot of whites-paces to get these whites-paces in the sky. Then also you need to get these blends of the darkest blues together. If you look at this whole sky, you can see that it's a single blue, but then it's got very shapes of that single blue. That's what we need to understand, that there is a little different blue in this corner here, which we need to use. Let us see the different blues in this picture. First of all, for the main blue, we will be using bright blue or pale blue. It's a very nice bright blue. Then of course we'll be using the different shapes of this bright blue to get various parts of this picture. If you use a darker version of the blood blue, you can see it's dark, it's the same blue. At the same time, you can also go very lighter with it. If you have a lot of water in it. For example, see this is the lightest version. All these three blues, they're exactly the same, but you can see by weighting the tone of it, you're able to get different colors. Then for this top area, you can either go for ultramarine blue or even cobalt blue. That's totally up to you, so whichever blue you want. But I think cobalt blue matches more to this blue here on the corner. Then to get these darkest tones, we'll go with indigo of course, that's for the darkest spots. That's it for the colors on the sky. Now for the mountain, obviously will paint it with Payne's gray because it's darker. But if you look at this mountain in the front, it's got a background of brown. For that, we will use a nice brown. You can either go for brown amber, transparent brown or any dark brown that you have, even with [inaudible] brown or Sepia. Then on the top, we need to be adding these floors. Here is the most difficult part. Which is if you've painted with a darker tone and then you need to apply these lighter colors on the top, you need to have an opaque color. You can either use cadmium red, cadmium orange, or cadmium yellow. These cadmium pigments, like I've explained before, they are opaque pigments. When you apply it on the top, it will come on the top of darkest colors What we're going to do is we're going to use darkest colors, such as cadmium red or even Naples yellow because these are opaque. To paint this front region, we're going to mix the cadmium red and we put yellow together to create a nice, beautiful orange shade that we can apply in the front. These are the colors that we'll be using for this painting. There you go. Let's start painting. [MUSIC] 23. Day 9: Let us start painting. We'll start with applying the water onto our paper. Let us apply an even coat of water onto the whole of our paper. This main thing is going to be quite easy, I believe, because we've just got two colors in the sky, more or less two or three colors in the sky. Let's just go ahead and paint it. Let's paint the whole of our paper with water first, that is, apply the water onto the paper. Here I'm going to apply the water multiple times because I want my paper to stay wet for a longer duration of time. I've applied the paint. Let us start with our beautiful bright blue shade. This is bright blue or halo blue. You can see how bright the blue is. Let us start applying. Start applying from the top, and which is going to create some random shapes. Actually, let's switch to a smaller size brush because I'd like to get the clouds to be in the shape that I want. If I use a larger size brush, the whole thing is going to spread out a lot. That's why let me switch to my size 4 brush. I'll use that to add the clouds. There. I'm going to add that. I'm going to leave gaps as and where I want. Like I said, don't to much bother about having the exact look as in the picture. Just try to apply the paint onto your paper, such that you're able to create some strokes. Some nice darker strokes to the left. Then some nice darker strokes to the right side as well. Then I'm going to go ahead and start adding some more darker strokes now on the top of our existing clouds that we added. This way, we're going to get our nice dark clouds in the sky. The first thing that we applied, it was lighter. Now when we're applying these darker strokes, it'll be more darker. Adding some nice lines, and adding those colors. Now that we've added those nice colors in the sky, let's go ahead and switch to our next blue, which is going to be ultramarine blue or cobalt blue. Here, I'm going to be using ultramarine blue. We'll add that to the top so that we have that little slightly different blue at the top. You can either use ultramarine blue or you can even go for cobalt blue. Here is my cobalt blue. Let's use my cobalt blue and try adding at the top and getting that different shade of blue. You can see it's a different shade of blue than the blue that we were using. Let's get that over to the top. There. Now, let's get to adding the darkest of the tones into the sky. This is going to be liquid and easy. Here is my indigo. Let us take a nice amount of indigo on our brush. We're going to add it to the sky. There, added it in a straight line, then we'll add some there as well. Adding the indigo and blending it towards the sky region. Just adding some strokes here and there. There's a little here. Just to get some nice darker strokes into the sky. That's what we're trying to do. There, now, we have the darker indigo strokes. Now what we'll do is we'll pick up the bright blue again. We'll try to blend some of those strokes so that we can get rid of any hairs that has formed and blend it nicely. I got my blue, and I'm going to add it into the sky again, at the top of the existing paint and blend it to the already existing blue, that is the indigo. I've blended that whole part so you can see how it looks now. Now, I'm going to use a dry brush or a semi damp brush to just run over and get rid of those hair-like structures that has formed. The hair, I've got rid of that. Now, the next thing we're going to do is we're going to use some lifting technique to create some nice clouds. Because bright blue is array staining color, it's going to be really hard to lift off much of the paints, but what we need is just to create that lighter tone in the sky. There, just going to dab my tissue. You can already see there's a lighter tone there. We're going to do the same to most of the places to create that lightest clouds. Nice clouds there. Then what else do we add the clouds. Some straight lines, can you see that? Let's add some more. We've added some nice clouds. There, I think that's good enough. Let's not do in this. Now what we can do is, we can wait for this whole thing to dry so that we can add in the foreground. Here our painting is now completely dry. Let's go ahead and start adding the foreground. The foreground, as I have explained, it's got these black mountains with some nice flowers on the top. You can either approach it with the opaque technique, or you can add some gouache or actually paint on the top. If you don't have either, you can just go ahead and start painting with your pink or whatever color that you have. Rather than going for the opaque technique. I am going to go for the opaque method. What I'm going to do is I'm going to create the mountain shape. There, that's the mountain shape. I'm going to paint inside. But I'm going to paint such that I leave space for the front mountain. It's going to be like that. This area inside, I'm going to paint. This is Payne's gray that I am using. We filled the area of the mountain with Payne's gray. Now after it has completely dry, we'll add in the flower areas on the top. For that, I am going to be using a nice cadmium red. You can see how red it is and the color is opaque. That, I'll apply on the top. You can see that it appears on the top and gives it a nice tone. Just going to add that at the top. Let me take more of my cadmium red. This is the cadmium red and I'm just going to add it to the top. Now you can see how clearly it's coming. The one in my palette doesn't seem to work, so maybe it's not the pigments gone bad because it's been there on the palette for a very long time. I'm just going to draw these colors. I'm going to get some pink in there too, but this paint that I'm picking up is really Quin Rose. But then I've had my Payne's Gray in a lighter tone here on this side, so it's still going to be visible. Let me spread that around and add. Now we have the red tones on the mountain, and I will go ahead and start adding the foreground mountain. For adding the foreground mountain, I'm going to be adding it with brown at first, so that's a transparent brown and I'm going to paint the foreground part. Like I said, this is not the important part of this lesson. This is the reason why you don't have to focus much on this part of the painting because if you don't get this, it's fine. What we're trying to learn is the sky part now. If you're absolutely done with the sky, then you can skip this and just create a nice cloudy sky and that's it, and just maybe create some dark black mountains at the bottom and leave it at that. That's totally up to you, you don't have to get this exactly like this. Now I've added the brown in the front. Now, I want to go ahead and I'll add some lighter tones on top of it, but first I have to wait for it to dry so that I can get those nice strokes on the top. It's now completely dry, so I'm going to start adding on the top. Here, I've got my cadmium red. To that, I'm going to mix a little bit of Naples Yellow so that I make it lighter and slightly orange or pinkish shade, that's what we want. Here is the Naples Yellow, and let me mix it up and take a little bit of pink and that is what we'll add at the top. You can see the orangish shade that we have created. That, you can just add it in small details like that, such that it looks as though it's flowers. Let's go ahead and start from the top so that this mountain stays separate from the top one. You can see that my brush is almost dry when I'm trying to apply this because we don't want the strokes to be too watery because if it's too watery then you'll not get it in this consistency. This is a bit of time-consuming process just because we're adding these tiny details. But like I said, if you want to totally skip it, it's fine because this is not what's important in this lesson, the important part was to get the sky painting. You can leave some brown spots in the middle just to show those areas that doesn't have the flowers don't cover the whole thing up with this paint. There, I'm done with that. It's not there in the picture, but I'm going to make this a little bit interesting. What I'm going to do is I'm going to pick up a little bit of Naples Yellow and I'm just going to add on the top in-between, just some smaller dots. This is totally neat, you don't have to do it. I'm also going to add a little bit, a teeny-tiny amount of red, so there is the red paint. I'm going to take a teeny-tiny amount and add it at the top at random places. It's like red flowers and some mixture of some orange and some yellow flowers. Actually, that's it, we're done. 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, let us remove the tape. Here is the final picture, I hope you like it. I love the blues in this one, halo blue is one of my favorite colors just because it's so bright. I agree why they've called it bright blue, it's just so beautiful. There you go, guys. 24. Day 10 - Colours & Image: Welcome to Day 10. This here is the image that we're going to try painting today. But I'm going to change a lot in this image, mainly because all these days I've been showing you how to paint from an image, but now I want to show you how you can make your own changes and try and incorporate different colors into this painting. Let us see how we can do that. What I'm going to do is I'm going to increase the amount of yellow and orange such that it goes to at least half of the painting, and then a little amount of blues in the sky, and then obviously these clouds. It's going to be definitely from this image itself, but with a lot of changes that we have incorporated into it. Let's first see the colors that we will be using. I'm going to go with all transparent colors because I don't want to paint it opaque. First, I am going to be using my favorite color, Indian yellow, then we're going to mix it up with a nice orange shade. That would be transparent orange. Then we can also use a little bit of pink here and there to mix into the sky. That will be queen rose it or any pink that you have. Then at the top region, these darkest spots, I am going to be painting it with indigo. That is the dark blue color that I am going to use. Then these clouds in the sky, I'm going to be painting with Payne's gray. Obviously, the foreground again is going to be with Payne's gray. These are the main colors that I am going to be using. Now, for breaking down this picture, it's again very simple, just background and the foreground. The background is going to be with a wet on wet technique and the foreground with a wet on dry technique. The only change that we have added is to have this yellow region go up a little bit such that the area of the blue region reduces. All of these clouds in the sky are going to be with the wet on wet techniques so we need to make sure that our paper stays wet for a longer duration of time. This is absolutely necessary. Here, these little clouds at the bottom, you can see you can paint it with a wet on dry method as well because they are some dark and they got a [inaudible]. Whereas these clouds [inaudible] so they definitely need to be with the wet on wet technique. Let us get to painting this. 25. Day 10: [MUSIC] Let us start painting. We'll start with applying the water onto the paper just like usual. Let's apply water to the whole of our paper. Make sure that you apply the water evenly. We don't want our paper to be drying in-between our strokes. We have those wet on wet clouds to add on the top, so we definitely need a paper to stay wet. Now that our paper is wet, we'll start with the first color. We're going to start with Indian yellow. This is one of my favorite colors and I just love it. I'm so sad that sometimes I don't get to use it so much in all the sky paintings that I do just mainly because it's so transparent. Indian yellow is also known as transparent yellow, Indian yellow lake, and many other names in different brands. Let's use that and I'm going to start at the bottom and start applying this yellow. You can clearly see how beautiful this yellow is. Let's just take the Indian yellow and start applying in straight lines like these. Just take up the yellow and just add some straight lines. There we've added some nice straight lines, so we'll go with the next stroke. We're going to use orange. Let's take up a nice orange, that's transparent orange again. This painting, we're going to be using a transparent colors for all of them. Again, we'll just start adding in the form of lines, and let me add to the base as well. For the base, it's going to be completely orange. Like I said, I'm not going to be following, and using the exact colors as in the picture. I'm going to slightly change it to make it more vibrant and bright, added that. Now, I need some more yellow. I'm going to take my Indian yellow and add it in the areas in between. Now, I need to create some white space, so I'm going to lift off some color. From this area, I'll just lift off the paint and absorb it in my tissue. Then repeat the process so that I get a lighter shade in that region. You have to do it multiple times in order to get that lighter shade. Now that we've done that, let's go ahead and move to the top regions. At the top obviously, we're going to start with the darker indigo color. Here I have my indigo and I'm going to start applying from the top and I've applied the indigo tone. Then I want to take a bit of my pink and mix it with the orange and along with the yellow as well. So I get like a nice golden shade. Like I said, remember we're changing the colors. I'm applying that in that region and apply it there at the base as well, and then I'm going to go back with my indigo at the top. But I'm not going to touch the regions where I applied the golden paint. I'm going to apply this indigo paint in the other regions. You can see that when your indigo touches that yellow, it's creating a slight greenish shade and it's absolutely fine. Because we'll have the clouds on the top which is going to cover those greenish shades. Here is your indigo blue and we add that on the top. So you can see that whenever I'm picking up fresh indigo paint, I am adding it at the very top because that's the darkest place and the other regions, I don't want it to be dark, so I keep it light. There. Now that we've added the indigo paint, let's go ahead and start adding the darkest clouds on the top. For adding the darkest clouds on the top, I'm switching to my Size 1 brush. I'm going to pick up my paints gray. Obviously, I need it to be lighter. But when I'm making it lighter, I'm adding a lot more water, but we don't need a lot of water in our your brush. We make sure that we dry it up in our tissue and we add it. Then, we add the color on the top. You can see, just add nice strokes in the sky. Each of the strokes, we have to make sure that we are applying them in a straight line. Keep applying those strokes, and we have more. Here, this is the region where we have more of those clouds. I'm going in a crisscross left and right motion with my brush. That's how you create that, and we have more clouds, and here at the top, again. Now, we'll go with smaller clouds. These are smaller clouds. We need to make them slightly darker. Trying to get them in different directions. Add as many smaller clouds, and create just these random lines. It's just these random lines that I'm creating such that they create these cloudy forms in the sky. You can see the shapes are totally random. More random shapes. Now, we'll create some darker clouds at the bottom. But these are obviously going to be wet on dry manner. Somewhat wet and somewhat dry. Even if your paper has dried, it's absolutely fine. You can go ahead and start adding these clouds. You can see adding these clouds at the base. We've added those clouds. Now, what we can do is we can wait for this whole thing to dry so that we can paint the foreground. Here our paper has completely dried, so let's go ahead and add in the foreground. We're going to be adding that with paints gray. It's just going to be simple shapes for the mountain or the foreground, whatever that is there. Just neatly fill that base part. There, we've filled up the foreground. Now, let's just add some nice trees in the foreground. That's one tree, that's another tree, so it's just a fine tree. Just add some nice shapes onto the tree. I've added two pine trees there. Let me just add another one here. I've added some pine trees there. Let's just add some more here at random and make them smaller. I'm just adding some strokes on the foreground area, so it's a fine foremost. I'm adding more plants and pine trees than there is already there. I think that's good. Let's just add another here. I think that's good enough. Now, we just wait for this whole thing to dry so that we can remove the tape. Everything is now completely dried, so let us remove the tape. There you go. Here is the final painting. I hope you like it. 26. Day 11 - Colours & Image: Welcome to Day 11. This here is the reference picture that we are going to paint today. Isn't it absolutely gorgeous? I chose this reference image because I wanted to show you that you can actually have green colors in the sky. Look at this. There's just so many colors, so many trauma in the sky, and this is what we are going to be in today. In this picture, the sky is just a tiny part and the rest of it is water and its reflection. We're not going to do that part. I'm going to extend this guy to the bottom, spread it out a bit, and just focus on all of the colors and to achieve some of the trauma myself. We're going to move this whole line to the bottom and we're not going to paint this man as well. Let's just try and paint this. For the colors, let's see what the colors are. Starting in the middle here, which is a nice bright area where the sun is, we have a nice yellow color. That yellow, I'm going to be painting with my Indian yellow. Then moving towards the left we have oranges and reds. Then trump student orange. Then I'm going to be adding red on the top. You can either go with a nice red such as Alizarin Crimson or red itself but what I'm going to do is mix my red by mixing Queen Rose and yellow together. Queen Rose and yellow together will give me a nice red shade. That's the beautiful red shade that I'm using. I created that by mixing my Queen Rose with this yellow. That gives me a beautiful red shade and that's what I'm using. Then obviously again, when we go to the top regions, we have more of orange. Then we have a different yellow here, which is in-between the orange and the yellow. You can either mix your yellow and orange together to create this beautiful orange, or you can just paint wave yellow ocher. I used yellow ocher and you can see that this is a different yellow. It works out fine for this color here. Then again, we have the greenish-blue color on the top. For the greenish-blue color, I'm going to be making my greenish-blue color by mixing my bright blue and yellow-green reddish. That would give me a beautiful greenish-blue color like this. Then to get the darkest version, I will simply add a darker blue to it. You can also add a color such as indigo to that and you'll get a darker version. Here, I've added darker blues such as Prussian blue, or denetra blue, indigo. Any blue that you have, which is really dark. I call it the darkest version. Then, now for these clouds in the sky. If you look closely they have a reddish hue to it. In the borders of these clouds, it has a reddish hue to it, which means that it's not essentially gray. It's a violet shade. Let's mix that violet shade. I will be using ultramarine blue. That's my ultramarine blue. Then I'll mix it with my Queen Rose, which is this and we'll get a nice purple shade like this. That's a mixture of these two colors and we get a nice purple shade. Now to get the darkest colors, we can actually mix it with a little bit of Payne's gray, and we'll get it as a darker violet shade. Now if you look at this closely, you can see that it has a pinkish hue and that's how it looks a bit like the violet there. Can you see that? It's got a little teeny tiny tint of pink. Those are all the colors that we need, isn't it? Let's look closely. Are we done yet? Yes, that's all we need. Obviously towards the bottom, if you want, you can either use Payne's gray or you can use the same mixture by adding more Payne's gray to it so that it gives a nice contrast and matches with the entire painting. There that's been gray mixed with this color that we have made. Those are all the colors that we'll need for this painting. As far as approaching this picture goes, you can clearly see that the sky is just absolute blend of colors, which means that we're going to be using the wet on wet technique. On top of the wet on wet technique, we'll be applying these clouds, which will be again wet on wet because we want these clouds to have softer edges. If you have a paper that is not 100 percent cotton paper and it doesn't stay wet for a longer duration of time, you can first paint the whole of the sky with one layer that is within one layer. Then once it is completely dry, you can go ahead and reapply the water on top of it and start painting these clouds on the to in the second layer. You can either approach this in a single layer method, or in a double layer method. It's totally up to you. This is what we'll be painting today. Let's get straight into it. 27. Day 11: Let us start. We'll start with applying the water onto our paper. Let us pick up clean water and apply it onto our paper and even go to photo, that's what we need. Once we have applied the even go to photo, we can start painting. This is absolutely essential that we apply the water evenly. Applying the water is what needs the most patience when it comes to painting with watercolors. Since we have applied the water, let us start painting. I want to start with a nice Indian yellow sheet. Let's pick up a nice amount of Indian yellow. That's Indian yellow. We're going to start applying in the center where we want the sun to be shining brightly. There we have that yellow in the center. Then we'll go with the next color, which is going to be orange. Let us pick up a nice amount of orange. Here I have orange in my brush and that's what I am going to apply. Applying my orange. Apply at the bottom as well. Then here on the left side. Then here at the top, we'll go with a nice red shade. I'm going to mix my green rose with yellow to get that nice red shade. Here's my yellow and green rose and I'm mixing it up with my yellow to get a red shade. I'll start applying that on the top. Here's my pink shade. You can see the nice red color that I have mixed here. That is what I'm going to add at the top and some here, some here, and some to this base area here. Let me just flatten this region out because it's forming hairs. Just want to get rid of the hairs and leave that nice yellow region there. Now we'll go back to adding our orange at the top. I'm just going to reapply the water in some of these top regions because it's starting to dry. But I'm not going to touch any region that I've already applied, just the other areas. It's always the corners that dry faster so that's why we have to reapply the water. Let's get some nice orange shades. Now that we're done with the orange, let's get in some nice yellow ocher at the bottom. Maybe some nice yellow ocher shades there, at the top. Some nice yellow there. I picked up the wrong yellow , that's yellow ocher. This is just basically us trying to add those smaller strokes. This is the reason why I have used my size four brush, which is small. Added those nice strokes. Now that we've added those strokes, we'll get to adding the greenish blue color. For that, I am going to mix my bright blue with a little bit of green and we get that beautiful shade. I'm going to mix it up with halo green so I get that beautiful turquoise color and that's what I'm going to apply. You can see I'm applying it at the top there. That's where we have the beautiful color. Then we'll start to apply it in the areas in-between. But obviously the dense dark color needs to be in the top and also these lines. In this painting, obviously, like I said, we don't have to worry about our strokes getting or turning into green. Because as you can see there's so much of green in our picture itself so let it turn into green if it's turning. This is one such sky where I wanted to show you that, yes, there could be greens when you're taking the picture at some angles and because of the reflection of certain things. It doesn't necessarily mean that you can never have a green in the sky. That's something that we need to understand. Slowly, the small strokes towards the inside. Then here we're going to go with lighter strokes at the bottom. I just washed my brush and I'm going to spread this paint to get those lighter strokes. There we have. My red is almost gone, so I'm going to go ahead and add some more red at the bottom. Let me mix up my red by mixing Queen Rose, and Indian yellow, and we'll add that at the left bottom side. Here on the right side as well we have a nice red shade. Now that, that red is done, we need to quickly go ahead and start adding our clouds on the top. For that we're going to mix the violet shade. Let's mix that up. We're going to use our Queen Rose and a nice blue, so let us pick up ultramarine blue. Picking up ultramarine blue and mixing it up with the Queen Rose. You can see the nice, beautiful purpletry that we have obtained. Let's pick up more blue. There. We're not using the violet because we want the colors to separate, all the pigments to separate. That's the reason. We can mix a little bit of paint gray to that as well so that we get a darker mixture, there. Now we have to make sure that our brush does not have a lot of water so dab off the extra water from your brush. Now we'll start applying the clouds. Starting here then lots at the bottom and blending it into the side. Either you can prepare the colors in advance or you might have to mix it up in between. There. Let's go ahead and start applying in these regions. There. Let me take off all that extra water, which is very dangerous if we introduce it into our paper. Each time you pick up the paint from your palette, make sure that you dab off all that extra water using a tissue. Let's add it to the sky. Then at the top. You added those nice clouds, and we're leaving a lot of white space their just like in the picture. We've added that. Another thing to do is we need to add some depth at the corner, so let me mix up that same color that we mixed up. That's light blue, yellow, green, and then I'm going to mix it up with a darker blue to make it slightly darker. Then let me absorb all that extra water, and I'm just going to blend it towards the inside. See and blend the color inside, and this corner as well. Then let's get that darker shades in, that's going to create some clouds as well, and some clouds with that color as well. There's a lot of drama in this sky here, and same to this region here as well. Before this region hardens up, I'm going to use my brush and soften the edges. I've washed my brush and I'm using my damp brush to soften these edges here. My brush is just damp as you can see, I've taken all of the extra water using my brush. Then now I'm just following along, so that would just blend the colors without introducing any extra water. Now, we have a beautiful set of clouds in the sky, and I think it's good enough for the background. What we need is to wait for this whole thing to completely dry so that we can just add something in the foreground. Here, the background is completely dry. What I'm going to do is I'm going to use that exact same color that we use to mix our violet and add that to the base. That's Queen Rose and ultramarine blue together mixed with a little bit of Payne's gray, so that's our darker violet shade. Let's use that darker violet shade to create that space at the bottom. As you can see, I'm not using a straight line but I'm just creating some broken lines. Then maybe some broken lines to left, and you can add some rocky shapes as well, some dots and some lines. Again, some shapes which would be some drops in the water looks good. We've added some nice strokes. What we just need to do is to add the lines in the water, leaving this area here so that it looks like water. What I'm going to do is I want to pick up a red shade, and here is the red. Now, we need to use the absolute tip of the brush to create those red lines. They need to be very light as well, and not in all the places just in some areas. Let me show it to you up close. Can you see the tiny red lines that I have added? They need to be absolutely tiny. This is the reason why we are using a very small brush, so switch to a size zero or size three slash zero brush if you want. I have a very good point in this brush which is why I'm going with this, but if you don't have, make sure you use a smaller-sized brush for that. Just running along my brush to create those water effect. Nice water effect. Then let me wash my brush, and I'm going to do the same with this color. The documentation of that color, I'm going to add some darker strokes on the top towards the right side as well. Because that also is water and it's green there, so we need to create greenish lines in that side. I think that's enough , so we're done. Let's just wait for some of these strokes to dry, because I don't want to be rough and have my paint spread out. Everything has now completely dried, let us remove the tape. Here is the final picture, I hope you like it. 28. Day 12 - Colours & Image: Welcome to Day 12. This here is the image that we're going to try today. This is my favorite of all, mainly because this was the image that I tried out first when I was planning of this class. I just loved painting this one. You can see, I tried it out multiple times. I was actually checking the colors just to make sure that the opaque technique works, and what if you don't have those colors, then you'd have to mix it differently. This is with the colors that I have on my palette here, and this is totally using whitewash. I will explain that to you now. The colors here that I will be using is for this sky here. I will be mixing bright blue, horizon blue, and then the Phthalo green shade in order to get an opaque shade that looks like this. It's almost like this color, but then I've mixed it up with horizon blue to get this color. I wasn't sure whether all of you would have this horizon blue color and I wanted to help you out, so that's why I tried out this painting multiple times. This one is with the horizon blue. This one, what I did was I mixed up whitewash with it, so white paint and bright blue and the Phthalo green, and then created the color. It turned out to be exactly the same color. This is what I was saying. You can even use the white paint instead of these opaque colors that I'm using, so it's absolutely fine. Then the next color for the sky I will be using is Naples yellow reddish, and then orange, and then I'll be mixing the Naples yellow reddish and orange together to create a nice opaque orange version. Here we have those orange shades and I tried the same. This is with Naples yellow reddish and orange together, and this here is by mixing my orange with white instead of Naples yellow red. Then I got almost the same technique and the same texture as you can see. I skipped out the yellow here, but let's add a teeny tiny amount of Aurelion or any nice opaque yellow for the middle part. The glow in the painting. We can see here, there's a nice glow that we need to add, and then now the clouds in the sky. With the clouds in the sky, we can either mix Payne's Grey or neutral tint with white, or any opaque color. I'm mixing with lavender, or you can even mix with the same horizon blue. As you can see here, I've tried here by mixing it with white. This is by mixing it with lavender, and this one is by mixing it with white. You can see here both these look absolutely similar. Don't look at the shapes of the clouds, that's completely different, but it's absolutely similar. I didn't want to try it out horizontally because that would limit the space on my paper. I know I could have done that and try it, but I was just trying it out in a different manner, so today we'll be painting it horizontally in the landscape mode, of course, but you know now that all of this works. I've tried it out myself, and it's most certainly works. Breaking down this main thing, I don't think there is much to explain because you can just clearly see that the sky is going to be with the wet-on-wet technique with the clouds on the top again, wet-on-wet because these clouds have a softer edge and has these bottom parts with orange. These bottom parts with orange, we'll be adding it on top of the existing orange, so we need a darker orange on the top. Then at the bottom we have the foreground, but as you can see, there's a lot of clouds there. The darker clouds there. Then we also got the foreground. Here today, we can paint the foreground with the wet-on-wet itself, but after the paper has nearly started to dry so that it doesn't spread too much out into the sky. You can either go with the wet-on-wet or the wet on dry method for this. It's totally up to you, but you see how we can approach this painting, so let's get to painting this. 29. Day 12: Well, let us start. We'll start with applying the water onto our paper. Let's apply water to the whole of our paper. Make sure that you apply the water multiple times. We need our paper to stay wet for a very long time because we also have those wet on wet clouds to add on the top. Make sure that the water that you apply is really even and also that your paper is able to stay wet. While my paper soaks in that water, I am going to mix my paints. We're going to start with light blue. In order to make it opaque, I am going to mix it with nice amount of horizon blue. Here's my horizon blue and I'm mixing it up. You can see the kind of blue that it has made, it's opaque now. Make sure you mix it up nicely, so that is a nice opaque blue but I need it to be darkness slightly. I'm going to be adding a little amount of phthalo green to it. Add a little amount of phthalo green. Now you can see the gorgeous shade that it is. That's horizon blue. Don't worry if you don't have horizon blue, you can even mix your gouache white or even your watercolors, white paint. That's blue. The gray together, that's created a nice gray mixture. We also need neutral tint. Let us mix up neutral tint. I am going to take neutral tint. You can also use Payne's gray if you want. Either Payne's gray. Here is my beautiful paint gray. To that, you can add a nice mixture of either lavender shell pink, horizon blue, or any color for that matter to make it opaque. Here I'm taking lavender, mix it with my Payne's gray to create that gorgeous gray color. Now that we have mixed the colors, we can start painting. But let me just reapply the water on my paper so that it might be pretty easy to handle all that wet on wet technique that I will paint. I will start with a nice amount of pavilion in the middle, the bright sky, the yellow region. Then once you've got your yellow, we'll get to painting with enables yellow, red and add in those orange shades. There's the Naples yellow. Let's add it, that's the lightest tone that's going into the middle. Now, we'll take up the orange shade. We can start by applying it at the bottom. All the orange starts at the bottom. On top of the yellow as well in the form of streaky lines and at the top, we do it the Naples yellow. We'll add some nice lines with the mixture of Naples yellow and orange. Here I'm mixing my Naples yellow and adding some nice lines. Something here. This is a typical method of how we using the opaque property is very important. Here at the base, we'll add more oranges. Now that we have got all the orange shades. Let's go ahead and start adding the blue mixture. Here is the beautiful blue mixture. We will start adding that to the top. You can see how opaque that mixture is and we'll be adding that in the areas in between. Let's go ahead and start adding in the areas in-between. All the darker colors, make sure that you start applying at the top because the top can be as dark as it can be. But then when we come towards the bottom, we need it to be lighter. Here, as you can see, my strokes are getting lighter as I move towards the middle region. It's lighter. Let's mix a little bit more of the green to that mixture and start adding at the top. We've added that nice gorgeous color at the top. Now I'm going to switch to my synthetic brush to add in the clouds. Here is my synthetic brush, and here is the gray tone that we have mixed. Here I'm taking up the paint but I want to make sure that my brush is completely dry and does not have extra water, water from my brush, and then I'll start adding in the clouds. Nice clouds, nice cloudy shapes we have to create. There you can go for smaller clouds as well, just some smaller lines. Let's go with clouds in the middle of the sky. Nice clouds like this fill out towards the left side. You can see how we're applying the clouds. Towards the base, we'll start adding those clouds in a lighter tone. Same color, same gray we're using, but we are adding lighter strokes. Now let's go ahead and start adding some depth to it. Here, I've mixed a darker tone, and I'll go over the top with this darker tone. Going over the top with the darker tone. Now that we've done that, let's go ahead and start adding some orange towards beneath. Here is my orange, but we need to mix it with Naples yellow. Here is my Naples yellow and the orange and make sure that our brush is completely lighter with no water. Adding those orange tones to the base you can see how it makes the whole thing glow. Adding the orange to the underside of all of those clouds. Now what we need is to get rid of those hairs. I'm just using my damp brush to go around. Just mix those into the sky such that I get rid of all those hairs that have formed. Make sure that you wash your brush to move all that excess paint that you've taken. Let's go ahead and start adding some darker clouds on the top. Here I'm taking paint gray again. Now I add on the top. You can see how we're adding the darker clouds. We'll add it right above the orange. Those are the smaller clouds and towards this side as well. Then we also need some Payne's gray to add some nice dark strokes in the sky at the bottom region. Those are darker clouds in the sky. Now what we'll do is let's go ahead and start adding our foreground. But this time obviously you can add the foreground with the wet-on-wet technique itself. Or if your paper has completely dried at the bottom there also, it's going to work, it's absolutely fine. I'm just going to add it. Right below, those clouds. You can see it's not spreading too much because my paper has almost dried up. It's just going to add some smoothness to it as well. rather than making it too dark. There, now we've added the base. Now that we've painted our clouds and everything. Let's wait for this whole thing to dry so that we can remove the tape. Here, everything is now completely dry, so I will let us remove the tape. Here is the final picture. I hope you like it. 30. Day 13 - Colours & Image: Welcome to day 13, so this here is the image that we will be painting today. As you can see, this paint is in the portrait mode, so I'm going to change it into a landscape format. This is another thing that we learn how we can convert one painting or a picture that's in the portrait or landscape mode into the other. As you can see, it's got two nice pink clouds and then it's got a blue sky and then a darker blues strokes at the top and then some foreground here. But as you can see, the foreground doesn't have any clear boundary, so we are going to paint that with a wet-on-wet itself. The whole thing is going to be with the wet-on-wet technique, even the foreground. For the colors that we are going to use as you can see, it's pretty simple. We'll go with a nice rose shade's, you can go with any row shade, I'll be painting with the queen rules. Then for the dark blue sky, I'll go with my Indian throw blue. It's a dark blue, you can either go for Prussian blue or indigo but I'll also be adding indigo at the top for the darker tone. There, that's my indigo, so if you're going to be using indigo for the darker tone, then what you can do is you can mix up your indigo with ultramarine blue or cobalt blue to make it slightly look like Prussian blue. Here is my indigo mixed with a little bit of ultramarine blue or cobalt blue, and you can see it's lighter, but definitely not as dark as the indigo. Let me add a little more so that you can see. Now that's more lighter, isn't it, and more close to this color. Then at the bottom, we have these foreground. For that, I will be using olive green. You can see it's a nice olive greenish color, so I'll add olive green, and then on the top of it we have some round strokes. For that I'll use my transparent brown, so you can either go for burnt umber or set clear or any dark brown that you have, and those are the colors that we'll be using for this. Then we also need some white paint for these stars, so well just keep your white paint ready that's it. There you go, and let's get the painting. 31. Day 13: We'll start with applying the water onto a paper. We'll apply the water evenly because we have a lot of wet on wet clouds to add into the sky, so let's just add the water evenly. Now that we have added the water, let us start adding the clouds. Here, I'm going to start with my queen rose. It's a beautiful pink as you can see, and we'll start adding it to the sky. I'm going to add some strokes, some streaks, streaky lines and I'm using my flat brush as you can see. Just adding some strokes. Let me just hold my brush and take off all that extra water from the center off with my paper because there's just too much water there. Now taking my brush and adding some nice strokes. Like I said, we'll be adding these on our own because we've changed the whole orientation of the picture. You can just use your brush and have these strokes. You can see how I'm doing my strokes. I am just adding these swift left and right strokes. Added a lot on my own. Just going to drop some smaller clouds here. Now that we have done that, let's go ahead and start with our blue. This is one of the easiest paintings that we will do. Trust me, it's going to be super easy. We'll start with a dark blue. This is Indian themed blue, you can also use brushing blue or any dark blue such as indigo. But here I'll be using indigo as well, so if you are using indigo, then just try to mix a little amount of cobalt blue or the normal blue to get this lighter blue first. When I say lighter, I mean lighter than indigo. We will apply this at the top and the areas in-between the pink. Obviously, as you can see, it's going to turn slightly violet. That's absolutely fine but we'll get to adding these tones first at the top. Let's get the color there onto our paper. Then we'll go and start adding to the areas in between. Go and add to all the areas in-between. Keep taking our strokes and adding now towards the base. As you can see, I'm going lighter and lighter. We will make it completely light to make sure that you don't use any dark pigment towards the bottom. We've added that. Now let's start adding darker tones. We will start adding the darker tones towards the top. Each time you pick up fresh paint, make sure that you apply it towards the top because we want our strokes at the top to be darker. Here at the top needs to be dark. I'm going to go create further dark color. This time we are going to take indigo, so we get a nice amount of indigo from my palette. It's on right side of my palette but I'll mixing it here so that you can see it clearly. There, that's indigo, and I'm going to add indigo to the top and as you can see blending it to the blue. Added indigo. Then now you can see it's blending nicely. Now that it's blend nicely, I need to add a little bit more of the pink, so I'm going to pick up the pink and start adding at the top of our existing stroke. That is going to flow on the top. Remember we had some nice strokes here, so we need to add that on the top again. We've got those nice strokes there at the bottom, now let's go ahead and start adding in the foreground. Here in this image, I am going to add in the foreground with the wet-on-wet technique itself because I don't want it to be not having a border. If you look at the picture closely, you will see that it doesn't have a clear border, so that's what I'm trying to do. We will take a nice olive green shade and that's what we will add. This olive green is going to mix up with that blue there in the the background, and it's going to create a darker green, don't worry. We can still add the olive green on the top and you can see the blend it's creating. It doesn't spread out too much because our paper has already started to dry, but we need some darker colors on the top, so we're going to take a little bit of brown. There's brown, and I'm just going to drop it on the top. I'm using the side of my brush, don't worry, it will have to use a flat brush itself, so I'm just using the side of my brush to drop in those darker lines on to my painting. Because the olive green that we just applied is wet, it appears nicely and it blends smoothly. You can take the brown and you can see that nice blend of colors and we'll also add some of these strokes in the sky region. Just at the top right below the pink. Those are going to be with the brown shade. There, now we have added that. All we need to do is wait for this whole thing to dry so that we can add in our white clouds, but let me see if I can blend some more of my indigo here at the top because it started out to be lighter. Taking up some nice indigo and blending it into this sky. That works. Nice and smooth. Don't go for the blending process if your paper has dried because it's going to create tones. I can still see that my paper is slightly wet, which is why I am going for this blending method. If your paper is dry, please don't apply any more strokes. It would be dangerous to do that. Let's now dry this whole thing up. Our painting is now completely dry, we'll finish this off by adding some stars into the sky, so pick up your nice white paint in the smallest brush because we want those dots to be tiny and cover up the rest of the painting because we don't want any extra stars down at the bottom parts. Let's go ahead and start dropping in some nice stars. As you can see, I'm using the smaller brush so the stars also going smaller. There, now we've got the stars in the sky. We don't want too many of that, just a little, that's why I used my smaller size brush and dropped it in the top regions and there you go. This painting is done, so let us remove the tape. Here is the final picture, I hope you like it. 32. Day 14 - Colours & Image: Welcome to Day 14. This here is reference remains that we are going to use today. Let us see how we can paint this one. There's a lot of things here at the bottom which we do not want. So I'll be cutting short this image into something like this. That is, we're going to skip this split region because is not the focus, the sky and just a little part of the bottom part is the focus in our painting. Let us see the different colors that we will need. We have this nice blue on the top. As you can see, it looks like nice, bright blue shade, but it's got a little bit of opacity to it or you can see it's got a nice brightness to it, so you can either add your white to the bright blue or like I do, I'm going to mix my horizon blue, with my bright blue and I'll get that shade. More horizon blue and bright blue together, I'll get that beautiful shade. Then for these clouds here, obviously we'll go with a bright blue itself. Then to create some darker tones for these buildings, we'll have to use the same mixture. But let's first see the clouds and this bottom part of the sky. On the bottom part, we have some pastel shade, so we'll go with shell pink. Don't worry if you don't have shell pink, you can mix your pink with white and you get this nice, beautiful shade or if you have pastel shades, go ahead and use them. This is the moment to use a pastel shades. Then also have this Naples yellow, reddish, which is like pastel orange shade. You can also mix a little bit of orange with that to get the nice orangish pastel color, then I would also mix a little bit of yellow. I'll mix both Aureolin and Naples yellow together. You can see how different these two yellows are. So I'll mix them together to create the nice yellow glow in the middle, then I think all the colors in the sky are now complete. Now, we just need to add this line in the foreground. For that, I'll be adding with indigo and I'll be mixing it with the mixture that we used in the sky and this is the color. Then for the buildings in the background. If I add more horizon blue to that mixture, it turns somewhat lighter like a grayish tone, matching the color of the sky. The reason why we're using that same color, is we need to use the same contrasting colors that we used in the picture. We painted the sky and those buildings in the background has a nice reflection of the colors in the sky. This is the reason I'm using the same mixture to create that grayish stone or the bluish great tone for the buildings as well as the water and everything. That's what we need to understand about the colors, statistic color harmony in the picture. Just because it uses gray with our eyes, we can't just go ahead and start using a gray color out of the palette because we need to have some harmony in the picture and that is achieved by using the same colors that we have used in the painting. Like here we used blue, so make sure that you mix that blue along with your gray. You'll get that grayish tone. Just don't directly start painting with any gray color. That's what we need to understand and since we're not painting this part, we don't need to look at that. There is the breakdown of that picture. Obviously, as you can see, we're just going with the wet on wet method. We leave a large white gap and then add these clouds on the top with the wet-on-wet technique. Then let us get to painting this. 33. Day 14: Let us start. We will start with applying the water again, of course. Let's apply water to the whole of our paper. Here I have applied the water to the whole of my paper. While that soaks in, I am going to mix my paints. We want to start with bright blue. Here is my bright blue. I'm going to mix it up with horizon blue to make it opaque and make it slightly lighter. Here is the thing that we need. Based on colors, obviously, I want to use my Naples yellow red for the orange pastel shade, and then a little bit of shell pink, which we'll go into the lighter pink shade. Let me make sure that there's no extra-large pools of water on my paper. Spread the paint nicely. We always start with the lightest of the colors. Now that we have applied the water evenly, let's start with the lightest colors. We're going to start with our shell pink, which is, of course, very light. That is the pastel pink shade that we'll be adding. Taking my beautiful shell pink and adding it to the sky from the right side. Just add these strokes from the right to left. Then on the top, we can add the Naples yellow red, which will give us slightly orange. If you want, you can mix it up with a little amount of orange to get it to look darker. Then add it on the top, bit of orange on the top. There it has that slight orange tone. A little amount of yellow as well. I'll take my uranium or you can go for Naples yellow light and just add few strokes of yellow at random places. Make sure that there is no too much water on your brush, otherwise, it's going to spread out a lot, which we don't want it to happen. There's the orange. Some more orange and adding those orange strokes into the sky. Added those base two shapes nicely. Now let's go ahead and start adding blue, which is going to be easy, of course, because we'll start at the top, and start adding the blue into the sky. We've added the blue. Now what we need to do is make sure that we leave enough space for that white areas. Don't touch any of these base two regions. Just keep that region lighter. I've created the border where the cloud region is going to be. The rest of the areas, let me add in the strokes. Make sure you add these strokes in one single direction because it helps out a lot in the way your painting turns out in the end because the strokes can always be seen like a flat line I'm adding. It will always be a flat line and it will be seen. Here adding it in a stroke such that it's facing towards the inside. Then here as well. We have more strokes to add. Add those nice strokes. As you can see, the whole thing is white. Now let me just dry my brush quickly. We need to dry it more because you only need a very lighter tone. Now I have a lighter tone in my brush and that lighter tone, I am going to mix it into the sky. You can see, just pull out the paint, make sure that you dry your brush, and pull out the paint from the top and start dropping it into the inside. You can see how that's turning out. It's coming gorgeously, isn't it? If you pick up fresh paint anytime from your palette, make sure that you add it towards the top or the right side, or the left side. But nothing in the gap that we have created. I've washed my brush, doesn't need to make this region here light, so I'm just going to absorb some things, and create some lighter tones there. I'm going to create some lighter tones by absorbing some paints towards the right side as well, like that. We have all of these strokes extending towards the inside. It's looking so beautiful and we have the lighter areas there. Now, we'll go ahead and start adding the nice blue clouds on the top. Here I'm going to use light blue itself, so it's bright blue or phthalo blue. We'll first add that in the sky region. Add some nice tones. Some nice blue clouds there. Let's get those paints nicely. Make sure that your brush is really dry when you're doing this. Let's start adding those cloudy forms. There I've added the nice cloudy forms. Because I'm taking the paint on the brush each time, I have to dry my brush on my tissue or the cloth that I'm using here. Then I'll add some nice strokes into the sky. Nice strokes here. All of those places where you want to add those strokes, add them in smaller, lighter, and whichever kind of strokes, doesn't matter. Just plant them into your painting. Now that we have added all those clouds, now we need to soften every edge. Here I am taking off all the extra water from my brush. I'm just going to go around those clouds and removing any hairy structures that has formed. Each time, make sure that you wash your brush or remove that paint. There, cleared that, clearing that. I think it's good enough. Now all we have to do is wait for this whole thing to dry to add in the foreground. Everything is now completely dried, so let's go ahead and start adding in the foreground. For that, I'll mix up a nice amount of indigo into that same mixture, and going to create the nice foreground line. It's going to be a straight line. Then on the top, we're going to have some nice shapes. I'm just using my flat brush again and using them in different angles to get the shape. Don't worry, you don't need to use flat brush itself, you can go ahead and start using any brush that you have. I just wanted to try and use a single brush for this one, and I think so far it works. Now we've added that nice line. Now what we need to do is add in those buildings. For adding in those buildings, I'm going to mix a little bit of that horizon blue with my indigo again. Here is my horizon blue, mixing it up with the indigo, so that my color is now lighter tone. This lighter tone we're going to use to add in our buildings. Just you can see, creating my buildings by using this color. You can add them in various heights. You see just adding the buildings. Add them in various heights. Another thing is we could have added this first and then added our dark blue line on the top. It's totally up to you which way you want to proceed with this. See, just buildings here and there. This is the reason why I'm using a flat brush because I can just draw a vertical line like this and it will just create a building. This is a smaller flat brush that I'm using. I added those buildings nicely. Now we need to get the water area done. I'm going to take my bright blue and mix it up with that same mixture to create that color that we had on the top. We are going to paint the bottom. I've just added that color. Then I'm going to use my brush to blend it in towards the right side. Just use your brush and blend it to the right side. There, blended it to the right side. Blended that blue in to the right side. Then I'm going to take some more blue, and then add it immediately below that region, because that's what the reflection is going to be. Leave a gap when you add the reflection line. You take the paint again and start adding those triple lines. This is not the important step. As I always say, when we're painting the sky, that was what was most important. Here we're just adding this for extra beauty. Just using my flat brush to get these lines in the water. There we have added that nice strokes. As you can see, I've shifted the whole image up because we didn't want to add in that bridge in the water because that is not the focus of our painting. But there it is, we've completed our painting. All we need to do is wait for this whole thing to dry so that we can remove the tape. Here our painting is now completely dry, so let us remove the tape. Here is the final painting. I hope you like this one. 34. Day 15 - Colours & Image: Welcome to Day 16. This here is the reference image that we're going to paint today. You can see here that there's a nice glow of white in the middle, and some sun rays extending outside, and few clouds, and then the water. Because the water area is not the focus of this painting, we're going to shift the entire water to a little towards the bottom, so that we get more of this guy. That's how we're going to paint it. As far as looking at how to paint this, you can clearly see that it is all going to be with a wet-on-wet technique. It is better to use a flat brush for paintings like this one where there is sun rays, because when you use a flat brush, you get those strokes where you can have those sun's rays extending outward, or even inwards in the picture. That is something that you can learn from this one. Then the clouds on the top are going to be with the wet-on-wet technique again. To make them softer, make sure that your paper is still wet when you're adding those clouds. Then obviously, the water will be the foreground area. We'll have the water ripples also painted with the wet-on-wet technique itself, but don't stress too much about painting the water because that's not the focus of this painting. Let's first have a look at the colors in this one. We have this color on the top. This is almost like the colors that we have used in the previous days, which is going to be a mix of bright blue, halo blue, the horizon blue to make it opaque. Then a darker color such as splashing blue or indanthrene blue to make it darker. We'll get a shade somewhat similar to this one. You can see how that is quite similar. In order to make it darker, you can add more darker blue such as splashing blue or indanthrene blue, or even indigo to it, and you'll get a darker shade. That is the blue that we're going to use. Then at the base here, we have a nice pastel pink shade. For that, I will be using shell pink. Don't worry, if you don't have this pastel pink shade, you can mix your pink such as queen rose or any rose with white, and the more white you mix, it'll look like this shell pink. Then obviously for the clouds, we need Payne's gray, but we can't have it darker like this and we need it to be opaque, so we'll mix it up with either lavender, but I would suggest we mix it up with the shell pink itself so that you have a color harmony in the picture. But then if you're mixing up your shell pink by using a pink and a white, then it is better to go ahead and directly mix it with lavender if you have a tube of lavender. If you have any opaque color, mix it up with the gray paint so that you get a nice gray dull like that, and it would be opaque. I forgot to mention, we need to add in some orange tones to that pastel area. Here I will be using Naples yellow-red. I'll be mixing it up with a little bit of orange shade, and we'll be mixing that together with the shell pink so that we get a pastel orange and pink shade, somewhat like the peach color. Those are the colors that we will be using in this picture. Let's get to painting without any further ado. [MUSIC] 35. Day 15: Let us start painting. We'll first start with applying the water onto our paper. So I'm going to use my flat brush, as usual, to apply the water evenly onto my paper. So let's apply an even coat of water. Now that we have applied an even coat of water, let's go ahead and start with our first color which is going to be shell pink. If you don't have this color, you know what to do. Mix your pink color with a little bit of white so you get this beautiful pastel shade. That is what we're going to start with. We're going to start with it at the bottom. I'm going to add these strokes. Let's go ahead and start taking the shell pink nicely on our brush and start adding the strokes. Then we're going to leave you a nice amount of white in the center where the sun is going to be. Since we are going to have that ocean somewhere here, that light source is going to be there. Let's get our strokes here on our paper until there. Now we have our strokes. I'm going to go and start adding the shell pink in angle directions like that. From the center, make it go towards the outside. You can see where I've left that gap of white. Go and start adding. Now we'll go ahead and start adding some pastel orange. So here I want to go with Naples yellow-orange or Naples yellow-red. Here it is, and I'll start adding that on the top. You can see it gives a slight tint of orange. We only need a slight tint of orange, there. Now that we have a slight tint of orange, let's get to adding nice blue shade. Here we have the blue shade that we have mixed. Make sure that you remove all excess water and we'll start at the top. At the top region, that's where we'll start and we're going to add it towards the center like this. Make sure that all your strokes are towards the center. Here, all your strokes are towards the center of the paper where the sun is. Now, let's add some darker shades on the top. I'm picking up my dark blue and adding it to the top edges because we need it to be darker. This is the reason why we are adding it in an angle because we want all of those strokes to look as though they have the sun's rays here. Pick up your blue shade and start adding them towards the center. I think I'll mix a little bit of green to that to give it that nice greenish touch because it looks really blue. There I've added the blue-green shade. Let's get that to all the regions of the top. Now that we have added, we have the blue-green tone on our paper. Now we need to add the clouds on the top. Let's go ahead and start adding the clouds on the top. Let us mix up our gray. I am going to mix it up using Payne's gray. Here's my Payne's gray and I'll mix lavender with it. So here is my lavender shade. You can also use the same mixture, as in you can use the shell pink. Actually, let's do that for the color harmony in the picture. If I mix it up with the shell pink, there is my Payne's gray and already mixed it up with shell pink. Then we'll start adding on the top. We'll start at the base because that's what we painted first. We want the colors to be lighter and also before our paper dries, we need to get that on our paper. We have some nice smaller clouds here in that light. Then now, we have darker clouds there. This side, adding in the clouds, then we have some nice clouds, fluffy clouds here. Make sure that your paper is wet, otherwise, you won't be able to get these fluffy clouds. Use the corner of your brush and try adding in the clouds. You can see these strokes are almost not soft because my paper has started to dry. We actually need to work very fast in order to get our strokes. Some strokes here, let me try and soften those strokes. I've cleared all the water from my brush and I'm just going to run around the edge and try and add to soften there. It's actually working because I've dried my brush and there isn't extra water on my brush. I've taken rid of all the extra water and I've added those clouds. We can do the same by adding some smaller clouds in the center. Some lighter clouds in this region. Make sure that the gray that you're using is very light when you reach this stage. Lighter, make sure that it's very light. Now that you've added that, let's add some nice strokes beneath those clouds. We're going to go back with our shell pink and going to add it to the region below. But you can also mix it up with a little bit of Naples yellow-red and a bit of orange. Because we want it to be having that glowy orange shade. So the pink, orange, and Naples yellow-red then go with it under my clouds. Again, we have to make sure that our paper is still wet while we're doing this. Because we want our strokes to be wet. We need to get the wet on wet nicely. That's why we're applying this. Make sure that you absorb all the extra water. Absorb all the extra water before you start applying any strokes otherwise, it's going to create blooms. Going with my nice shell pink. Pick up a nice amount of the lighter pastel shade and start adding on to the top. All of those places where you want to have those lighter tones, that's where we are adding the shell pink, but you can see that it picks up some of the existing paint from the paper also, that's absolutely fine. Just create some nice glowing shades on top. Let's back and add it on the top. If you've created any blooms, you can go ahead and try and soften all of them with your brush here. Like in this region, I'm trying to soften it with my brush, and then I need to soften this cloud here. Just make sure that they don't form any blooms on the paper. I think we've got that correctly. Now, all we need to do is wait for this whole thing to dry so that we can add in the foreground. Everything is now completely dry, let's go ahead and add in the foreground. For that, let us mix up a nice amount of turquoise blue shade, so here is the mixture of the turquoise blue shade and let's just directly apply it. First, I'm going to create a border with my brush, a straight line. I hope that's straight. I'm just using my brush itself, I don't want to be using any ruler, that's why. Let's go ahead and start filling up the whole thing with color. That is the ocean part. Let's take the darker tone, darker blue, and mix it up with this mixture so that we get a nice darker shade. I'm going to absorb all the extra water from my brush for adding in the ripples, so there just going to add these ripple shapes. You can just add these lines onto the water. Farther away, try making the lines as smaller lines. You need to absorb all that water. You can see at the top region, the lines that I'm adding are smaller, and try to space them apart. Then as we come towards the bottom, we can start adding it in more detail and as we less have these shapes. Don't worry about getting this part correctly because the water is not the most important focus in this painting, so don't worry and don't stress. You can just totally just add some few lines and not do it as detailed like this at all. Just added some nice strokes. Mixing my indigo to add some darker strokes to the bottom or maybe I'll mix a bit of Payne's gray and add it. I've just added a lot of these water ripples, so don't worry, don't stress about this, this is not important, this is just adding the foreground. Let's add some lighter areas onto the water as well, so here let us go with shell pink again. Here I'm mixing my shell pink, but I need to make sure that I absorb all the extra water from my brush, and then we'll start adding it into the water right where the glow of the sun is. It's right there, so that area needs to have a nice glow, and let's add some ripple shapes there as well and some lighter tones. Add some more. Added some nice lighter tones. You've added some nice lighter tones visible on the top. We can finish off by adding some lines or maybe something on the top of the water area like farther off land or something. I'm not going to do it for the entire length of the water although it's there in the picture, so let's just go with just one area. It's going to be really tiny and small, maybe that flag-type thing on the left side and add it to the right. I think that's absolutely enough. Now, all we have to do is wait for this whole thing to dry so that we can remove the tape. Here is the final picture. 36. Day 16 - Colours & Image: Welcome to day 16. Here is the beautiful reference image for today. I hope you like this one. We are going to approach this with the transparent colors because you can see that there's a gorgeous yellow, gorgeous orange, and a nice blues there, and they're not literally touching each other too much, so we can actually perceive this with the transparent colors. Let's have a look at the colors that we're going to be using. Here next to the sun, we have a nice beautiful yellow, so I'm going be using Indian yellow, which is a beautiful transparent yellow. Then next to it we have a lot of oranges, so I'm going to be using the orange, which is transparent orange, then if you want, you can mix a little amount of red in that area, so either crimson or alizarin crimson, but you can totally skip that. Then we have the blue sky so for that, I'll be using my bright blue. You can see all of these are absolutely transparent colors and it's just going to make it beautiful. But make sure that, when you're adding the yellow and the blues to the sky, you have to keep a space in-between them and they do not flow to each other, otherwise they're going to form the greens, okay? The blue, then dark blue for the clouds. So here I'm using Prussian blue or inventory in blue minus indenting in blue. You can either go for Prussian blue also. Then at the base of those clouds you can see some violet tones if you look closely, so I'll add a little bit of violet as well, and then in order to give it a beautiful glow effect will mix in some pink as well, so pink rows here, so that would give some nice glow there along with the orange. Then at the base here, we again have the yellow and then we'll add the orange on the top, and then for these darker reports, we are going to add orange on and then on top of it will add brown. This is burnt umber or transparent crown and then for these buildings in the background, we'll add it with a darker tone of paints gray, okay? I think that's all the colors that we can use for this painting in the sky and then we also need some white gouache to get these white sun and its reflection in the water, okay? Now, as far as painting this goes, you can totally see that the sky is going to be on wet method. Here we're going to add in the clouds on the top in the same layers as well, and we have to do it as quickly as possible before the paper dries because we want to have soft edges and we also need to make sure that the blue and the yellow doesn't mix together to form any greens. There's a lot of drama here through the water, but since our focus is only on the sky, we don't have to work on the water too much. Just a little bit off dashed lines is what we're going to do and we're going to totally skip this bridge, okay? Let's get to painting. 37. Day 16: Let's start. We'll start with applying the water onto the whole of our paper. Let's apply an even coat of water onto the paper. Here, I have applied an even coat of water onto the paper. Now, we'll start with applying our first color. We start with the top. We're going to start with a nice shade of bright blue at the top, and we're going to bring that towards the center just until that much. If you want, you can just tilt your paper so that all the darker colors accumulates at the top region. You can see actually there's a mixture of water on my paper, which is why I always say don't have these water accumulating on your paper. Let's get rid of it. Let's just absorb that whole thing, because we don't want any extra water on our paper. Rolling up ending if we do have. Here, I've gotten rid of all that extra water. Then we'll add the paint nicely on the door, and move lighter as we go down. Let me absorb all that extra water from my brush, and then pick up the darker tones to add at the top. Here I have added the darker tones. As I move downwards, it's lighter. Then I'm going to pick up a nice shade of yellow, and that's what we apply at the base. Starting to apply the yellow, but make sure that you don't touch the blue region with the yellow which is really important. Just pick up the yellow and stop right there. Then the next state that will go with is orange. We add in the orange, and we'll add it right above the yellow region where it's supposed to join with the blue. Also add in the orange down the left and the right side, towards the yellow but leaving that yellow in the middle. That is the first part, now we need to add in the clouds on the top. For adding in the clouds on the top, I am going to take my dark blue in color which is indenting blue. I'm going to start adding in the shape of clouds. Just pick up the nice blue shade and start adding on the top. You can see it's nice and dark, so you need to get that in this region where it's joining the orange as well. We'll have some here in the form of the lines. Now, we're going to add some violet tones to it. Here, to the area below, adding some nice purple tone. But in order to get that little glow of pink, we'll add some pink shades as well. Here, I'm taking my queen rose and I want to add it at the base. It won't be seen too much, just at the base slightly. Get it to blend with that beautiful blue. It's going to look like violet itself. We need to create the glow under the clouds. Let's go ahead and take the orange again, and we're going to apply right below those clouds. There below the clouds, and we'll add some nice clouds with the orange as well. The left side. Now, we have added all the clouds in the sky. Let's wait for this whole thing to completely dry so that we can add in the foreground. Here everything is now completely dried, so let's go ahead and add in the foreground. For that, I am going to be using my Payne's gray. Here is my gray, and we're going to add in the line for the full cloud. I hope that's straight. That's not bad, it's straight enough. Then we have the buildings in the far away area. We're going to have to create some nice shapes. I'm just going to create some shapes, and then I'll add the color inside later on. You can see I'm concentrating nicely into adding those building shapes in the background. I have added those shapes, now let us fill in these buildings. Add more Payne's gray and fill up the buildings inside. This is a bit time-consuming, isn't it? To go and keep filling up the inside of these buildings. Anyway, it's optional, you could actually just add a different foreground and be done with it. I was just trying to mimic the picture this time. Although I don't usually like to paint exactly as in the picture. I have filled up the entire buildings, now let's go ahead and start adding in the water. For that, we're going to start out with a nice orange shade, and we'll start adding in the water. We have the sun here over there is the yellow. Right next to that, we will start with the orange. First we're going to have a line, a separation where the land and the water meets. Then we have all those smaller lines. Here the smaller lines of the water, and as you've gone towards these, you can have the separation of the lines, larger and larger gaps between the lines and also darker lines towards the base. Darker and larger as well, in fact. Separation line between buildings and land that is the land and the water area. Let's go ahead and start getting those smaller ripples towards the top. This time we're just adding several lines for the water. Towards the left side, we need to have more darker lines, so first, let's go ahead and start adding these orange lines, and then we'll add darkness and depth to it. Now we've added a lot of those orange lines. Let's go ahead and start taking our next color on the top. I'm going to pick up a nice red shade. I know that there's no red, but that's like a darker version, so we'll mix it up with the orange and try to get some nice dark red shade towards the left. Then we will go with the next darker shade, which is going to be ground, so either burnt umber, transparent brown or any dark brown that you have. I'm using burnt umber for transparent ground here, and that's what we'll add at the base. At the base, I'm going with a dark brown color. Adding these brown ripples, smaller ones to the right side, and closer to the buildings I want to have more of those dark brown rocks because we want to have the deflection of the buildings. Then make sure that when you're adding those reflections, you try to somehow get it in the shape of the buildings on the top region. That is, if you have a peak, a taller building there, try to have some larger lines. Towards the left side, the left side is going to have four of those darker lines because it's further away from the sun area, so that's why. Let's again have the reflection such that it follows the shape of the buildings, somewhat. Shape of the buildings. Adding more darker tones towards the left side and just extending it towards the right side. It's like the reflection of these darker clouds are going to be really dark here on the left side. That's why we need to add it as a darker version without any lighter colors on the left side. I think that's good enough. Now what we can do is we can finish off by adding a little sun in the image. I'm going to take my gouache white paint, I'm going to add the sunset here is where I have decided to have the sun, so here is the nice glowing sun, and then we're also going to have the yellow part, and the glow of the sun in the water. Here, just add the reflection. It's going to be white, and then some small dotted lines towards the bottom and there that is just the sun, the glow, everything to add it. Now all we have to do is wait for the whole thing to dry so that we can remove the tape. Everything is now completely dry, let us remove that tape. I just love how this one has turned out, especially with the reflection of the sun and the water, but I know that that's not the focus, even this guy is just so gorgeous, isn't it? So there you go. 38. Day 17 - Colours & Image: Welcome to day 17. This here is the image that we're going to paint today. You can see it consists of just the sky and the fluffy clouds. We need to get this on our paper. Let's look at this closely. What do we see? We see two contrasting colors and as you know, if you mix these two colors, they're going to create a gray on the paper. We won't be able to paint the whole of this in a single layer with the wet on red techniques, we might have to go with multiple layers. What we're going to do is we're going to paint this in two layers. The first layer, we'll paint the turquoise green color, the light turquoise blue color. Then the next layer, once it's completely dried, we'll go with the orange sheets. That's how we can approach this picture. Now we know how we're going to approach this picture. Let's have a look at the colors. Obviously we need this turquoise green color. What I'm going to do is I'm going to mix my phthalo green or turquoise green with my horizon blue, which is opaque. That's my horizon blue and mixing them together will give me a nice light, turquoise green color like this. You can see it's got that bluish tint and everything because this is horizon blue. Don't worry if you don't have this color, what you can do is you can mix your blue, green, and white together to get a nice opaque color. Makes sure that the white paint that you're using it's opaque. I don't have to tell you that. Then we have these darkest regions of the same color, so for in order to make it dark, I'll mix a little bit of indigo paint. That's the indigo paint. Often mixing indigo the whole thing becomes opaque and a darker version like that. Then, now, what do we have? In the second layer we are obviously going to have to paint with the orange tones. For that, first we'll go with a nice Naples yellow, reddish. This is my Naples yellow, reddish. You know by now you can mix your orange and white together to create that beautiful Naples, yellow, red tone. Then we have that orange on the top. In order to get the orange on the top, I need to make it opaque because what I have is transparent orange. You can actually use cadmium orange because that is really opaque. What I'm going to do is I'm going to mix up my Naples yellow and my orange together. Mixing my Naples yellow and my orange together will give me an opaque version like this. It's almost the same it's just that this is opaque. Then as you can see, it's like a peach color is not exactly orange. In order to make it peach, we need to add a little bit of pink to it. Adding that pink color will give us that peach tone, something like this. You can see it's that peach color that we have created. You can mix your orange, pink, and white together, and a little bit of yellow as well. That would give you this beautiful peach color. Then now we have to get some darker regions. In order to get to the darker regions, so I'll be adding the burnt umber. I'm going to mix it up with my Naples yellow, red in order to make it opaque. You can mix it up with a little bit of orange and white together to make it opaque. Then in these darkest regions obviously will go with the brown paint itself. Then we also need the white pigment in order to get some of the whiter areas. That's it going to be for this one. Let's get to painting this. 39. Day 17: Let us start painting, you'll start with applying the water onto the paper for the first layer. Let's go ahead and apply an even coat of water. Both the layers are going to be wet on wet, so this is the first layer. Let's just apply the water onto the paper. Here I have applied an even coat of water. Let us go ahead and start applying our first color, which is going to be the light turquoise green color. I'm picking up the light turquoise green color in my brush and I'm going to slightly apply it onto my paper. Just in the middle portions and in the top region, but in top region we need it to be lighter. As you can see, I'm getting my strokes lighter. I didn't need to mix this much of the paint, it's such a waste. Anyways, so there, mixed a nice amount and added a nice amount of that dark turquoise green shade. Let me get that up to the bottom and some here. Here at the bottom, I need it be slightly darker, so I am going to mix the whole thing with indigo. There is my indigo, I have mixed it up. You take more and mixing it up with indigo so that I get my strokes to be darker. Let me absorb all that extra water from my brush, because it's dangerous to introduce any extra water because the whole thing is just going to flow, and I don't want it to be flowing, but rather I want it to stay wherever I'm applying. There, now we've got a nice darker strokes. Let's get that darker stroke here at the bottom as well on the top. Green, put in some here. Now that we've applied the nice green-ish tones, that is the turquoise green tones. This is the first layer. Let's now wait for this whole thing to dry completely so that we can add in the orange tones on the top. Here everything is now completely dry. Let's go ahead and reapply water on the top for the second layer. When you are reapplying the water, one thing that we need to be careful is that your first layer needs to be completely dry. If you're using a hairdryer, you'll be able to understand it because the paper is going to be hot if you're using the heat. Otherwise you just have to wait for a long time because even if this thing is slightly wet and you reapply the water on the top, it's going to move the underlying layer. If you don't want the underlying layer to be too much disturbed, then you need to wait for the whole thing to dry. Also, when you're reapplying the water, try to use a larger size brush you have, because the more movement you have on your strokes, the more it is going to come out. Because obviously it's watercolors and you're able to reactivate them even if it's on the paper. Let's just make sure that we do not react with them. Here I'm going to use my flat brush, largest flat brush that I have and I'm going to go over quickly, on the top and as fast as I can because you can see slightly already that I am moving some paints. You can see here this area I have moved some paints, so we just need to be careful. Dry and reapply the water. That's just too much water, let me just tilt my paper so that all the water would come down, that is, the extra water would come down and they can absorb it with my towel. That has got an even coat of water on my paper, so I'm going to start. We're first going to start with Naples yellow reddish. Remember this the lighter orange shade. I have the turquoise green in my brush, so it's mixing with the Naples yellow reddish to form gray color, so I need to clear that up. We'll start applying on the top. Picking up my nice Naples yellow red. Premix your colors if you're going to be mixing it up using gouache. Here, let me put yellow red and let me start applying it onto the paper. We need to make sure that our paper doesn't dry, so do this process quickly and start applying into all the areas. Let's get the paint onto all the areas. This is like the underlying, firstly part of the layer for the orange clouds. Let's get to this side, so don't let any part of your paper to dry. We need the whole thing to be wet, so the center portion and everywhere where there are those tiny clouds. Now that we've applied the first part of the second layer, not the first layer, sorry. Anyways. Now we've applied the first part of the second layer, let's go with adding the next part. That is adding the nice, beautiful orange shades on the top. I think we need it to be slightly peach a color. I'm going to mix a little bit of pink, like I said, to create that beautiful peach color into this mixture. There's the pink and here I've mixed it up. I think we need more pink. Now it's turned into a gorgeous red shade. I need more yellow. That's Naples yellow and adding that. It's a time-consuming process to create that exact tone that we want. This is why I say premix your paints because otherwise if your paper is not 100 percent cotton paper, it's going to dry out. Then you won't be able to work on it. You'd have to wait for the whole thing to dry again so that you can reapply the water and paint. There, I think I've got the color that we want. Now we'll go ahead and start applying that gorgeous tone on the top there. This again, is going to be the wet-on-wet technique. Let it sink in on the top in random areas where you want it to have that gorgeous, beautiful peach color. Then here on the left side. You can add all of this in as many layers as you want. Here, now this is our second layer. It's totally up to you how many layers you want to add to get this painting done. Now we've got that gorgeous color in there. Now let's get to adding some more dark colors. I'm going to pick up more of my paint and mix it up in the same mixture. You can see it's now a darker mixture. Now this is what's going on the top. That's going on the top and getting blended in. In order to make it blend, we obviously know that the whole thing has to be wet because if it's dry, it's not going to blend. Let's get that paint on the top. Now, we've got that darker tone. Now we need to get in more darker tones, so we're going to go with brown. That's burnt umber, also known as transparent brown. To make that opaque, I'm going to mix it up with my Naples yellow, reddish. You can mix it up with a little bit of white and that would give you the opacity. That's what's going on the top here and in the darkest areas. Here on the left side, obviously and in some areas here. Now that we have added all of those colors, let's soften up everything. Make sure that you dry your brush completely on a tissue or a cloth, whichever you're using. Then let's just blend the whole thing evenly without forming any hairs. If it's starting to form hairs, just try to get rid of the hairs by just going over with your brush and blending the whole thing onto the paper, like here I'm doing. I want that brown area to be blended in smoothly. We can go over some of the areas. Now I've got paint in my brush and I'm going over it to create that gorgeous shapes of the clouds. We can pick up some more of that colors because now this whole thing is starting to dry up. When we add more color on the top, it's not going to spread out a lot, but rather it's going to stay in that place. There, let's do the same to this side. Let's soften up all the edges. There. Now we have softened up all the edges and we have darkened up the edges where we want it to be darkened as well. Although I think I want to add a little bit more brown to the side on the left because it's really dark there. Because I'm using this brown and not any transparent mixture, it's going to create a weird combination here, but I'll soften that up using my brush. Here I've absorbed all that extra water. I'm just going to soften that whole thing and blend that brown into the background. There, I've blended everything. Another thing we can do is to get some of the white areas in this top region, so we can go with some white paint. If you put some white paint in your pallet, I'm using this white gouache. You know by now which paint I'm using. Let's get that. If I take a little bit of the white paint and I'm just going to drop it in that region in the form of some fluffy clouds. Then I'm just going to blend it into that background. This is one way that you can get those fluffiness. See, just added those fluffiness. You can see that now there's that little fluffiness there and the whiteness. Let's do the same on this side here. Let's just create those shapes with the white. But your paper still needs to be wet because if it's dry, you're not going to get that fluffiness. The whole thing is going to just not blend and your white is going to stick out. If your paper has completely dried, what you can do is you can wait for it to dry and add this in the next layer. That's very important. You go ahead and start adding in other areas, wherever you think that you want to add in the fluffy clouds. I think this region has completely dried. I'm not going to ruin it by adding anymore or too much of the white colors. Understand that these white tones are going to get lighter after the painting is dry. You can go ahead and start adding some nice tones, but don't make it too white as snow. I just want it to be lighter. We've got those light tones and we've got those fluffy clouds there. Let me add some more to the bottom. Now we have mixed up those white regions. We can see how gorgeously it's created those fluffiness. Now the painting is complete. Let's dry this whole thing up so that we can remove the tape. Everything is now completely dry. Let us remove the tape. Here is the final painting. 40. Day 18 - Colours & Image: Welcome to Day 18. This is the reference image that we're going to use today. As you can see it's a beautiful paste of the sky with a lot of pastel colors. Let us have a look at the colors first. You can see that this is a beautiful pastel pink shade. I'm going to be using my shell pink for that. Here is my shell pink. You can see it clearly matches that pink shade. Don't worry, if you don't have this, you can just mix your pink shade with white and you'll get this lighter pink shade. Then for these clouds in the sky, we're going to paint with lavender. You can clearly see that it's a lavender shade. You also need to create some darker shades to get that depth of the clouds. For that, I'll be mixing my lavender with a little bit of violet. This is transparent violet. We mix it with lavender to make it opaque. Then we had this beautiful peach color in between. That peach color, I'll be mixing it by mixing up my pink, orange, and the shopping together. I'll get this beautiful beach color like this one. This is a mixture of this pink, orange, and they're shopping together. You can mix your pink, orange and white together, and you get this beautiful peach colors. That's what we need for these areas in-between. I think that's it for the colors that we're going to need for this main. When you look at this, what do you think? How we're going to paint this? Obviously, I think it's clearly obvious that it is going to be in our wet on wet method because we have the softer clouds. We're just going to paint this in one single layer and we're going to have the shopping and all of it just spaced apart. You can approach this in two methods. One is to apply the shell pink all over the paper. Then on top of it paint with the peach and the lavender color for you to get the softer skies because that's the simplest method. I don't want to go with the simplest method. I want to show you different ways that you can actually do this. The second method is to have the shell pink in areas that's not covered by the clouds. You're going to have to follow the negative painting technique, which means you're going to paint in all the areas that there are no clouds and add the shopping first and then go with the peach and the lavender colors with the clouds. That's what I'm going to be doing today. Don't forget the other method. We can simply add shopping to the whole of your paper, then add the peach and allow undertones on the top with the same wet on wet technique. Let us start painting. 41. Day 18: Let us start painting. We'll start with applying the water onto the paper as usual. Let's get that water onto our paper evenly using my flat brush here and applying it onto the paper. Let's make sure that our paper can stay wet for all the times we're painting with the wet on wet techniques. Make sure that you apply it multiple times if needed. I've explained this so many times, so I'm sure that you know it by now. Then we'll start with our first color, which is going to be shell pink. Here I have my shell pink. You can use any pastel pink shade and we start applying that onto our sky. Here, we're going to apply it to the sky and what we're going to do is, we're going to paint around the areas where there is the violet. It's easier to paint the whole of the sky with this shell pink and then paint with lavender on the top. But then let's just leave space for that lavender so that that lavender goes into the paper on the top layer itself. This is like the negative painting technique where you paint around the areas where you want the lavender to be. We want the sky to go there and then we have shell pink strokes there and there in the sky. This is like going around the areas where we want our pink shade to be. Then some of the areas where we've skipped and it's going to have the lavender. We can add it on the top. But this is just like the outside areas, the main bigger clouds where we want it to have this. This is mainly because when we're adding in those orange shades, it's going to be difficult to add them on top of the lavender already being shade, so we want to avoid that and get our shades onto the paper first. Now that we've added that base through beautiful pink onto our paper, let's get to adding that orange or peach colors. Now if you have the peach color already, you can use that. Let me mix up that peach color, so what I'm going to do is, I'm going to take my pink and then I'm going to mix it up with a bit of orange. Mixing it up with orange. I've already got a darker peach color now. Now I need it to be lighter, so I'll mix it up with the shell pink. Then give me a lighter peach color, here is the lighter peach color and I'm going to apply that into this sky. This we are going to apply in the areas where you want that pinkish tone to be. You can pick up more of the pink, the orange, and everything and make it lighter. Then I have some strokes here, some strokes here underneath. Just drawing with my strokes and then we have some here. Here we are going on top because our shell pink spread onto that area, but that's absolutely fine. It's lighter, but I'm still going to go and make it vibrant. We have some here at the bottom and then we have some dots and specs here and there. I think we've got all that pinkish shades in and now we go with our lavender on the top. Let's get our lavender. Here is my lavender shade. We need to make sure that our paper is still wet and also to dry your brush and remove all extra water before you add in all these extra steps. Here, I'm going to add that cloud there. Then some small specs here and there. The cloud that was here at the top. Then at the top again, so we can go over some of that beautiful peach shade. But make sure that you don't go too much over it because then it will create a very muddy gray color, so we need to avoid that at any cost. We'll just add it here. We want all those colors here, some nice large cloud here. Just go with the flow and start adding. You don't even have to draw exactly as in the picture like I always say. You can just go ahead and try getting some of these shapes. Got this nice one and extending, and some small specs here and there smaller clouds. Now that we've added a lot of these smaller clouds, let's get to adding some more darker tones onto these beautiful violet clouds. We need to make them darker and in order to make them darker, we'll mix them with violet like I said, so here is my violet. Mixing that with lavender so that will make it dark and we'll add that to the top. Not in all the areas, we just need to be blending smoothly, so make sure that your lavender paint is still wet while you're doing this, otherwise, you're going to end up with a huge mess because it's not blended together. There you can see when we add the nice violet on the top. Now that we have added all of that, let's go ahead with our lavender again on the top. Get it to blend smoothly, but if it's not blended you can blend it smoothly by picking up more lavender and adding it to the top. You can see this area, it was not blended but then I added more lavender to it and look how that's softened up. The same here and these areas as well. Here, you can see it's not blended. I think that's good enough and now we can wait for this whole thing to dry. Everything is now completely dry, we can remove the tape. This one was quite simple. I think the only difficult part in this painting is to get these shades correctly. If you don't have the pastel shades then it's going to be hard to mix them up. Here is the final painting for today, I hope you like it. 42. Day 19 - Colours & Image: Welcome to Day 19. This here is the reference image that we are going to use today. Let us have a look at the colors first. As you can see there's a lot of blues here, some darker blues here, and some purple and violet shades, and a little bit of orange here. I've already mentioned all the colors that we have. I am going to be using bright blue or phthalo blue for this blue here, and then to get the depth or these darker shades, I'll be adding Prussian blue on the top. Then for creating this purple shade, as you can see, it's got a nice purple shade. So what I'm going to be doing is I want to be mixing my quin rose with this bright blue so that I get a nice purple shade like this one. That's a purple shade mixture of this quin rose and this bright blue together. Then for creating violet, I'll add more blue to it and there I get a violet. So it's just a mixture of these two colors. Whichever blue you're using, mix it up with pink to get a purple and a violet. Then a tint of orange there. I'm going to be taking up orange and adding a tint there. I think that's all the colors. We'll also need some white paint to add these lightning strokes and some white strokes on the clouds. So let's see how we can paint this. This looks a bit tough, but let me tell you one thing. You can paint this whole thing with the wet on wet technique and on a single layer. You obviously have some [inaudible] so let me explain. The wet on wet technique where you would be adding all the blue, the violet, and the purple strokes and you'll add these darker tones on the top. You'll be adding these darker tones such that you cover the edges of the clouds. Can you see these edges here? We need our paper to be wet but not too wet such that all your paint is spreading around. It'll be such that in a damp stage when you apply this blue shade, it will not spread but it rather stay in the raise. Then this blue shade again at the edge and then you blend it out into this region using the same blue that you used for painting the background in the first place. These colors are simple because you just have to add it on the top. Because when you add purple alongside the blue, it's already going to create that violet shade. You don't have to mix it yourself. You don't have to mix this because it's going to mix by itself and create that violet shade when it goes alongside the blue shade then adding some oranges here. Once the paper is completely dry, you can go ahead and pick up some white paint and paint around the edges of these clouds and then soften the edges of those whites. So when you do that, this will bring out this cloud here to the front. That means it's going to look as though that cloud is standing out. That's what we're going to do with this painting. Let's get to painting this. 43. Day 19: Let us start. We'll start with applying the water onto our paper. Let's apply the water evenly. Make sure that you really apply the water evenly without forming any large pools on the paper. You can actually tilt your paper to get that water evenly. You can tilt your paper like this, so that the water flows down. I mean, any extra bit of water on the paper flows down. Now, that we have applied the water, let me mix up that beautiful purple shade. It's going to be queen rose and the bright blue together, and now we have the violet shade, we need more ink to make it purple, so there. That is the purple shade that I want to be using. Let us get to painting. Let's go with our first color, which is going to be bright blue, and I'm just going to add it to my paper. Let's go ahead and start adding the bright blue, and we add starting from the top, and on the left side, as you can see, it's clearly covered with a whole lot of bright blue shade. There and then coming to the left side. The whole of it is just bright blue. Let's get our blue paint on the top. Start applying, so all the way up to the bottom. You can see that it's bright blue. Get the bright blue up all the way towards the left. The darker colors we'll add on the top, so don't worry, first let's get these colors in the sky. Then we have some more of the bluish tones on the right side. Let me get that in there. Now, we've got our blue tones on the paper, so let's get our purple tones. Here is the purple. All you need is to mix the bright blue and the purple together, the pink together, and you get this beautiful purple shade. That is what we're going to add so let's mix that up more, that's pink and the blue together to create a beautiful, nice purple shade. We need it to be lighter, so make sure that you pick up a light amount and also make sure that your paper stays wet and when it mixes with the blue already on the paper, it's going to create some violet tones, and that's absolutely fine. That's nice violet clouds. We'll have the purple violet clouds on this side as well and some of the purple tones there. Think we need more pink in our mixture because there's already a lot of blue on the paper. So you get that and there. I've added a lot of these purple tones. I can see it's really dark in the areas that I've painted, so I need to make them lighter. I'm just going to go around with my brush and soften most of it so that it's lighter. You can see it's now very, very light because the mixture that we made with darker, but then when we go around and start adding on the top, it gets lighter. There, making it lighter, then we need to add it to the base as well, but at the base, I'm going to go with a teeny-tiny amount orange and give it a nice beach shade as well and blend that thing. We have a lot of white space there, so let it be and these areas as well. Let's just make sure that we blend the whole thing. I need some lighter area there, so I used my brush to create that lighter area. Now, let's go with the darker paint and start adding some dark, cloudy forms. The rest of the areas are now darker. Let's get the blue in to the mixture, so adding more blue into the mixture and then I'm going to go with a nice violet shade of clouds nodes here. You can see it's violet and I've added the violet shade. We add that here in all the areas and get some nice violet shades. Now, we've covered that right side, now we need to make sure that we add more of the darker clouds left. For that, I'm going to pick up my Prussian blue, and I'm going to mix it up with my bright blue. Taking my Prussian blue and mixing bright blue together and then we'll start applying. So here and then I'm going to create these rounded shapes, that's what going in, rounded shapes and we're going to paint the whole of the inside of those rounded shapes. Now we've added some nice clouds. Let's add more to these edges, to the right, then there's some here at the top. We need to be working quickly in order to get all these colors. Otherwise, we're risking creating blooms or even hard edges. That's something that we have to work quickly on. Here I'm going to create some nice clouds there as well. What I've done is we've added the clouds there. Now we need to make sure that it's blended into that region. We'll pick up some nice bright blue. Go back to the light blue or the blue that you are using, make sure that you absorb all that extra water, and then blend it. Taking the blue, and then blending it to that region. Can you see? Now the dark areas there, and this area is now lighter, and it's around the other cloudy form. We make it even lighter. What we're going to do is we're going to take some nice white paint and add it. Let's pick up some nice white paint, make sure that the absorb all the extra water. It's very important that you get rid of all the water. Then adding that white paint on the top. With bright blue, you're going to have to pick up a nice amount of white paint in order to be able to put it on top of the bright blue. If you're using bright blue or the halo blue, because it is really staining pigment, and it's very hard to get white tones on top of it. There. We can add the white color on the top and get it to blend nicely into that light bright blue region. There. Go ahead and pick up more of the white and do the same. I need some white tones there and some white tones here at the base, and maybe some more tones on the right side. I've added all those white tones, and you can see it's standing out white. But what we're going to do now is we're going to blend them in along with the other blue shades, so it looks as though that area is just a brighter blue shade. Can you see? It looks just right, and the same we're going to do with this side. That is probably good enough. Let's go back to taking our Prussian blue and add it around this white. The reason I'm adding the blue again is because now it looks as though the white is on the top, so we need to make sure that we bring out the blue to the front. That's the reason why we're doing this. When we apply the blue paint again, know going to look as though the blue paint is what's above in the picture. See? It stands out. The same with light blue here. I added some nice blues. We just need to make sure that we blend the whole thing. I think this is good enough. Now what we can do is wait for the whole thing to try so that we can try add in our lightning. It's now completely dry. Now what we need to do is, let's go with the smallest size brush you have, with a pointed tip. I'm going to use my liner brush, and I'm going to take a nice amount of white in my liner brush and use the pointed tip of my liner brush to create those gorgeous lightning strikes. There. Just creating some nice and lightning shapes. We need to make sure that the white that you're using is really opaque. Otherwise, it's going to get lighter, so that's why. Then make them smaller. Make sure that you use the pointed tip of your brush because that's really important if you want to get a beautiful lightning shape. I want to extend this to the top. There. We've got some nice lightning shapes there. I think that's enough for the lightening part. Now what we can do is, I want to try and bring out some of the white and the background a bit. I'm going to take my white paint, a little, and going to try apply it at the top, and we're going to try apply it in such a manner such that you are creating the shape of the clouds. Can you see? Just created a shape of the cloud, but what we need to do is we need to take our brush and soften out the edges. Can you see? I'm using my brush, and I've softened out the edges. Use your brush and water and make sure that you soften it out towards the outside. This is, again, like a negative painting method, where you're softening out. We're softening out the clouds so that this cloud looks as though it's in the front. We just need to do it only for the right side here. I think the other areas are forming. Make sure you do it multiple times or that you ensure that it doesn't create any bloom. This process can only be done when your paper is completely dry. Otherwise it's going to create blooms on the paper. Also don't use a brush that has a lot of water, so make sure that you absorb all the extra water from your brush. Now that we have completed, we only painted on the inside areas and just the lightning, we can remove the tape. Here is our lightning image for today. I hope you like this one. 44. Day 20 - Colours & Image: [MUSIC] Welcome to Day 20. This here is the image that we are going to paint today. As you can see, this is in the portrait mode, so we need to be changing it into the landscape mode, that is, to rotate it. Let us have a look at how the sky is structured. It's got these darker clouds in the top then comes down to a blue, pink, and then gradually lightens up to an orange and yellow shade towards the bottom, and then the foreground. Obviously, the sky is going to be with the wet-on-wet technique, and then the foreground on top of it. But before we add the foreground, we have these lightning strikes which we have to add because, as you can see, it's behind the foreground. It'll be first the sky, then the lightning strikes, and then on top of it, the foreground. When we rotate it, it means that all of this is going to be compressed into the landscape mode. If you look at the colors, there is a possibility of adding them into the sky gradually using the transparent version, that is, you can go for darker colors at the top, and then gradually lighten up, or you can go from the bottom up, that is, start with yellow and then orange and then pink. These are not too much contrasting colors, there's only a contrast here, between the yellow and the darkest version here. Then as you can see, it's joined by dark brown clouds. Then yellow is not going to mix up with the black, and create any greenish tones, that is, it is not going to mix up with the dark blue to form any greenish tones. You can just add the brownish tones here. We'll go with the transparent method on this one. Let us have a look at the colors. First, we have yellow, which is obviously the transparent yellow, then we'll add some transparent orange on the top, then we have this beautiful pink sheets, but as you can see, it's also slightly purple sheet, so in order to create that slightly purple sheet, I'll go with mixing it with a little bit of blue, so I'll mix it with the bright blue, and then here we have the orange and the pink mixture which we can mix it up using these two colors while painting itself. Then as we go towards the top, we have the darker colors, so we can either use Prussian blue or we can even use indigo. So there indigo, and then for these dark clouds, we'll go with burnt umber or burnt brown or transparent brown, whichever brown. Then we have white for these foreground lighting strikes. Then on top of it, in the front, we'll have the darkest version of the foreground. I'm not going to be using black, but rather I'll use my brown itself and its darkest value. Because of that, you'll have it shining through. Also since our focus is not in the foreground, we're going to skip the light regions in-between the foreground. That's it. Let's get to painting this. [MUSIC] 45. Day 20: Let us start. We'll start with applying the water on our paper. Applying the water onto the whole of our paper to make sure that it stays wet for all our strokes. Now that we have applied the water, let us start painting. We'll start with a beautiful Indian yellow shade and we're going to apply it in the middle and all the way down. Somewhere in all of these regions, that's where we're going to apply the Indian yellow. Make sure that you apply it nicely so that it's clearly visible and also on the left up until here. Now that we've applied the Indian yellow let's go with the other beautiful colors. We have orange and it's going to be some orange shades here. It's going to be a mixture of this orange and the Indian yellows. That's why I'm applying on top of the Indian yellow here and you can see that it's clearly mixing to a beautiful shade and then we start going up. But as we start going up, we're going to start it with a nice pink shade. Let's get that beautiful pink in the sky there. That's the pink shade. There is just too much water here because it's formed a bend in my paper, so I'm just going to absorb it and move it around, that's quite simple, isn't it? Just move around the extra water. This is where I always say don't form any large pools. I'm not listening to myself. Anyway, there is the pink shade. Start applying that on the left side as well, forming a nice thread shade at some places, and then we'll mix a little bit of the blue to it. There'll be mixing up indigo so when you mix up indigo, you can see it creates a nice purple shade. There's the Indigo and I'm mixing them. It creates a nice purple shade and that's what's going to go over the top regions and here towards the left side and here. At the bottom, you can see that it transitions into a little bit of brown shade, which is exactly what we want, and there. I think that's good enough there and we'll add some more nice strokes and here it transitions into a brown shade in these yellow regions. Now, we'll go first with orange and add some nice orange on the top. There's deep orange and adding the nice orange on the top. Just at certain places, don't add in all the places because we want that yellow to be seen. You know where the lightning is you can clearly see the yellow. Then we go with the brown shade. Here is transparent brown. Using transparent brown, I'm going to add on the top and get those darker shades in the sky. Here is the brown and get it on the top. Perhaps some nice loose strokes there so we need to keep that area slightly lighter. Then go with the brown shade at the top there again you can see. You can see the gap of yellow that we've created. Then go with the brown shade at the top. This brown is what is going to separate the yellow from the blue shade. Otherwise, we create greens. You can just see we can blend all of this. Now, let's get the blue, so the dark blue indigo. There's the dark blue indigo and that's what we're going to apply here at the top. Get the dark stroke on the top. We can also top it up with a little bit of Payne's gray if you want it to be absolutely dark at the top. I'm topping it up with Payne's gray at the top and these regions where it's brown that's what mixes up with the blue so that we don't create any green with our yellow. Here, let me take up that brown again because I want to blend it up in that region. Can you see it's blended up, and then we'll create the nice cloudy forms with the darker brown shade. Why am I saying wrong colors? Anyway, now let's pick up more brown and now we need to add darker clouds on the top. This time you can go for CPR if you're not getting this dark color. You can see how I'm adding these darker clouds on the top with my brown shade and some darker cloud here as well. Let me mix up that pink shade again that purple shade again so there it is. But I need to make sure that I don't introduce any extra water while I'm doing this. There and then mixing it up into that region and getting it to blend smoothly. There we got that smoothness. We need to get this region a bit smooth. I think that region is smooth, what I need is a little bit of orange there. Let me absorb all the water and a bit of orange shades there. Even here at the bottom and towards this region as well. We want it to be slightly having that orange shade. Here I've mixed my yellow with orange shade and blended it along. We can see how the whole thing is being blended and got beautiful clouds as well. Let's get some blue on the top. Here is my Prussian blue, and I'm going to add that Prussian blue here at the top, just to get nice blue. You can also go with bright blue so we try my bright blue. That was too much water, so I need to absorb it, and there, I've added nice blue strokes. I think this is good enough. What we can do is now wait for the whole thing to dry so that we can add in the lightning and the foreground. Everything is now completely dry, so we're going to use the white gouache paint to add in the lightning strikes. I'm also going to use my liner brush because that gives me thinner lines. Go with the smallest size brush you have and make sure that the tip is pointed so you can see how pointed the tip is and that's what I'm going to use for adding those lightning strikes. I'm going to start in this white zone, where we're going to start this white region and add some shaky lines. Nice and shaky all the way down and again another joining that one. Then we will have branches coming out of each of them. Then branches coming out of this. Then we'll have some here. Let's add in the lightning strike here on the left side. Then let's have the smaller branches. We have added in the nice branches. I'm adding a small light source here just to make it brighter. Now what we need to do is make sure that this is completely dry. I'm just going to show you a little trick. This region is now completely dry. Now what I'm going to do is, observe closely, this is like a trick to get that lightning. Using my flat brush, what I'm going to do is I'm going to apply some water on the top. That is going to make all of those white paint to spread out. You can see it's causing the white paint to spread. But don't let it spread too much so we just need to make sure that it's somewhat lighter. Also, we need to soften our strokes because if we keep that line of water, then it's going to get messed up so just blend out that water area. I've just blended out that water area. Or you can just use a tissue as well or a piece of cloth to make sure that you absorb all that water from the edge of your lightning source or the paper. Now you can see that it's slightly lighter on that area. Let us dry this up. Now that it's completely dry, we are going to re-add those lightning strikes. This trick was because we wanted those lightning strikes to have like aura or what do you say it, like a soft edge to it but then have that lightning strike in the middle so that is why we did that spreading. But trust me, if it's not possible and you're afraid that it's going to ruin your painting because your paper is still wet or because your colors are going to come loose, then don't attempt it. Otherwise, you can go ahead and try it on your own. Forgive me if it ruins your painting. There I've added those lightning strikes. Now you just need to add in the foreground. For adding in the foreground, let's go with a beautiful brown, the burnt umber shade, and we just add the base. Let's fill up the base first. I'm going with a brown shade and not black. We need it to be a dark brown shade. You can go for sepia or Van **** brown and color it as such. But make sure that you don't use black because we wanted to have that little brightness along with the yellow shade that we've added. We're going to have some trees and some trees here. Let's add the tree shapes on the top. Just adding some random shapes. You can see that. This is the reason why we painted the lightning first and then the trees because we wanted the tree shapes to go on top of the lightning because lightning is behind those trees. Adding some more shrubs and bushes to cover this bottom part. I think that's good enough. We're not creating exactly as it is in the picture. Just covering up something at the base so that we do have a foreground. I think that's it. Let's wait for this to dry so that we can remove the tape. Everything is now completely dried. Let us remove the tape. Here is the final painting. I hope you like it. 46. Day 21 - Colours & Image: [MUSIC] Welcome to Day 21. The next 10 days, we don't have any reference image, but we'll be painting different beautiful skies, night skies, as well as the day skies. Today's painting is going to be this; it's fluffy clouds in the sky on wet technique. Let's just go ahead and see what are the colors that we need. We'll be using Payne's gray, a nice version of Payne's gray, but we need a lighter tone. We'll be mixing it with water to create a lighter tone like that. Then we'll use a little bit of indigo. Again, we'll use a lighter tone of the indigo by mixing it with amount of water and creating those lighter strokes. Then for the foreground, we'll add olive green. To get some of those darker strokes, I'll use a dark green and mix it with the indigo to create this darker green. These are the colors that we're going to be using today. Let's get to painting this. [MUSIC] 47. Day 21: Since there is no reference picture, let us go ahead and start painting. We'll start with applying the water onto the whole of the paper. Let's apply the water evenly. You can tilt your papers slightly, that is your board slightly so that you have an even coat of water and doesn't form any large pools. Here I have applied the water. Let us start, we're going to have some darker clouds in the sky. For that, we'll start with a nice and beautiful Payne's gray. Here is Payne's gray. We're going to use a lighter tone effect. Slight lighter tone of the Payne's gray and we'll start at the top. We're just going to create some beautiful strokes like that using the side of the brush. If you want, you can tilt your board again so that these strokes would flow down. That's optional, you don't have to do it. We're doing with my Payne's gray again and creating those streaks or strokes. Pick up more Payne's gray and let's keep adding. I want the darker softer strokes to be at the top and there. I've added these streaky strokes into the sky and then I'm going to go with my indigo. Here is my indigo. I need a lighter tone effect. Here I'm taking a lighter tone by adding a little bit of extra water to it and that's what we add to this left side. We have these bluish tones in the left side. Some blue, nice beautiful blue clouds to the left side. Here is my indigo and we'll apply it to the left side and some towards the middle as well. It's going to be a mixture of this indigo and the Payne's gray. It's just adding these tiny strokes. Let's go back to adding a little bit more Payne's gray. Here is the Payne's gray, adding that at the top. As you know, when watercolor dries it's going to turn lighter, so we need to make sure that we are able to add more color in such that it stays a little bit more darker that is, if you want it to look like this, you need to apply it one tone darker. Only then you'll be able to get that colors. Here I'm using the tip of my brush to add in those clouds and leave as many white spaces as well. Here, going with my indigo again, because I want the darker colors to be on the top. Mix that blue and black together. Let's have those smaller clouds, we're going to add the smaller clouds here at the bottom, just dropping some paints. I think we've added the sky enough, now let's just wait for this whole thing to dry or I think let's just go around with the foreground directly. Here I want to take my olive green and I'm going to add to the base. Yes, I think it's dried and it's not going to spread too much to the top, so we'll just go directly. Here I'm taking my olive green. You can see that it creates a beautiful and blended border. It's just like there's the end far away and gives that softness to our foreground. If you want foreground that is a bit soft, then we go for the red on red technique itself, but make sure that it's not too much red because otherwise it's going to spread out a lot. Here I've added the olive green at the base, but then we're not done yet, so let's just go ahead and pick up some nice dark green now. This is a dark green. I'm going to mix it up with a little bit of indigo in order to make it more dark and I'm going to add it at the base. I need more indigo and adding it at the base. That has made it more darker, more darker at the base. I need to get it darker at the left side as well so I'm going to pick up a little bit more Payne's gray. That's my Payne's gray. Let me get rid of extra water and then I'll go at the edges as well. That means this edge here I want it to be black. That's why we go with the olive green again and try and we will learn this in. I think that's good. Now we'll go with the darker green again to create a nice dark element in the foreground, some further off trees. It's just some bushes and some bushy edges. You can do that, just some touches here and there and because that region is still wet and we're still working on the wet on wet technique, you'll get those softer and not harsh, but make sure that it's not too much wet and also you don't introduce a lot of water using your brush. Your brush needs to be having less water, if there's too much water, just make sure that you touch your tissue to absorb that extra water from the brush. Mix a bit of Payne's gray as well. It doesn't need to be black, it just needs to be darker green. That what we're trying to get, there that's it like a very nice dark green and make sure that you create some gaps so that it just looks like some trees. Just added some different trees there. I think that's enough. Let me get a little bit more depth to this one. I think we are good enough. Although this part here is not what is important, what's important it was to get the sky to look like this. Can you see how fluffy it looks because of the wet on wet technique and the whole thing just blowing around. I think we're done, let's go ahead and try this whole thing up so that we can remove the tape. It's completely dry, let us remove the tape. Here is the gorgeous sky. I hope you like it. 48. Day 22 - Colours & Image: Welcome to Day 22. This here is the sky that we're going to be painting today. I just love all the colors that I have used in this one. Let's have a look at all the colors. We start with my favorite Indian yellow. Then we move on to the next color using transparent orange. Then we also add some rose color. You can see there's a red shade in this, but it's actually not red. It's rose that I used. Here is rose. When you add this rose on top of the yellow and the orange, you get a nice red shade. That's how I have got this. Then in the sky, I have added up a brown color. What we're going to do is we're going to mix up that yellow and rose together and we get a beautiful red shade. Let me show that to you. Here's my yellow and here is the rose. Mixing that gives a beautiful red shade like this one. We also created a beautiful reddish-brown shade by mixing this brown and the rose together and we get a nice reddish-brown shade. We can also use Payne's gray, but I think that's enough. These are all the colors that I have used for this painting. Without any further delay, let's get to painting this beautiful sky. 49. Day 22: Let us start with applying the water onto the whole of our paper. Make sure that you apply the water evenly, which is really important, without forming any pulls. Again, onto the whole of the paper, we'll apply the water there. Make sure that the water is even, and you can tilt your paper or the board that you're using so that the water stays even. [MUSIC] Let that water soak into the paper so that it can stay wet for painting your sky. [MUSIC] Now that we have applied the water, let's start with our first color, which is going to be Indian-yellow. I'm going to start at the bottom and add it in the form of these streaky lines. Let's just add those beautiful streaky lines, and also fill it up in the base. Wherever there is these white spaces, it's going to be the brightest region where the sun is. There's that glow there which I'm not going to paint. We're adding that beautiful glow of yellow, and we'll do the same all over up to the top. You can see my strokes, how I move my brush like that. This painting is completely from my head, you've already seen it. Since I'm painting this now, let's see how this turns out. You've already seen it, I don't know now while I'm painting. It's just so weird, isn't it? You've seen it, and I know that I'll be editing this and know how it turns out. But right now while I'm painting it, we have no idea how this is going to turn out. [LAUGHTER] Anyways. There's all that beautiful yellow added into the sky. Now, I'm going to go with the next color, which is going to be orange. I'm going to pick up a nice amount of orange, and then I'm going to add on the top. Here, I'm just going to add some nice streaky lines. [MUSIC] There, adding those streaky lines, and towards the top I'm just going to make it more darker. It's to the base that I'm adding these just little streaks of white. [MUSIC] Now that I've added the orange, I'm going to go with the next color. I'm going to take a little bit of pink, and I'm going to add that into the sky. You can see that when I'm adding the pink, because it's on top of the yellow and the orange, it's going to turn into a nice beautiful shade of red, and that's exactly what we want. There, just giving that gorgeous pink shade. I'm not using red here, but I'll go with the pink shade so that it creates a red on its own. Then at the top, I'll go and add these darker clouds. Going with a nice, stronger version of the pink at the top, and towards the base, I'll just go with smaller strokes. Just some smaller strokes here, that's it. Maybe a little here on this side. I don't want too much there, so let me just flatten that out slightly and blend it. I think that is much better. Now we're going to go with the next darker shade, so that'll be brown, so I'm going to take my dark-brown. This is transparent-brown. There's the transparent-brown, mixing it up nicely, and then I'll add that on the top of the pink shade, so that I have some of those darker shades in the sky, and then on the left side as well. We go with my rose and I'm mixing that up with my brown, so that I get a reddish-brown shade. That is what we'll apply. There's the brown, and there's the rose shade. Mix them together and you get nice reddish-brown shade, and that reddish brown shade is what we need. Then we're going to apply it in random areas, and create some of those gorgeous clouds. You can add more pink. [MUSIC] There, I've added those beautiful strokes. [NOISE] I think I'm going to take a bit more orange and add it here. I need to get rid of the extra water in my brush before applying it onto the paper, and adding those beautiful clouds. [MUSIC] Maybe a little of those brown clouds here. [MUSIC] I've added some of those beautiful, nice brown clouds. I think I need some more at the top here, and cover up these region, and get it blended. [NOISE] Now that we're done, I think we'll go with the wet on wet itself for the foreground. For the foreground, I want to go with my darker-brown shade, so picking up my darker-brown shade there, and I think these regions are now dry. Because it's dry, let me go ahead and add in the foreground using my darker-brown. Here is my dark-brown shade, and just adding a straight line. I've added the base for the foreground. Next, I'm just wondering what should I add in the foreground. What else can we add? Maybe we can add in some nice plants, but I think we need this to be completely dry, so let's wait for this to dry. [NOISE] Here, everything is now completely dry, so let us pick up some nice dark-brown shade. I'm using my liner brush so that I can get some thinner lines. Using that, I'm going to create some branches like that, some small branches in the foreground. I'm just going to blend it up in that foreground region. Maybe we'll create some bushes as well, so some bushy shapes there like that. Use the tiniest brush that you have for adding these shapes, and blend it into the foreground. We need to blend it towards the foreground, the main reason being the strokes that we applied for the foreground was wet on wet, so it's going to be slightly lighter. If we need it to be darker, then we need to re-apply on the top. I'm not applying in the center region, I want that to be slightly lighter, so I'll apply only towards the left and the right. [MUSIC] That there, so let's go and add in some more tree branches. Some tree branch, another bush or a different tree here. [MUSIC] Another tree here. [MUSIC] That's nice drawings, [MUSIC] and some nice branches at some places, there. Just using the tip of my brush to create these branch shapes. [MUSIC] I think that's good enough, I don't want to be going into detail of the foreground because that's not what's important. The important part was to get this sky correctly. I'm just going to wait for this to dry, and then remove the tape. It's completely dry now, let us remove the tape. [MUSIC] Look at how gorgeously this has turned out. I think this is my favorite of all mainly because of all the colors in this one. I just love painting using all these colors that we've just used in this one. There you go. 50. Day 23 - Colours & Image: Welcome to Day 23. This picture here is what we are going to paint today. As you can see, it's a moonlit beautiful night sky with some trees in the foreground. The whole thing has been painted with the wet on wet technique, that is these clouds and the background, and once it's completely dry, we add the foreground trees and a little moon with the white gouache. Let us have a look at the colors that we have used. We start with a background of Indian yellow and then we move on to adding a little bit of Indian gold, so it's a beautiful golden shade which can easily mix by mixing orange, yellow, and brown together. Then on top of that, we add in a nice light brown color, so you can either go for permanent brown, or a light burnt umber, or a reddish-brown color. For creating that reddish-brown color, I mixed my transparent brown with a little bit of rose and I got a beautiful reddish-brown color somewhat like this. You can see it's a beautiful reddish-brown color, it's lighter than the dark brown that I have. Then I used dark brown on top of it after that, so you can either go for a sepia or any dark brown that you have like Van **** brown. Then lastly, we'll make it even more darker by adding Payne's gray on the top. Then in the center, we have these little clouds, so for that, we need a lighter tone of Payne's gray like this for the clouds and that's it. Those are the colors that we have used for this painting. 51. Day 23: Let us start with applying the water onto the paper, let's apply the water evenly. Here I have applied the water and I'm going to start with my favorite Indian yellow first. Here is Indian yellow. Picking up a nice amount of the Indian yellow in your brush, let's go around. We're going to start along the edges. It's a beautiful night sky, but we need some gaps in-between. Then again I'm going to keep applying in circles. Here in the center is where we want to leave a large white space, so around that area, we'll paint with our yellow paint. Let's go with darker colors towards the edges but towards the middle, let's leave blank spaces, and also let's do some strokes like that. That is the space that I have left in the middle. Now that we're done with that, let's go with the next shade, which is going to be Indian gold. I know I didn't mention this when I was mentioning the colors in my palette, I actually forgot that it's there in this corner, but that's all right, you can mix your orange and yellow together to get a beautiful golden shade. Add a little bit of brown to it if you want to get it to look exactly like gold. We'll apply that but leave some yellow space, don't go towards the edge of the yellow. Here, I'm taking my golden shade and applying it, but as you can see, I'm applying it away from the center portion because I don't want it to spread into my white area. Here and there. We've applied the nice golden shade, now let's go with our next color. For the next color, I'm going to be creating a beautiful brown shade. Here is my transparent brown. To my transparent brown, I'm going to mix a little bit of pink so that it becomes like a nice reddish-brown color. Here transparent brown is really dark, so that's why I'm mixing a little bit of pink to it there and I have this beautiful brown color and let's add that on the top. Now we'll add it in the form of these cloudy shapes, but towards the outside, you can actually cover it up. There, let's mix it up again. We've already used this color in one of the paintings before, I can't actually remember which one, was it yesterday? I think so. Anyways, we're just going to keep adding, but leave a lot of these yellow gaps in-between. Let's get our cloudy night sky by adding these darker strokes. Now that we've added all that gorgeous shades, now we'll go with our dark brown here. Here I'm taking my dark brown, which is the transparent brown itself without anything in its mixture and now I'll apply it on the top. We're gradually going from one color to the darkest, you must have understood by now. Picking up my dark brown shade and going over the top. Keep going over the top. Just a little towards the center, not too much. Make sure to go with this swift left and right action with your brush, that's how you would get those strokes. I know that when you add all these on the top, you're wondering the Indian gold that we applied at first it's not even seen, but then it does contribute a lot in this painting as in it is there in this mixture. That's what we need to understand that these underlying colors have a lot of role to play in the final picture, even though it's not seen at the end. Now we'll go with the next color on the top, which is sepia. In order to create sepia, you can go ahead and mix your Payne's gray with brown and that's exactly what I'm going to do. Let me take my Payne's gray or you can mix black. Taking my Payne's gray there and I'm going to mix it up with my brown shade there, make it as dark as possible. That's now really dark and that's what I'm going to apply on the top. Make sure that there isn't too much water on your brush because then you won't be able to get these strokes. Make them such that you're rolling your brush on the paper. Like that, so it'll form some fluffy, cloudy shapes. You need to keep going. I've added nice contrasting colors from the light to the dark. Now, what we'll do is, we need to add some nice fluffy, lighter clouds in the center and we're going to do that with Payne's gray. So pick up your Payne's gray or the gray color that you're using. Here, and I need it to be lighter. So there, picking up my Payne's gray but I don't need extra water so absorbing all that water on my brush and then going to add it into the sky. Here, I think I need more paint. There you can see, so that's the Payne's gray and adding it around the center area. Payne's gray is going in the center. We've covered that center area with Payne's gray. Oops, I did a mistake; I went outside and then picked up that brown sheet and brought it inside to the center but rectified it immediately by absorbing it with my brush. Anyway. There, so now we have that covered. Now what we'll do is, we'll wait for this whole thing to dry so that we can add in the foreground. Here, everything is now completely dried, so I'll add some foreground elements and I want to do that with my brown, dark dumb shade. So here is the brown. Let's just add some nice trees in the front. Actually, I'm going to mix up a little bit of sepia, as in Payne's gray, into that mixture to create sepia. That's what we're going to use, so it's just going to be some trees and it's going to go all the way to the top and this is wet on dry because it's dry and we're using wet paint. You can have some branches on that. We'll add more. Just adding branches, you can see that. Let me do one on this side as well; let me go sideways at an angle. Use the pointed tip of your brush to get it nice and pointed, don't forget that. So, we've added some nice branches. I think that's enough, I don't want to add anymore and ruin the whole thing because that's not what's important in this, it's this sky. So there's just one last thing to add into the sky and let us add that. It's going to be a moon in this center portion for the night sky part. So here I'm taking my white gouache because we need it to be really white and we add it towards this center region; just a circle with our white paint. It's nice and bright white in the center and that's it. Once this whole thing is dry, we can remove the tape. It's dried up completely, so let us remove the tape. Here it is, the beautiful night sky for today. 52. Day 24 - Colours & Image: Welcome to day 24. This here is the beautiful Northern Lights night sky that we are going to paint today. Let us have a look at the colors first. At the top we have the darker indigo color, and then at the bottom of it I've added a dark blue color. We'll go with brushing blue, or Indian [inaudible] blue, or any dark blue that you have. If you don't have a dark blue like this, you can mix your cobalt blue with indigo or black to get this darker blue. Then, there's this beautiful green here. This green here, if you have hooker's green, you can go ahead and use that directly. But what I did was mix this green. I mixed it up by mixing up my beautiful bright blue or Taylor blue. Here is my Taylor blue shade, and I mixed it up with my Indian yellow. After mixing up my Indian yellow and my bright blue, I got this beautiful green, which is almost the same as hooker's green. If you have that green, you can use that, or if you don't have, you can use sap green as well. But what you can do is just mix a little amount of blue along with your sap green and you should be able to make it lighter. Try and experiment how to get that bright green color. You can mix your yellow, blue, and green together to get that colors. Then the foreground mountain, obviously I added with a darker tone of faint gray, and some dry strokes with my white paint on the top of it. These clouds are with a mixture of indigo and the dark blue color, and that's it. The whole background is with the wet on wet technique, with the clouds on top of it, and then once it is completely dry, we just add in the foreground mountain. That's it for today. 53. Day 24: Let us start with applying the water onto the paper. Apply an even coat of water onto our paper. Here I have applied the water, now we're going to mix a beautiful green. If you have Hooker's green, then you can use that directly but I'm going to mix that green just using the colors in my palette. I'm going to mix up light blue here with a nice amount of Indian yellow. That is going to give me a nice beautiful green. Look at that beautiful green that we have just created. This is the green that I am going to use in my sky. I'm going to start applying in the center here. Can you see, like that, I start applying, I think I need more yellow in the mixture to make it a little bit more lighter. As I said, if you have Hooker's green, then you can apply that. Here, I'm mixing that green and applying it towards the bottom side. I pick up more yellow, more bright blue, more yellow and add it to my sky and here at the top as well. I have applied almost until the halfway point on my paper. Now at the top, I'm going to apply indigo. I'm going to pick up a nice amount of indigo. It's there on the right side of my palette. Then I'm going to apply that indigo towards the top. Here, I have applied that indigo towards the top. Then I'm going to take my dark blue, which is Prussian blue, and apply it where it is joining the indigo. I'm going to apply. Also note, I'm holding my paper here at an angle so that all my water would flow down and it would create hairs like this and mix into the green that I've already added on the paper. I'm taking my blue and adding it. Can you see it's forming those beautiful gray hairs? Towards the top, I'll add the darker indigo and it's just going to blend by mixing into the green by forming these hairs. If your paper is still wet, then it is definitely going to form these hairs on the paper. Make sure that your paper is really wet when you're adding the sky. Let's get to adding the blue tones. Now that you've got those hairs, what we're going to do is we're going to add the beautiful clouds into the sky. In order to add those clouds, we pick up the dark blue paint, mix it with a little bit of indigo. You need a darker blue like this. I think we can actually also give it some twirl around so that strokes can mix nicely on the paper rather than all accumulating at the bottom. Just give it a nice twirl around your paper. This is the most fun part with watercolors whenever you're painting because you get to add all these beautiful strokes by just twisting around the paper. Now I have this darker tone, I'm going to add clouds. I'm going to add on the top starting from the right side and using the pointed tip of my brush and going and adding these smaller clouds. Can you see that? It's just using the side and tip of my brush, we create some beautiful clouds in the sky. Let's go ahead and keep adding. Just use this left and right movement with your brush. Let's get more in the sky. Can you see those beautiful clouds getting added? You can go towards the top as well and just add more. Let me come down to the bottom and attempt smaller ones. What I'm going to do is I'm just going to fill up at the base and add some darker tones like that and blend it towards that green. That green at the bottom is still slightly wet. This is the reason why we're able to create that beautiful, gorgeous blend. This is the reason why I say you need your paper to be staying wet for a longer duration of time. There, now we have darker green base and we have the clouds in the sky. This is a beautiful Northern light sky with some nice beautiful clouds. That's it for the sky background. Let's not wait for this to dry so that we can add a little bit of foreground. It's completely dry now, let's go ahead and add in the mountain in the foreground. I'm going to use Payne's gray and just create a nice mountain shape in the center like that. Let me fill that up. You can also go ahead and use black. I'm using the darkest version of my Payne's gray. That is the darkest tone of my Payne's gray. I'm going to create a nice point. There it is. Now let's create some snow on that region. I'm taking some of my nice white paint and I'm just going to add it on the top. It's going to mix up with my Payne's gray to form a grayish tone. I'm just going to create that gray. I'm creating a split on the mountain so that it looks as though there is a valley here. Every time you pick up white, you can wash your brush again. Otherwise, when you go back to your palette to pick up more white, it's going to be a gray mixture. Just wash off your brush and try adding your white strokes on the top again. There I've got a nice gray, I've washed my brush and taken more of the white now. I'm adding more. As you can see, it's nice and white. In fact, more grayish. Now, I'll do the same towards the right side but not on all the places. I will just apply the white dunes at random places because we need it to be slightly black. There, I just added in some of the places. Now what we have to do is we'll wait for this to dry so that I can add in more white tones on the top. Here, it is completely dry now. You don't have to go through this process of adding all these details on the mountain, you can totally skip this and add just a simple mountain if your focus is just going to be on the sky. But I always like to work on the details on my painting even if my topic is something else so that in the end, you have a beautiful picture in front of you. Here is my white gouache, I'm going to take a dry brush because I want some nice dry strokes. Here, I've taken my gouache paint and filled my brush with dry paint. Let me try if it's dry, yes, that's fine. Then I'm going to go over on the top of my mountain and add some dry strokes. Can you see those stokes are dry? I'm going to do the same from the top. I'm just adding some dry strokes at random places. We don't want it to be everywhere. Just where the split of the valley is, we'll add some nice dry strokes. The strokes are dry, meaning there is no water on my brush. I completely dried my brush before taking up the white paint. That's absolutely important if you want to get those dry strokes. I have this trick where I always used to check if my brush is completely dry. After picking up the paint, try rubbing your brush along a different surface so that all the water goes there, and then what's remaining is just the dry brush and then you can apply that onto your paper. That's what I always do. Let's get it on that paper. Let's get some of these white strokes on the right side as well. I think that's good enough. Let me just add more here. I'm just adding some now darker strokes with white just to some areas. It doesn't all have to be dry. I think that's enough detailing on this painting now. I'll just quickly dry up this white paint here in the end and then we can remove the tape. Here, it's dried. Let us remove the tape. There it is, the beautiful Northern lights painting for today. 54. Day 25 - Colours & Image: Welcome to Day 25. This here is the painting that we are going to do today. As you can see, it's a mixture of beautiful clouds on a nice blue sky, and we have some sunlight buildings at the bottom. The whole thing was painted wet on wet, and even this was wet on wet, but the paper had dried by the time I started painting these, so these looked like the wet on dry method. Let's have a look at the colors that we're using. This yellow will go with Naples yellow. Then we have cobalt blue for the clouds so this is cobalt blue. For the darker areas at the top, I have mixed a little bit of Prussian blue or [inaudible] blue. That's what it's in my palette. This is almost the same as Prussian blue. This cloud here, I did not use Payne's gray, but rather, I have made it up using the primary colors. I'm mixed cobalt blue and then Naples yellow and then mixed my permanent red along with it to create a beautiful gray color, which is something like this. That's the gray one I have created, and then I mixed my Prussian blue as well into that gray color to create a darker gray color like this one. Those are the colors in the sky. Then for this lighter area here, I used my transparent brown. You can also use burnt umber. My transparent brown I mixed it with Naples yellow. I mixed my transparent brown with Naples yellow to create a lighter tone of brown. These are the colors that I have used in this painting, so let's get to it. 55. Day 25: Let us start with applying an even coat of water onto our paper. Repeatedly, move your brush across the surface of the paper to have an even coat of water, which is absolutely necessary, because we're painting with a wet on wet technique. Going to start with Naples yellow, here is my Naples yellow. Then I'm going to mix my cobalt blue. Here is my cobalt blue. Then I'm going to mix a darker blue into my cobalt blue for some dark areas. That is my darker blue, so that's my Prussian blue and I've mixed that to one end of the cobalt blue. Now let us mix a gray. Here I'm going to mix a gray rather than use the gray that's already there on my palette. So I'm going to mix it up using the three primary colors, any blue, yellow, and red. I'm taking cobalt blue. Then I take the Naples yellow and then I'll mix it with some of the red alizarin. We need to keep mixing to get the gray color that we want. That's nearly there. That's the gray. Now that the waters all soaked into the paper, I'm going to start painting. I've switched to my smaller flat brush and we're going to start with Naples yellow, so I'm going to start with Naples yellow at the bottom. Just going to add some nice lines at the base. Lines using the flat side of the brush. We're going to leave a lot of white space here at the bottom, so just let it be these white areas and the top region is what we will paint with the Naples yellow. I've applied these strokes and now I'm going to go over to the top with my Naples yellow. Let's take it to the top and apply some nice strokes. Again, you can see I've just applied some random strokes with my Naples yellow. Now I'm going to go over with my cobalt blue. I want to go over with the cobalt blue at the top. Taking the cobalt blue and starting at the top, filling the top region and then now we'll go with the cobalt blue onto the areas in between where we've added the Naples yellow. There's the cobalt blue, I'm going to go over it on the top again and then slowly bring down my cobalt blue. Those yellow regions. Let it be there. As you can see, I'm just running my brush over these areas to have those strokes on my paper and as I move downwards, my cobalt blue is really, really light, you can see. The top is where we need it to be darker, so that's where we'll add this mixture of Prussian blue towards the top. If you take the mixture of Prussian blue and add it to the top regions, mix your Prussian blue with cobalt blue to get a nice darker blue shade and that is what we'll add. Now that we've added the blue oral round, let's go with a gray shade. That's the gray shade that we have mixed and we need to start at the base because it's already starting to dry. Let me absorb all that extra water. Then I'm just going to create these cloudy forms. We're going to be doing it right next to the yellow. If you've accidentally created any green on your surface, cover it up with these gray clouds. Any ideas where you've created green on your paper, you can add the gray on the top and cover it up as a cloud. That's exactly what I'm doing here. I'm looking at areas where I see a little tint of green on my paper and I'm covering it up with these clouds. Let's go over the top again. Done that. Now, I'm going to go over towards the base. Towards the base, I need my clouds to be lighter and smaller as well. There you can see all of these clouds are smaller and I'm putting in really tiny clouds using the side of my brush. You can see they're all very tiny and you can add various strokes to get your clouds and have some action on the paper. I think that's good enough. The first layer is almost done. If you feel that your colors have lightened up, you can go ahead and darken them again, but I'm not going to touch them because I think that this is already dried. If I touch them, it's going to ruin the whole thing. Now let's add in the base. I think I'm going to go for a software base itself. For adding the software base, I am going to mix up the gray again, this time, a darker version of the gray. Here I'm going to take the cobalt blue, mix it up with a little bit of the Prussian blue. Then take the Naples yellow, mix it with red and then I'm mixing it up together, I need more blue. Trying to create a nice gray color, a dark gray color, so that's why I'm mixing a little bit of Prussian blue as well. Here we've got a nice dark gray color and that's what I'm going to add for the base. For the base, I'm going to go for some building effect, going to add that. But what we're going to do is, in order to get that building effect and we have some lighter areas here, I'm going to get that area lighter as well, so here I'll add the darker strokes. We need it to be light, the air. What we're going to do is we're going to pick up some transparent brown. Let's mix it up with a little bit of Naples yellow so that we get it as light and then that's what we're going to apply here. Some building here, those buildings are lighter. Then we go back with our great tone, so you can have them mixed together. Can you see just one side of it we've mixed together and the base of it as well? We'll have it in the form of some buildings. Whatever shapes that you want to create, tower or buildings or whatever shapes. You see. I've created nice buildings. Then you can also go from tree shapes. Will be a pool or a tower, green, something like that. The same goes here. We have a nice brighter area there and the darker area towards the sides, so that's where this light area is, so that's why we added a mixture of that brown and light, so it's just the sky lighting up those buildings. That's it. I think this was the quickest we have done to [inaudible] it and so the answer is simple, but I know how these strokes in the sky can be so tough to achieve, especially if your paper starts to dry. So I'm going to dry this up so that we can remove the tape. It's dried now, so let's remove the tape. Here is the final painting. 56. Day 26 - Colours & Image: Welcome to Day 26. This here is the painting that we're going to do today. There are a lot of colors here in the sky and the whole painting has been painted with the wet on wet technique. But what we need to understand in this painting is that your painting does not have to look exactly like mine because the whole thing was with wet on wet, and there was a lot of spreading of the paint. The paint that you apply, that is a pigment when you apply on the paper, is going to spread around. You can't predict how the paint is going to spread. Don't be fast or upset that it's not exactly the same as mine, but rather go with the flow and enjoy the process of creating this one because you're going to enjoy and love watching the pigments flow in the paper. Let's have a look at the colors first. The yellow that I've used is Naples yellow, then the red that I've used is I needed it to be opaque to mix along with the Naples yellow so what I've used is Alizarin Crimson and I mixed it with my Naples yellow-reddish. Let's find Naples yellow reddish and I mix it together. You can either mix your white paint along with your red and add a bit of yellow to it in order to make it more opaque and look a bit like red because the more white you add your red paint, it's going to turn lighter and lighter. In order to avoid that, you can add a bit of yellow to that mixture. Here is the opaque mixture that I used. Can you see that? It's like Naples yellow-red itself but slightly with a mixture of red in it. Then I have used the same gray that we used in yesterday's lesson, so I mixed it with Cobalt blue, this Alizarin, and this Naples yellow, and we get a beautiful gray tone like that. But for the sky here at the top, instead of using cobalt blue, I have used cerulean blue. Don't worry if you don't have all these blue, you can just go ahead and use the cobalt blue itself it doesn't have to be cerulean blue. There, cerulean blue. For the darker area, I have used the Indanthrene blue. These are the colors that I used for the sky. Now for the base, I mixed a dark color again by mixing my Payne's gray with these colors that we used in the sky, then I also mixed a little bit of brown along with my Payne's gray to get the sepia color. These are the colors that I have used in this painting. Let's get to painting this. 57. Day 26: Let us start with applying an even coat of water onto our paper. Take your time to apply the water, as usual. Once we have applied the water, let's wait for that water to soak in. While that happens, we can mix our paints. We need Naples yellow. Here is Naples yellow. Then we're going to need a nice opaque red color. Here is my Alizarin crimson. To make it opaque, I am going to mix it with my Naples yellow reddish. Here is my Naples yellow reddish. You can also mix with Naples yellow, if you want, or you can mix with your whitewash and you can make it opaque. Here is my Naples yellow reddish or Naples yellow orange. I've mixed that together. That's that. Then the blue that we're going to use today is Cerulean blue. There's Cerulean blue. You can use any blue you want. It doesn't have to be Cerulean blue itself. I'm just using Cerulean blue today. Then we have a nice gray tone mix. Let's mix a gray. The gray that I'm going to use, I am going to be mixing it up using my cobalt blue, my red, and my Naples yellow, so it's almost the same as what we used in yesterday's painting, so I've got that mixture here already. That would be a mixture of cobalt blue. Here's cobalt blue, a bit off red, and then a bit of that yellow, a bit more cobalt blue so that I can make it nice and grayish too. There you go. That's the gray color that we are going to use today. Now, I think the water has soaked into our paper, so let's get to painting. Here, I've taken my flat brush and we are going to start with a nice Naples yellow. Here's my Naples yellow. Let's just add. We're going to add it and add some lines to the paper at the base. Let's add the same to here as well. You can see, added the Naples yellow. Let's add some to the top here as well. Now that we've added in Naples yellow, let's go ahead and add the red mixture that we have added. I'm going to be adding that in some areas in between. As you can see, because our paper is wet, this thing is going to spread. That's fine, let it spread. Just some beautiful strokes and some lines at places. We want it to have a nice color, so make sure that you mix it up nicely. You can go over it multiple times if you think that it's starting to lighten up. Like here, I applied that it's starting to lighten up. I want to reapply on the top of some of these. I think that's good enough. Now, I'm going to go with my cerulean blue. Here is the cerulean blue mixture. I want to go over at the top, getting my cerulean blue on the paper, and mixing it up, adding some beautiful strokes with the cerulean blue. I've added the cerulean blue all around, in the areas in between those reddish and yellow strokes that we have added. Now, I need my cerulean blue to have some darkness at the top, so I am going to mix it up with my Russian blue, and add it to the top of my cerulean blue. There at the top region, and then we're going to create some beautiful fluffy, cloudy shapes, and make sure that we blend the whole thing together. Let's get back to the cerulean blue and blend everything together on the paper. Now that we've blended that, I'm going to go back with my yellow paint and add some more of those beautiful Naples yellow strokes because as you can see, it's all gone and spread around. I know that this one is quite tricky because there was that little extra water on the paper and it spread to create these gorgeous clouds. It's going to be quite difficult because it is wet on wet technique. It doesn't have to look exactly the same as mine. That's what's important and what you have to understand, because we cannot predict the way that the water flows on the paper. Whichever direction your board or surface is facing, that's how it's going to spread, and let it spread like that. Don't be fussed about that your painting is not looking exactly like mine and that it spread in a different way. Don't worry about all of that. Let me mix my Naples red, yellow-reddish again with my red. Because I want to create some more nice red strokes. As you can see, they've spread around. I'm going to just strengthen those strokes. There's the red. We need to go and add our gray tone. Here's the gray mixture. Make sure that you absorb all the extra water because now, your paper is starting to dry and we cannot afford to have all those water on the paper. Then you can go ahead and start adding some cloudy shapes, especially in those areas if you have messed up and you have created any dims on the paper with the yellow and blue. These are just fluffy clouds that I'm creating. Just some nice and fluffy clouds, we can create them in areas above and next to our yellow and red strokes. There's the strokes. Some more clouds here at the bottom. Let's get that color again. I've mixed it up with the gray, and we're going to go for some darker red tones and starting to apply onto that in Naples yellow-red and red mixture, so for some darker tones. Now that we've added that, let's just quickly add something in the base, because whatever is there in the base is not that important. I'm just going to go with my dark brown shade. Let's mix a little bit of Payne's gray and make it like sepia. That's sepia. I need to make this into an opaque color, so I'm going to mix a little bit of Naples yellow to that mixture. Better. Let's just apply it at the base. It can be like a bushy area. As you can see, it's wet, so the whole thing is just going to create a softer edge. There. Let's just fill up the inside. This is totally out of my mind, so that's why we can just go ahead and start adding. I'm taking some brown now that I'm just adding to the base. Just need some colors in the depth that is at the bottom. Towards the top, it can be lighter because we want it to be soft. You can see how it's created those softer edges. Then I'm going with my Payne's gray at the base. Here's my Payne's gray at the base region here. There, I've added the colors, and you can see how soft it is at the base. Now, all we need to do is wait for all of these to dry so that we can remove the tape. Here, it is dry now, so let's remove the tape. Here is the final painting. 58. Day 27 - Colours & Image: Welcome to day 27. This here is the painting that we are going to do today. It's a simple night sky with our tiny wound and some foreground. But the main thing that we need here is these create clouds in the sky. That's what's the most important. Let's first go through the colors in this one. The sky, I used Payne's gray. I usually use my Payne's gray in its darkest tone for black. If you have black, you can use that as well. You don't need to go with the Payne's gray. But I prefer to use Payne's gray mainly because I need to get these lighter tone of gray in the center as well. But I think you can achieve that with a medium tone of black. That's Payne's gray. For the sky, I have actually used only Payne's gray and then I used my white paint to get these strokes with the wet on wet sky. The whole thing is completely wet on wet. We'll see how we'll print that. The moon is wet on dry, but the foreground is also wet-on-wet. But by the time I reached the foreground, it had started to dry. Then we get these dry strokes like that. For the foreground. I've used olive green. Here is my olive green. My olive green, I've mixed it with my brown shade, which is my transparent brown. Here's my transparent brown. Used my transparent brown shade, mixed it with my olive green to get that beautiful foreground. Those are the only three colors that we've used in this painting actually, there. I hope you enjoyed this one. Let's get to painting this. 59. Day 27: Let us start painting. We'll start with outlining an even coat of water on the paper. Let's make sure that we apply evenly, such that it doesn't form any foams on the paper. There you go. We've applied an even coat of water. Now, we'll start painting. We are going to start with Payne's gray. Let's take Payne's gray. Here is Payne's gray on my palette. We need a nice and dark consistency of the Payne's gray. There. I want to apply to the whole of the top. We need it to be nice and dark. This is the reason. Make sure that you take it in a nice dark consistency. You can also go for a black paint there applied to the top. Now, we'll start applying to the bottom side. Gradually bring your strokes downwards. Now, I'm going to go on a lighter scale towards the bottom. This is because we don't want any white on our paper. We want the whole of our paper to be dark. It's okay for the bottom part. Now, we can add the foreground later on. Just now, go with a whole of the Payne's gray background. Make sure that it's lighter towards the bottom. Let me just hold my board at an angle like this. I'm going to apply the color again at the top because it's flowing down. Then slowly, we can pull down the paint like that so that for the bottom areas, we'll have a lighter tone, and just no white of the paper. Now, we've covered the entire thing with the gray paint. Now, we need to make it look like the night sky with a nice little moon in it. Now, I'm taking my Payne's gray in a darker consistency. Put my board flat down back on the table so that it doesn't spread anymore. I just put it first at an angle so that all the paint would flow down, and I would get an even blend on the paper, a nice gradient. Now, that I've got that gradient, I'll go back to adding my Payne's gray by laying my paper flat on the table. Now, I've got my strokes, which I need to add in a nice sky format. It's all black, you can see. Any lighter clouds that you want to make will be with the gray tone itself. That's why this lighter gray tone that's already there on your paper will serve as that gray clouds. But all towards the left side, let's not add any clouds. Always when I'm doing clouds, this is my brush movement. You can see, this is how I do my brush movement. Here, I have added a lot of those clouds. That's the center area, where we want those clouds. The rest of the areas, let's go ahead and start painting. Here, I'm taking more of my paint. Now, I'll reduce the paint. I won't to pick up any more paints because I want it to be a little bit lighter gray than what I have at the top region. There just adding more, but now I'm going to just slightly tilt my board here at the base because I want to get that nice shade. Because I don't want those stroke marks to appear. This is the reason why I've kept it like that. But if I pull it too much, then all of these paint here is going to flow down, which I don't want. Since we want our foreground to be there, I'm going to skip painting this bottom part, the sky part. Now, I lift up this center portion. Let's light it up some more. I'm just going to take our black paint or the Payne's gray that you're using. Make the other areas darker, so the areas that you want it to be light will look lighter , like these areas. I'll add paint to the left side. There. I'm going back in the top corners, and these other regions in the center. We need a thicker and dark consistency of the gray paint. This is because I'm using Payne's gray. If you're using black, then it doesn't matter. Because if you're using black, then it's going to be really darker than this. I'm using Payne's gray. I need to make it really dark, and I need to add multiple strokes on the top to get it as black as I want it to be. I could use black, but I don't normally have a black on my palette. The one I have is Lunar Black, which is granulating. I don't want to use that. There we have added those strokes. Now, what I'm going to do is I'm going to start using some white paint. Before this starts to dry, let's go and pick up some white paint. I have white paint on the right side of my palette. I know it's not visible. Here, I've about white paint there. This is what I'm going to add. I'm going to add small strokes and some cloudy forms. We've never used white, and added these cloudy forms in the sky in any of the paintings yet. Now, we're going to do that. This is the moment where you need to make sure that your paper is really wet. Also, make sure that you take off all the extra water from your brush because you don't want to form any blooms and any weird shapes with your white. Here, using my white, and adding onto my paper. If you've taken my 100-day project, we had a galaxy painting, in which we had the whole black. Then we painted with white on the top. This is somewhat similar, where we're trying to get the white clouds on the top. You can see some nice shapes. This white color that you're picking up from your palette will mix with the black on the paper itself, and create some amazing grays. That's why you want to let it blend on the paper itself rather than on the palette. That's what we're trying to create. We don't want to create a gray on the palette, but rather we're trying to create on the paper itself. Some nice notes that we have added there. You can actually go back with your black paint or Payne's gray in my case and add some details on the top or some depth again, if your paint is getting lighter because I think my Payne's gray is getting lighter. Obviously, watercolors tend to get lighter once they start to dry. Here, I'm picking up my gray again and adding on the top. Going with my gray again on the top in these areas. Some of the edges of these white I'm trying to soften them. You can just go with your brush and knowing you've touched them it's going to turn into this beautiful gray color and you'll get softened. I think I dropped a bit of water there. I don't remember when. You must have seen it. I didn't, but that's alright because the foreground is going to come there. Now I'm going to paint the foreground. I'm not going to wait for this thing to dry up I'm just going to paint the foreground on the front itself. I'm going to go with a nice olive green shade. Here is olive green on my palette here and I'll take that and I will apply it on the top. I want to mix in a little bit of brown to my olive green so that I get a warm version of olive green and that's what we're going to apply. There goes my water bloom. Which accidentally I created. All the way towards the left. Because we want it to be dark and it's a night scene. This is the reason why I said that even if the bottom part is filled with gray or black paint, it's fine because we're going to paint on top of it and it will just be absolutely fine because we actually want it to be darker. There. Let's pick up more olive green and the brown mixture and add it to the top. Now we can see it's a really nice dark painting. We've added the olive green but now we need to add no further detailing to make this look like a night scene. What I'm going to do is I'm going to pick up my brown and I'm going to add it on the top so it's transparent brown and I'm going to add it at the top. I think I'll pick up a little bit of Payne's gray as well and mix with that. You can go for sepia if you have. I just want to get a darker tone. I'll add some more darker tone. I'm going to add such that there is a horizon here and we having some field-like shapes. Not at all important because this is the foreground and the sky was the focus. Focus on getting your white strokes and the black part correctly and the rest will fall into place. If you don't want to paint it in this detail it's absolutely fine. Just dropped in some of those nice tones, black tones. Added all of those nice black tones. We let it be there. Now I think we can dry this up so that we can add in a nice moon and some strokes on the foreground, wait, I think we can just go ahead and start adding some little strokes on the foreground. I'm going take my Payne's gray again. There's my Payne's gray. I need to get rid of all the water on my brush because I know there's a lot of water. I'm just going to dry it up on my cloth. Then I'll just add some shape here on the right side. Then maybe like two drops of something there, maybe it's like a tree or something and I'll add few spots on this side as well. Looks like a further off three. Something there in the foreground. Just add another slight line there so it looks like there's some grassland or a little bit of height level there and maybe dropping a little bit of Payne's gray on this area as well. Now let's quickly dry this up so that we can add in the moon. It's dried up so I'm going to quickly draw a moon. For that, I'm going to take my white paint again, and using my white paint, I'm going to create a moon shape right in the center. That's why we have this area as dried and not as dark as the rest of the areas and you can see how subtle the clouds are after the white has dried. I didn't want it to be as really white, white. This is the reason why we applied it on top of the black so that it would to this grayish-white tone. Then now we got to add that moon. I'm going to roughly draw the round shape which I know that I can adjust with my brush itself if it doesn't turn out to be perfectly round. Not bad. I've got it. You can use a circle or something if you want but I like to push my limits and try out things like this on my paintings. Now, I've just washed my brush and there is water on my brush and using that water, I'm going to pull inside all those paint, can you see, towards the inside and created that inside wet area? Now, because the inside area is wet we can drop in more paint, the white paint, and create some shapes like for the moon and leave some areas with the Payne's gray underneath so that it looks like the shadows on the moon. There. That's it for the moon. Now let's just add just some final detailing on the front area here. For that, I'm going to switch to my liner brush and using my liner brush and black paint, Payne's gray, or whichever black paint you are using and mix it up with a little bit of brown. You can use a sepia if you have that. You don't need to mix up the colors like I'm doing. Just because I haven't got sepia on my palette that's why I'm mixing up this color. Here that's a dark paint. Let's get that. I'm going to just create strokes like this towards the right mimicking the shape of grass. Like that towards the right side. It just increases the aesthetics of the painting. This is absolutely optional. It doesn't have to be included. Just towards the right side, all of those strokes. They needn't to be even we're trying to add something like the grass shape on the front. We're done. Let's just dry this up and we'll remove the tape. Now, let us remove the tape. Here is the final painting. I hope you like it. The most important part is this gray clouds here in the sky. 60. Day 28 - Colours & Image: [MUSIC] Welcome to Day 28. This here is the beautiful sky painting that we are going to do today. As you can see, the most important part here is this glow here on the right and this darkness here on the left, and then this random background. Let's have a look at the colors. The first color that I have used is my Indian yellow or transparent yellow. Then we have used orange. This color here on the top is orange and then on the top of that, I have used burnt sienna. For this whole class, I think this is the first time that I've used burnt sienna, actually. Then on the top, I have used my transparent brown or burnt umber, then we can actually mix it up with a little bit of Payne's gray if you want to get sepia. I've used my Payne's gray here and I've mixed my brown and my gray together and I've got a sepia color. Here's my sepia which is darker brown. If you have Van **** brown or sepia, you can use that. Then these foreground trees here actually, I've painted it with my dark green. This dark green is my favorite green from white nights, it's really dark and I wanted it to be more dark. In order to make it more dark, I mixed it up with indigo. Once you mix your green with indigo, you'll get it even more darker. If you can't get it to make it more dark like this, then you can go ahead and mix it up with Payne's gray as well, or even black. If you actually look closely here, you'll see that tint of green, which is what we want on this painting. We don't want it to be black, but rather, we want it to have that tint of green on the foreground. About painting this, we actually go with the approach of negative painting method where we first leave these whitespaces so that we know that those spaces are the spaces that we're never going to paint. Then slowly, gradually we build up the colors on the top. First, we start with Indian yellow, and then we gradually add the colors on the top and make it darker towards the left. Once you've added these colors here, you will see that the paper starts to dry because you're not adding any more strokes on the top. Then that means you will never go back to that area and add any more colors because if you add any more colors then you're going to create bloops. That's it. Then the foreground is obviously just wiped on dry technique. Let's get to painting this. I hope you enjoyed this one [MUSIC] 61. Day 28: Let us start with applying the water onto a paper. [MUSIC] We need to apply an even coat of water. Make sure that the water flows down. That's why I have an angle like this. As in we don't want any large pools to accumulate on any part of the paper, so that's why. Here I have applied an even coat of water. We'll start with our first color, which is going to be Indian yellow. Using a nice amount of Indian yellow, which is transparent yellow. You can see the consistency of paint that I am mixing. It's really dark inconsistency, as in it is not loose. We'll make sure that you have to paint nicely and concentrated amount of paint, that's what I meant, not diluted. Concentrated Indian yellow. We're going to start in this side and we're going to approach it with the negative painting method like I said. Here, I'll apply the Indian yellow and I'm going to leave like a huge gap. The paper is not too wet. If it's too wet, then the whole thing is going to spread. You need to be careful when you're applying your strokes. Going apply my strokes here and then again, leaving some white gaps. Let me leave some more white areas. Then I'll leave another big chunk of white here and some there. Now we can dilute the paint a bit and spread it outwards. Those areas of white that we wanted are what we will reserve. It's here, here, here, this line, and somewhere inside there. Then now the rest of the areas, you can actually paint the yellow itself. Those areas that we have left white, we need to leave it as white itself. I've just added some paint to that side. Now we'll go with our next color, which is going to be orange. Here I'll take my orange and I'll mix up the orange on my palate. We needed to be bright, beautiful orange shade. Again, make sure that there is no too much water on the brush. We'll go over the areas, the negative painting itself. On top of the yellow. We go back to adding the orange on the other areas as well. Leave a little bit of our yellow seen-through. That means we're not going towards the edges when we're painting with the orange, but rather staying in the outside. You can see this area here that we applied The yellow has spread and the white is almost not to be seen, but that's okay. There with my orange. Now I'll take more orange and I'm going to go towards the left side. We can have the paint diluted and add. The paper is starting to dry, but because I'm adding a nice diluted amount of paint, it'll get watered again. There. You can see we're watering it up again. That area. This is why you use a diluted amount of paint when we are going to the left side. But towards the right, we wanted to maintain these strokes as they are. [MUSIC] Now we've covered all of our orange strokes. Now let's get to adding our nice golden shade or brown shade. Actually, we can go for burnt sienna. If we take a burnt sienna and go over the door. Again, so now we leave a huge gap between the yellow-orange. Don't go towards the edges of the orange. Taking up my orange and adding some nice strokes of burnt sienna. [MUSIC] Let's apply the burnt sienna towards the left side and as well as some to the base here. I'll cover it up the base on the right. This is like us gradually increasing the color density that we're using. Here, I'll go with burnt sienna. I'm going to fill up, not fill up, but leave some gaps and add the burnt sienna. We've added the burnt sienna. The left side, we're going to have to add more darker colors. That's why it's such a random stroke for now. Then next is we'll go with a nice transparent brown. Picking up transparent brown. Now we go over the top of the burnt sienna that we added. Now we can leave gaps of orange and the burnt sienna so that it's seen through the ground. Let's add it on the top. More brown. Some round strokes towards the right. Make sure that you make these rounded strokes. Now we're not going to touch this area here which is already lit up light. That's the lit area, which we don't want to ruin. Just some brown areas here. I mean, the orange area seen through it. Can you see that? Rest of the areas will add with the brown. Now we'll add brown on the top. Let's get some more brown and this time let's make it sepia. This here is already a sepia mixture. Let's add some more brown to it. There I've added more brown to it. I'll mix a little bit of paint's gray to that to make it dark and like sepia. Now I'll apply that at the top. Towards the left side, I'm making it more darker and darker. [MUSIC] Let's pick up more. Add it. Towards this bottom area. I want it to be nice and dark. It's a nice, dark, cloudy area here on the left. Maybe dropping a little bit. Drop the paint so long as only when your paper is still wet. We cannot touch the right side anymore because, in my paper here, this right side is completely dry. If I add any more paint on the top, it's going to ruin it. It started to form hairs here because that area was starting to dry. So I'm just going to soften it up with my brush like that. Going over the top and removing any extra paint and softening those edges. Make sure that you dry your brush and then run over it. [MUSIC] I think the same here, there. I think that's much better. Otherwise, we will ruin the whole thing. [MUSIC] Now, all we have to do is we're going to wait for this whole thing to dry so that we can add in the foreground. The background is now dry. We can go ahead and start adding some details in the foreground. I'm going to shift my size four brush because it's got a smaller pointed tip. I'm going to be using my dark green. [NOISE] I'm going to mix a little bit of indigo with it to make it even darker. [MUSIC] We want our green to be as dark as possible to mimic the darker sky. So here, I've got my darker green and that's what we're going to use. I'm going to add a big huge tree in the front. We've not added any larger foreground details until now, so I just thought, let's include one painting with a large foreground. It's like a tree or something like part of a pine tree, so just adding some strokes. [MUSIC] Can you see the strokes? Just moving my brush in random movements like that on my paper. [MUSIC] As I go towards the bottom, I'm trying to increase the width of the tree. [MUSIC] I think that's good enough. Now I'm just going to add in like a mountain here at the background and the tree, let's make it so that it's sticking out. For the mountain, what I'm going to do is I'm going to do this pointed tip method where I'm going to do these movements with my brush such that it creates some detailing or grassy forms on my mountains. Can you see that? Just go like that with your brush. [MUSIC] Use the pointed tip of your brush when you're doing this. Okay, there, cover that. Now what we'll do is we'll fill up the inside because we want it to be correct. I'm using green here, my dark green so it looks black now, but when you actually look at it closely, you can see that it's got a slightly greenish tint and that's what we want. [MUSIC] It's an evening painting. Even though it's a 3D dark painting when you come closer and look at it, you should be able to see that dark green color, so mix a dark green color for doing this. [MUSIC] There, mixing my dark, dark green and adding. So you can see how concentrated my paint is when I'm adding this dark green on the top. This is why I have to return to my palette each time because I want my paint to be as dark and concentrated. [MUSIC] I've added. Just make sure that you cover the entire area and to blend in these brush movements so that they don't look as if they don't stick out. They look natural and realistic. I think that's much better. Now can you see it looks like it's more realistic and connected to the lines that we added at first. This tree is now in front of it. Don't worry, it's going to be having the same color when this dries. I know this looks lighter for now, but when this area dries up, it'll have the same color. Now this region is still wet, which is why it shows up that color. Let us just try to add one or two trees more and then stop. I'm going to just add another tree here on the left side on the top [MUSIC] I need to get the darker indigo. [MUSIC] There, I've added that tree. I think we can stop here unless you want to add any more details. I think I'm just going to add some more pointed tips here to show it's some smaller trees, smaller pine trees. Just making it pointed and make sure that when you do these strokes, you move your brush upwards. I guess, if you move from the top-down, then your thickest portion is going to be at the top. That wouldn't look like the treetops, so you want to have an upward movement like that. Then it looks pointed towards the top. Can you see that? Now it's starting to dry and you can actually see that greenish didn't shade here again, can you see that? This is what we wanted. To get that greenish tint. Now you can look at the sky and you can see that this has got some bright sunlight here. It's started to get dark towards this side and it's got some dried nice beautiful clouds in the sky. It's looking much better when this whole thing starts to dry and it comes out. [MUSIC] Let's dry up the green. [NOISE] I think we can say the painting is complete. Here the painting is completely dry. Let's remove the tape. Now we can see that glowing greenish shade here. It's lighter and towards the left, it's actually more darker. That's how we want it because the light is here, so the greenish tint on the right side needs to be lighter. [MUSIC] [NOISE] Here is the final painting. 62. Day 29 - Colours & Image: [MUSIC] Welcome to day 29. This here is the painting that we're going to do today. We need to get these beautiful clouds in the sky. First of all, I need to tell you my tube of Alizarin crimson was actually bad, it starts to spread out the pigments, so that's why this looks a bit weird. But overall, I'm happy with this painting. Let's see the colors that I have used. I've started with a beautiful tone of indigo. Then I have used Quinacridone Rose, Quin rose at the bottom, then I have gradually come down to using orange. Orange on my palette. Then at the bottom here is yellow that's Indian yellow or transparent yellow, which is my favorite. Then at the bottom here is Payne's gray. That's Payne's gray. Then the clouds on the top is with red, Alizarin crimson, this is what I was talking about. It's not that great because it spreads out the pigment in on wet on wet technique. That's Alizarin crimson. Those are the colors that we've used and then I've used some white paint for the sky, for splatters and for the technique. This whole thing is painted on a wet on wet technique. Coming to think of it actually how this is, the clouds stay on the top because it looks as though it's coming out of the picture. That's the painting that we're going to do today. Let's get to painting this. [MUSIC] 63. Day 29: Let us start. We'll start with applying an even coat of water onto our paper there. Apply the coat multiple times because we really need to work on the wet-on-wet technique because we have a lot of clouds to add on the top. Make sure that you apply the water evenly. I'm going to tilt my paper because I don't want to have the water accumulated on any areas of the paper. Here I have applied the water. Now let's get to painting. We're going to start with indigo, so we're going to go top-down. Here is my indigo paint and we'll start at the top. First enter a line and fill up the indigo. Now I'm going to go with a slightly negative method again and covering up the areas where I want my other strokes to be. We're going to go with a nice shape. Make sure that the top regions are really dark. Each time you pick up a darker version of indigo, make sure that you apply it at the top and then you can come down and have the strokes lighter. You can see as I'm going down, my strokes are lighter. See the strokes are lighter towards the bottom, you can go lighter and lighter all the way down and here again. Applying my indigo and applying such that I want these areas to remain white for now. Picking up our indigo and applying the fresh paint at the top each time because I want it to be dark. Then as I move downwards, it'll be lighter. It's like creating a gradient in this right region here, as well as a little bit here on the left, creating a nice gradient here. Now, we'll switch to our next color, which is going to be pink. Let us take a nice pink shade and add it to the sky region. It's towards this left region, we'll have a pink shade and as you can see, we'll blend with the indigo to form a nice purple shade, which is absolutely fine. Now after the pink shade, we'll go with our next color, which is going to be orange. The orange and pink shade will blend together, can you see? They blend together. It's like a transition between all these colors. There, the orange again. Lastly, obviously you know we need the next transition, which is going to be with the yellow. My yellow is actually contaminated with all the indigo that I have on my brush, so I need to clean it up nicely. I think I need to clean my brushes. There, that is the yellow at the base. We've got a nice transition of colors there. Let's get that towards the top. Each time when you're doing this, make sure that you do it from the bottom up because the lighter colors are at the bottom. Here, adding my yellow and then I'll go towards the top. There is my pink and as I go towards the top, my indigo will mix together and create an even blend. Can you see that? Because if you come top-down, the indigo is going to flow down into these regions, which we do not want to do. Now before everything dries, let's get in our darker clouds. I'm going to go with a bright red shade, that's alizarin crimson, and this is what is going in this region. We'll add our alizarin crimson and fill up the area where we left behind. That is what is going in that region. Use any red shade that you have. In my case, the alizarin crimson is what is going into these blends here and into the white regions that I have left. Then we're going to pick up more and we're going to create some nice shapes on top of these. In these indigo regions, when you add them is going to mix up slightly and form our purplish shade. This is why we wanted this indigo to be lighter here otherwise the color will not be visible at all. Here now I'm adding another layer on the top, so that'll give the effect of depth on the clouds as well. Can you see? Because the first part of the red that I applied sunk into the paper. Now the second part that I'm applying will give me that nice effect of depth. Now on the top, at the bottom here, we're going to add it in the form of these smaller lines and maybe some strokes like that. Now that we've added that beautiful red shade, let's get to adding the darker clouds and that we're going to add with Payne's gray. Here is Payne's gray, mix up nice amount of Payne's gray. But make sure that your brush doesn't have too much water because our paper is not really starting to dry and we cannot afford to have all this water on our paper. Here is Payne's gray. I'm also going to dab off all that extra water from my brush. Then going to apply the Payne's gray right below my red shade in those regions and in some areas here. You can see how soft our strokes need to be because our paper is starting to dry and we need our clouds to be softer. Any cloud shape that you apply now needs to be softer. Because you need that soft edge to each of your clouds, so make sure that your paper stays wet. I think that's enough. I'm not going to add anymore and ruin that. Now we'll add in the foreground. For adding in the foreground, I'm going to go with Payne's gray again. We'll go with the wet-on-wet itself. The reason I actually go for wet-on-wet is because the focus of the painting is the sky and not the foreground. This is just a quick way to get around and finish painting the foreground. It'll give us a beautiful softer edge as well and we don't have to stress too much about making it perfect. That's the Payne's gray and just adding. You can just use it to add different shapes at the bottom. There. I filled up that bottom part. Now what we're going to do is let's just add some tiny detailing on the foreground just to make it look not that bland as it is now. Just maybe some strokes like that and make it look like a tree or something. You see? Just added a tree form, branch. All of these are still soft. I think that's fine. Now I think we can dry this up and the last thing is to add some splatters in the sky because this is like a beautiful night sky. Here it's all dry now. I'm just going to cover up this bottom region where I do not want the stars to be and we'll drop in some splattering. I'm going to take my Size 4 brush and a nice amount of white paint, which we're going to splatter the clouds with. I'm going to splatter the sky, so I'm just going to hide out these clouds as well because I don't want any splatters there and we drop in those splatters into the sky region. I think we're good, just a bit here. I think that's perfectly fine. We've got those nice splatters. Now all we did was add some splatters. Let us remove the tape. There you go. This is the painting for today. I wouldn't say it's perfect because I can actually see how the pigment from the alizarin crimson spread out. That's a problem with the tube of alizarin crimson that I have. If you're using a different red shade, it shouldn't be our problem. I think I need to throw out that alizarin crimson tube because somehow the pigments in that are separating and I found that. Anyways, but I'm happy with how this picture turned out overall, so there you go. 64. Day 30 - Colours & Image: Welcome to Day 30. Can you believe we're on the last day? This is the last painting for this class. Let's have a look at the colors first. For the sky, at the top, I have used Prussian blue or you can use indanthrene blue. Then coming towards the bottom, I have mixed a little bit of my violet shade, you'll just see where it is. Then I've brought down and used my transparent orange again, then my transparent yellow. Those were the colors in the background sky, and then on the top for the clouds, I have actually mixed my queen rose, and my cobalt blue together. Actually that's the mixture that I created. Wait, that's the violet shade because it has to pigment on the top, let me see, this is the cobalt blue. What I actually did is I mix this pink and this blue together to create a nice purple shade. Again like this, and I kept fading the tone of that purple shade, so if I add more pink into the mixture, it becomes a red purple shade, and if I add more violet into that, it becomes like a violet shade. That's what I have used for this clouds on the top. Those are the colors, as far as painting this goes, it's a simple gradient sky with a little tint of violet color on the right side, and then gradually bringing down all these other colors. Then using the wet method itself to add the clouds on the top, so let's get to painting this. 65. Day 30: Let's start. Let's apply water to the whole of our paper. Apply the water multiple times ensuring that the water that's on your paper stays wet. For all our wet-on-wet techniques, your paper needs to stay wet under the last stroke of wet-on-wet that you do. This is why we need to make it stay wet like that. So keep applying the water multiple times. This is the hardest part, I know, and it's the last painting, so just go with the flow. Apply multiple times making sure that the paper get soaked in with the beautiful water. Now we'll start. We're going to start with Prussian blue. We'll start in the top right corner towards the left side. So from the top right corner towards the left side. Then apply these left movement with our brush. Then as we gradually move down, I'm going to paint my brush with a little bit of violet. Can you see? I've taken violet and then I'm going to mix that up. That's what we're applying. Then it's all lighter strokes towards the bottom. All those darker strokes needs to be at the top and then as you move towards the bottom, let's make it lighter. Watch the right side. What I'm doing is I'm just touching my brush on the violet so that I tint it with a little bit of violet and that's what I'm applying towards the right side. Can you see? Just touching a bit. Violet that I had is a very highly pigmented violet. That's why I need to be careful. I need to only touch it if I want to make sure that this thing doesn't spread out a lot. Now I'll go with a lighter stroke towards the bottom. Now I'll go with my next shade, which is going to be yellow. I'm going to just apply my yellow here at the bottom, and what I'm going to do is, I'm going to create like a sun here. That's what I need. I have the sun there, and my yellow is going to be all around it. I'm not touching the blue region because if you touch the blue region you're going to create greens, you know that, so just outside. Then I'm going to pick up a little bit of orange. So a very lighter tone of orange. That's what we're using. Using that lighter tone of orange, I'll just go at the top. That orange when it mixes with the blue it's going to create a gray shade and that's absolutely fine. Blending with that orange will go into a grayish tone. Now we have that little tint of yellow at the bottom, that light, that orange, everything. Now I'm going to add a bit more blue because my blue is very faint. I'm going to keep adding more blue at the top. Let me go over the top region again. This time I'm going to tilt my paper because I want my water to flow down. It's absolutely fine for this sky today to have your water to flow down. Here is my Prussian blue and I want it to be dark at the top right corner. That's why I'm picking up a darker tone of paint. Can you see? It's a darker tone of paint. As I go towards the bottom, obviously, I'll pick up a little bit of that violet, tint my brush with a tiny amount of violet there and move downwards. I'm going to wash my brush because I don't want to ruin the orange, yellow area. Now I brought down this paint. Let me do the same here on this side. I'm just trying to get this whole thing to blend perfectly. Here I've just taken my brush and using my strokes I am blending in. We need to make sure that it blends in without creating any posh edges. The right side is where we need that little tint of violet. Then we're going to bring down and we're going to brush there. We have that. Now, since the whole of the paper is wet, let's add in the beautiful clouds. For adding in the beautiful clouds, what I'm going to do is I'm going to mix up the color. I'm going to take my pink and I'm going to mix it up with my blue. Let's take cobalt blue and mix it so that we get a nice red purple shade. That's what we want. Using that red purple shade we'll add in the clouds. Can you see? Just adding on the top some beautiful strokes and just adding some cloudy forms like that using this brush movement again. This is the best brush movement when you're painting skies. I'm going to add some here on the right side as well. A little bit here, mixing. The reason why I'm mixing with my pink and blue is because I want to create varying shades of purple. If you mix more pink with it, then you'll get a red purple or pinkish purple, and if you mix more blue to that mixture, then you'll get a dark violet shade. This is what we want. We want to vary the amount of violet that we are using, that is the color that we're using. We want to change it. Now I'm going to shift to a bit more violet tone. That violet tone is what's going in that area where the blue is separating the orange and the yellow. We've got nice amount of clouds there. Let's add some more. You can see because I've added more blue, the violet tone is completely different. We can also add the same to the areas right next to the other ones. For example, I think I'm going to add a huge cloud there, and maybe some here. I'm going to drop in some smaller ones. I'm using the tip of my brush so you can see how small that is. It's almost like being in shade. I think that's good enough. Let's not ruin it anymore. You can soften the edge of the clouds if they're not too soft and are forming hairs, but I think it's enough. Just going to apply some paint here because the orange that I applied is almost gone. I've picked up a little bit more orange and applying to that region. There, taking a bit more orange and I've applied. We need to make sure that our paper is really wet, otherwise, all of these strokes are going to create harsh edges. So here. I can see some harsh edge on this cloud here. Let me dry my brush completely and I'm just going to run my brush along and soften it. I've softened that edge. Anywhere that you create harsh edge just use a dry brush to soften that. I think we're good to go. Let's not ruin this anymore. There's no foreground. This is all for the sky. If you want to add in some foreground, you can. But since we've drawn the sun here at the extreme base, it means there is no foreground to be added. That's it for this painting. We've completed the 30 days, can you believe it? Let's just dry this and we'll remove the tape. Here the painting is now dry, so let's remove the tape. Here is the final painting. The at most final painting. The last painting. There you go.